A new world of worms - beginning a Professional Training Year at the museum

Kimberley Mills, 4 Awst 2017

Walking up to the stunning building that is the National Museum of Wales on the first day of my placement in July, I readied myself for new experiences in the world of marine invertebrate research! I am a Cardiff University student studying zoology and have always been fascinated with the sea, from giant whales to microscopic plankton. However, the weird and wonderful world of marine invertebrates particularly sparked my interest after being offered the chance to study a family of mysterious bristle worms (polychaetes) called Magelonids; perhaps fittingly, commonly called shovelhead worms because of the presence of their flattened heads.

The intention of this year is to learn more about these burrowing animals so a better understanding of their behaviour, ecology and anatomy can be reached. Hopefully, with these aims, a relatively unknown organism can become more accessible and recognised to everyone.

There are many questions to explore, for example, some species of Magelonidae possess abdominal pouches, which the function of is unknown. Why would they need these conspicuous structures? Also, very little is known about how these worms reproduce. It is unknown as to whether they reproduce once (semelparity) or have multiple reproduction events (iteroparity). Furthermore, do they reproduce at the same time in a kind of mass-spawning event?

 I will tackle these kinds of questions by observations of live specimens in the museum lab with the aid of time-lapse photography for overnight observations. By examining the worms in a tank with conditions similar to in their natural environment, variables such as movement in tubes, responses to food, timings of different behaviours, and hopefully, with a bit of luck, reproduction or pouch function can be reviewed.

Additionally, I will use previous research in conjunction with museum specimens of the family to help me not only try to answer these uncertainties, but also to develop other skills, such as scientific drawing and taxonomy. By viewing specimens under the microscope, a camera lucida can be used to help draw an outline of the desired subject. This template can then be utilized to fill in details of the species, which is helpful to get a clear and simple view of the animal’s morphology.

It has been an interesting and exciting first few weeks here and I am eager to carry on observations and delve deeper into gaining a better understanding of the marine world. Thus, opening up opportunities for us to perceive these secretive and fascinating animals in a different light entirely.

Day of Archaeology at Amgueddfa Cymru National Museum Wales

Sian Iles & Matthew Guiseppe Knight, 28 Gorffennaf 2017

Happy Day of Archaeology everyone!

Today, the 28th July 2017, is the annual online event in which archaeologists from across the country blog about archaeology. The idea is to showcase the diversity of the subject and highlight what individuals are doing on and around this day.

This year we’ve badgered people from across the museum to contribute posts on who they are and how they engage with archaeology through their various research and projects and on a daily basis.

We have been amazed by the positive response, not just from within History and Archaeology but from a whole range of disciplines. The topic of posts thus ranges from prehistoric Cardiff to botany to archaeological curation to snails! It really shows how broad and varied archaeology truly is, beyond the traditional view of woolly jumpers, beards, and whips (though it has been known!)

These posts are all hosted on the external site: www.dayofarchaeology.com and links to blogs from our staff are listed below and will be added to throughout the day.

We hope you enjoy!

Adam Gwilt – An Archaeological Curator’s Day / Diwrnod ym mywyd Curadur Archaeolegol

Dr. Rhianydd Biebrach – The Saving Treasures: Telling Stories Project

Dr. Ben Rowson – Snails at Snail Cave, and elsewhere in Wales

Jonathan Howells - From Housing to History and Archaeology

Kristine Chapman - Rare Books from the National Museum Wales Library

Sarah Parsons - Photographing Archaeology

Dr. Heather Pardoe – Harold Augustus Hyde’s Contribution to Welsh Archaeology

Dr. Elizabeth Walker – Contemplating and communicating the Palaeolithic landscapes of Wales

Sian Iles – Marvellous medieval tiles-public engagement at Amgueddfa Cymru-National Museum Wales

Matt Knight – A Day in the Life of an Archaeology Intern / Diwrnod ym mywyd Archaeolegydd preswyl

 

Gwyliau Ysgol!

Hywel Couch, 28 Gorffennaf 2017

Gyda’r haf yma unwaith eto, mae hi’n amser i’r Adran Addysg yn Amgueddfa Werin Cymru Sain Ffagan edrych nôl dros y flwyddyn a fu ac i ddechrau’r paratoadau ar gyfer mis Medi. Ni fydd llawer o ymlacio i'r tîm dros yr haf!

Mae hi’n amser cyffroes iawn i’r tîm yma. Gyda’r prif adeilad wedi ail-agor yn ei newydd wedd, erbyn mis Medi, byddwn yn croesawu ysgolion i’r Ganolfan Ddysgu Weston newydd sbon. Bydd hyn yn rhoi derbynfa benodol at ddefnydd ysgolion, dwy stiwdio addysg, darlithfa ag ystafell brechdanau ar gyfer ysgolion. ‘Da ni methu aros tan fis Medi er mwyn dechrau defnyddio’r gofodau yma gydag ysgolion!

Gyda gofodau newydd, mi fydd cyfleoedd newydd. Trwy gydol y proses ail-ddatblygu mae hi wedi bod yn anodd i ni gynyddu’r cynnig ar gyfer ysgolion, ond, o fis Medi ymlaen, mi fydd yr adran yn cynnig gwledd o weithdai newydd a hefyd yn gweld rhai gweithdai yn dychwelyd ar ôl ychydig o orffwys!

Yn dilyn trafodaethau gydag athrawon, fel rhan o’n Fforwm Addysg Ffurfiol, rydym wedi cynyddu’r nifer o weithdai sy’n ategu at ei gilydd. Mi fydd hyn yn galluogi ysgolion i fwcio mwy nag un gweithdy i’w grwpiau er mwyn llenwi’r ymweliad gyda gweithgareddau. I weld pa weithdai sydd ar gael ar gyfer Cyfnod Sylfaen a Chyfnod Allweddol 2, cymrwch olwg ar ein tudalennau we addysg. Dilynwch y linc yma i’w gweld: https://amgueddfa.cymru/sainffagan/addysg/

Rydym yn awyddus iawn i ddangos y Ganolfan Ddysgu Weston newydd i athrawon, felly rydym yn cynnal noson agored ar gyfer Athrawon Ysgolion Cynradd ym mis Medi. Mi fydd y noson agored yn gyfle i athrawon gweld y gofodau newydd ac i ddod yn gyfarwydd â’r safle cyn ymweld gyda grŵp. Bydd hefyd cyfle i gwrdd â’r tîm - ‘da ni gyd yn reit gyfeillgar! Mae’r noson agored yn cymryd lle ar Fedi 20fed, ac mae gwybodaeth bwcio i’w ffeindio yma: https://amgueddfa.cymru/sainffagan/addysg/athrawon/

Er ein bod yn edrych ymlaen at yr haf, ‘da ni methu aros i ddechrau croesawu ysgolion eto ym mis Medi. Gobeithio nawni gweld chi pryd ni!

Swansea - ‘City of Sanctuary’

Ian Smith, 27 Gorffennaf 2017

Wales is culturally diverse from three hundred years of industrial heritage and a history of people coming here for work in mining and quarrying, dock yards, heavy industry. Lately jobs in tourism, modern industry and students coming to study at our universities make us a melting pot of cultures. Indeed, my grand-father came to Swansea from the Faroe Islands (Danish) and my wife’s grand-father came from Holland, both to work on the docks around 1910. As economic migrants – they came here to earn more money and have a better life, they were not refugees.

They stayed, married Welsh girls and raised families. The street I grew up on, Prince of Wales Road in the Hafod, Swansea there lived people from Italy, Ireland, Scotland, Poland and England, and the bottom of the street was known as ‘Jews Row’ where Jews from all over the world lived. As children we just thought this was normal and every street in the UK was just like ours.

Unsurprisingly with this background, Swansea became a ‘City of Sanctuary’ in 2010, the second one in the UK after Sheffield.

Part of my job is in the Public History Team for Amgueddfa Cymru. This means we actively seek out different groups and individuals in the community and gather their stories and history. Through my job I have met people who have been displaced from their homeland for various reasons and are seeking safety and shelter.

So, when last May (2017), I attended ‘Asylum Seeker and Refugee Awareness’ training at the Waterfront Museum as part of our staff training, I thought I was fairly clued up about the subject.

The training was delivered by a lady working for Swansea City of Sanctuary and another lady who was an asylum seeker and she told us about her personal experiences.

It’s strange, we see stuff on the TV and news and read stories in the papers and get a picture in our heads about a situation but very often is only half a story. Learning factual numbers and hearing personal testimony made me realise how far off the mark I was, how little I knew.

For instance, we were asked to rank the top ten countries of the world in order of which ones take the most refugees. As a group we managed to name one or two correctly.

The top ten are: Turkey, Pakistan, Lebanon, Iran, Ethiopia, Jordan, Kenya, Uganda, Congo and Chad.

Surprised? I was. The UK, Germany or France don’t make the top ten even though I was convinced they would as it seems to make headlines on a regular basis in our media. The biggest refugee camp in the world is in Kenya with around 200,000 people living in it!

We learned what the difference is between an asylum seeker and a refugee. Both are displaced persons – they have had to leave their country of origin for lots of different reasons; war, religious beliefs, persecution or sexual orientation.

An asylum seeker is a person who is fleeing persecution in their home country, has come to the UK and made themselves known to the authorities. They then exercise their legal right to apply for asylum. If they are granted asylum here then they have ‘refugee’ status.

I found out that many of these desperate people are brought to Europe and the UK by traffickers and quite often they have no idea which country they are in. Most are stripped of belongings and passports so have no way of proving who they are, their age and marital status etc. when questioned by the authorities.

After assessment and a screening interview, if the person becomes an asylum seeker they then have to wait until their case is further assessed to get refugee status or be rejected. At any time during this process people can be subject to detention, deportation or destitution. Destitution means having no recourse to public funds, having no money and nowhere to live.

Asylum seekers are dispersed all over the country and are given free accommodation in private lettings. They are not allowed to work. They receive a maximum of £36.95 a week - £5.28 a day for food, toiletries, everyday needs and travel. As asylum seekers have to regularly sign in at an immigration office which can be some distance from where they live, a day’s money can be used up in bus fares.

The application process can take years for a person to get a decision on refugee status and the onus is on the asylum seeker to prove persecution of an ongoing threat and not a one off occurrence.

For many this period in limbo can very difficult. The lady we spoke to told us to imagine you suddenly found yourself in somewhere like China and couldn’t speak the language or understand the culture. Finding your way around and doing simple tasks is almost impossible. For example, she told us her and her two young children were placed in a house in Swansea on a cold January day. The house was cold, it had central heating but she had never seen central heating controls before and didn’t know how to work it. This lady was a psychologist in her own country but her qualifications are useless in the UK. She told us that even with all these problems she felt safe here, which was all she wanted for her family.

After the process is completed and refugee status is granted, as refugees they have the right to work and apply for family reunification. From March 2017, cases can be reviewed after five years to see if the threat to the person is still ongoing or if it is possible to be returned to their country of origin.

If refugee status is not granted there are a number of avenues for appeal but ultimately if status is not granted then the person can be deported.

After listening to the trainer and hearing the stories of asylum seekers I was left with a helpless feeling inside me. Every story we heard made me think ‘what if that was me and my family?’ and how grateful we would be to find somewhere to feel safe. The biggest point I took away from the morning was: Refugees are just people like you and me who had jobs, housing, education and good standards of living, suddenly taken away from them through no fault of their own. They just need the chance to start over again without fear.

At the end of 2016 there were 2,997 asylum seekers in Wales, 0.09% of the population.

Gwaith Artistiaid Preswyl yn Sain Ffagan

Sian Lile-Pastore, 20 Gorffennaf 2017

Hanes, Celf a Chwarae

Mae Sain Ffagan Amgueddfa Werin Cymru yn nodedig am ei gosodweithiau hanesyddol - o

eglwys ganoloesol i siop teiliwr, popty a thai teras .

Mae'r amgueddfa a'i chasgliadau wedi bod yn ysbrydoliaeth i artistiaid, sydd wedi defnyddio ein safle, ein casgliadau a'n archifau dros y blynyddoedd.

Yn ddiweddar, rydym wedi ceisio creu rhagor o gyfleon i artistiaid i ddefnyddio'r amgueddfa mewn ffordd ddyfeisgar, trwy raglen artistiaid preswyl. Diolch i gefnogaeth hael Cronfa Treftadaeth y Loteri yng Nghymru a Chyngor Celfyddydau Cymru, mae'r rhaglen artistiaid preswyl yn rhoi cyfle i artistiaid ddatblygu eu gwaith, yn ogystal â datblygu profiadau newydd ar gyfer ymwelwyr - fel y lle chwarae i blant, gan yr artist Nils Norman:

Lle chwarae Sain Ffagan - Nils Norman

Manylun o'r Iard, lle chwarae wedi'i ddatblygu gan Nils Norman yn Sain Ffagan

Yn 2017-2018 rydym yn falch o weithio gydag Owen Griffiths, Sean Edwards gyda chymorth ymchwil gan Louise Hobson. Eu briff yw i archwilio sut 'mae ymwelwyr yn symud trwy'r safle.

Artistiaid Preswyl Sain Ffagan

Nils Norman, 2015-16

Fel rhan o’r gwaith

ailddatblygu Sain Ffagan , roedd angen lle chwarae newydd – un fyddai’n unigryw i’r safle ac yn annog chwarae creadigol. Gwahoddwyd yr artist Nils Norman i dreulio cyfnod yn yr amgueddfa fel artist preswyl ac i ddylunio lle chwarae newydd a chynnig syniadau am chwarae creadigol dros y safle.

Artist sy’n gweithio yn Llundain yw Nils ac mae wedi gweithio ar nifer o brojectau yn ymwneud â chwarae a dylunio dinesig. Mae’n awdur pedwar cyhoeddiad ac yn Athro yn Academi Celf a Dylunio Frenhinol Denmark yn Copenhagen lle mae’n arwain yr Ysgol Waliau a Gofod. Gweld mwy o waith Nils Norman.

 


'Birdscreens' - Nils Norman

Imogen Higgins

"Mae’r cyfnod preswyl yn Sain Ffagan wedi rhoi rhyddid i mi arbrofi gyda photensial celf gymunedol yn annibynnol.

Cefais ryddid i ddatblygu syniadau sy’n manteisio ar fy nghryfderau a’m diddordebau. Cefais gyfle hefyd i weithio gyda mwy o ffocws a chanolbwyntio ar friff penodol.

Bu’n rhaid i mi hefyd arbrofi gyda dulliau creadigol o gasglu gwybodaeth, fydd yn sicr o fantais i mi yn fy ngyrfa fel artist cymunedol.”

Artist cerameg newydd raddio ac yn gweithio yng Nghaerdydd yw Imogen Higgins. Ei diddordeb pennaf yw celf ac ymgysylltu cymunedol, a’i thasg hi oedd cydweithio â grwpiau lleol er mwyn llywio datblygiad y lle chwarae. Dechreuodd Imogen ei gweithdai drwy edrych ar batrymau yn y casgliadau ac ar y safle – cwiltiau clytwaith, teils canoloesol a’r patrwm teilio yn yr ardd Eidalaidd – yn ogystal ag ymchwilio i lefydd chwarae a chwarae creadigol yng Nghaerdydd.

Bu dau grŵp lleol yn cydweithio gyda hi yn ystod y project – myfyrwyr Ysgol Uwchradd Woodlands a phlant a rhieni Ysgol Gynradd Hywel Dda. Gellir gweld mwy o'r gwaith hwnnw ar flog prosiect Imogen

 


Gweithdy - Imogen Higgins

Fern Thomas

“Fwyfwy dros y blynyddoedd diwethaf, mae fy ngwaith wedi bod yn arbrofi â naratif, dogfennau ac archifau hanesyddol. Rwy’n cael fy nenu gan wrthrychau cudd a straeon neu wybodaeth ddirgel, gan ddychmygu’r haenau o hanes i’w dadorchuddio mewn lle. Roedd potensial y cyfnod preswyl hwn, a’r cyfle i bori drwy archifau Sain Ffagan, felly yn fy nghyffroi yn fawr.”

Artist yn gweithio yn Abertawe yw Fern Thomas sydd ag ymchwil yn greiddiol i’w gwaith. Mae ganddi ddiddordeb hefyd mewn llên a dewiniaeth werin. Ymchwilio i’r lle chwarae oedd ei rôl hi yn y project, ac ar ei gwefan mae ganddi erthygl yn trafod yr hyn ddaeth i’r fei (http://www.thesefuturefields.eu/researching-the-archives-play-hauntings-and-women-of-the-land/) yn ogystal a gwybodaeth am brojectau, ymchwil a gwaith arall.

“Mae’r cyfnod preswyl wedi bod yn allweddol wrth i mi ychwanegu gogwydd newydd i’m gwaith, gan fy helpu i fireinio fy niddordeb mewn archifau a hanes Cymru, fydd yn llywio fy ngwaith a’m ymchwil i’r dyfodol.”

 


Fern Thomas

Melissa Appleton

"Fy mwriad i oedd cael blas o’r safle a chreu detholiad o dameidiau – gofod gwrthdrawiadau rhwng y domestig a’r ysbrydol, y cyffredin a’r arallfydol. Wedi casglu strwythurau, planhigion, ffenestri, patrymau, gwrthrychau, cerrig, offer a drysau, y bwriad oedd eu haildrefnu yn dirlun anghyfarwydd, cyfarwydd. Creu drych o Sain Ffagan oedd y bwriad yn y bôn, gydag un droed yn y byd hwn a’r llall mewn rhith fyd.” (cyfieithiad o gyfweliad gyda chylchgrawn CCQ, 2015)

Y tu allan i waliau arddangosfa y caiff gwaith Melissa Appleton ei lwyfannu fel arfer. Mae’n cyfuno amgylchfyd artiffisial, digwyddiadau byw, sain a deunyddiau eraill mewn math o gerflunio estynedig. Yn ystod ei chyfnod preswyl yn 2015 ymdriniodd Melissa â’r safle o bell ac agos, gan gydweithio â Mighty Sky (Abertawe) i ffilmio’r Amgueddfa gyda drôn, a gyda Phrifysgol Fetropolitan Caerdydd i fapio rhannau o’r safle gyda sganiwr 3D. Drwy gyfuno’r rhain â chyfweliadau ag aelodau staff, casglodd Melissa ddetholiad o elfennau oedd yn cynnwys: dyn ar draeth yn hudo mecryll â chân, trisgell gyda thri sgwarnog a’u clustiau ymhleth, telyn deires, fframiau ffenestri wedi’u hailgylchu o awyrennau, ffigwr marwolaeth wedi’i naddu i bren gwely, a cwrwglwr noeth yn padlo’n wyllt ar draws afon. Lluniodd Melissa uwchgynllun amgen ar gyfer yr Amgueddfa, wedi’i lywio gan esblygiad Sain Ffagan dan law dyheadau a breuddwydion cenedlaethau o guraduron a staff yr hanner canrif diwethaf.

Wrth i’r cyfnod preswyl fynd rhagddo, cafodd Melissa ei hudo gan y ‘stiwdio a labordy gwrando’ (y stiwdio recordio a’r archif sgrin a sain). Yn ei lleoliad ar gyrion y gwaith ailddatblygu (ar y pryd) ond prin wedi newid ers y 1960au ei hun, ymddangosai fel stiwdio wedi’i dal rhwng y dyfodol arfaethedig a’r presennol. Mae Melissa bellach yn gweithio gyda Bedwyr Williams (oedd hefyd yn artist preswyl yn 2015) ar broject posibl i fynd â’r archif sgrin a sain ar daith drwy Gymru, mewn cerbyd sy’n adlais o garafán y curadur gwreiddiol.

 


Melissa Appleton

James Parkinson

“Penderfynais fynd ati i ymchwilio i hanes pensaernïol yr Amgueddfa a’r broses o gofnodi, symud ac ailadeiladu. Roeddwn i am astudio mannau ar draws yr Amgueddfa lle cafodd elfennau gwreiddiol a replica eu hasio i greu cyfanwaith credadwy. Y peth diddorol i mi oedd bod hyn yn greiddiol i greu’r Amgueddfa a’i datblygiad parhaus, ond eto’n herio’r syniad bod henebion yn ddisyfl a disymud.”

Artist yn gweithio ym Mryste yw James Parkinson sy’n defnyddio’r broses o drosi deunyddiau i ailddiffinio’r cysyniad o ofod, gwrthrych a chorff. Yn ystod ei gyfnod preswyl treuliodd James fwyafrif ei amser gyda chadwraethwyr a staff yr Uned Adeiladau Hanesyddol, ac ers hynny, mae wedi parhau i ddatblygu ac adeiladu ar y syniadau a lywiwyd gan ei amser yn Sain Ffagan.

“Yn ystod y cyfnod preswyl llwyddais i ddatblygu cyfres o ysgrifau drwy drawsgrifio cyfweliadau â chadwraethwyr yn disgrifio’r technegau a ddefnyddiwyd i ddadorchuddio cyfres o furluniau. Fy niddordeb i yw dadorchuddio o’r newydd gyflwr arteffactau a henebion yng nghasgliad yr Amgueddfa trwy gyfrwng ysgrifau, a dilyn effaith y broses drosi hon. Mae agor y drws i’r lleisiau yma yn foment fawr yn fy ngwaith, ac rwy’n cyffroi wrth feddwl am y posibiliadau o gyfosod yr ysgrifau hyn ag agweddau eraill o’m gwaith yn y dyfodol.”

Mwy am waith yr artist: Gwefan James Parkinson

 


'Around Anything', 2015, James Parkinson

'That's the Original' - James Parkinson

Claire Prosser

Mae gwaith Claire Prosser yn cwmpasu celf weledol, ysgrifennu a pherfformio. Yn ystod ei chyfnod preswyl yn Sain Ffagan bu’n gweithio gyda gofalwyr yr Amgueddfa, crefftwyr, garddwyr a glanhawyr i gofnodi’r symudiadau bach, ailadroddus y bydd pobl yn eu hailadrodd yn ddifeddwl yn eu gwaith bob dydd – sut y defnyddia’r gofalwyr eu dwylo i droi’r allweddi yng nghloeon yr adeiladau hanesyddol a symudiad y crydd clocsiau wrth wnïo neu dorri lledr. Ar ddiwedd y cyfnod preswyl cyfansoddodd Claire berfformiad o’r enw ‘Petai Symudiad yn Wrthrych’ a lwyfannwyd i’r cyhoedd gan yr artist a chwmni dawns Expressions.

“Pan oeddwn i’n treulio amser gyda’r staff, sylweddolais taw nid symudiadau technegol y gwaith oedd yn tanio fy nychymyg, ond yn hytrach symudiadau hanfodol, anymwybodol, mympwyol pob unigolyn. […] Symudiadau sy’n ddynol, angenrheidiol a naturiol. Symudiadau a dyf o dreulio amser mewn lle wrth i berson, dros amser, ddod yn gyfarwydd a’r lle. Symudiadau sy’n perthyn i’r person hwnnw, sydd yn y lle hwnnw, ar yr amser hwnnw, bob dydd. Daw’r bobl yn rhan o’r lle fel ag y daw’r lle yn rhan ohonynt hwythau. Beth sy’n digwydd wrth osod y symudiadau yn rhywle arall? Ydyn nhw’n ffitio? Fel gwrthrych sy’n ffitio mewn lle penodol, all symudiad gael ei symud a’i ail-ffitio?”

 


Claire Prosser

Claire Prosser

Bedwyr Williams

Bedwyr Williams oedd cynrychiolydd Cymru yn Biennale Fenis 2015 ac roedd ar restr fer Artes Mundi 2016. Yn ystod ei gyfnod preswyl yn Sain Ffagan treuliodd Bedwyr ran helaeth o’i amser yn yr archifau sain ac yn crwydro’r Amgueddfa yn ffilmio a thynnu ffotograffau. Mae wrthi o hyd yn ystyried ffyrdd o gynnwys yr ymchwil yn ei waith, ond fe gynhyrchodd ffilm fer yn ystod ei amser yn Sain Ffagan sydd wedi’i harddangos yn ei arddangosfa yn Oriel Whitworth, Manceinion.

Ers cyflwyno ei waith yn Artes Mundi 2016, enillodd Bedwyr Wobr Ymddiriedolaeth Derek Williams, a thrwy garedigrwydd yr Ymddiriedolaeth, mae ei waith, 'Tyrrau Mawrion' 'nawr yn rhan o'r casgliad cenedlaethol.