Last day of the festival Mari Gordon, 2 Awst 2009 Festival of British Archaeology 2009So the festival ended. After two weeks of almost continuous events across three of Amgueddfa Cymru – National Museum Wales’s sites. And the best was definitely saved until last.With fine weather throughout the day The Vicus put on a fantastic show. They performed a Roman funeral ceremony in the centre of St Fagans before a crowd of two to three hundred people. A young lady played the recently departed and two gladiators fought for her.Then the mourners processed to the funeral pyre, an impressive timber platform around which more rituals were performed, and where the young lady was substituted for a pig.There followed tense moments for the organizers. It’s easy to schedule a cremation ritual, and building the pyre wasn’t too challenging, but with all the wet weather the day before, would it light? With a hundred and fifty people watching as a fire brand was thrust into the middle of the pyre, a fizzle would not have looked good.But good fortune smiled and the pyre lit, smoking heavily before the flames spread. The grave goods on the pyre were quickly burnt or broken, with one glass bottle melting in the heat.It burnt for the rest of the afternoon, until by closing time on the site there was just a bed of ash with the unburnt back of the pig resting on top. By next morning almost all of this had burnt away and we set about recovering the cremated bones and the grave goods for further analysis.Cremated remains are common finds from the Bronze Age and Roman periods and our work here will go some way to helping interpret these finds when they come up in future. So a great spectacle and a useful source of data.
A big day in the Celtic Village Steve Burrow, 1 Awst 2009 Festival of British Archaeology 2009This weekend is the grand finale of the Festival events, and it started dreadfully. Torrential rain all night and no let-up until eleven o’clock, but much happened before then.First thing in the morning The Vicus, anamazing Iron Age / Roman re-enactment group, arrived in force and took over our Celtic Village and the grounds around it. Our wood shelter became an armoury, the roundhouses were taken over for cooking and crafts, and outside the village our old furnace was fired up and used to smelt iron ore.Things really got under way once the rain had cleared and the ground started to dry. Then it was a continuous stream of visitors for the rest of the day.For me the highlights were:- the trimmed down combat display where the Vicus’s British warriors and Roman soldiers showed off their equipment and demonstrated the various merits of a range of spears. It was a trimmed down display because the rain had left things too wet underfoot for full-scale combat. But the forecast is good for the rest of the weekend, so tomorrow’s performance should be the full extravaganza.- watching the bloom come out of the furnace around 4:30. The Vicus’s blacksmith has yet to pass judgement on the results, but they certainly looked pretty good. And when one considers that things only really got started around midday they seemed almost miraculous.So tomorrow is the big one. In the Celtic Village we have a repeat of all of the above (with bronze casting substituted for iron smelting), and the festival will be brought to a show-stopping conclusion with a reenactment of a Roman cremation cemetery. Fingers crossed the weather stays with us.
Look above: look within Steve Burrow, 30 Gorffennaf 2009 Festival of British Archaeology 2009On Wednesday and Thursday this week (29th and 30th July) Sue Fielding and Geoff Ward from the Royal Commission on the Ancient and Historical Monuments of Wales demonstrated building recording at St Fagans. Thanks to them, visitors had the chance to record a 500 year old house, Hendre’r Ywydd Uchaf, which once stood near Ruthin in the Vale of Clwyd.I couldn't get to the event myself, but Adam Gwilt who helped organise things sent in this report. "Geoff has been getting people to look more carefully at the way the house was built and showing young and old alike how to measure and draw the exposed timbers of a wall partition inside the house.Sue has been enlisting the help of people, using the ‘total station’ survey equipment. Using a laser beam to record the dimensions and details of one of the rooms, a 3D drawing of the room has grown in front of our eyes on the laptop computer screen. On Wednesday, the stream of people was slow but constant, though the torrential rain all day affected the numbers of visitors. After early showers on Thursday, the much improved weather brought people to us in significant numbers, at times queuing to enter the house to see what was going on! We used a red flag banner to let visitors know that something was going on in this house in the large museum grounds, while the additional building trail developed for the Festival has helped some children to hunt for evidence relating to the long use of this building.The event was a great success with Sue commenting: ‘Many children have really enjoyed using our new survey equipment to generate an immediate visual and digital drawing of this historic house. I was really pleased that the Royal Commission was asked to contribute to the Festival events hosted by the national museum.’ "
Durga 29 Gorffennaf 2009 Y Dduwies Durga yn barod ar gyfer y Puja Am dair wythnos yng ngwanwyn 2009 yn Sain Ffagan Amgueddfa Werin Cymru, bu dau artist o India yn creu delweddau prydferth o’r Dduwies Durga a’u theulu. Fesul wythnos trawsffurfiwyd deunyddiau syml fel clai, papier mache, gwellt a phren yn gelfydd i greu cerfluniau manwl - pob un ohonynt â’u symbolau a’u hystyron eu hunain. Fe’u gwnaed ar gyfer Pwyllgor Puja Cymru - grŵp Hindŵaidd sydd wedi addoli yng Nghymru ers y 1970au. Gan fod eu delwedd o’r Dduwies Durga yn hen a threuliedig roedd angen un newydd arnynt. Durga yw’r Fam-dduwies anorchfygol, sy’n marchogaeth i’r frwydr ar gefn llew. Fe’i crëwyd gan y Duwiau pan oedd drygioni’n bygwth y Bydysawd. Hi yw ‘Shakti’ y pŵer dwyfol i wrthsefyll, amsugno ac ymladd pwerau’r fall. Trwy gydol yr addoli, a elwir yn Puja, mae Hindŵiaid yn dathlu buddugoliaeth Durga dros ddrygioni. Fe’i gwelwch yma yn ei holl brydferthwch yn arddangos cryfder, cynhesrwydd a chariad mamol. Saif yn falch ar gefn llew wrth iddi ladd Brenin y demoniaid, Mahisasura. Gyda hi mae ei dau fab, Ganesh a Kartikeya, a’i dwy ferch, Lakshmi a Saraswati. Deuai’r ddau artist llwyddiannus - Purnendu a Dubyendu Dey - o Kolkata, India. Trwy gydol y broses o greu dilynwyd defodau crefyddol arbennig. Y pwysicaf ohonynt oedd Chakkshu Daan – Paentio’r Llygaid. Daeth Purnendu â Durga’n fyw drwy beintio’i llygaid yn ofalus. O’r pwynt hwn ymlaen addolir delwedd o’r Dduwies fel petai ganddi’r holl bwerau a roddodd y Duwiau iddi. Mae’r Pujas yn cychwyn ar chweched diwrnod Navaratri, sef y naw noson o ddefodau i’r Dduwies Durga, gyda chroeso i’r Dduwies a’i theulu. Caiff mantrâu eu llafarganu yn Sansgrit, a chyflwynir offrymau i erfyn am fendith y Dduwies wrth ymladd drygioni. Ar ôl naw niwrnod, daw’r Dushera, y diwrnod olaf. Dyma’r diwrnod i ffarwelio â’r Fam Dduwies a’i theulu. Yn India, fe’u dodir yn nyfroedd yr afon Ganges, gyda’r gobaith o’i chroesawu’n ôl y flwyddyn ganlynol. Yng Nghymru, fe’u storir yn ofalus ar gyfer y flwyddyn ganlynol. Durga Ffurfio corff Ganesha wrth glymu gwellt at strwythur gwifren Gosod cymysgedd o glai a phapur newydd ar y gwellt i ffurfio pen Ganesha Y Dduwies Durga, ei llew, a'r diawl byfflo wedi eu ffurfio o wellt a gwifren Yr artist Dibyendu Dey yn plethu gwifren a gwellt i ffurfio pen Defnyddio gwresogydd er mwyn sychu'r clai Clymu gwddf alarch Sarasvati i'r corff tra bod y clai'n sychu Lakshmi's owl Gosod mwgwd, a wnaethpwyd gan yr artistiaid eisioes, ar wyneb y Dduwies Durga Yr artist Dibyendu Dey yn ffurfio'r Dduwies Durga, ei llew, a'i gelyn, sef y diawl byfflo Pen pain Kartikeya Y wyneb yn dechrau sychu Ganesha cyn iddo gael ei baentio Llew y Dduwies Durga Rholio'r clai i greu bysedd Y clai wedi ei rholio i ffurfio bysedd a chledrau Gosod y bysedd ar ddwylo'r Dduwies Durga Delw'r Dduwies Durga yn sychu cyn cael ei phaentio Llygoden Ganesha, efallai'n symboleiddio ei ddeallusrwydd parod Paentio glud dros haenen denau o gotwm er mwyn selio'r ddelw Cymysgu'r paent Yr artist Purnendu Dey yn cymysgu'r paent powdr naturiol â dŵr The artist Dibyendu Dey painting the Goddess Durga Ganesha Y Dduwies Durga yn gorchfygu'r diawl byfflo Tylluan Lakshmi Gosod border disglair o amgylch y ddelw. Ystyrir y lliw coch i fod yn lwcus gan bobl India, ac mae gan rhai Duwiau a Duwiesau Hindŵaidd ddwylo coch i ddangos eu duwdod. Lakshmi Yr artist Purnendu Dey yn paentio llygad y llew Llew y Dduwies Durga yn ymosod ar y diawl byfflo Yr artist Purnendu Dey yn paentio pen y byfflo Gosod y cefndir, a baentiwyd â llaw, y tu ôl i'r Dduwies Durga Golwg agosach at gefndir y ddelw, a baentiwyd â llaw Y Dduwies Durga wedi seremoni paentio'r llygad. O'r pwynt hwn ymlaen mae'r Hindŵaid yn credu bod y ddelwedd yn bywiogi, ac fe addolir y Dduwies fel pe bai ganddi yr holl bwerau a roddodd y Duwiau iddi. Sarsvati, Duwies Gwybodaeth a'r Celfyddydau, yn cario ei offeryn, y veena. Kartikeya yn eistedd ar ben pain Lakshmi Ganesha, arglwydd pob peth byw Un o bedair llaw Ganesha Lakshmi, Duwies cyfoeth ac hapusrwydd Golwg agos at wisg a llaw Lakshmi Kartikeya, y milwr dewr a brawd Ganesha Sarasvati Y Dduwies Durga Y Dduwies Durga yn barod ar gyfer y Puja Sarasvati a Kartikeya Ganesha a Lakshmi