: Addysg

Earlier this year I was presented with the chance of a lifetime, a paid opportunity to develop my professional career and expand my portfolio. I applied for an artist in residency with Amgueddfa Cymru - National Museum Wales, to work with their museum volunteers up and down the country, to create a project that would celebrate 10 years of the volunteering program. After a thoroughly exciting interview process, I was asked to join the team.

Fast forward 6 months and my Artist Residency has now reached a close. I’m very happy with the work I have created; it showers the volunteering hub in colour and celebrates the amazing contribution volunteers have given to the museum. It fills me with joy to share my work with such an enthusiastic cohort of volunteers from all walks of life.

I started designing the mural at the same time as touring the country and running creative workshops with volunteers. I had collected a long list of volunteer roles but understanding them in a way that helped me generate genuine visuals required meeting volunteers in person, visiting the sites and experiencing what they do first hand. Over a month or two, I managed to construct flowing imagery to turn into celebratory hanging banners - a design format that stood out during my research.

I created the design by hand, as I feel more comfortable using traditional techniques, then started the daunting task of rendering a digital copy of the work using Adobe Illustrator. Including this step was somewhat of a learning curve for me, but it’s been a valuable experience. Having a digital copy of the design meant that we could create prints for all the museum sites and a printed gift for each of the volunteers. It also sped up the painting process because it allowed me to use a projector.

Using string, pins and painters tape I divided the wall up into segments. Piece by piece I projected and copied details of the design upon the walls rough surface. The wall is made of lime rendering, which it turns out is not a very cooperative surface to paint on. It’s dry, so moisture from the paint is quickly absorbed which increases the amount of paint needed, the stroke count and the time it takes. It’s also rough, which slowly ruins brushes and pens.

Once the design was cartooned upon the wall, I chose to fill in large areas using low-pressure spray paint. This part of the process saved time and had the lucky benefit of creating a smoother plastic wrap over the wall. After filling the space with basic flat shapes I used brushes and pens to add details and definition with regular acrylic paints.

My goal was to create a design that was not only on brief, but functional, aesthetically pleasing and contained other layers of depth hidden below the surface. The hanging banner format is supposed to connote a sense of celebration and heraldry. The colour palette is reminiscent of the dyes used in the tapestries sewn by volunteers for Llys Llewelyn. I wanted the illustration style to be subtly influenced by welsh traditional craft and contain subtle suggestions of embroidery, slip-on cast tiles patchwork etc. I created the typeface used for the quotes contained in the artwork from some of the earliest welsh stone carvings found on a cross near Ogmore.

I’d been looking forward to the painting process since the very beginning, it was long and laborious but oh-so rewarding. Despite the fact that a large percentage of my wardrobe is speckled with a rainbow of vibrant acrylic, I really enjoyed physically crafting something.

I want to say the biggest thank you to everyone in the volunteering & community engagement department - especially Ffion & Haf - for checking in on me and giving me guidance and support, thank you to all the kind staff at St Fagans for making me feel welcome, thank you to the National Lottery Heritage Fund for providing the funding for this amazing opportunity, thank you to my partner Elin for driving me everywhere, but most of all the volunteers who have truly enriched my experience.

The last 6 months have been the best of my life. It has been so rewarding to work in a creative role where I feel valued. I’m going to miss working at Amgueddfa Cymru. 

If you'd like to know more about the project as it was happening you can have a look at Robin's previous blog https://museum.wales/blog/2019-06-20/ARTISTS-PROJECT-Celebrating-10-Years-of-Volunteering/

Move over Alexa, Ada the pianola’s back!

‘Alexa, play me a song by the Beatles! Alexa what about something by One Direction! Alexa, play something classical! Beethoven or Mozart. Alexa, Alexa, Alexa you are the must have gadget of the 21^st century - but Alexa you don't always get it right?!

This is where I Ada, the Pianola comes in. Let’s travel back over a hundred years in time from 2019 to 1919 when I was in my heyday and see how I performed. I am the first truly musical piano-playing device in the world. Listen to my specifications. They are quite impressive if I say so myself. I was designed and first made by Edwin Scott Votey in his workshop in Detroit in 1895. So even one hundred years ago I had already been around for nearly twenty five years.

‘What can you do?’ I hear you ask.

Well I can play any number of tunes you request…. Music hall songs, Christmas carols, nocturnes by Chopin to name but a few, and I make no mistakes! I do need a human to work the pedals and load the music scrolls. My sound is generated by the pianolist's feet, and controlled in pitch by a perforated music roll. When my pedals are pressed, I send air up through holes in a roll of paper to press my keys and hey presto I am in action. Sit back and enjoy my performance. With my help, anyone can make music.

‘So you don’t operate alone? ‘you ask.

Well neither do you Alexa, as far as I can see. You need wi-fi, monthly fees, speakers and human instructors.

I was around throughout the 20^th century. But will you still be operating in 2119? Who remembers music cassettes and floppy disks now?

Who can tell? Who knows? But I think I am ageless. I can go on for ever.

Want to check me out for yourself?

If so, you will find me in the Oakdale Workmen’s Institute on the top floor in the grand ballroom. Pop in on a Wednesday morning and my volunteers Cheryl and Marie will show you the works. Before too long you too will be singing my praises.

Ym mis Awst fe groesawon ni deuluoedd o Gymdeithas Tai Taf yn Nhreganna ac Ysgol Gynradd Herbert Thompson yn Nhrelái (SHEP, Rhaglen Gwella’r Gwyliau Haf ‘Bwyd a Hwyl’) i Sain Ffagan i ymuno â ni ar gwrs garddio a choginio newydd i’r teulu, fel rhan o’r rhaglen addysg i deuluoedd sy’n cefnogi cynllun Cyfuno a’n hymrwymiadau o dan Deddf Llesiant Cenedlaethau’r Dyfodol. Cafodd y rhaglen ei datblygu a’i chynnal mewn partneriaeth ag adran Ehangu Mynediad Prifysgol Fetropolitan Caerdydd a First Campus. Cafodd y teuluoedd gyfle i fwynhau diwrnod o ddysgu yn ymarferol am dyfu bwyd a’i gynaeafu, cyn coginio pryd maethlon gyda chynnyrch wedi’i hel o erddi Sain Ffagan.

Roedd hon yn fenter newydd i ni, ac wedi gweithio allan sut i osod cegin dros dro yn un o’r stiwdios, a chael gafael ar yr holl gyfarpar, roedden ni’n barod amdani.

Mae gerddi Sain Ffagan yn llawn cynnyrch gwych adeg yma’r flwyddyn – ffrwythau, llysiau a pherlysiau – llawer ohonynt yn fathau treftadaeth arbenigol. Fel arfer, caiff cnydau eu harbed a’r hadau eu cynaeafu er mwyn ailblannu’r flwyddyn wedyn, fel rhan o ymchwil parhaus i gnydau treftadaeth. Fodd bynnag, cafodd y teuluoedd fu’n cymryd rhan gyfle i archwilio’r gerddi gyda Juliet Hodgkiss, Uwch Guradur Gerddi. Bu Juliet yn eu dysgu am dyfu a chynhyrchu bwyd, cyn cynaeafu peth o’r cynnyrch i’w ddefnyddio yn y gegin. Ar ôl hel ffa dringo, bresych, shibwns a pherlysiau, roedd hi’n amser mynd nôl i’r dosbarth.

Yno roedd Dean Way, darlithydd mewn Rheoli Lletygarwch ym Mhrifysgol Metropolitan Caerdydd, wrth law i helpu’r teuluoedd i greu pryd hyfryd gyda’r cynnyrch. Dyma beth goginiodd y grwpiau talentog, gan ddilyn ryseitiau Dean:

Colslo Bresych a Ffenigl

½ fresychen fach wedi’i rhwygo

1 bwlb ffenigl, wedi’i dorri’n chwarteri a’i gratio

1 winwnsyn gwyn, wedi’i dorri’n denau

50g iogwrt

1 llwy fwrdd o finegr gwin gwyn

1 llwy fwrdd o siwgr mân

Halen a phupur

Dull

1. Torrwch y fresychen yn ei hanner, ac yna yn ei chwarter a thynnwch y canol. Yna, gyda chyllell finiog torrwch y fresychen yn stribedi tenau.
2. Torrwch y bwlb ffenigl yn chwarteri a thynnu’r coesyn – yna gratiwch gyda gratiwr bras.
3. Pliciwch winwnsyn gwyn a’i dorri’n denau.
4. Rhowch yr holl lysiau mewn powlen, a’u cymysgu’n dda. Cymysgwch yr iogwrt, y finegr a’r siwgr i’r llysiau, ac ychwanegwch ddigon o bupur du ac ychydig o halen. Gallwch gadw’r colslo wedi’i selio mewn oergell am hyd at ddau/dri diwrnod.
5. I’w weini gydag wyau wedi’u berwi.

Salsa ffa dringo a thomato

3 coden ffa dringo

1 clof o garlleg, wedi’i dorri’n fân

1 winwnsyn coch canolig, wedi’i dorri’n fân

1 tomato mawr, wedi’i dorri’n fân

Sudd hanner lemon

1 llwy de o goriander ffres wedi’i dorri

½ llwy de o bowdr chilli

3 pinsiad o halen a phupur

½ llwy de o gwmin

4 llwy fwrdd o olew hâd rêp

Dull

1. Pliciwch a thorrwch y ffa dringo’n fach a’u berwi’n sydyn mewn dŵr berwedig am ddau funud. Rhowch nhw mewn powlen o ddŵr oer nes maen nhw wedi oeri.
2. Gwasgwch un clof garlleg a’i dorri’n fân.
3. Torrwch un winwnsyn coch yn fach iawn.
4. Torrwch un tomato mawr yn fân.
5. Torrwch un lemon yn ei hanner
6. Torrwch lond llaw o goriander yn fân
7. Rhowch yr holl lysiau mewn powlen, a’u cymysgu’n dda. Cymysgwch yr HOLL gynhwysion a gwasgwch y sudd allan o hanner lemon mewn i’r gymysgedd.

Ar ôl y sesiwn goginio bu Dean yn rhoi gwybodaeth ddiddorol i’r grwpiau ar fwyta’n iach, gan edrych yn agos ar y braster a’r siwgr sy’n cuddio mewn cymaint o fwyd! Edrychwch ar y labeli golau traffig ar becynnau bwyd sy’n dangos os yw bwyd yn uchel (coch), canolig (oren) neu’n isel (gwyrdd) mewn braster, braster dirlawn, siwgr a halen. (NHS online: reference intakes explained)

Cwrs peilot oedd hwn, ac roedden ni gyd yn falch iawn gyda sut aeth pethau. Roedd y ddau grŵp wedi mwynhau eu hamser yn Sain Ffagan, a chawsom adborth hyfryd. Dyma rai o’r uchafbwyntiau:

“Cwrs gwych, fe wnes i fwynhau’n fawr!” (rhiant)

“Mae’r cwrs yn addysgiadol iawn ac fe wnaethon ni gyd fwynhau.” (plentyn)

“Rwy’n medddwl ei fod yn gwrs da iawn ac yn addysgiadol. Rhywbeth sy’n apelio at oedolion a phlant, ac yn gwneud i blant feddwl am fwyd o oed ifanc iawn.” (rhiant)

“Roedden ni’n cael blasu’r perlysiau wrth eu hel. Roeddwn i’n hoffi’r mint – roedd e’n blasu fel gwm cnoi. Yn yr archfarchnad mae perlysiau wedi eu sychu ac mewn pacedi felly allwch chi ddim arogli na chyffwrdd nhw.” (plentyn)

“Mae’r plant eisiau dechrau tyfu llysiau yng ngardd mam-gu – dwi erioed wedi eu gweld yn bwyta llysiau mor gyflym!” (rhiant)

Pan ofynnon ni iddyn nhw beth oedd eu hoff dri pheth am y cwrs, dyma atebion y teuluoedd:

“Dysgu sut i dorri llysiau, trio bwydydd newydd, coginio gyda mam.” (plentyn)

“Paratoi bwyd ffres gyda fy merch, cael dealltwriaeth well o fwyta’n iach, a chasglu llysiau ffres.”

“Hel llysiau, coginio a deall hanes.” (plentyn)

“Dysgu am fraster a siwgr.” (plentyn)

Nawr ein bod wedi profi’r dyfroedd, rydym yn edrych ymlaen at ddatblygu cyfleoedd pellach haf nesaf. Diolch i’r holl deuluoedd a gymerodd ran, ac i’r partneriaid am helpu i wneud i hyn ddigwydd.

Fel rhan o’n hymrwymiad i Ddeddf Llesiant Cenedlaethau'r Dyfodol a'r nod o greu Cymru fwy llesol, dyma ni’n gwahodd rhai o deuluoedd Cymdeithas Dai Taf i fwynhau diwrnod yn Sain Ffagan Amgueddfa Werin Cymru. Dyma nhw'n dysgu am fwyta'n iach, fydd o fudd i iechyd pawb yn y dyfodol.

Roedd gwledd o weithgareddau cyffrous ar gael i'r teuluoedd, gan gynnwys taith drwy erddi'r Amgueddfa i godi shibwns a thorri bresych, arddangosiadau coginio gan ddarlithydd Rheoli Lluniaeth o Brifysgol Fetropolitan Caerdydd, a chyflwyniad ar faeth i gloi. Roedd cyfle i bob plentyn olchi, paratoi a choginio bwyd. Dyma oedd profiad cyntaf nifer o'r plant o greu prydau iach gyda chynhwysion o'r pridd. Fel y dywedodd Alex, sy'n 12 oed, "Roedden ni'n cael blasu'r perlysiau wrth eu hel. Roeddwn i'n hoffi'r mintys – roedd e'n blasu fel gwm cnoi. Yn yr archfarchnad mae perlysiau wedi eu sychu ac mewn pacedi felly allwch chi ddim arogli na'i cyffwrdd nhw."

Roedd nifer o rieni yn dweud eu bod hi'n anodd coginio prydau iach yn rhad, ac yn anodd annog plant i fwyta llysiau. Dywedodd un rhiant, "Trefnwyd bysys am ddim i ni – mae mynd â phump plentyn ar draws y ddinas ar sawl bys yn anodd ar y gorau! "Mae'r plant eisiau dechrau tyfu llysiau yng ngardd mam-gu – dwi erioed wedi eu gweld nhw'n bwyta llysiau mor gyflym!"

Diolch o galon i Sain Ffagan Amgueddfa Cymru a thîm Widening Access Prifysgol Fetropolitan Caerdydd am drefnu'r cyfle gwych hwn. Rydyn ni'n barod yn trefnu gweithgareddau tebyg yn yr Amgueddfa, gan roi cyfle i fwy o blant ddysgu am fyw yn iach a diwylliant Cymru.

The shrine of St David in St David’s Cathedral, Pembrokeshire, was an extremely important pilgrimage site in the Middle Ages. Two pilgrimages there were worth one to Rome, and thousands of people would have visited before the shrine was destroyed at the Reformation.

Inspired by the ‘Beneath our Feet’ project run by Narberth Museum and Tenby Museum and Art Gallery, which is looking at the theme of pilgrimage in Pembrokeshire, Saving Treasures; Telling Stories decided to find out more. What did those long-ago travellers leave behind them?

Pilgrim Objects

Two kinds of objects were commonly associated with pilgrims in the Middle Ages: ampullae, and badges.

Ampullae were little lead scallop-shaped flasks containing holy water that were pinned to clothing or hung around the neck in the belief that they offered spiritual protection. You might expect to find large numbers of them in Pembrokeshire, with its important holy shrine.

It seemed a fair bet that local metal detectorists had found plenty over the years.

But, a search on the Portable Antiquities Scheme (PAS) database, where over a million detectorist finds are recorded, revealed some surprises.

In fact only SIX examples from Pembrokeshire have been recorded with PAS – a surprisingly small amount! Surely there should be many more?

To compare, we looked at the records for Kent, home of medieval England’s most important pilgrim destination – the shrine of St Thomas Becket at Canterbury Cathedral. Even here, only 50 pilgrim ampullae have been recorded with PAS, not such a huge number considering the many thousands of people who travelled there.

Contrast this with Lincolnshire, where 232 ampullae have been recorded, the biggest number of any county in Wales and England. Lincoln Cathedral boasted two important shrines (both to saints called Hugh), but this does not explain such a big difference in numbers.

What’s going on?

Confused, we turned to pilgrim badges. These were usually made of lead or pewter and depicted saints, letters and religious scenes and symbols. They were bought at shrines as souvenirs and pinned to clothing.

Surely lots of these cheap objects would have been lost by the visitors to St David’s?

But a search on the PAS database turned up NO examples from Pembrokeshire at all!

Even in St Thomas Becket’s Kent, no more than 11 badges have been recorded with PAS. Greater London has by far the highest number, at 119.

Then we saw that five pilgrim badges had been reported from Swansea, which seemed unusual as there was no important medieval shrine in the town. One of them was a badge of none other than Thomas Becket himself. How had that got there?

It turned out that each one of these badges had been discovered, not in the city itself, but under the sands of Swansea Bay.

Intrigued, we chose a random sample of the London badges and discovered that they had all been found in the River Thames.

We checked the find spots of the ampullae, and sure enough, two had been found on Tenby beach and two others in the coastal village of Manorbier. There was a definite watery theme!

Giving thanks?

In an age when travel was difficult and dangerous, ships were the fastest method of transport, though not necessarily safe.

So it makes sense that pilgrims going on long journeys would travel at least part of the way by water, and would be relieved and thankful when they reached the shore safe and sound. The evidence of all these badges and ampullae dug from the sands and fished from the Thames suggests that returning pilgrims threw them into the water, perhaps as a way of giving thanks for a safe return.