Amgueddfa Blog: Gwirfoddoli

In 2020 Amgueddfa Cymru and Cruse Bereavement Support Cymru came together to support people across the country through their grief and create a lasting memorial full of memories to those lost during the time of Covid-19. It involved creating a square patch containing a memory of a loved one, in which ever way people chose, in whatever words or images they liked. Each patch created demonstrated a visual display of lasting memories of someone they loved who had died, created in unprecedented times.  50+ patches were sent to the Museum and have been carefully sewn together to form a Patchwork of Memories.

For the last two year we have all lived very different lives, with change to our normal the only constant. Losing a loved one is always hard but usually we have the comfort of others and collective mourning at funerals to help us say goodbye and share our memories.  However, a death in the last two years has meant many of us being cut off from our support networks and our rituals or remembrance being altered.  

Rhiannon Thomas, previous Learning Manager at St Fagans said about this project “Helping people with grief is something that I am personally passionate about. Having worked with Cruse Bereavement Support previously to support families I felt the Museum was able to help families dealing with loss in a different way.  Amgueddfa Cymru and Cruse Bereavement Support Wales came together to create a project based around creativity and memory, the aim being to make a lasting memorial to those who have died during the pandemic.” 

Creating something is not a new response to grief, there are several Embroidery samplers in Amgueddfa Cymru’s collections made in memory of loved ones or marking their passing.   This sampler by M.E. Powell was created in 1906 in memory of her mother.   Creativity during difficult times of our lives can help all of us to express deep held emotions that we do not always have the ability to put into words. 

Bereavement Support Days

Alongside the Patchwork of Memories initiative, the Cruse / Museum Partnership also provide a safe inspirational space for the increasing numbers of children and young people awaiting bereavement support and help meet the diverse needs of bereaved children, young people and families who benefit from coming together to rationalise, explore and understand that they are not alone in their grief. 

A series of quarterly Bereavement Support Days are held in partnership with St Fagans, for children, young people and their families experiencing grief and loss. There is specialist support from Cruse staff and volunteers along with art and craft activities provided by Head for Arts and immersive Virtual Reality experiences provided by PlayFrame, which are light-hearted, allowing people attending the chance to make and create things that can be taken home with them and or captured and stored into a virtual memory box. The activities available are designed to stimulate rather that prompt.

Here is the film created by PlayFrame on Ekeko, the virtual memory space they have been creating alongside this project, installing objects, memories and stories donated by participants into a virtual memory box for people to enter and explore:

https://youtu.be/KoQE00ff-rc 

And a link the virtual reality memory space itself: https://www.oculus.com/experiences/quest/6371190072951353/

Alison Thomas, Cruse CYP Wales Lead said “Cruse Bereavement Support Wales provides in person support to children and young people within a variety of settings, so we see first-hand how difficult it can be for grieving children and young people. Their collective support on these days allows families the time and space to verbalise and begin to understand their loss and associated emotions. The focus of the Bereavement Support days is around children and young people, however, the benefits resonate through the whole family including the adults in attendance, some of whom require bereavement support on the day, most of whom stay for the duration and share a cuppa and chat with other bereaved parents and guardians. Following the session, the whole family can have a look around the Museum and spend time together in a safe and nurturing setting.”

Here are some of the written (in their own handwriting) evaluation feedback quotes from children, young people and parents / guardians who have attended the Bereavement Days:

'I feel calmer, less worried.  It was good being able to speak to people my age who understood what I'm going through.'

'I was very included in all the activities and was always involved in conversation.  There was a calm atmosphere making it easier to speak to people there.'

'I was very welcomed and was immediately approached by a friendly face.  It was very inviting and was easy to speak to people there.'

'HAPPY' 🙂

'Love 🙂 happy'

'Thank you Diolch, Diolch 🙂'

A mother of one of the young people said 'I feel much better than I did.'

Another mother said 'All was lovely, made to feel welcome, everything we did was good and the girls enjoyed themselves.'

The two memory quilts will be competed by the end of August 2022, following which we will hold a final project event with Cruse Bereavement Support Wales on 25^th September at St Fagans National Museum of History, where we will display the two quilts and invite both the contributors who sent squares and the participants from the Bereavement Support Days to attend, along with the public, to see the quilts and share their experiences of taking part in the process.

We look forward to seeing you there.

The Recolonisation of Invertebrates on Restored Grassland:

I’m Alyson, a Professional Training Year placement year student from Cardiff University (School of Biosciences), currently working within the Entomology department at National Museum Cardiff under the supervision of Dr Michael R Wilson (researchgate.net). My interest in ecology, conservation and zoology ultimately led me here, and with no prior specialist knowledge in entomology (the study of insects) I jumped in at the deep end. Within a few months I was sampling in the field and identifying leaf- and planthopper species from Ffos-y-Fran (an open cast colliery site near Merthyr Tydfil). This  is currently undergoing the process of restoration so that it is converted from a colliery site to reseeded grassland.

Identifying and analysing over four years of invertebrate samples, involved looking at 195 samples.  This took a fair amount of time but allows the rate of recolonisation over a 5-year period, total species diversity, richness, and population dynamics within the fields across the years and seasons to be calculated. Leaf- and planthoppers (Hemiptera: Auchenorrhyncha) were chosen as models within this study as they are frequently common within grassland environments and can be used as an indicator of recolonisation progress on man-restored environments and ex-colliery spoil sites. Colliery sites are a common landscape visible across the UK, especially in the south Wales valleys. Their ecological importance and possible biodiversity are often overlooked, however work by Liam Olds (formerly Natural Talent apprentice at Amgueddfa Cymru), continues to highlight this through the Colliery Spoil Biodiversity Initiative (https://www.collieryspoil.com/about).

I am currently in the process of analysing this huge data set and creating a report to show the findings. However, in summary, the data has shown a trend of increasing diversity of hopper species within the field since it was reseeded. In total, 33 species were identified from the site – highlighting the ecological importance these habitats hold. Interestingly, grassland species generally uncommon to the area such as the planthopper Xanthodelphax flaveola and the leafhopper Anoscopus histrionicus, were abundant across the site leading to interesting discussion points as to why this environment encourages their colonisation. Other observations and discussions have also arisen from different wing-morphologies (shapes) seen in specimens of the same species. For example, the discovery of long-winged females of Doratura impudica, which are commonly a brachypterous species (short or rudimentary wings) encourages thought on arrival and colonisation methods of certain species, which could potentially help analyse other environments under recolonisation and ‘rewilding’ programmes. 

Studying the recolonisation of hoppers at Ffos-y-Fran has allowed me to develop and gain numerous skills which I will take with me into my final year of university and beyond. Not only have I been able to improve on existing skills such as report writing and data analysis, but I’ve also had the opportunity to gain new skills such as invertebrate identification, mounting specimens and taxonomical drawing. I’ve also had the chance to use the Scanning Electron Microscopy and sputter coating, and I have also used the imaging equipment at National Museum Cardiff to create a ‘species guide’ of the 33 observed at Ffos-y-Fran to supplement the report and provide a visual aid. Within my first few months at the museum, I was also able to get involved in a data collection project run by Dr Alan Stewart (University of Sussex), analysing specimens within the Auchenorrhyncha collections to create spreadsheets for the eventual creation of species distribution maps as part of the UK Mapping scheme for this insect group. There are so many opportunities and experiences to be had within the museum!

My time with Amgueddfa Cymru has been amazing, conducting research and joining the Natural Sciences team, and has solidified my desire to pursue a career in research. I believe my placement has given me a great start for a future career with the skills I’ve gained and developed through my work on Ffos-y-Fran and my secondary research project. The second project I am currently working on in collaboration with Dr Mike Wilson will provide an up-to-date redescription and description of new species of Fijian spittlebugs with the aim of publication of my first peer-reviewed scientific paper. Watch this space to find out more on the latter project …. 

As a Biological Sciences student I am very familiar with the concept of classification and evolution, having been taught about it from primary school level. The idea of using a filing system to organise species became common place at secondary school level. Constantly reciting the Linnean system and its eight levels of taxa (domain, kingdom, phylum, class, order, family, genus, and species) for exams and coming up with rhymes and mnemonics to remember it in class. 

Due to this I was vaguely familiar with taxonomy, I knew what it was and why it was important, as I describe below. However, we never truly explored taxonomy in any great detail, especially in a modern context, and so I never thought about it as a career many still do today. That was until February of 2020 when I was searching for placement opportunities for my Professional Training Year as a part of my degree at Cardiff University, and I came across an opportunity to undertake at National Museum Cardiff exploring taxonomy. I now have a much greater understanding of taxonomy’s importance and unfortunately the crisis it might be facing.

What is taxonomy?

Taxonomy is the science of naming, describing and classifying species, including species new to science. It is the foundation stone of biological science. The first step in understanding how many species we have, where they live, and what they look like so others can identify them. For example, it can be an early indicator of evolution, and in seeing how the morphological characteristics of species may help in adapting and surviving in their environments. 

Why is taxonomy important?

To understand the great diversity of the world we must know what is in it, and so taxonomy is essential in beginning to describe distributions and habitats of species. This will help scientists determine for example, whether a species is under threat, or the presence of an invasive species that can threaten other species and as a result their ecosystem. Scientists need to know all of the species in an environment, all described in a standardised manner that can be understood by those from around the world no matter the language spoken. This is so that they can begin to understand how to help preserve biodiversity and help the planet. 

Taxonomy is essential in aiding communication between scientists by giving a species a binomial scientific name. Many species will have many differing common names, for example Puma concolor, also known as the puma, cougar, panther, mountain lion, catamount, etc. in fact, P. concolor has over 40 common names in English alone. A binomial name (often in Greek or Latin) reduces confusion by surpassing language barriers and avoiding differing common names.

Taxonomy is also the first step in identifying species that have the potential to help people, to that end, the species related to them which may possess similar qualities. 

Truthfully, it is not known how many species share the planet with us. The most commonly cited number is 8.7 million species, however, this number ranges from five to ten million species. Either way taxonomists have only identified and described around two million species. Unfortunately, there will be many species that become extinct before we even know they existed. Scientists are unable to determine the rate of species extinctions or truly understand changes in biodiversity on a global scale because of the frightfully little knowledge of the species we share the planet with.

Importance of taxonomists

As mentioned, I mostly knew taxonomy as science undertaken in the past and if I did think of it in a modern context it was through modern techniques such as DNA barcoding. As a career opportunity for new biologists, taxonomy barely crosses the mind. It has been suggested that funding in taxonomic research is also on the decline, and that traditional taxonomy is too slow in producing research papers. 

But while using DNA to aid in identifications and for evolutionary relationships is no doubt useful, it is dangerous to remove all of the other “old-fashioned” techniques used for looking into morphological characteristics. Techniques such as drawing, AutoMontage imaging, scanning electron microscopy, written descriptions from observations, notes on habitat and distribution to name but a few. DNA analysis should be used to supplement the more traditional techniques, not replace them. There have been numerous examples in papers of errors in conclusions being made due to scientists looking at species from only a genetic point of view but having misidentified the species. To that effect integrative taxonomy has recently become a popular choice. It includes multiple perspectives such as phylogeography, comparative morphology, population genetics, ecology, development, behaviour, etc., so as to create the best descriptions and knowledge of species. 

After all, without taking the time to properly observe and describe a specimen you won’t truly know what the species looks like and how it uses its features to survive. How shall keys and field guides be properly constructed so that non-experts can identify species too? Without taxonomists how can the irreplaceable and valuable collections in our natural history museums be properly maintained and organised?

As I have experienced in my research on a relatively understudied family, mistakes have been made in identifications leading to false conclusions to be drawn, which has dangerous consequences for example in determining biodiversity. These false identifications may be enhanced by a purely DNA route into taxonomy. If taxonomy starts to die and fewer experts who truly understand a species exist who shall correct these mistakes and continue to document the rich biodiversity of the world?

Rydyn ni'n falch iawn o gyhoeddi ein bod wedi ennill Gwobr Buddsoddi mewn Gwirfoddolwyr am y trydydd tro.

Mae Buddsoddi mewn Gwirfoddolwyr yn wobr safon ansawdd ar gyfer Rheoli Gwirfoddolwyr.

Allen ni ddim bod wedi gwneud hyn heb waith caled ac ymroddiad ein staff a'n gwirfoddolwyr gwych. Diolch yn fawr!

Wedi cael cyfle i ddarllen yr adroddiadau asesu, yr uchafbwynt i ni oedd y sylw hwn...

"Dywedodd gwirfoddolwyr eu bod yn teimlo bod eu cyfraniad yn ystyrlon, a'u bod wedi mwynhau eu rolau. Roedd y rhan fwyaf o wirfoddolwyr yn dweud pa mor groesawgar oedd yr Amgueddfa. Dywedodd un gwirfoddolwr eu bod yn teimlo fel rhan o deulu."

Mae gwirfoddolwyr yn rhoi o'u hamser, sgiliau, arbenigedd a brwdfrydedd i Amgueddfa Cymru bob blwyddyn. Elusen ydym ni, ac mae eich cefnogaeth chi yn helpu i gyfoethogi a dod a safbwyntiau newydd i'n hamgueddfeydd cenedlaethol.

Os hoffech chi gymryd rhan, ewch i Cymryd Rhan | Amgueddfa Cymru (amgueddfa.cymru)

@WCVACymru

#BuddsoddiMewnGwirfoddolwyr

The Craft group of volunteers had been “coasting” for some time waiting for our next assignment from the museum. We’d made rag rugs for the houses at Rhyd y Car, we made mediaeval costumes for the children visiting Llys Llewellyn and we’d used the lavender grown in the castle gardens to make lavender bags to sell in the shops. For a few other meetings we’d been doing our own crafting projects in Gweithdy, talking to visitors, showing them how we made our various quilts, rugs, throws, and tapestries, but we were ready for a new project.

None of us had been familiar with the term Tip Girls, or the work they did in the mining industry when Noreen and Ceri from Big Pit visited us to ask for help in setting up a new temporary exhibition at the big pit Museum.

We were asked to design and make an outfit suitable for a Tip girl as would have been worn in the Welsh coal fields. Little research has been done on these girls in Wales but some records were kept of those girls working in the coal fields of Nottinghamshire and Durham. There were similarities between the two but also some distinct differences; most notably the names: Tip Girls in Wales and Pit Girls in the north of England

We obviously needed to research these Tip Girls and the period in which they were working, to find out the type of clothes they wore in order to undertake our task.

Until 1842 women and children had regularly worked underground, but after a dreadful mining disaster in Barnsley, Queen Victoria demanded an enquiry. This resulted in the Mines and Collieries Act banning women, girls, and boys under 10 from working underground.

This was a blow to many women who earned their living, or supplemented their household income from working underground, but women who needed to work adapted. They worked at loading wagons or hauling tubs up from the pithead and some became Tip Girls, sorting rocks and stones from the coal when it had been brought up from the mines below ground.

In our research we found that Tip girls developed a distinctive style of dress and different areas develop their own distinctive styles

The work was cold and wet and very dirty and the girls’ dresses catered for this.  In Wales, W. Clayton had taken photographs of these women; although they were posed and in a studio setting we still get a good idea of how they were dressed.  They wore long flannel skirts or frocks covered by leather aprons. Some wore breeches under their skirts, but this was frowned on in some mines, although it was commonplace in the mines in the north of England. They clothed their heads in hats and scarves, ensuring all of their heads were completely covered to prevent the coal dust saturating their hair.

Several members of the Craft group luckily have experience in costume design and they shared their expertise with us, helping us to design the costume.

We needed to decide what fabric we could use for the costumes, and we were lucky to be allowed the opportunity to see the museum exhibits in storage that would help us in designing the costume. We saw skirts, aprons, petticoats, stockings, socks and even boots that were all being carefully conserved by the museum.

We had been given a shop-window mannequin to use as the Tip Girl and were expected to dress her. However, her solid hands and feet posed a problem in that we needed to give her gloves and boots, and her elegant pose made making her resemble the Tip Girl very difficult.                                                                 

It took some time to work out that she couldn’t be used and something else had to be sorted out. There was no other mannequin available from the museum, so our resourceful team got together and manufactured one from various sources. (It does help having costume designers in the group!)

We used the original mannequin as the basis to design the clothes and even used our own members as models.  The tip girls hats seem to have been of special interest to the girls. They were all decorated quite lavishly with beads, ribbons, bows, flowers, and even birds and cherries and other fruit.  This seems to have been their gesture to glamour in the midst of the grime of the pit head.

We were getting on nicely with the manufacture of the clothes when Covid hit and we were locked down. We carried on our monthly meetings over Zoom but the Tip Girl project was side-lined for a while, while we made masks and protective clothing for the NHS. Edwina however was still working on our model and when a year later we resumed, we were nearly there with our very own Tip Girl, who we had nicknamed Brenda, for some unknown reason!

In discussion with a friend who is also doing research on the Tip Girls of the Welsh mines, I discovered that these girls were not the lowly workers they seem to be from their photos. In fact, they were quite well-paid and regarded themselves as better off than girls who had to go into service at the local “big houses”. Photographers also wanted to take their photographs and make them into postcards to sell to the public which made some of the tip girls into minor celebrities.

During lockdown we have made headscarf, skirt, chemise and socks. We’d made hands (ready for gloves) hats, bloomers and a bodice.  On returning to face-to-face volunteering, we collected what we had been working on and found we had been quite productive during lockdown.

The home-made mannequin was coming along at pace and caused some hilarity when we first assembled the legs and body as they weren’t quite compatible. Caroline, our expert in period costume, had knitted a wonderful pair of stockings that fitted the homemade legs perfectly.

The figure of the mannequin at the beginning caused much hilarity, and the arms and legs both had to be considerably altered. Having it made by different people in different places had its difficulties!

Our next meeting was at Big Pit, when we collected the disparate pieces of the costume and put them on the model. Our home-made model was not in use, and the museum was using another mannequin that was being altered to fit the brief. It was rather tall for the display case, but the staff intended shortening it discreetly.

The main reason for visiting Big Pit was to make the costume look as realistic as possible for the exhibition. They all looked newly made and pristinely clean, and we had to make them look as grubby and dirty as possible. So, after dressing up the model, we then undressed her again, and took the clothes over to the Forge where we had a good time rubbing them into the dirtiest and most filthy parts of the machinery.

It’s finished now, and we are waiting eagerly for the opening of the exhibition. We’ve left the clothes with the museum, along with both models, and it depends on which model best suits the display cabinet. When we visit the exhibition we will be very interested to find out more about the Tip Girls, and proud to see the small contribution we made to the exhibition on display.