Today we have launched our ESOL (English as Second or Other Language) resources on the museum website. The resources were created by Kate Congdon of Cardiff and the Vale College as part of the HLF (Heritage Lottery Fund) redevelopment of St Fagans National History Museum. In my last blog I discussed how we had trialled the resources with around 300 students from Cardiff and the Vale College. As a result of the trial we had very positive feedback and some minor adjustments were able to be made. There are 6 different levels of resources starting with Lower Beginners up to Upper Intermediate. The 6 different levels focus on different buildings across the museum.

There's always a sense of achievement when finishing a project but on this ocassion there is also a feeling of sadness that I have finished working with Cardiff and the Vale college. Working with Kate and the ESOL students from the college has been a pleasure. I want to say a massive thanks to Kate and all the students that took part and I hope we can work together again on future projects.

The resources are freely available to anyone wishing to use them on a visit to St Fagans. The resources are currently PDF worksheets but in the coming months my aim will be to convert these resources into digitial worksheets such as on iBooks.

Helo Cyfeillion y Gwanwyn,

Mae'n bron diwrnod plannu! Ydych chi'n barod? Dyma rai adnoddau defnyddiol i'ch paratoi ar gyfer plannu eich bylbiau a gofalu amdanynt dros y misoedd nesaf! Mae'r rhain hefyd ar wefan Bylbiau'r Gwanwyn i Ysgolion: https://amgueddfa.cymru/bylbiau-gwanwyn/

Dylech ddarllen y dogfennau hyn:

• Llythyr oddi wrth Athro'r Ardd (cyflwyniad i'r prosiect)

• Mabwysiadu eich Bwlb (trosolwg o’r gofal fydd angen ar eich Bylbiau)

• Plannu eich bylbiau (canllawiau ar gyfer sicrhau arbrawf teg)

A chwblhewch y gweithgareddau hyn:

• Tystysgrif Mabwysiadu Bylbiau

• Creu Labelai Bylbiau

Mae'n bwysig eich bod yn darllen y rhain oherwydd maent yn cynnwys gwybodaeth bwysig! Er enghraifft, ydych chi'n gwybod pa mor ddwfn mae angen i chi blannu eich bylbiau? Neu sut i labelu fel mae’n glir lle mae'r Cennin Pedr a Chrocws wedi eu plannu?

Cofiwch dynnu lluniau o'ch diwrnod plannu i gystadlu yn y Gystadleuaeth Ffotograffydd Diwrnod Plannu!

Cadwch lygad ar dudalen Twitter Athro'r Ardd i weld lluniau o ysgolion eraill: https://twitter.com/professor_plant

Pob lwc! Gadewch i ni wybod sut mae'n mynd!

Athro'r Ardd a Bwlb Bychan

This week’s Youth Forum again made me think about museums and what they can do, and how they should be, in a different way.

While looking at art from the First World War had at times been a sensory overload, this time we were trying to understand what it would be like to come to a museum without one specific sense fully intact. How to make museum exhibits more accessible for the partially sighted?

Having always gone to museums with my sight in (near enough) tip top condition, I and probably others tended to presume it was a pretty necessary requirement. If I had trouble seeing the paintings/sculptures/artefacts, then I don’t think I’d want to go. Because if seeing is believing, and I couldn’t see what I was supposed to be learning about, then surely I wouldn’t learn very much and would end up feeling quite left out, even though this obviously shouldn’t be the case.

And it doesn’t have to be! The paintings and sculptures that we looked up were a bit of a mix, ones that more well-known and some that were completely new. Among the ideas that we came up with, for example, involved the painting Bad News, by James Tissot, incorporating the playing of military marching music alongside the painting to evoke the solemnity and sorrow of leaving your family to go off and fight in another corner of the world.

Similarly, for Entrance to Cardiff Docks by Lionel Walden, lighting effects could imitate the lights of the port and the surrounding buildings, with sound effects of ships coming into port, water slapping against the quay, sailors shouting to each other. We could have smells to add to the experience (although maybe not the fish!). Instead of rough sailors accompanying Manet’s San Maggiore by Twilight, it would be the gentle, joyful peel of Italian church bells.

In front of a painting of Sir Watkin Williams-Wynn, Thomas Apperly and Edward Hamilton by Pompeo Batoni there could be a table with the objects and chairs laid out exactly as they are in the picture, as if the subjects had just finished the sitting and left only a few moments ago. David Nash’s intriguing sculpture Multi-Cut Column could have smaller imitations made of it, that people could actually pass around and touch, something rarely allowed in any exhibit. 

I realise there would be some technical issues in making sure it wasn’t distracting or taking away from the other exhibits, and that maybe not all these ideas will actually become a finished product, but I hope that at least some of them do work out. Because who wouldn’t want to experience this? It might be a bit like theatre, the art being brought to life, stepping into the painting. While I’m definitely thankful I’m not visually impaired in any way, I’m also thankful I took the time to try and understand the experience of those who are. 
 

• Our next Audio Description Tour will take place on 8 December and will be of our Natural History collections.

‘The Lost Treasures of Swansea Bay’ is the first Community Archaeology project funded by the HLF project Saving Treasures, Telling Stories. Run by Swansea Museum, the project is inspired by a collection of finds made by a local metal detectorist on Swansea Bay, which has also been acquired for the museum by Saving Treasures.

Blades and Badges

It includes some mysterious items, such as a Bronze Age tool with a curved blade which has had archaeologists scratching their heads. Ideas about its purpose range from opening shellfish to scraping seaweed off nets or rocks or carving bowls.

Among the other items found on the Bay are a number of medieval pilgrim badges, including one brought back from the important shrine of Thomas Becket at Canterbury. Pilgrim badges are usually made of lead or pewter and were often bought at shrines as a souvenir and worn on the pilgrim’s hat or cloak.

It is thought that those found in Swansea Bay were probably thrown into the sea by pilgrims returning to south Wales by boat as a thanks offering for their safe return. It seems like a curiously pagan thing for a medieval Christian to do, but it’s similar to the modern practice of throwing coins in wells, which is itself a survival of an ancient religious ritual.

The Archaeology of the Bay

The new collection is just a tiny fraction of the objects discovered on the Bay, which has a rich and varied – as well as sensitive – archaeology. This includes fragments of Bronze Age trackways and prehistoric forests, Roman brooches, ceramics, shipwrecks and the remains of World War Two bombs.

Community Involvement

Each one has a tale to tell and together they are helping archaeologists build the story of human activity in the Bay over thousands of years. Helping to interpret the finds, their significance for the history of Swansea Bay and for the people of modern Swansea are representatives from Swansea community groups, including the Red Café youth group, the Dylan Thomas Centre’s Young Writers Squad, Community First families and the Young Archaeologists Club.

The project’s first activity, a Big Beachcomb, took place on the Bay itself on Saturday 17 September, but to find out about that you will have to wait for the next blog in this series…

Mae’n swyddogol – peidiwch da chi â bod heb ddilledyn melfed yr hydref hwn! Dyma farn rhai o gylchgronau mwyaf dylanwadol y byd ffasiwn ar hyn o bryd. Ond er y chwiw presennol am bopeth melfed, mae’r defnydd moethus hwn wedi bod yn rhan o gwpwrdd dillad y genedl ers canrifoedd lawer.

Yn hanesyddol, fe ystyrir melfed fel dynodydd cyfoeth a statws – ffaith sy’n cael ei amlygu yng nghasgliadau gwisgoedd a thecstiliau yr Amgueddfa. Mae’r casgliadau hyn yn cynnwys gwrthrychau fu unwaith yn eiddo i rai o feistri tir enwocaf Cymru – teuluoedd cefnog, fel y Morganiaid o Dŷ Tredegar, a oedd yn addurno eu tai ac yn gwisgo defnyddiau costus i ddatgan eu cyfoeth i’r byd.

Ymhlith yr eitemau sydd ar gof a chadw yn yr Amgueddfa mae siaced felfed lliw eirin tywyll a wnaed yn 1770 ar gyfer Syr Watkin Williams-Wynn, y Pedwerydd Barwnig. Wedi ei eni yn 1749 ar ’stâd Wynnstay, ger Rhiwabon, roedd Syr Watkin yn adnabyddus fel un o noddwyr amlycaf y celfyddydau yng Nghymru. Yn ogystal â phrynu darnau o gelf, crochenwaith a dodrefn gan gynllunwyr mawr y dydd, roedd hefyd yn hoff o wario ar ddillad.

Pan oedd yn 19 mlwydd oed, aeth Syr Watkin ar Daith Fawr o Ewrop – rhan annatod o lwybr bywyd bonheddwr ifanc yn y cyfnod hwn. Rhwng Mehefin 1768 a Chwefror y flwyddyn ganlynol, bu’n crwydro Ffrainc, Y Swistir a’r Eidal. Mae llyfrau cyfrifon ’stâd Wynnstay yn dangos iddo wario £220 ar ddillad yn ystod y daith. Prynodd wisgoedd ym Mharis, siwt felfed blodeuog yn Lyon a llathenni o felfed gan sidanwr yn Turin.

Mae’n bosibl mai’r felfed hwn a ddefnyddiwyd i wneud y siaced sydd erbyn hyn ym meddiant yr Amgueddfa. Nid siaced bob dydd mo hon – mae hi wedi ei theilwra’n gywrain a’i brodio gydag edafedd sidan, rhubanau a secwinau aur. Mae’n debyg mai teiliwr yn Llundain fu’n gyfrifol am ei thorri a’i gwnïo. Roedd teilwriaid ffasiynol y cyfnod yn cyflogi nifer o frodwyr proffesiynol i addurno eu gwaith – dynion, nid menywod, oedd y rhain.

Yn 1770 cynhaliwyd parti chwedlonol yn Wynnstay i nodi penblwydd Syr Watkin yn 21 oed. Tybed ai’r gôt felfed oedd amdano’r noson honno? Daeth 15,000 i’r dathliad a thri llond coets o gogyddion o Lundain. Ar y fwydlen roedd 30 bustach, 50 mochyn, 50 llo, 18 oen, 37 twrci a llu o ddanteithion eraill. Does ryfedd i Syr Watkin fagu cryn dipyn o bwysau erbyn diwedd ei oes!