Yfory Trwy Lygaid Ddoe the Future Has a Past Astudiaeth O Ddyfodol Posibl This Is Our Study of a Possible Future

yfory trwy lygaid ddoe

the future has a past udia st eth a o ddyfo ou dol posibl r st udy of a po ssible futu re

yfory trwy lygaid ddoe the future has a past astudiaeth o ddyfodol posibl this is our study of a possible future

Cafodd yr arddangosfa hon ei This exhibition and its chreu ar y cyd rhwng yr artist interpretation was co-created Henry Alles a grŵp o artistiaid by lead artist Henry Alles and ifanc creadigol. Byddwch yn a group of young artists and dod i’n nabod ni a’n bydolwg creatives. You will get to know wrth fynd drwy’r llyfryn a’r us and our thoughts as you move arddangosfa. through this text and exhibition. PEN NOD PTER CHA (How do you write the Future? How do many write, in their own (Sut mae ysgrifennu’r Dyfodol? tongue, at the same time? Chapter 4, the Sut gall sawl person ysgrifennu ar unwaith, chapter of the future, was written in lockdown, yn eu mamiaith? Ysgrifennwyd Pennod Pedwar with all contributors accessing and editing one – pennod y dyfodol – yn ystod y cyfnod clo, gyda 4 shared document at the same time. Do not worry if phob cyfrannwr yn gweithio ar un ddogfen ar yr un this chapter is not clear to you; the future is not clear. pryd. Peidiwch â phoeni os nad yw’r bennod hon It will emerge through our joint and individual yn gwneud synnwyr i chi – dydi’r dyfodol ddim yn actions, narratives and choices, just like this gwneud synnwyr. Bydd yn dod yn glir drwy ein chapter...) gweithredoedd a’n cyd-weithredoedd, ein naratifau a’n dewisiadau, yn union fel y bennod hon...) PONT BYRFYND

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r Yr r o’ o adfe h t r ond gwelwn hefyd y llongddrylliad. R e d d e g e Nid diwedd pethau yw hyn, ond diwedd r e t w pethau ar y ffurf benodol honno. Rwyf am ein t u gweld, yn y dyfodol, yn adnewyddu ein ffyrdd o fyw a , b bod. ‘Untame’ or ‘rewild’? ‘Ailwylltio’ neu ‘dad-ddofi’? It’s ty no au Alli di deimlo dy dafod yn chwilio am ei le? Tyrd nôl t tha be t we the at dy goed wedi i’r dicter gilio, return to the trees. Paid don’t see â mynd nôl at dy wreiddiau; cer nôl at goeden a dyfodd

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leaves while you were away. were you while leaves

roots, but return to a tree that grew new branches and and branches new grew that tree a to return but roots,

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we ddr g y things, of end the not is wreck The wreck.

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n the see do we but beauty the see

o d. It is not that we don’t don’t we that not is It Mae’r goeden wedi pydru The tree is rotten Beth yw hyn na allai dim fod yn waeth? , M o Gadawyd i ieithoedd farw, yn y gred ein bod yn the Y nyth wedi chwalu The nest is destroyed r t siarad iaith fwy aruchel. Ond roedd arnom ofn on gu A’r bont w The bridge is burnt. e edi llosgi. bod yn agored i harddwch a diwylliant A n ew b ac rydym wedi’i golli. Mae troi iaith yn erbyn ei ond Ond dyma ni, y nythwyr, But we are nesting, hun yn weithred dreisgar, fel mae dwyn tir oddi or othing could be w se his thing that n ar rywun. Rhaid i ni dderbyn ein gorffennol, is t What A’r pontwyr Bridging a chadarnhau beth a ddinistriwyd gennym. Searching the llongddrylliad. Rhaid i ni ailadeiladu’r hyn nad oeddem yn ei Yn chwilota drwy’r wreck werthfawrogi. Rhaid i ni gofio ein bod yn Drwy’r adfeilion. Among the ruins. rhan o fyd natur. Mae hen goeden yn syrthio, ac felly gallwn ninnau adeiladu nyth mwy And everything is here, Ac mae popeth yma, cadarn y flwyddyn nesaf. Yn y wreck. In the llongddrylliad. Languages were allowed to die, in belief that we spoke a higher tongue. But in turn we have Llongddrylliad ein methiant i wrando, yn na lost the beauty and culture that we were afraid The wreck of our failure to listen, h yw fod yn to be vulnerable to. To turn a tongue on itself h im To build bridges I bontio. et d ? is a violent act, as is demanding somebody’s B i eth la wa We are armed with curiosity l land from them. We must accept our past a Rydym wedi ein harfogi â chwilfrydedd, and in turn establish what we destroyed, we A touch of wildness, must rebuild what we thought unimportant. Cyffyrddiad o wylltineb, Remember we are part of nature. A A llymaid o egni rotting tree that falls means we build a stronger chwyldro. A drop of revolution. nest the next year.

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period of domestication, out d

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w of control — is this a positive or

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. negative? Within us, it’s within

O beth drwg? Mae hyn ym

n us all. A memory of Wales travels to

d mhob un ohonom. Bydd

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a atgof o Gymru yng Ngorllewin

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m Affrica bob gaeaf, wrth i Aran yr

ryddhad. The cry for release/

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T e h r e ident i d T fyin h O g . e same la n ng e u la age. n gu age. Dim ond pobl sydd ddim Beth wyt ti’n ei The texture of different What do you hear yn eu siarad all adnabod glywed pan fydd languages can only be when there is a gap gwead gwahanol bwlch mewn identified by people who in understanding? ieithoedd. dealltwriaeth? don’t speak them. Yn y saib rhwng words In the pause between geiriau h r y n n e w t e a ’ g d r c a M e w e a i d T h e e u x t n g e s s y d d d t o d S i a n d a

d a S i l k e e b n u e e f n r a r h a

t h In the loss d a v e l s u r Wrth i’r gair d of the next

nesaf gael w a Paciau bach word… ei golli... a Tension between

layers of texture e M u i The bridge between Leaderles s m d mother tongue i o

and forced tongue. n Little luggage v The bridge between understanding Tensiwn rhwng haenau’r gwead e

and assuming, rhwng deall a thybio w Y bont rhwng mamiaith a gorfodiaith. And the brittle one between hearing Y bont rhwng deall a thybio. between and listening, rhwng clywed a understanding and assuming. gwrando. y A’r un fregus rhwng clywed a gwrando. m

r between hearing and listening. e Nid amdanat ti mae’r dyfodol, efallai. Maybe the future isn’t about you. nts Does dim canol i neb ohonom sefyll ynddo. There is no centre for any of us to stand in. Mae angen trefn arnom i fesur amser. Mae’n Dyma ydyn ni’n ofyn hanfodol ein bod yn camu’n ôl ac yn gadael i ddistawrwydd ddod yn ffordd o gyfathrebu. Mae amdano yn dâl am hyn yn caniatáu i ni wrando a pheidio gadael i iaith fod yn rhwystr. Dysga ieithoedd brodorol er rywfaint o’n hamser: mwyn bod yn rhan o rywle, yn lle crafu’r wyneb. Bydd siarad iaith newydd yn dy drawsnewid. Alli di Dychwelyd at y syniad nad oes dim byd yn newydd, deimlo dy dafod yn chwilio am ei le? dim ond wedi’i ail-ddychmygu. Mae gennym bopeth sydd ei angen arnom. Wrth i ni golli hyder a dod Cyfansoddi i ganfod y tir, y penodol a’r amser. yn fwy bregus, gwelwn pa mor fregus ‘fragile’ yw Pryd bwyd – y cynhwysion yn wych; y cyfanwaith strwythurau. Mae gennym ‘hope’ y gwelwn newid yn siomedig ond yn fwy cymhleth, yn aflinol, yn blaengar a chadarn yn y pen draw. cynnwys amser. Canfod ffordd o gyfathrebu gyda phob person er mwyn iddynt deimlo’u bod yn Fydd ein ffordd o feddwl am salwch yn newid? Mae weladwy. Rhaid i chi godi pontydd ar gyfer y rhai pandemig yn gatalydd. Does dim rhaid i bopeth heb esgidiau, pan na allwch deimlo’r storm. Mae’r fod yn newydd. Alli di deimlo dy dafod yn chwilio meddwl yn lleddfu’r hyn fyddai’n chwalu unrhyw am ei le? Siaradwn am golled, hiraeth a chwyldro. strwythur materol. Together, gallwn ganfod ein ffordd i’r dyfodol drwy edrych ar adfywiad posibl. Rhaid gadael i iaith fyw. Cerdded, graven, mudo, vivre, killing, iacháu. Alli di deimlo dy dafod yn Heb gyffwrdd, rwy’n colli fy hun. I ganfod fy hun chwilio am ei le? Pan oeddwn i’n blentyn, roeddwn eto, daw fy nghroen yn bont, sy’n mynd tu hwnt i yn dychmygu fod gen i lyffant mewn bowlen, yn wasgedd a thymheredd. Pont sy’n mynd â mi o’m gwrando ar fy mhryderon. Rwyf wedi colli’r llyffant, meddwl cymylog, yn llawn straen, sŵn a gofid, yn ôl ond mae’r fowlen gen i o hyd. Rwy’n codi’r caead ac i’r presennol. yn rhannu fy mhroblemau. Alli di deimlo dy dafod yn chwilio am ei le? Yn fy mreuddwyd, rwy’n cysgu. Here is a list of We need routine to judge time. It is vital to step demands of what we back and allow silence to become a tool of communication, it allows us to listen and not allow want in exchange for language to become a barrier. Learn indigenous languages so that you can be not just on the some of our time: surface of a place, but in it, transforming yourself as you speak a new language. Can you feel the tongue Returning to the idea that nothing is new, just searching for its place? reimagined. We already have everything we need. As we are losing confidence and vulnerability, we Composing to find the ground, the specific and the see the fragility ‘bregus’ of structures. We have time. A meal in which the sum is less than its parts a sense of ‘gobaith’ to experience a progressive, but more complex and non-linear, it contains time. withstanding transition in time. To find a communication with each person that makes them feel seen. You must build bridges for I lose myself without touch. To get back to myself, the ones without shoes, when you cannot feel the my skin becomes a bridge, and this goes beyond storm. The mind smooths over that which would pressure and temperature. A bridge that takes me crumble any material structure. from my clouded headspace, full of stress, worries and noise, right back to the now. Let language live. Walking, graven, migrating, vivre, lladd, healing. Can you feel the tongue searching Is the way we conceptualise illness going to change? for its place? When I was a child, I used to imagine A pandemic is a catalyst. Not everything must a frog in a bowl that I told my worries to. I have be new. Can you feel the tongue searching for its lost the frog but kept the bowl, I still open the lid place? We speak of loss, longing and the revolution. and tell my problems to it. Can you feel the tongue We may ‘ar y cyd’ navigate our way to the future searching for its place? I dream I can sleep. through exploring a possible revival.

l A y e w l n y m w e l y d d e a r t

s o e A n r v i s i t t e Diolch i’m cydweithwyr rhyngwladol, gydag l r

l artistiaid gwych o Gymru yn eu plith, roedd Thanks to my wonderful international colleagues,

A including some very talented Welsh artists, I was

modd i mi ymateb i’r alwad am artistiaid gan yr o

able to respond to a call-for-artists by this wonderful y amgueddfa arbennig hon. Cynigiais yn eiddgar

y O r Welsh museum of yours. I enthusiastically proposed

gynllun democrataidd, creadigol a theatrig ar o I

n a democratic, creative and theatrical plan for an u

e gyfer arddangosfa i’w chreu ar y cyd â phobl H exhibition that was to be created in partnership

ifanc o Gymru. Roedd fy syniad yn cynnwys f H

T with young people living in Wales. My proposal

arddangosfa operatig fyddai’n rhyw fath o o I t promised an operatic exhibition as a kind of

ymchwil archaeolegol i ddoe, heddiw ac yfory, m O

E i ond hefyd yn archwiliad theatrig a throseddol o archaeology of the past, present and future but also

t r a theatrical and criminal investigation of artefacts.

arteffactau. h

W a

W G After my proposal was accepted I moved my house i

Ar ôl i’m cynnig gael ei dderbyn symudais i fyw l

r o’r Iseldiroedd i diroedd yr amgueddfa yn Sain from the Netherlands to St Fagans and started e

p a E

N living on the museum premises to start work with

Ffagan i ddechrau gweithio gyda thîm hyfryd d

’

a wonderful team of young creatives and museum

I o bobl ifanc greadigol a staff yr amgueddfa. a W

n staff. I proposed the exhibition as a work in three

Awgrymais y gallai fod tair pennod i’r r N a

chapters, speaking about the Metropolis, the t

arddangosfa, yn canolbwyntio ar y Metropolis, i O g

Community and the Wild, and used events from s

i y Gymuned a’r Gwyllt, ac yn defnyddio t

N R

recent Welsh history to uncover our visions of the h

digwyddiadau o hanes diweddar Cymru i H c O future. We focused on two protests in the 1980s, K ddadorchuddio ein gweledigaeth o’r dyfodol.

e i

but also looked at a much larger time frame and

n U Penderfynom ganolbwyntio ar ddwy brotest yn E

r in which people moved and migrated, setting up r

y y 1980au, gan edrych hefyd dros gyfnod llawer B

D y

houses on new sites. In the process of looking into

h hirach o symud a mudo. Yn y broses o edrych

the future we turned away from space and instead A T i’r dyfodol, fe droesom oddi wrth y gofod gan y

l looked at Earth and educated ourselves about l

edrych ar y Ddaear yn lle hynny, ac addysgu ein l

U e L making a future here.

hunain ynglŷn â’n dyfodol yma. s

Yn lle gweithdai, cynhaliom giniawau mewn safleoedd hanesyddol oedd wedi mynd â’n sylw – llefydd fel Casnewydd, Abergwaun a Borth – gan weithio â phobl leol a gwrthrychau amgueddfa i rannu straeon, manylu ar ddigwyddiadau hanesyddol, a’u taflunio ar y dyfodol i weld beth allai ddigwydd. Ymysg ein darganfyddiadau roedd sinema heb sgrin, archfarchnad i’r enaid, systemau teithio newydd sbon, ond yn fwyaf trawiadol ein hawydd i ddod â sylw’n ôl at y cymdeithasol.

Instead of workshops we organized dinners and lunches at sites connected to historic events that had drawn our attention – places like Newport, Fishguard and Borth – working with local people and museum objects we shared stories, elaborated on historical moments and projected these onto the future to see what might happen. Our findings spoke of cinemas without a screen, supermarkets for the soul, new dreamy commuting systems, but most striking was our own desire to bring the social back to the centre of attention. Ar ddiwedd 2019 fe wnaethom addo arddangosfa theatrig, gan edrych ar sut y gallech chi fel ymwelydd fod yn rhan o’r profiad hwnnw. Ein syniad oedd y dylai ymwelwyr wisgo masg wrth archwilio’r arteffactau. Fel y sylwodd un o’r bobl ifanc, roedd y dyfodol yn digwydd nawr, ac roedd hi’n poeni am hyn. Dangosodd hyn fod angen i ni brofi ein syniadau ac ymarfer yr arddangosfa. Buom yn gwisgo masgiau, yn symud gwrthrychau, yn canu ac yn chwifio baneri, a theimlem fod angen i ni archwilio mwy ar Gymru er mwyn cysylltu â mwy o bobl ifanc.

In late 2019 we promised a theatrical exhibition and looked into how you as a visitor could become part of the experience. We came up with the idea that visitors should wear a mask while investigating the artefacts on display. One of the young creatives noticed that many things wyn, roed happening in society suggested the future was Yn y gwan dem yn now and she showed her worry about this. This mynd ar wythno notion showed us that we needed to test our ideas riadu s o dait and rehearse the exhibition. We tried out masks, bw h... moved objects, sang and waved flags, and we felt we needed to go back into Wales again, to connect with more local young people. In early s .. pring we pl laces. anned a week-l ny p ong trip to go to ma ...wnaeth y daith ddim digwydd fel roedden ni wedi ...the trip didn’t happen in the way we imagined. Lockdown dychmygu. Daeth y cyfnod clo, ac aeth pawb i’w cartrefi, boed came upon us and we all went to our own homes in Wales yng Nghymru neu’r Iseldiroedd. Roedd yn sioc, ond hefyd and the Netherlands. It was a shock and a gift – now our yn gyfle i brofi ein gweledigaeth artistig – doedd dim dewis artistic views really had to bridge toward new events, new nawr ond creu digwyddiadau newydd, mesuriadau newydd, measurements and new futures. We embraced working in our a dyfodol newydd. Rhaid oedd cofleidio’r syniad o weithio own homes and connected on-line to new young Welsh friends. adref a chysylltu ar-lein gyda’n ffrindiau newydd ar draws We radically redesigned our exhibition, retained the three Cymru. Gwnaed newidiadau radical i’r arddangosfa; cadwyd chapters we wanted to share with you. But, as a larger group, y tair pennod ond, fel grŵp mwy, dechreuom arbrofi ein we started improvising our way into a new world that indeed ffordd i mewn i fyd newydd – byd oedd yn cynnwys masgiau, came with masks, protests and people. And we created a fourth protestio a phobl. A chrëwyd y bedwaredd bennod, Pont chapter we called Pont Byrfynd, a story written in several Byrfynd, stori mewn sawl iaith am grŵp o bobl ifanc sy’n languages about a group of young people bridging into the creu pont i’r dyfodol ond gyda’u gwreiddiau’n ddwfn yn nhir future while strongly belonging to the landscape of Wales. Cymru. ch yn mwy io y byddw nh I hope you enjoy ou r th a i r ped u four chap ters and e gyda ni drwy’ air b p o e ith o i af ‘iechy travel w us and

un d da n G h m y n i n t i y I wish you ‘good i D chw o e o

s edd’. d health now and f

t awr ac yn oe orever’. . Henry Alles yfory trwy lygaid ddoe Mae yfory wedi cyrraedd ar wib, ac yn mynnu dyma’n dehongliad ni o mynd â ni ar lwybr troellog ac mae’r llawr yn wlyb gatalog arddangosfa o’r llifogydd. ‘Da ni, chi a fi, yn chwifio ein baneri yn seremonïol wrth i ni grwydro trwy amser, gan wynebu gwrthrychau, digwyddiadau a phobl sy’n gofyn inni feddwl, gweithredu a breuddwydio.

Nawr, gofynnwn ichi sythu eich mwgwd a chymryd y llwyfan. Camwch i mewn i ddarganfod bod y bwrdd wedi’i baratoi ar eich cyfer chi, y cyfan rydyn ni’n gofyn gennych chi yw eich bod yn derbyn heb gymryd yn ganiataol. Bydd eich rhan chi yn y ddrama yn datgelu ei hun yn ddigon buan, er efallai bydd rhaid i chi aros o gwmpas fel na chaiff unrhyw beth ei golli.

Tomorrow has arrived early and is insisting on taking us on a winding path finding the floor is wet from the flooding. We, you and me, wave our flags ceremoniously as we roam through time, confronted with objects, events and persons that ask us to think, act and dream. Step in to find the table is prepared for you, all it asks from you is to accept without assuming in return. Now, we ask you to adjust your mask and take to the stage. Your part in the play will the future has a past reveal itself soon enough, though you may have to this is our interpretation of linger so that nothing is lost. an exhibition catalogue PENNOD Wrth i’r pyllau glo gau mae’r gorffennol yn chwalu, rydyn ni’n suddo y tu hwnt i’r hyn sydd yn arwynebol, CHAPTER 1 fe ddaethon ni o hyd i faneri sy’n ymdrin â phryder yr amser. Bydd protestwyr yn cerdded heibio i ni, ofn yn PLYMIO I’R eu gwneud yn ddewr, maen nhw’n dod o hyd i le i gysgu mewn cartref caredig dieithr, gan sylweddoli na allant LLONGDDRYLLIAD achub y dyfodol ar eu pen eu hunain. Mae dynion yn dal y meicroffonau, tra bod y menywod yn gorymdeithio DIVING INTO ymlaen, eu gwnïo yn eu dal nhw rhag siarad. Nid yw ymdrechion yn cynnal eu hunain heb symbolaeth, hyd yn THE WRECK oed os mai’r oll ydyn nhw yw newidiadau y symudwn tuag atynt a’r lleoedd rydyn ni’n symud oddi wrthynt. Gyda digon o obaith i’ch dal chi yma wrth i wythiennau’r presennol wahanu, beth fyddech chi’n ei wnïo i’w ddweud?

As the colliery closes, the past becomes a wreck we dive into; sinking beyond the superficial we found banners that cover the anxiety of the time. Protesters walk past us, bleakness makes them brave, they find a place to sleep in a kind stranger’s home, realising they can’t save the future on their own. Men hold the microphones, while the women march on, preferring to sew to say. The struggles and their symbols are the changes we move towards and the places we move from. With just enough hope to hold you here, as the present’s seams split apart, what would you sew to say?

i c w

a i

yd y

ch n No. : Ie

R Dyma’r frawddeg sy’n eich croesawu. 0 a

h Mae’n frawddeg sy’n hedfan drwy’r gofod, wedi w

i r

f ei recordio ar ddisg aur ar fwrdd llong ofod This phrase welcomes you at the entrance.

0 Voyager 1 a lansiwyd ym 1977. Ar y ddisg mae It is a phrase that flies through space, recorded a

c : cyfarchion mewn 55 iaith, neges i unrhyw fodau on a golden disc on board the Voyager 1 spacecraft

I arallfydol a allai ddarganfod y llong ofod rhyw ddydd wrth launched in 1977. The disk carries greetings in 54 n

e iddi barhau ar ei thaith. Yn ôl NASA, ‘Fe wnaethom other languages, to send a message to extra-terrestrials c o h who might one day find the spacecraft as it journeys ymdrech fawr i recordio’r ieithoedd sy’n cael eu siarad gan e

y fwyafrif llethol trigolion y ddaear. O gyflawni hynny, os onwards. According to NASA: ‘We made a special effort to s

d oedd amser ar ôl, ein bwriad oedd cynnwys cymaint â record those languages spoken by the vast majority of the o e

d world’s inhabitants. If we were able to accomplish that, phosibl o ieithoedd eraill y byd.’ Bydd y llong ofod d

a yn dod ar draws seren arall ymhen rhyw 40,000 and still had time, we would then try to include as many d

i other languages as we could.’ The spacecraft’s next o flynyddoedd. c calculated big encounter with a star will take place h dd w oesoe in 40,000 years. i yn awr ac yn Ym 1969 trefnodd In 1969 National Museum Amgueddfa Genedlaethol Caerdydd Cardiff organised the exhibition Cymru arddangosfa Cymru Yfory i nodi arwisgiad Yfory to mark Prince Charles’s investiture as y Tywysog Charles yn ogystal â chyffro’r glaniad the Prince of Wales, as well as the wonder and cyntaf ar y lleuad. Yn ôl y rhagair yng nghatalog yr excitement of humans landing on the moon. As the arddangosfa: ‘...gofynnwyd am syniadau dychmygol yn foreword in the catalogue put it: ‘the ideas presented ymwneud â’r dyfodol. Nid addewidion mohonynt; nid should be imaginative and for the future. They are not syniadau dymunol efallai, ond cyfeiriant o leiaf at promising; they may not even be pleasant, but at least agweddau o bosibiliadau’r dyfodol’. I ni, sy’n creu’r they refer to aspects of a possible future…’ To us, the

arddangosfa hon, roedd Cymru Yfory ym 1969 yn

makers of the current exhibition, Cymru Yfory in 1969

cyflwyno darlun patriarchaidd a deuaidd o ddynion a N presented a patriarchal and binary view of men and

menywod; darlun nad ydyn ni’n ei gefnogi bellach, ac women that we no longer support and do not wish nad ydym am ei gynnwys yn ein gweledigaeth o’r o . to include in our vision of the future.

dyfodol. 1: Rhif 1: Cymru Yfory Cy mru Yfory Wales Tomorrow mpler M broider : Sa ap w : Em ed M 2 ed . 2 ap if i’ o Sa h i B N m R w Map samplers, like this p Roedd sampleri map, fel y l e yr enghraifft hon o tua 1800, yn cael t example from around 1800, were used as r h an educational tool; geography is thought to have eu defnyddio er mwyn addysgu; mae’n debyg o mai daearyddiaeth oedd un o’r gwyddorau cyntaf been one of the first sciences taught to girls. i gael ei dysgu i ferched. Mae’r croesbwyth yn y Cross-stitch in the sampler outlines county boundaries, sampler yn amlinellu ffiniau siroedd, ac mae enw pob inside each county is the name. Some samplers even sir o fewn ei ffiniau. Roedd rhai sampleri hyd yn oed include lines of latitude and longitude. Thousands of yn cynnwys llinellau hydred a lledred. Cafodd map samplers were produced in the late 1700s and early miloedd o sampleri map eu creu ddiwedd y 1700au a 1800s, combining a geography lesson and sewing dechrau’r 1800au, yn gyfuniad o wersi practice. daearyddiaeth a gwnïo. d d y . 3: Weat No her B w oa y Roedd 27 Awst 1981 yn ddiwrnod rd The 27th of August 1981 T poeth o haf, a’r tymheredd yn 27°C yn ne Cymru. Ar y diwrnod hwn, gorymdeithiodd was a hot summer day, with d Women for Life on Earth allan o Gaerdydd i temperatures rising to 27°C in south Wales. d gyfeiriad Comin Greenham. Ar ddiwrnod digon The Women for Life on Earth marched out of

r tebyg, filoedd o flynyddoedd ynghynt, gadawodd Cardiff towards Greenham Common. On a similar day w plant olion traed (rhif 35 ) yn y mwd yn Allteuryn ger thousands of years before, some children left their

B Casnewydd. Rydym yn defnyddio’r bwrdd tywydd footprints (no. 35) in the mud at Goldcliff, between

: saith-diwrnod hwn i annog dysgu am y tywydd a’r Cardiff and Newport. We use this seven-day weather

3 board to encourage learning about the weather and the

amgylchedd. Mae hefyd yn cysylltu dau ddiwrnod

f environment and also to connect two events i heulog braf, ganrifoedd ar wahân. separated by time but with similar weather

h conditions. R N o . 4: Yma fe welwch greulondeb y ‘trap polyn’ gaiff ei ddefnyddio W On display here is the h i ddal adar ysglyfaethus. Er eu bod yn anghyfreithlon ers i barbarity of the pole-trap used t e 1904, maent yn dal i gael eu defnyddio ar fryniau ar

n to catch birds of prey. Although it was hostiroedd. Mae’r gwrthrych hwn yn ein hatgoffa o B

e made illegal in 1904 it is thought to still be r Blodeuwedd ym Mhedwaredd Gainc y Mabinogi, in use secretly on the open moors and hills. e a straeon rhyddiaith cynharaf ein llenyddiaeth. Yn W To us this artefact speaks of Blodeuwedd in The y chwedl, caiff Blodeuwedd, gwraig Lleu Llaw s n Fourth Branch of the Mabinogion, the earliest t

Gyffes, ei chosbi trwy ei throi’n dylluan: e a prose stories in the literature of Britain. In one story, creadur oedd yn gas gan yr holl adar d u Blodeuwedd, the wife of Lleu Llaw Gyffes, is punished

eraill. I ni, mae’r gwrthrych hwn l

l by being turned into an owl: a creature hated by all B

y hefyd yn symbol o’r ffordd y a

other birds. To us, this exhibit also speaks of the treat-

cafodd menywod eu trin T r

ment of women throughout history n

: drwy hanes.

4 O w l R h i f f 5 i : H h e R t We cherish the activity of Mae gwnïo yn N w ‘sewing what you want to say’ and o weithgaredd i’w thrysori, . e celebrate the skill of fabricating and a dathlwn y sgil o greu a harddu d 5 i beautifying clothing. This hat is : dillad. Gallwch ddweud pethau drwy ’ i embroidered with the inscription ‘Sew to E wnïo. Mae’r geiriau ‘Sew to say’ wedi’u brodio ar yr het hon. Cafodd ei gwisgo gan B Say’. It was worn by Thalia Campbell (see no. m r 16) in 1995 on the Peace Train from Helsinki to Thalia Campbell (gweler rhif 16) ym 1995 ar b o Beijing. Over 200 women from 42 countries made y Trên Heddwch o Helsinki i Beijing. Aeth dros d r the three-week journey to attend the UN Fourth o 200 o fenywod o 42 gwlad ar y daith dair wythnos i o World Conference on Women. Thalia Campbell had i

er mwyn mynychu Pedwaredd Gynhadledd Byd y d also been part of the Women for Life on Earth protest

Cenhedloedd Unedig ar Fenywod. Roedd Thalia e in 1981 (no. 8). Craft and handiwork, often produced

Campbell hefyd yn rhan o brotest Women for Life on r

Earth ym 1981 (rhif 8). Mae crefft a gwaith llaw, gaiff ei by women, was and often still is not seen as profitable e

or taken into account in economic models. Sewing is a d

wneud gan fenywod yn aml, yn dal i gael ei weld fel

rhywbeth sydd ddim yn broffidiol, ac yn cael ei anwybyddu weapon of mass construction! H

a mewn modelau economaidd. Ond mae grym mewn gwnïo! t

Pam fod y crys-t hwn mor fach? Rhaid i ni droi ein Why is this T-shirt this size? We must channel our malais a’n casineb yn ddychan – daw cysur o wneud malice and hate into the satirical, and within this a comfort hynny. Rhaid i ni ddysgu chwerthin eto. Roedd y crys-t is born. We must learn to laugh again. This T-shirt hwn yn protestio yn erbyn polisïau Margaret Thatcher ond, protested against policies, but as many of her policies â chymaint o’i pholisïau yn realiti erbyn heddiw, a yw’r crys become reality, has the shirt become a mere fashion yn unrhyw beth ond dilledyn erbyn hyn? ‘...nid oes ffasiwn item? Is it just something you can wear? ‘…there is no beth â chymdeithas. Mae yna ddynion a menywod unigol ac such thing as society. There are individual men and

mae yna deuluoedd. Ac ni all unrhyw lywodraeth wneud N women and there are families. And no government dim heblaw drwy bobl, ac mae’n rhaid i’r bobl edrych ar o can do anything except through people, and . ôl eu hunain i ddechrau. Ein dyletswydd yw edrych ar ôl 0 people must look after themselves first. It is ein hunain ac wedyn, hefyd, edrych ar ôl ein d 6 our duty to look after ourselves and then, n : i cymdogion.’ (Margaret Thatcher, Prif Weinidog y T also, to look after our neighbours.’ W h t DU, Women’s Own, 1987) a (Margaret Thatcher, UK Prime r e t i th c Minister, Women’s Own , h th h -s i er 1987) t e w d on an n n, G d i Rhi er a Reaga R W f 6 : Crys-t Thatch ea he gan th t (Gweler Gone wi ig he ed fy n d See a fe y r ( lso t i fa te he gr c et fa s s L cs Y im en im r Ystyriwch harddwch i t il l it e y e r Consider the in h llawysgrifen. Mae yna y t t n w h y d beauty of the written e l wirionedd a gonestrwydd sy’n y L n L L a iv l language, a truth and honesty only i : unigryw i symudiad y llaw. Byddwch y n 7 f H g r : felt through the movement of a hand. L f yn llawn cyffro wrth ddechrau darllen, ond g i i e 7 b l Begin to read withexcitement but, by the 27th r h erbyn y 27ain dudalen, byddwch wedi hen l 0 a F r R . y y page, exhaustion of recounting begins to show. , syrffedu. Y wers? Creu newid oedd y nod, nid o w n o , The lesson is one of false prophets; we don’t act out of ysgrifennu geiriau mawr. Nid papur, ond symudiad, N .

r 4 h legacy but from necessity. Politics is not paper but 6 yw gwleidyddiaeth. Mae’r stori fanwl ar y tudalennau i ) f

4 motion. The detailed story within the pages inspires us to yn ein hysbrydoli i feddwl ymhellach am realiti’r 6 ) wonder further about the reality in which it was written. What ysgrifennu. Pa feiro a ddefnyddiwyd? Pa bapur? pen was used? On what paper was it written? Rydym wedi bod This document yn dadansoddi shows us the Yn y ddogfen hon We analysed the nature natur protest a difference between a gwelwn y gwahaniaeth rhwng protest and a of protest and craft, some protest a digwyddiad; roedd chrefft. Caiff rhai happening; planning craftspeople are branded as cynllunio yn hollbwysig i’r crefftwyr eu galw’n was the key to this protest artists, others just as mudiad hwn. Wrth ymchwilio artistiaid protest; movement. In our craftspeople. It seems more ar gyfer yr arddangosfa hon, fe eraill yn grefftwyr research for this visceral to march with fentron ni lawr y llwybr sydd ar y a dim mwy. Mae’n artwork that uses the tools it map, dilyn y camau, a thros teimlo’n fwy greddfol exhibition we ventured

down the mapped-out tries to dismantle; it is only

ginio yng Nghasnewydd, cwrdd i orymdeithio gyda when we disconnect from

route, followed steps

â’r menywod fu’n cerdded. Adeg gwaith celf sy’n

the hierarchy of art that we

and, over lunch in

y brotest roeddent yn sefyll fel defnyddio’r union

can observe the truth behind

un diolch i drefniadaeth a Newport, we met the arfau y mae’n ceisio’u

women who walked. At crafting as a tool. gweledigaeth gytûn. I gychwyn, datgymalu; dim ond N roedd y dyfyniad ar y pamffled wrth ddatgysylltu oddi the time of the hwn gan filwr yn peri dryswch protest they stood o wrth hierarchaeth celf . i ni; yn ystod y cinio fe welom allwn ni weld y together through 0 eu bod yn dal i sefyll fel un. 9 gwirionedd tu ôl i organization and joint : G vision. The quote on this re grefft fel arf. F en 9: flyer of a military man ab h f a Rhi first puzzled us; during ric

B m the lunch we saw that a they still stand together in n aner close ranks. n

hif 8: B e R wybr r flen o L Ta Greenham No. 8: oute y Brotest Protest R Flyer Experience the Mae llyfr nodiadau human through the Ann Petitt yn cofnodi photos. Moments The notebook of Ann Petitt dechrau taith a hanner; captured in time. shows first notes of a grand taith Women for Life What did they mean journey; the journey of the Profwch y person drwy’r on Earth; oddi wrth eu then? What do they Women for Life on Earth leav- lluniau. Eiliadau wedi’u dal yn cartrefi gan lusgo’u plant mean now? We can ing their homes with their small llonydd. Beth oedd eu hystyr bach gyda nhw, tuag at observe life, stories and children in tow to protest at bryd hynny? Beth yw eu hystyr Gomin Greenham i a sense of self through Greenham Common, a nucle- nawr? Gwelwn fywyd, straeon, brotestio yn erbyn arfau these images. These are ar weapons base. These initial a synnwyr ohonom ni’n hunain niwclear. Dyma nodiadau people with passion, notes, a couple of phone calls, drwy’r delweddau hyn. Pobl – yn cofnodi galwadau thought and life, living the mapping of a route, the yw’r rhain; pobl gydag angerdd, ffôn, map o’r daith, rhestr with purpose. You must stock taking of mouths to feed daliadau a phwrpas i’w bywyd. o foliau i’w bwydo a napis find within you the place and nappies to be changed Gyda chariad, rhaid i chi ddod i’w newid – na chafodd eu that itches to protest, were never meant to be on o hyd i’r lle tu mewn i chi sy’n creu i gael eu harddangos; with love. display in a museum. Ann yn wahanol i lyfr Ann Petitt, ysu i brotestio. N Petitt’s book Walking to Walking to Greenham, sydd f Greenham was. It is o P o wedi’i gynnwys yn ein included in our Living r . Llyfrgell Fyw (rhif 46). h Library (no. 46). l

o 1

t f

o :

e .

s W R o Noteb h No. 11: oo N n k A o u o i ia lun n f m hif 10: L d E nn Peti t R n 1 of A t e i 1 a f e for li a : r en P d L n om a t W e l h

t u y

E arth i f n t r o t

As the article mentions: ‘I think most of us Rhif 12: Effi ch had walked a-plenty before this, but fie Lea ydd Heddw we had never chosen to walk on busy main h, Gorymdeith roads in midsummer heat before, hence the Fel mae’r erthygl yn sôn: ‘Rwy’n credu term Blister Sister became part of our vocabu- bod y rhan fwyaf ohonom wedi cerdded digon cyn lary… when we arrived at Newport Church Hall, hyn, ond doedd yr un ohonom wedi dewis cerdded ar there in the garden was a paddling pool of water heolydd prysur yng ngwres canol haf o’r blaen. Dyna sut into which we all thankfully trooped’. The social y daeth Blister Sister yn rhan o’n geirfa... pan gyrhaeddom structures – family, people, groups – are with us Neuadd Eglwys Casnewydd, roedd pwll padlo yn yr ardd, all through time, they will be with us in the a diolch amdano!’ Mae’r strwythurau cymdeithasol – future as well. teulu, pobl, grwpiau – gyda ni drwy’r amser, fe fyddan ce nhw gyda ni yn y dyfodol hefyd. : Pe a ah o. 12 Le Phil Lee N Effifie was inspired by if 13 e r the Women for Life h : Ba Le he R rddoniaeth Phil arc on Earth and responded to gan M their actions with poetry ‘as easily Ysbrydolwyd Phil Lee gan Women for Life on Earth, ac as wishing for the moon’. What is the role ysgrifennodd farddoniaeth yn ymateb i’w gweithredoedd. of poetry in times of worry and protest? While Beth yw rôl barddoniaeth mewn cyfnodau o bryder a making this exhibition we used poetry as inspira- phrotestio? Roedd barddoniaeth yn ysbrydoliaeth i ni tion – expression and a source of information. We wrth greu’r arddangosfa hon – roedd yn fynegiant ac yn thought about the poet Shelley, his house in the Elan e ffynhonnell gwybodaeth. Buom yn meddwl am Shelley, a’i Valley, now beneath the reservoir providing the city of e L

dŷ yng nghwm Elan, nawr dan ddŵr y gronfa sy’n darparu Birmingham with fresh drinking water. We dove ‘into l i dŵr yfed i ddinas Birmingham. Roedd cerdd gan Adrienne the wreck’ using a poem by Adrienne Rich. We read h Rich yn fodd i ni ‘blymio i longddrylliad’. Buom yn poems that won the Eisteddfod. And new poetry P y darllen cerddi buddugol Eisteddfodau. A bydd will come forward in the future, because that b is what poetry does: it comes to us. barddoniaeth newydd yn dal i ddod atom, achos dyna ry beth mae barddoniaeth yn ei wneud: dod atom. Mae Turn over the page to find some t oe lle ar y dudalen nesaf i chi gychwyn eich cerdd chi: space to start you own P poem: 3: No. 1

N e o. us acCol by Peggy 14 M an M l See : y w ge A r c E r n g a a g n r n r A e The letter (no. 7) speaks of the d y : g e protester’s admiration of Peggy E M 4 w 1 e Seeger. This record from 1968 is full of S a u f songs of protest. In her 27 page letter (no. 7) i y n s Sue wrote: ‘That night we stayed at the Baptist e h g M g Church in Melksham. A few of us stayed with R e families in Bradford on Avon. And we arranged to a P be picked up after the evening’s entertainment. c

C Janet and I settled Christopher and Becky down to

o sleep in a little sideroom off the church-hall. It was very l l Yn y llythyr (rhif 7) mae’r brotestwraig yn sôn am cosy with carpets and plenty of toys. One of the young

ei hedmygedd o Peggy Seeger. Mae’r record women...was really tired and had decided to go to

hon o 1968 yn llawn caneuon protest. Yn bed early. She agreed to listen out for the

ei llythyr 27 tudalen, mae Sue yn adrodd children. I said I’d be back by 10 to meet

the people picking us up. Ewan MacColl hanes un o nosweithiau’r daith, pan gytunodd un o’r merched ifanc i edrych and Peggy Seeger put on a concert ar ôl ei phlant er mwyn i Sue gael mynd for us. It was very good. Linnie i weld cyngerdd Ewan MacColl a Peggy and Pete came towards me. Seeger. Mae’n dweud iddi fwynhau’r “The door’s locked – do cyngerdd yn fawr, ond i griw ohonynt you know where the key gael eu cloi allan o Neuadd y is. We wanted to get Bedyddwyr, lle’r oeddent yn aros, ar to sleep early but y ffordd yn ôl. we can’t get in. There’s no one there.’’ ’

wybod N

G ae This card is evidence of a team of re- t o

yn h

d C . searchers and engineers who drove from

a r 1 Athens to Lisbon over 30 years ago to prove e Mae’r cerdyn hwn yn r P 5 C dystiolaeth o dîm o ymchwilwyr the potential of Photovoltaics (the ŵ : conversion of light into electricity) as a : a pheirianwyr, a yrrodd o Athen i e S 5 r power source. Why was this futuristic 1 Lisboa dros 30 mlynedd yn ôl i brofi o vehicle described as ‘agricultural’? f potensial ffotofolteg (troi golau yn drydan) fel S l i o a Perhaps the description was honest in ffynhonnell ynni. Pam fod y cerbyd dyfodolaidd r h l another way: the car could, after all, hwn wedi’i ddisgrifio fel un ‘amaethyddol’? Efallai a P R be described as the result of ‘the bod y disgrifiad yn un digon addas mewn gwirionedd r o

w science, art and occupation – wedi’r cwbl, beth oedd y car yn ei wneud ond

cynaeafu’r heulwen? e concerned with farming’. r d e The car harvested r

d a C sunlight. C ar n Informatio Mae’r faner hon yn nodi taith y protestwyr o am Co Gaerdydd i Gomin Greenham. Mae staeniau lemonêd nh m e This m arni – arwydd fod bywyd bob-dydd yn gadael ei farc re o banner marks n ar y digwyddiadau mwyaf ysgytwol hyd yn oed. Thalia G : the route the protesters B Campbell, un o sylfaenwyr Gwersyll Heddwch Menywod R 6 a 1 took from Cardiff to Green- Comin Greenham, wnaeth y faner hon. Daeth Thalia yn n h . ham Common. It is stained with adnabyddus am ei baneri, a blynyddoedd yn n i o lemonade – everyday life has a habit of e f ddiweddarach dywedodd mewn cyfweliad ag N r 1 leaking into even the most extraordinary of Amgueddfa Cymru: ‘Rwy’n credu bod fy 6 moments and movements. Thalia Campbell, nheulu cyfan yn rhyw led-sosialwyr, : one of the founders of the Greenham Common B dyneiddwyr, amgylcheddwyr, felly Women’s Peace Camp, created this banner. Thalia a roeddwn wedi fy nhrwytho yng n became well known for making banners and, many ngwerthoedd menywod e years later in an interview with Amgueddfa Cymru she r Greenham ymhell cyn C said: ‘I think my whole family were vaguely socialist, om cyrraedd yno.’ in humanists, environmentalists, so I was steeped in that as Greenham a Greenham woman long before I got there really.’

Mae pyllau glo yn ymddangos ar eu hwynebau â duwch newydd am gyfnod. Ar wynebau eraill, mae’r Coal mines stain some faces with a duwch yn llai newydd, yn fwy parhaol. Un peth yw novel blackness for a time; for other faces, gwybod hyn, peth arall yw ei deimlo, rydyn ni’n gosod the blackness is less new, more permanent. carped i orchuddio lloriau, felly mae angen i ni dynnu We lay down carpet to cover creaking floor- ein hesgidiau a gadael ein traed yn oer. boards, not wanting to be reminded of ourselves for a time, so we need to take our shoes off, but Rydym ni’n cyrraedd warws ddim rhy bell o our feet are left cold.Passing through a warehouse Gaerdydd, ac yn cael ein cyfarch gan lew, er nad ydyn we are greeted by a lion, though we are yet to ni wedi dysgu ei iaith eto. Rydym yn gweld bod tod- learn his language. We try dissolving dividers to di’r llenni yn gadael mwy o le ar gyfer undod. Mae carve out more space for solidarity. Some of us rhai ohonom wedi ein syfrdanu, efallai eich bod chi are stunned into silence, you may be too, but hefyd, ond ceisiwch gofio y gallai ein hatgofion alaru try to remember our memories may mourn amdanom. Ta waeth, mi allwn ddod o hyd i us but, regardless we can find kindness in garedigrwydd ar yr ymylon hefyd. the margins too. Dyma hi yn sefyll yn syth mewn Standing to attention in an oil drwm olew, wedi’i ffosileiddio am ennyd. drum, fossilized for a moment. Instead Does dim gorffwys i’r Fari, caiff ei of being laid to rest Mari is propped up for defnyddio gennym, i barhau â hen us to continue a custom. Mari Lwyd is a grey draddodiad. Mae’n anodd dweud o le daw’r animal, her origins are hard to grasp, here we Fari Lwyd, ond rydyn ni wedi penderfynu ei choose to place her as one of the horses rid- gosod fel un o geffylau Rhiannon, den by Rhiannon, a queen of the yd Brenhines o Annwfn, yn y Mabinogi. underworld, in The Mabinogion w L ri a Rhif ri Lwyd M 17: Ma 7: . 1 Cynhyrchwyd No llawer iawn o fathodynnau llabed The 1984-85 Miners’ yn ystod Streic y Glowyr 1984-85, ac roedd Strike saw a great interest in the production nifer yn eu casglu. Byddai glowyr yn gorchuddio’u and collecting of lapel badges. Many picketers capiau a siacedi gyda bathodynnau, a chafodd sawl covered their jackets and caps with them, and bathodyn ei roi i’r Amgueddfa er mwyn i genedlaethau’r individuals donated badges to the Museum so that future dyfodol ddysgu am y streic. Cafodd y bathodyn Dig Deep for generations wouldn’t forget the events of the strike. ‘Dig the Miners! hwn ei wisgo gan löwr o Abernant. Cafodd Deep for the Miners!’ was worn by an Abernant Colliery bathodynnau eraill eu rhoi i lowyr oedd ar streic yn ardal worker. Other badges were given to striking miners in the Onllwyn, gan grŵp o bobl oedd yn gysylltiedig â siop lyfrau Gay’s Onllwyn area by a group of men and women connected to the Word yn Llundain, fel symbol o undod rhwng cymunedau. bookshop Gay’s the Word in London, as a symbol of Roedd y dynion a menywod hyn yn uniaethu ac yn cefnogi safiad solidarity between communities. The men and women related y glowyr, ond tybed beth oedd eu barn nhw ar danwydd ffosil? to and supported the miners’ struggle, but what did they think Cafodd y bathodyn sy’n cynnwys y triongl pinc (symbol oedd about fossil fuels? The badge that includes the pink triangle yn dynodi’r gymuned hoyw yn yr Almaen Natsiaidd) ei (which denoted the homosexual community in Nazi gynhyrchu i nodi 30 mlynedd ers y streic. Germany) was produced for the 30th anniversary of the strike. nau hodyn No. 18: Badges Rhif 18: Bat Nodyn ysgrifenedig yn dymuno A handwritten good luck notice from the Lamp pob lwc gan staff Lamprwm Glofa Lady Room staff at the Lady Windsor Colliery in the

R Windsor yn ystod blwyddyn cau’r pwll. Staff y year it closed. The Lamp Room staff provided

N h Lamprwm oedd yn rhoi lampau, offer anadlu mewn miners with lamps, emergency breathing equipment

o i argyfwng a chyfarpar diogelwch eraill i’r glowyr. and other safety equipment. They took care of the f e .

1 Roeddent yn gofalu am y glowyr bob dydd. Wrth i’r c miners every day. With the closing of the mines, i 1 9 9 pyllau gau, roedd rhaid iddynt obeithio’r gorau am r they had to hope that their colleagues would do e : : c P well and be safe without them. We think Leslie i D ddiogelwch a lles eu cydweithwyr yn y dyfodol. Rydyn L r i ni’n meddwl fod Leslie Price, glöwr a ffotograffydd e a Price as a miner and self-taught photogra- w i P amatur, wedi dangos ymwybyddiaeth wych l s pher showed a great awareness by taking s t e r i n wrth dynnu’r llun hwn (gweler hefyd rhif e d this picture. (See also no. 22.) l o L a s d 22.) y e n Y O a n L y y la g s b f , bw , G 8 N l 8 lo 8 Colli 198 fa 19 o ery, Yn l, . ys-y-bw R 2 This black hif 0 20: and white photograph L : lu n B shows a man riding a train at l the bottom of the Nantgarw incline. The man on Mae’r llun du a gwyn hwn D a yn dangos dyn ar drên ar waelod u c the right of the image is Clyde Forde. Clyde was a k inclein Nantgarw. Enw’r dyn ar y dde born in the 1960s in Cardiff. His mother was from G a yw Clyde Forde. Ganwyd Clyde yng w n Mountain Ash and his father was from Barbados. Nghaerdydd yn y 1960au. Roedd ei fam o y d He started working in Nantgarw in 1977. When n Aberpennar a’i dad o Barbados. Dechreuodd W he challenged the racism he faced in his new o h weithio yn Nantgarw ym 1977. Pan ddechreuodd i job as a miner he was told ‘You can’t fight L te them all’: his employers did not con- herio’r hiliaeth a wynebai yn ei waith, yr ymateb a o w P sider racism an issue at the time. gafodd oedd ‘You can’t fight them all’: doedd ei ho gyflogwyr ddim yn ystyried hiliaeth yn broblem ar y y t r o pryd. gr ap h o f Miners

Mae’r Companion Species Manifesto wedi’n

We are inspired by Donna Haraway’s Com-

hysbrydoli ni. Mae’r ddelwedd hon o drên yn cael ei

panion Species Manifesto. This image of a horse-

dynnu gan geffyl yn dangos pŵer anifeiliaid ac yn adrodd

pulled train shows the power of animals and speaks of

cyfrolau am ein perthynas hanesyddol gyda chreaduriaid

our historical relationship with our ‘companion species’.

dros filoedd o flynyddoedd. Pe bai’r ceffyl yn gallu siarad,

It tells a story of human and animal engagement that has

fyddai am i ni adrodd ei hanes ef? Stori’n llawn gorchestion a

existed for thousands of years. The horse, if she could

chyfeillgarwch, ond hefyd camdriniaeth a phoen. Yw’r ceffyl yn

n talk, might insist that we tell her history: a story full of

gobeithio y byddwn yn rhedeg allan o danwydd ffosil cyn hir? i

relationships and achievements, but also abuse and

pain. Does she hope we will run out of fossil fuel soon? a

N r R

h i

D i f ’ o T

d 1

: e

r W

ê n .

n 1

n r l

e l

u - p u

f This picture from Glamorgan Archives is part of a

f y l

set of 79 photographs by Leslie Price. Leslie captured

Mae’r llun hwn, o Archifdy Morgannwg, yn rhan o gasgliad o 79

life on film, focusing on Welsh mines. He recorded his

ffotograff gan Leslie Price. Bu Leslie yn cofnodi bywyd ar ffilm,

present for the future. Saving the present for the future’s

gan ganolbwyntio ar byllau glo Cymru. Cofnodi heddiw er budd

sake is apparent within the story of Bedwas colliery. The

yfory oedd ei fwriad, ac mae effaith y presennol ar y dyfodol i’w

miners of the Bedwas colliery knew that their work would

weld yn hanes glofa Bedwas. Roedd glowyr y pwll yn gwybod

end in the near future, even if the strike was successful, as

fod y diwedd ar ddod – hyd yn oed pe bai’r streic yn llwyddi -

maintenance had stopped. This meant that when the strike

annus – gan fod gwaith cynnal a chadw wedi dod i ben. Bu’n

ended, the mine had to be closed due to geological

rhaid cau’r pwll ar ddiwedd y streic oherwydd problemau

problems. As the future became the present, a decision

daearegol. Wrth i’r dyfodol ein cyrraedd penderfynwyd

was taken to build on the land on which the colliery

adeiladu ar dir glofa Bedwas, ond daeth yn amlwg bod y tir

used to be but, after investigation, the land was found yn llawn cemegau gwenwynig: plwm, arsenig, asbestos a

to contain toxic chemicals: lead, arsenic, asbestos nafftha. Doedd y tir yn dda i ddim i neb.

and naphtha. It was no longer of use to anyone.

R 5

h N 8 i 5 o f 2 8 . 22: B 19 2: Bedwas 19 edwas d Protest G : Arwyd r ta Thunbe Rhif 23 e 3: Gre rg t No. 2 This sign was made by P Cafodd yr arwydd hwn ei a r artist, inventor and protester Buzz wneud gan yr artist, dyfeisiwr a’r o T Knapp-Fisher, and was in his garden in t protestiwr Buzz Knapp-Fisher, a’i e h Llanwnda. We had been visiting Pembrokeshire to osod yn ei ardd yn Llanwnda. Roedden s u explore Welsh history and experience the landscape. t ni’n ymweld â Sir Benfro i archwilio hanes n a thirwedd Cymru. Fe gyrhaeddon ni We arrived in Llanwnda 222 years after the Battle of S

b Fishguard, when French invaders led by Colonel Tate set i

Lanwnda 222 mlynedd ar ôl Brwydr g e up their headquarters in some outlying farmhouses. We

Abergwaun, pan fu’r goresgynwyr o Ffrainc, n

r were moved to find there a protest sign that so clearly talks ,

dan arweiniad Cyrnol Tate, yn defnyddio rhai o g

of a current battle: the battle against climate change. Buzz b

sguboriau’r pentref fel pencadlys. Profiad

ysgytwol oedd cyrraedd yr ardal a gweld arwydd donated his protest sign on the evening of the 28th of y a

January 2020, in the parking lot of Something’s B

protest oedd mor berthnasol i un o frwydrau mwyaf n

ein hoes – y frwydr yn erbyn newid hinsawdd. Cooking in Letterston. u

B z

Cyflwynodd Buzz ei arwydd i’r arddangosfa ar K

u n

noson yr 28ain o Ionawr 2020, ym maes parcio a

F i s h r Something’s Cooking yn Nhreletert. z e

z N

K o Rhif 24: Y Pwll .

n 2 Rhaid i ni ddysgu gweld y cerflun fel arf, fel

a 4 We must learn to observe the sculpture

cyflwyniad, fel neges. Cafodd ei brofi: fe safom oddi p :

as a tool, a presentation and a communica- T

tano yn darllen straeon. Buom yn chwerthin ar p

tion. It was experienced: we stood under it and h abswrdiaeth y peth, ac yn y pen draw daethom i -

F read stories. We laughed at the absurdity and in time ymddiried yn ein gilydd wrth geisio dadorchuddio e

i learned to trust each other in our adventure to uncov-

ein stori. Nid pwll glo yw hwn, ond mae’n gwneud y M s er our real story. This is not a mine but plays the part in

tro. Mae’r gwir fynegiant yn cuddio, ac eisiau i chi h

fod yn un ag ef. Lleisiau a straeon: byddwch yn the show very well, the true expression hiding and wishing i e you to become one with it. Voices heard and stories told: n

dechrau teimlo fel oedden ni wrth inni sefyll r dan y defnydd. Mae hwn yn gerflun, yn you begin to fall into the same feelings we felt as we stood e fynegiant, yn alwad. underneath the cloth. This is a sculpture, an expression and a call.

Mae’r llanw isel yn ceisio ei giw o’r lleuad yn datgelu bod coed hynafol yn cael eu dal yma. Mae’r ddaear yn siarad â ni mewn ffyrdd na fyddwn byth yn gallu clywed, garej // garage rydym wedi treulio digon o amser yn edrych i fyny, beth am edrych i lawr am amser hefyd? Ar ôl cael eu pobi ar ddiwrnod braf o haf, roedd ein holion traed distaw yn mynnu cael eu cynnwys yma hefyd. Gadewch iddyn nhw eich dysgu, onid ydym ni wedi ymladd digon o frwydrau ofer i gael ein tynnu at heddwch yn lle?

The low tide seeking its cue from the moon reveals ancient trees are held here. The earth talks to us in ways we’ll never be able to hear, we’ve spent enough time Pennod looking up, why not look down for a time too? Our silent footprints, having been baked on a hot summer day, insisted on Chapter being included here also.Allow them to ground you, if for no other reason than 2 because haven’t we fought enough losing Adref battles to be drawn to peace instead? At home No. 25: Writing in Digital Mud Rhif 25: Ysgrifennu mewn (video) ideo) Mwd Digidol (fi For thousands of years people left traces in Am filoedd o flynyddoedd bu pobl yn gadael olion yn the mud. Sometimes we find ancient foot- y mwd. Weithiau down ar draws hen olion traed, ond prints, but we will never know if they were chawn ni byth wybod beth oedd eu perchnogion yn ei left from dancing or fighting. Now we show wneud wrth eu gadael – oedden nhw’n dawnsio neu’n our traces in video that might only last a few ymladd? Nawr rydym yn gadael ein hôl ar fideo na fydd, years; soon this file format might become o bosib, yn para rhyw lawer; gallai fformat y ffeil fynd obscure, our videos indecipherable future yn angof, gallai’r dechnoleg fod yn annealladwy mewn archaeology. We perceive it as writing in blynyddoedd i ddod. I ni, mae fel ysgrifennu mewn mwd digital mud, which may need an archaeology digidol, a allai fod angen ei gloddio gan archaeolegwyr y of the future to excavate it. dyfodol. No. 26: Living Statue in Ebb Rhif 26: Cerflun Byw ar Lanw and Flood by Henry Alles (video) a Thrai gan Henry Alles (fiideo) Standing in the sea as a living statue while the flood comes in, looking towards the coast Sefyll yn y môr fel cerflun byw wrth i’r llanw ddod i expecting others. Slowly the water surrounds mewn, yn edrych tua’r lan gan ddisgwyl eraill. Mae’r me, I am a human island afraid of the mys- môr yn f’amgylchynu yn araf. Rwy’n ynys, ac rwy’n tical sea monster. She lives in the water and ofni bwystfil dirgel y môr. Mae hi’n byw yn y dŵr – the foam on the waves is the proof of that. gwelwch ewyn y don! Mae sawl un yn byw eu Many simply go on with their lives, as if there bywydau fel pe na bai’r chwedlau’n bod. Ond a ydyn are not myths. But maybe as we are entering ni, tybed, ar drothwy oes newydd sy’n ein gwahanu a new era that separates us from the past, o’r gorffennol? O ganol ein colledion, a ddown ni o amid our feelings of loss, perhaps here we hyd i’n chwedlau unwaith eto? will find myths again. hufeinig Pen x Head Escut u R Ychen No. 27: Roman O ch ia e These were discovered on Little Orme, Llandudno o is Cafodd y rhain eu darganfod ar Drwyn y Fuwch, in 1981, the same year that the Greenham Common n e Llandudno ym 1981 – blwyddyn dechrau

s b protests began. These bucket mounts are part of a f protestiadau Comin Greenham. Mae’r mowntiau Roman hoard dated late 3rd or early 4th century r bwced hyn yn rhan o gelc Rhufeinig o’r 3edd neu AD. A hoard of precious items buried to be kept A

4edd ganrif OC, gafodd eu claddu er mwyn eu

: safe for a time or to remain in a sacred place for cadw’n saff, neu am resymau crefyddol. Beth 7 religious reasons. What we find here is a gathering

2 welwn ni yma yw diwylliannau’n dod ynghyd; mae’r of cultures; all five escutcheons depict ox heads. f pum arfbais yn darlunio pen ychen ac mae un – y

i Only one, the most elaborate, is a combination of h mwyaf coeth – yn gyfuniad o ddyluniad Celtaidd

both Celtic and Roman design elements. Dolphins R a Rhufeinig. Roedd y dolffin i’w weld yn aml yng are a favoured animal in Roman depictions, while ngwaith celf y Rhufeiniaid, tra’r oedd y Celtiaid yn the Celts favoured scrolls. We wonder if the makers hoff o ddarlunio sgroliau. Tybed beth oedd bwriad were representing an emerging shared identity, or y crewyr – cynrychioli hunaniaeth Geltaidd- trying to attract the new Roman ‘customers’ while Rufeinig, neu geisio denu ‘cwsmeriaid’ Rhufeinig retaining a sense of their own identity? newydd tra’n cadw elfen o’u hunaniaeth? ufeinig, g er, Wit r Rh yda D an Copp h C p Gwaith y No. 28: Rom e Co l l u t : i

n The saucepan was standard issue for soldiers in the c

i D 2 o Roman Empire. In the case of this pan, design

Roedd gan bob milwr Rhufeinig ei sosban ei hun.

f e

C overrode practicality. The addition of a Celtic motif

i Ond sosban i’w hedmygu oedd hon, nid i goginio s

e h creates a heavy base for the saucepan, not only

ynddi. Mae’r addurn Celtaidd yn creu gwaelod i l g

R muddying its visual identity but also the original usage.

t n

trwm i’r sosban, gan ddrysu ei hunaniaeth

This could be read as just another example of the mixing

weledol a’i gwneud yn gwbl anymarferol. i Enghraifft arall o gymysgu rhwng diwylliannau, d of cultural iconography, or is something else at stake?

neu oes yma rywbeth arall yn y fantol? d

No. 29: Roman Brick with Part f 29: o f a F t p r i Rhi Excavations of the Roman Fort in Gelligaer, close to the town of Oakdale (no. 43) revealed a bath- icsen Rufeinig Br house – bathing was an important ritual in Ro- han o Ôl Tr da R oed man life. But the excavated ruins and fragments gy of roofing tiles and other material spread over Wrth gloddio yng nghaer Rufeinig Gelli-gaer, ger much of the site also speak of accidental traces, pentref Oakdale (rhif 43), daeth archaeolegwyr ar and help us understand how people worked. As draws baddondy. Roedd ymolchi yn ddefod bwysig documented by an archaeologist: ‘As usual, a few i’r Rhufeiniaid. Ond mae olion mwy damweiniol bricks had the impressions of dogs’ and other n t hefyd ymysg y darnau o deils o amgylch y safle, animals’ feet, of the nailed soles of sandals or sy’n ein helpu i ddeall mwy am y bobl. Dywedodd shoes, and in one instance of apparently a naked un o’r archaeolegwyr: ‘Fel sy’n arferol, roedd ôl foot’. traed ambell gi ac anifeiliaid eraill ar rai o’r brics, ôl sandalau ac esgidiau hefyd, ac mewn un achos, ôl troed noeth’. No. 30: Goldclifff Footprint Rhif 30: Ôl Troed Allteuryn This object is the plaster cast of a human footprint, left Cast plastr o ôl troed plentyn tua wyth oed yw hwn, by a child of perhaps 8 years old, around 6200 BC. The wedi’i adael tua 6200 CC. Mae’r ôl troed yn un o 3,897 o footprint is just one of 3,897 artefacts in the Museum’s arteffactau yng nghasgliad yr Amgueddfa o un cloddiad collection from a single excavation that took place at yn Allteuryn, yng Ngwastadeddau Gwent, ar ddechrau’r Goldcliff, on the Severn Estuary Levels, early this mil- mileniwm. Cafodd sawl ôl troed ei ganfod, rhai pobl ac lennium. Many footprints were found, both human and anifeiliaid. Olion troed plant oedd y rhan fwyaf o’r rhai animal. Most of the human footprints were those of chil- dynol, rhai mor ifanc â 3 neu 4. Datgelwyd hefyd olion dren, some as young as 3 or 4 years old. Also found were troed adar yn cynnwys y garan, yn ogystal â charw coch footprints of wading birds, including a crane, as well as of a blaidd hyd yn oed. Cafodd yr olion eu crasu gan yr haul red deer and even a wolf. The footprints were sun-baked mewn haen o glai yng nghanol y mawn, a’u claddu nes i into a clay layer surrounded by peat and buried until tidal erydiad y llanw eu dadorchuddio eto. I’r archaeolegwyr movements eroded the layers of organic matter revealing yn creu mowldiau pan oedd y llanw ar drai, cyn i’r olion them by chance. For the archaeologists involved, cast- gael eu golchi i’r môr, mae’n rhaid bod hyn yn deimlad ing the imprints between tides, before the footprints are gwych. washed into the sea, must have felt like a true victory. No. 31: Shoe Charm gid rhag Ysbryd Rhif 31: Es io n This adult-sized left boot was placed as a lucky charm Cafodd yr esgid chwith hon ei gosod fel swyndlws dan under the floorboards at Old Gwernyfed y llawr ym mhlasty Gwernyfed yn Felindre ger Aber- Manor, Felindre near Brecon. Shoes were often hid- honddu. Roedd cuddio esgidiau yn beth cyffredin – o den under floorboards, around doorways and below dan y llawr, o gwmpas drysau ac o dan y grisiau; staircases. These marginal spaces were considered mannau ‘gwan’ y tŷ, lle gallai gwrachod ac ysbrydion to be the weakest part of a building, where evil spir- drwg ddod mewn. Mae Gwernyfed yn llawn its and witches might enter. Reputedly, it is in this chwedlau – yn ôl y sôn, cerfiodd William Shakespeare building that William Shakespeare carved a cryptic neges gryptig ar y sgrin dderw yno. Mae’n debyg bod message on the oak Minstrel’s Screen. It is also said swyddog cudd-ymchwil wedi datrys pos y neges that a British Intelligence officer who was staying at ychydig flynyddoedd yn ôl, ond dydyn ni’n dal ddim Old Gwernyfed Manor deciphered it only a few years callach. Rydyn ni’n dychmygu bod y neges yn sôn am ago but we still don’t know what it said. We imagine yr esgid ac am rhyw frenin, am benglog a lle gwyntog. it mentioned the shoe, a king, a skull and a windy place. hite Shark Tooth Amulet : W ant Siarc 2About 3,000 years ago a shark tooth shaped by ynogl D 3 humans, whether for practical use or decoration, was Rhif 32: Sw Tua 3,000 o flynyddoedd yn ôl cafodd dant siarc, wedi’i . carefully placed in the posthole of a roundhouse. The o gerfio gan bobl at ryw ddefnydd – ymarferol neu house had been built over the burial place of a child N addurniadol – ei osod yn nhwll postyn tŷ crwn. Roedd y and an adult. This makes the building sound like a

tŷ wedi’i adeiladu dros fedd plentyn ac oedolyn. Adeilad sacred place, or perhaps just a house where the living

could be close to their dead. A very human reaction… sanctaidd efallai, neu dŷ cyffredin lle gallai pobl fyw yn agos

i’r meirwon. Mae rhywbeth oesol yn hynny... aethant ati With care and attention, they built a roundhouse, gyda gofal i godi tŷ crwn, a dychmygwn ei fod yn destament and we imagine it is a testament of love for all who o gariad i bawb fu unwaith yn fyw. Y dirgelwch mawr yw’r were once alive. The mystery is how a shark tooth dant siarc. Chawn ni byth wybod pa antur ddaeth â’r dant could be found in Llanmaes, in the Vale of Glam- hwnnw i Lanmaes, Bro Morgannwg. organ. We will never truly know the adventure that brought the tooth here. No. 33: Graffito (Say what you see) Rhif 33: Graffito (Be weli di?) This Roman pottery flanged dish with the inscribed Mae rhywun wedi sgriblo ‘M’QRYN’ (Macrinu-s) mewn graffito ‘M’QRYN’ (Macrinu-s) in neo-Punic script llawysgrifen neo-Bwneg ar y bowlen gantel Rufeinig hon. was found during the excavation of the Holt, Wrex- Cafodd ei darganfod wrth gloddio yn Holt, Wrecsam, rhwng ham, between 1907 and 1915. It shows that in the 1907 a 1915. Mae’n dangos bod rhywun oedd yn siarad un o first century AD somebody who spoke a North Afri- ieithoedd Gogledd Affrica, yn y ganrif gyntaf OC, wedi can language engraved this clay bowl. We are often engrafu’r fowlen glai hon. Cawn ein dysgu i feddwl am y darn taught to think of the unbroken original pottery, but gwreiddiol cyfan o grochenwaith, ond mae traddodiad mewn there have been many cultural exchange traditions sawl diwylliant o fwy nag un person yn dal eu gafael ar in which people hold on to different parts of the wahanol rannau o’r un bowlen fel arwydd o’u perthynas. Efallai fel ffordd o gofio am ffrind annwyl? same disc or bowl as a way of showing the personal relationship between people. Maybe as a reminder of a dear friend? Rhif 34: Ogof Pen-y-fai Due to climate change and the rise of sea levels this cave Wrth i lefel y môr godi oherwydd newid hinsawdd, bydd will slowly be washed clean of archaeological deposits. It yr ogof hon yn cael ei glanhau yn raddol, a’i holl olion once held the remains of the Red Lady of Paviland, archaeolegol yn diflannu. Dyma lle gafodd gweddillion recorded by William Buckland in 1823. Due to his beliefs, Rhif 27 : Arfbeisiau Rhufeinig Pen Menyw Goch Paviland eu darganfod gan William which would now be seen as cognitive bias* he believed Buckland ym 1823. Oherwydd ei gredoau a’i ragfarnau, that the decorative items also found in the cave were credai bod yr eitemau addurniadol yn yr ogof yn golygu evidence that the bones were those of a woman, and that mai esgyrn menyw oeddent, a’i bod wedi byw ar ôl she must have lived after the biblical great flood. In 1998 cyfnod y dilyw mawr Beiblaidd. Ym 1998, dangosodd more modern methods of analysis showed the Red Lady dulliau dadansoddi mwy modern mai dyn oedd y ‘fenyw to be a male, deliberately buried around 24000 BCE goch’ mewn gwirionedd, wedi’i gladdu yn fwriadol o wearing jewellery made of mammoth ivory – not gwmpas 24000 CC yn gwisgo gemwaith o ifori mamoth – elephant ivory as Buckland believed. Perhaps it is best nid eliffant fel y credai Buckland. Efallai mai gwell fyddai not to assume the gender of this person whose life and peidio dyfalu rhywedd y person hwn a gafodd ei ddathlu 4 : G o a t ’ s H l e C v identity was celebrated by their loved ones through this gan ei anwyliaid gyda chladdedigaeth mor grand. rich burial. * Preconceived notions, beliefs and patterns of thought that lead to biased opinions N o . 3 Rhif 35: Olion Traed No. 35: Footprints

Diolch i chi am ddilyn ôl ein traed drwy’r Thank you for following in our steps arddangosfa hon. Gobeithiwn y bydd through this exhibition. We hope others eraill yn dilyn eich olion traed chi hefyd, will follow in your footsteps too, be they boed yn y mwd yn Allteuryn (rhif 30), left in the mud at Goldcliff (no. 30), in the yn y Bannau Brycheiniog, ar y traeth yn Brecon Becons, on the beach at Borth or Borth neu dros y bont ar Ynys Môn. all across the bridge to Anglesey.

Rhif 36: Ysgrifennu mewn No. 36: Writing in Mwd Digidol, rhan 2 (fiideo) Digital Mud, part 2 (video) Am filoedd o flynyddoedd bu pobl yn gadael olion yn y mwd. Weithiau down ar draws For thousands of years people left traces in hen olion traed, ond chawn ni byth wybod the mud. Sometimes we find ancient beth oedd eu perchnogion yn ei wneud wrth footprints, but we may never know if they eu gadael – oedden nhw’n dawnsio neu’n were left from dancing or fighting. Now we ymladd? Nawr rydym yn gadael ein hôl ar show our traces in video, which might only fideo na fydd, o bosib, yn para rhyw lawer; last a few years, soon this file format might gallai fformat y ffeil fynd yn angof, gallai’r become obscure, our videos indecipherable dechnoleg fod yn annealladwy mewn future archaeology. We see it as writing in blynyddoedd i ddod. I ni, mae fel ysgrifennu digital mud, which may need an archaeology mewn mwd digidol, a allai fod angen ei of the future to excavate it. gloddio gan archaeolegwyr y dyfodol. Yma, fel llawer o leoedd eraill o amgylch byrddau, mae pobl yn tueddu i ddweud gwirioneddau mewn ffordd sy’n ddiethr i mi, llithro i frawddegau yn hytrach na’u cyhoeddi. Ond a yw gogwydd hanes personol yn glir i chi pan fyddwch chi’n gwneud yr un peth? Dal darnau arian dieithr â gobaith yn y trawsnewidiadau. Am faint gawsoch chi ystafell fwyta / eich cysuro wrth i ni lithro dining room trwy’r craciau? Around dinner tables, and here, like many other places people tend to tell truths slipped into sentences rather than proclaimed. Words like water take the shape of their varying vessels, view- points. Holding foreign coins and hope in the transitions. But is the bias of personal history clear to you when you do the same? How long have you been cradled as we slipped through the cracks?

Rhif 37: Siarad Plaen gan Jake A. Griffiths (fiideo) No. 37: Proper Talk (video) Yn y ffilm hon caiff stori ei rhannu drwy by Jake A. Griffiths haniaeth, y syniad o chwerthin a sgwrsio yn dod yn hiraethus drwy symudiad. Dyma symudiad In this film a story is shared through abstraction, a phaentio; ffordd o ddefnyddio ffilm i ddatgan the concept of laughter and conversation becoming gwirioneddau na ellir eu dweud mewn ffyrdd haunting through movement. It is movement and eraill. Mae’r fideo wedi’i greu drwy recordio painting; a way of using footage to declare truths that gwahanol giniawau a gynhaliwyd ar safleoedd cannot be told through other means. Created using Amgueddfa Cymru. Mae’n astrus, ond mae’n the footage of dinners held in different Amgueddfa llawn mynegiant a theimlad o gymuned. Cymru sites this video combines obscurity, expression and sense of community. Rhif 38: Ffotografffau Cyflwyniad o eiliadau ac atgofion sy’n dangos bywydau pobl o bob cwr o Gymru. Pobl gyffredin? No. 38: Photographs Pobl wahanol i chi? Mae’r rhan fwyaf yn ddienw Are these people ordinary or different to you? We ac yn anhysbys, dyma enghreifftiau o bobl Cymru. have chosen to share a presentation of moments Rydym wedi dewis creu cynrychiolaeth wahanol and memories that show the lives of people across yma* ac mae’n chwith gennym na allwn eich Wales, with a different balance of representation*, cyflwyno i’r rheiny na gofnodwyd. and regret our inability to introduce you to those whose image was never captured or collected * Fe ddewisom luniau o bobl sydd ddim i’w gweld yn aml mewn casgliadau amgueddfa, neu sy’n * In search of photographs of people who rarely tueddu i gael eu harddangos yn ddienw, er mwyn appear in museum collections, and when they do are portreadu cymuned neu fath o berson yn hytrach often unnamed, photographed to represent a kind nag unigolyn. Rydym wedi anwybyddu’r myrdd o of person or community rather than for who they ffotograffau o ddynion gwyn o Gymru yn sefyll i’r are. We decided to ignore the many photographs camera yng nghasgliad yr Amgueddfa; mae of white Welsh men in the Museum’s collection, as cynnwys y delweddau hyn yma yn teimlo’n to include such images here feels redundant. If this ddiangen. Yw hyn yn gwneud i chi deimlo’n makes you uncomfortable, then linger a little anghyffyrddus? Arhoswch ychydig hirach... longer... DU. CYMRU. Aberhonddu. Gêm o wthio pêl. Dau GB. WALES. Brecon. A game of push ball. Two dîm yn ceisio gwthio pêl fawr dros linell gôl y tîm teams try to push a large inflated ball over the arall, mewn cyfarfod Ffermwyr Ifanc. 1973 opposition’s goal line. Taking place at the Young Farmers’ meeting. 1973

DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Butetown (once Bwyd mewn parti wedi bedydd yng Nghanolfan called Tiger Bay). Food at a party after Gymunedol Tre-biwt. 1999 a Baptism held at Butetown Community Centre. 1999.

DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Butetown (once Esgidiau’r ffyddloniaid, ym Mosg Alice Street. 1999 called Tiger Bay). The shoes of the faithful, inside the Alice Street Mosque. 1999

DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Butetown (once Amser chwarae yn ysgol St Mary’s. 2000 called Tiger Bay). St Mary’s school during playtime. 2000

DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Bute Town. St Mary’s school, Iard ysgol St Mary’s. 2000 in the playground. 2000. DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Butetown (once called Tiger Carl Alexis a’i wyres yn St Paul’s, Sgwâr Loudoun. Bay). Carl Alexis and granddaughter in St Paul’s, 2003 Loudoun Square. 2003.

DU. CYMRU. Caerdydd. Tre-biwt (Tiger Bay gynt). GB. WALES. Cardiff. Butetown (once called Tiger Mwynhau llaw dda. Chwaraewr yn chwerthin yn Bay). Enjoying a winning hand. A player laughing at ystod gornest ddominos rhwng Caerdydd a Llundain, a domino match between Cardiff and London held uwchben Bab’s Bistro (y Caribbean Restaurant erbyn above Bab’s Bistro (now the Caribbean Restaurant), hyn), West Bute Street. Un o chwaraewyr Llundain West Bute Street. The player was representing the sydd yn y llun. 2000 visiting side. 2000

Plant ifanc mewn sioe ffasiwn yng Nghanolfan Young children on the catwalk pose for a fashion Gymunedol Tre-biwt, a’r gynulleidfa’n cymeradwyo. show in Butetown Community Centre, while the 1979 audience applaud. 1979

Patti Flynn a Humi Webbe. Bae Caerdydd 2 Rhagfyr Patti Flynn and Humi Webbe. Cardiff Bay 2 Decem- 1999. PATTI FLYNN Ganwyd: Caerdydd, 1937. Swydd: ber 1999. PATTI FLYNN born: Cardiff, 1937. Main cantores/awdur. Mamiaith: Saesneg. Ieithoedd eraill: occupation: singer/writer. First language: English. Sbaeneg. Byw yng Nghymru: ers erioed. HUMI WEBBE Other languages: Spanish. Lived in Wales: always. Ganwyd: Caerdydd, 1959. Swydd: Rheolwr HUMI WEBBE born: Cardiff, 1959. Main occupa- Datblygu PROMO/cantores. Mamiaith: Saesneg. tion: Development Manager PROMO/singer. First Ieithoedd eraill: dysgu iaith arwyddion. Byw yng language: English. Other languages: Learning Sign Nghymru: ers erioed. Language. Lived in Wales: always.

© David Hurn / MAGNUM Photos / © David Hurn / MAGNUM Photos / Amgueddfa Genedlaethol Cymru National Museum of Wales Rhif 39: C ali einiogau Som ns oi C Mae’r Bathdy Brenhinol, cwmni sy’n li berchen i lywodraeth Prydain, yn cynnig No. 39: Soma ei wasanaethau bathu arian i wledydd eraill er mwyn creu incwm. Somalia oedd

un o’i gwsmeriaid cyntaf. Saith mlynedd N The Royal Mint, a British Government-owned

ar ôl ei hannibyniaeth, roedd Somalia yn o company, offers its coin minting services to other

. barod i fathu arian ar raddfa fawr. Sylwch countries to generate revenue. Somalia was one of

4 its customers. Seven years after its independence, fod Saesneg, Eidaleg ac Arabeg i’w gweld 0

ar y ceiniogau hyn, ond dim Somalieg. : Somalia was ready to mint in significant numbers

Trefedigaethedd yn dal i fwrw’i gysgod, M its first native currency. We ask you to note the

gallech ddadlau. Neu arwydd mwy i inclusion of English, Italian and Arabic but not cadarnhaol o fod yn agored i eraill? n Somali on these coins. Perhaps you could read e r this as the stale aftertaste of colonialism or, more s ’ optimistically, as a sign of openness to others. F o Bocs Bw lowr o Rhif 40: yd G d Jac Te Dau-beint B a ox a nd Two- Parchwch y pethau hyn, a gadewch i’ch meddwl pint Tea Jack grwydro tu hwnt i’r pwll glo, i’r gegin lle câi’r te a’r Regard these objects with respect, and let your mind cinio ei baratoi gyda gofal a chariad. Edrychwch ar yr wander beyond the mine, to the kitchen where tea was eitemau personol hyn, gan chwilio am yr anghyffredin brewed and a lunch was prepared with love. See these yn y cyffredin. Meddyliwch eto am eitemau eraill yn yr personal items and look for the extraordinary within the arddangosfa hon: pa straeon sy’n ymddangos? ordinary. Let your mind return again to other items in this exhibition: what stories unfold? No. 41: Personal Lunch Objects Rhif 41: Pethau Cinio Personol There is a deep connection between how we Mae cysylltiad dwfn rhwng sut ydyn ni’n bwyta, consume, what we consume and who we are. beth ydyn ni’n ei fwyta, a phwy ydyn ni. Mae The sharing of food is a symbol of connection rhannu bwyd yn beth cymunedol, yn arwydd o and community. At the table, we talk of past gysylltiad. Wrth y bwrdd byddwn yn trafod ein experiences and futures yet to unfold. How on profiadau, a’r hyn sydd i ddod. Roedden ni arfer earth did we switch from bottles that were used a ailddefnyddio popeth. Sut ar y ddaear ydyn ni wedi thousand times to bottles only used once? cyrraedd sefyllfa lle caiff potel ei defnyddio unwaith, cyn ei thaflu?

No. 42: The Porcelain Set Rhif 42: Y Set Borslen This porcelain set from Nantgarw must be ob- Mae’r broses o greu porslen fel gwneud soufflé – served through the lens of obsession, foolishness gallwch greu rhywbeth gwirioneddol brydferth, ond and industrialisation. The process becomes most rhaid i’r amodau fod yn berffaith. Obsesiwn a ffolineb like a soufflé, a beauty to behold when the condi- mewn oes ddiwydiannol yw cefndir y set hon o tions were perfect. Only about ten per cent of its Nantgarw. Dim ond tua 10% o gynnyrch y cwmni products were usable, and the porcelain recipe oedd yn dda i unrhyw beth, ac nid yw rysáit y porslen has never been shared publicly. The factory was erioed wedi cael ei rannu’n gyhoeddus. Ffatri fach tiny, employing only twenty people, half of them oedd hi, yn cyflogi rhyw ugain, eu hanner yn blant. children. This presents us with the ambition and A dyna i chi fentergarwch – a ffolineb – criw o foolishness of a group of men. Would this have ddynion. Pe bai menyw wedi cael y fath syniad yn been allowed to occur at the time if the y cyfnod hwnnw, fyddai unrhyw un wedi gwrando inspiration came from a woman’s mind? arni?

PENNOD CHAPTER 3 Daeth y Dyfodol The Future is Now If I had been more honest Pe bawn i wedi bod yn fwy earlier, I’d have told you gonest yn gynharach, that the places we settle are byddwn i wedi dweud wrthych nothing more than cavities nad yw’r lleoedd rydyn ni’n setlo really. Some people spend yn ddim mwy na cheudodau mewn a lifetime trying to capture gwirionedd. Mae rhai pobl yn treu- transparency, but are we lio einioes yn ceisio dal tryloywder, busying ourselves with ond ydyn ni’n chwalu ein hunain ag fickleness instead? Unmask ansadrwydd yn y cyfamser? Pam na why don’t you? If you dare wnewch chi dynnu eich mwgwd? Os to say something, I’ll dare meiddiwch ddweud rhywbeth, to sing something. . feiddia i ganu rhywbeth. . Mae baner euraidd yn gosod A golden flag lays plating the past y gorffennol . Find this song like a siren fleeting Dewch o hyd i’r gân hon and fast fel seiren chwim Clear cut categories cannibalise Categorïau clir yn feeling canibaleiddio teimladau As if where you place us is Fel petai’n golygu unrhyw beth somehow revealing lle gosodwch chi ni See the silver flag of the moment Gwelwch faner arian yr eiliad Starting to wake up we’re seeking Wrth ddechrau dihuno chwiliwn atonement .am gymod Calling out for hyphens and Gan alw allan am gysylltnodau a commas chomas cysur The dreads becoming more Ofn yn dod yn fwy cyffredin common Baner o glai coch yn chwifio a’r teimlad Perhaps Wales never was, and the yn fwdlyd future will never be A fu Cymru erioed? A fydd dyfodol A flag of red clay flutters as the . byth? . feeling is muddy Rhif 43: . No. 43: Model wrth raddfa o Oakdale Workmen’s Sefydliad y Gweithwyr Institute scale model Oakdale

Nid Sefydliad y Gweithwyr Oakdale yw hwn. Nid yw’n This isn’t the Oakdale Workmen’s Institute, it is adeilad, hyd yn oed; ond model amatur o le nodedig. not even a building; it is an amateur’s model of Mae modelau yn ein galluogi i gamu trwy amser a a place of note. Models allow us to step through sylwi ar rannau o’n gorffennol a adawyd ar ôl. Mae’r time and observe parts of our past left behind. Sefydliad wedi’i ail-godi, fricsen wrth fricsen, yn Sain This model achieves something that the Ffagan, ond mae’r model hwn wedi mynd un cam yn reconstruction of the Institute at St Fagans could well – mae wedi adfer y sinema a’r neuadd snwcer. not – the complete reconstruction of the cinema Oherwydd costau, wnaeth yr adnoddau cymunedol and snooker hall. This was an attraction to the hynny ddim goroesi’r mudo i’r Amgueddfa. Rydyn community that due to maintenance and upkeep ni’n hoff o deimlad DIY y model hwn. Peidiwch â’i did not find its way to this museum. We are fychanu – hwn yw’r ail-gread mwyaf cyflawn sydd attracted by the DIY approach. Do not belittle this gennym o Sefydliad Oakdale. model, it is the most complete representation that survives of this building.

Rhif 44: Tŷ Dol No. 44: Dolls House

Dyma bortread gweledol, traddodiadol o’r cartref This is a representation of traditionalist existence; fel delwedd. O fewn y model hwn mae cwpanau it is a visual representation of home as an image. angladdol 4,000 oed. Does dim malais yn ein Inside this model are 4,000-year-old funerary cups. penderfyniad i roi’r pethau hynafol hyn mewn tŷ We mean no harm placing the ancestors in this dol, rydym yn eu gosod mewn cartref gydag urddas; doll’s house, it is with respect that we place these dychmygwch mai tŷ crwn ydyw. burial goods in a home; imagine it a round house. Rhif 45: No. 45: Funerary Cups Cwpanau Angladdol Pottery often accompanied the dead during the Early Bronze Age, Roedd crochenwaith yn gwmni cyffredin i’r but in the case of these funerary cups the connection maybe even meirwon yn ystod yr Oes Efydd Gynnar, ond yn achos y closer. They carry in their decorative grooves crushed burned cwpanau angladdol hyn, mae’r cysylltiad yn agosach byth. Yn bones, possibly human. Clay is transformed just as the body is rhigolau addurniadol y cwpanau mae esgyrn – dynol o bosibl transformed and pots can be used as a metaphor for the human – wedi’u llosgi a’u malu’n fân. Caiff clai ei drawsnewid – fel y body. As the individual body is deconstructed and fragmented by corff – a gallwn edrych ar botiau fel trosiad am y corff dynol. death and cremation, the ceramic ‘body’ is born from and linked to Caiff cyrff eu dadelfennu a’u dryllio wrth eu hamlosgi – ond that very process. Some symbolism may be deciphered, such as the dyna sut y caiff y ‘corff’ cerameg ei eni. Mae symbolaeth i’r red ochre that is often associated with blood, death and (re-) birth. cwpanau, fel yr ocr coch gaiff ei gysylltu’n aml â gwaed, While others, such as the sun-like motifs that adorn the bases, and marwolaeth ac (ail)eni. Mae’n bosibl mai addoli oedd diben yr pairs of perforations, might have been used as a representation of haul ar waelod y cwpanau, a’r parau o dyllau, ond nid ydym worship, but we cannot be sure. yn siŵr.

Rhif 46: No. 46: Living Library

Llyfrgell Fyw An exhibition that can be visited as if you are entering an Mae’r arddangosfa hon – sy’n gloddiad archaeolegol, yn excavation, a theatre or a crime-scene certainly demands some theatr ac yn safle trosedd ymysg pethau eraill – angen mwy o written explanation beyond this booklet in which you are able esboniad na all y llyfryn hwn ei gynnig. Mae angen lle i bobl to learn about sites, events, people and places of Wales. ddysgu mwy am lefydd, digwyddiadau a phobl Cymru. Felly We created a small library inspired by the library at dyma ni’n creu llyfrgell fach, wedi’i hysbrydoli gan lyfrgell OakdaleWorkmen’s Institute here at St Fagans. We wish we Sefydliad y Gweithwyr Oakdale yma yn Sain Ffagan.Hoffem could invite you to pick a book and sit at a table and read, but wahodd pawb i godi llyfr ac eistedd i lawr i’w ddarllen, ond y current times ask for different approaches. Therefore, we dyddiau yma nid yw hynny’n bosibl. Felly mae hon yn llyfrgell created a library that can only be seen not touched and we urge i’w hastudio, ond ddim ei chyffwrdd! Ewch ar-lein i glywed you to go online and hear our voices and thoughts in podcasts ein lleisiau a’n barn mewn podlediadau. that we made for you. http://amgueddfa.cymru/Yfory-Trwy-Lygaid-Ddoe-2021 http://museum.wales/The-Future-has-a-Past-2021 Rhif 47: No. 47: Stori Sain, Adeiladu Arteffactau Audio Story, Assembling Artefacts Stori mewn tair rhan yn cyd-fynd â A story in three parts corresponding to thair pennod gyntaf Yfory Trwy the first three chapters of Lygaid Ddoe: The Future Has a Past :

Pennod 1: Stori’r Syffragét Chapter 1: Suffragette Story Stori syffragét (yn fras) – golwg wahanol ar y A loose telling of a suffragette story, a different view on mudiad ac ar natur protest. Mae’n canolbwyntio ar the movement and the nature of protest. It focuses on yr unigolyn yn hytrach na’r mudiad. the individual instead of the movement.

Pennod 2: Adref Chapter 2: Home Darn am Adref, a beth mae’n ei olygu i mi. Gall adref This piece is about Home and what it means to me. Home fod yn lle, yn deimlad, yn atgof, yn grŵp o bobl. Ond can be a lot of things, a place, a feeling, a collection of nid yw’n aros yn ei unfan. Mae llefydd yn newid ac yn memories and a group of people. One thing home is not datblygu dros amser, mae teimladau’n esblygu ac mae is static. Places change and develop over time, feelings atgofion yn pylu. Ond o fewn ein hunain, mae adref change and memories fade – visions of home can become yn aros yn gyfarwydd i ni. Dyma’r adref sydd yn fy distorted but the piece of home that remains familiar nghalon i. always is the piece we keep within ourselves. This is the piece of home I keep with me.

Pennod 3: Pinio Glöyn Byw Chapter 3: To Pin a Butterfly Stori sy’n cwestiynu natur dogfennaeth hanesyddol, A story that questions the nature of historical docu- a phwy ydyn ni fel casglwyr a meddylwyr. Mae’n mentation, and who we are as collectors and thinkers. cyfeirio at natur cadwraeth, a’n anallu i adrodd yr It comments on the respective nature of conservation, holl wirionedd am unrhyw wrthrych. and our inability to allow the whole truth of an object. Rhif 48: No. 48: Stori Sain, Mapiau Mudo Audio Story, Mapping Migrations Tair stori yn perthyn i dair pennod Three stories belonging to the first gyntaf Yfory Trwy Lygaid Ddoe: three chapters of The Future Has a Past:

Pennod 1: Recordiad o Lythyr 27 Tudalen Chapter 1: 27-Page Letter Recording Perfformiad o’r llythyr (rhif 7), yn canolbwyntio ar A performance of the hand-written letter (no. 7), fytholeg ac athroniaeth gorymdaith Women for Life on focusing on the mythology and philosophy of the Earth. Daw’r llythyr yn stori ac yn ysgrif athronyddol. Women for Life on Earth march. The letter becomes an area of storytelling and philosophical writing.

Pennod 2: Cyfweliad Maggie Chapter 2: Maggie’s Interview Stori am fewnfudo, wedi’i chyflwyno mewn ffordd We are told a story of immigration and experience, agored a chyfeillgar sy’n ein galluogi ni i gyfarfod presented to us in an open way. A familiar, casual and Maggie y person. open telling of Maggie’s story, allowing us to meet the person.

Pennod 3: Allwch Chi Greu Map Heb Linellau, a Pham Chapter 3: How Can Someone Draw a Map Without Fyddai Rhywun Eisiau Gwneud Hynny? gan Umulkhayr Lines, and Why They Should Want To? By Umulkhayr

Cyfraniad Umulkhayr at ginio a gynhaliwyd yn orielau Umulkhayr’s contribution to a dinner held in the art celf Amgueddfa Genedlaethol Caerdydd, wedi’i ddarllen galleries at National Museum Cardiff, read out baragraff ar y tro gan holl fynychwyr y cinio, wrth i ni paragraph by paragraph by all attendees of the eistedd wedi’n hamgylchynu gan gelf Brydeinig o’r 18fed dinner, as we sat surrounded by British art from the ganrif. Yn ôl Umulkhayr, mae’r testun yn ‘ailddychmygiad 18th century. According to Umulkhayr the text is ‘an sy’n dechrau drwy ein hatgoffa o’n ffiniau presennol’. exercise in reimagining that begins with reminding us of the current parameters we exist within’. Rhif 49: Arwr No. 49: Protagonist Helo, fi yw arwr y stori, maen nhw wedi gofyn i mi Hello, I am the Protagonist, someone who has been siarad ar eich rhan. Pyped ydw i, ond meddyliwch asked to speak on your behalf. I’m a puppet but see amdana i fel person, er bod fy lledr yn grychau i gyd. me as human, though my leather’s wrinkled and Rwy’n gweld fy mhwythau fel y gwelaf eich creithiau strangely stained, I see my stitching as I see your chi. Rwy’n gweld fy hun fel rhywun sy’n gwybod na scars. I see myself as someone who knows there is allwn greu ein hunain o’r newydd – rhaid i ni gyd no way to build ourselves anew, so we must all step gamu i’r dyfodol gan edrych ar Yfory Trwy Lygaid forward knowing The Future Has a Past. Ddoe.

Rhif 50: Cloc Mawr No. 50: Upright Clock Wrth chwilio am gloc allai daro a thynnu ein sylw, While looking for a clock that could strike and call us daethom ar draws y cloc mawr hyfryd hwn. Cafodd to attention we came across this wonderful longcase ei wneud yn hanner cyntaf y 19eg ganrif gan David clock. Made in the first half of the 19th century by Jones o Landysul, ac mae ganddo nodwedd arbennig David Jones from Llandysul, it contains a gadget that oedd yn boblogaidd ar y pryd, sef llew gyda llygaid yn was quite popular at the time: a lion with moving symud. Gallai gwneuthurwyr clociau archebu deialau eyes. Clockmakers could order dials complete with wedi’u haddurno, yn ddigon tebyg i’r ffordd y standard painted decorations and gadgets, in the byddwn ni’n addurno ein ffonau heddiw gyda chasys same way that we now personalise our phones, with a sgriniau, ac yn eu defnyddio i ddweud yr amser. different sleeves and screens, and use them to tell time. Mae’r Llew yn siarad:

Chi’n gweld, wrth i ni gael ein datgelu i chi, dylech. chi hefyd ddod o hyd i natur. Er bod nhw’n cael eu hanwybyddu, mae nhw yn syml ac yn wir. Cefais fy nal gan gapten a ddaeth â mi dramor, gwnaeth ei The Lion speaks: fam fy ngorchfygu ar ôl iddo huno, felly, fe gymeraf mai hyn yw fy ngorchwyl; eich dysgu chi i addasu yn lle crwydro balchder fy ngorffennol. You see I was caught by a captain and brought overseas, his mother on his passing passed on me, Mae’n bryd ichi ddysgu na fyddwch chi byth yn so I’ll take it as my task to teach you to adapt dod o hyd i’r wynebau yn y blodau, os mai dim ond instead of resting in the lands of my past. wynebau sy’n debyg i’ch un chi y byddwch chi’n ceisio’u gweld. Mae’n bryd ichi ddysgu cario’ch It’s time you learn that you’ll never find the faces cartrefi, nid yn unig am fod hynny’n ymarferol, ond in the flowers, if you only seek faces that resemble i ymarfer sut i gario’r hyn sydd ei angen arnoch yn your own. agos at eich calon er mwyn aros ar flaen y dyfodol yr ydym ynddo. It’s time you learned to carry your homes, not only for practicality’s sake, but to practice how to Rydych chi’n gweld, dyfnder y pyllau glo yn ein carry what you need close to your chests to stay llygaid duon. Mae tristwch distaw yn ymddangos yn abreast of the future we’ll find ourselves in. gadarn er bod y stripio yn rhyfedd. Hyd yn hyn dim ond cnawd a ffafriwyd oedd yn blodeuo a ffrwytho. You see the depth of the mines our black eyes Ond efallai y gallwn ailddirwyn. Gofalu am bopeth bear, but perhaps we can rewind, care for all of a ddefnyddiom yn y gorffennol, yn farw neu’n fyw. what we had made use of in the past, dead or .alive. Rhif 51: Y Llew No. 51: The Lion Mae wedi’i gofnodi yn 6ed Argraffiad Records of He is recorded in the 6th Edition of Rowland Ward’s Big Game gan Rowland Ward, ond heb ei enw. Dros Records of Big Game by species, but never by his ganrif yn ddiweddarach, dydyn ni’n dal ddim callach name. Over one hundred years on and we cannot tell beth oedd ei fam yn ei alw. Pan gafodd ei ladd, roedd you what his mother called him. At the time of his yn ddarn o eiddo, wedi’i hawlio gan gapten, a’i basio killing he was a possession, a thing to be claimed by ymlaen i fam y capten, y Fonesig Gertrude Penrhyn. a captain, then passed on and owned by the captain’s Mae wedi arfer crwydro, a bu ganddo sawl cartref, mother, Lady Gertrude Penrhyn. As someone used er mai dim ond y rhai yng Nghymru fyddwch chi’n to roaming, he has had many homes, though the only eu nabod: Castell Penrhyn a’r Ganolfan Gasgliadau ones you will know are in Wales: Penrhyn Castle and Genedlaethol yn Nantgarw. Mae’n Gymro, ond mae the National Collections Centre in Nantgarw. He is as hefyd yn dramorwr. Hisht, nawr, gwrandewch beth foreign as he is Welsh. Quiet now, listen to what he sydd ganddo i’w ddweud. has to say. Rhif 52: Glo No. 52: Coal

Cafodd y darn hwn o lo carreg* ei roi gan waith glo This piece of anthracite* was donated by the open- brig ger Onllwyn. Mae Celtic Energy, sy’n berchen ar y cast mine near Onllwyn. Celtic Energy, the company gwaith, eisiau ail-agor y safle. Pa werth fyddai hyn i’r that owns the mine, is seeking to re-open the site. gymuned leol? Beth fyddai’n cael ei golli? Fyddai hyn What value would this bring to the local community? werth y gost? What would be lost? Is it worth the cost?

*Mae glo carreg yn un o’r mathau mwyaf gwerthfawr *Anthracite is a kind of hard coal that is the o lo. Mae’n disgleirio fel metel, ac yn llosgi’n boethach highest-ranking of coals. Its surface has a metallic na’r un glo arall. Mae ‘gwerth’ yn yr achos hwn yn lustre, and it burns the hottest. This hierarchy ranks cyfeirio at ba mor ddefnyddiol ydyw i ni, a dim byd coal only in relation to how useful it is to us. arall. Rhif 53: Het Ffwr Llwynog No. 53: Fox Fur Hat Ar gyfer yr eitem hon rhaid i ni gamu i feddwl For this we must enter a mind that sees animals as rhywun sy’n gweld anifeiliaid fel ategolyn i a tool of personality, reducing a fox to a hat. It was bersonoliaeth; yn gweld llwynog fel het. Cafodd yr worn by Dr William Price, who was a progressive het hon ei gwisgo gan Dr William Price, oedd yn person during his lifetime, but as we have progressed ddyn blaengar yn ystod ei oes. Ond mae’r byd wedi forward, we can’t help but question his actions. Look newid, ac allwn ni ddim peidio â chwestiynu ei again – do you see an ugly desire for control, the weithredoedd. Edrychwch eto – welwch chi’r awydd deep hunger of the ego? Should wearing an animal as am bŵer, chwant yr ego? Ddylai gwisgo anifail fel a fashion accessory be seen as a crime against social dilledyn gael ei weld fel trosedd yn erbyn norm norms and an affront to our empathy with our cymdeithas, ac fel sarhad i’n perthynas â’n companion species? cydrywogaethau?

Rhif 54: Diorama Gwylogod No. 54: Guillemots Diorama Here stand several guillemots in a makeshift habitat Dyma saith gwylog, mewn cynefin dros-dro sydd bellach that has become their permanent home. The aged yn gartref parhaol. Mae’r hen ffasâd yn plicio i ffwrdd gan facade flakes away to reveal job vacancies that have ddatgelu hen swyddi sydd wedi’u hen lenwi a’u llenwi long since been filled and filled again. We wonder: eto. Tybed pryd mae cymudo yn troi’n fudo? Rydyn ni’n when does commuting turn into migration? We ask gofyn gan ein bod yn chwilio am gysylltiadau sydd heb eu because we seek connections that haven’t been cydnabod eto, hyd yn oed os ydynt mor anwadal ag wyau reorganized yet, even if they are as tenuous as eggs mewn nyth ar ymyl dibyn. Weithiau mae’r risg yn werth laid in nests that balance on cliff edges. Sometimes y syndod fel ddigwyddodd gyda’r clogwyn papur hwn. the risk is worth the wonder it reveals as happened Rhaid i ni blicio’r haenau yn amlach er mwyn gweld mor with this paper cliff. We need to peel back the layers aflwyddiannus yw ein hail-greadau. Caiff cymaint ei to display our failing mimicry more often. It reveals ddatgelu... so many things… Rhif 55: Rowland Ward’s No. 55: Rowland Ward’s Record of Big Game Record of Big Game We wonder what they would say, the BIG GAME, the Beth fydden nhw’n ei ddweud, y ‘big game’, yr large animals hunted for sport. Their lives and brutal anifeiliaid mawr gaiff eu hela er difyrrwch? Doedd endings were a plaything for those who travelled to y creaduriaid hyn yn ddim mwy na theganau i’r colonised lands and saw themselves as brave and bold. dynion ‘dewr’ a deithiai i diroedd yr ymerodraeth. Cruelly captured in more than one way, here is a book Dyma lyfr creulon gan dacsidermydd, cofnod o’n written by a taxidermist, a record of our companions cyfeillion a gafodd eu blingo, eu mowntio a’u gosod skinned and mounted and preserved in a performative ar waliau ac mewn casys. Ysglyfaethwyr a drodd yn state. Predators who were turned into prey for the ysglyfaeth er mwyn i ddynion gael dangos eu pŵer. purpose of performative masculinity and as an Mae Rowland Ward’s Record of Big Game yn dal expression of power. New editions of Rowland Ward’s i gael ei argraffu, gyda lluniau newydd ym mhob Record of Big Game are still being produced, argraffiad. Mae’r cyfrolau diweddar yn siarad iaith welcoming new photo entries. They speak a new wahanol, gan sôn am hela ‘teg’ a ‘chynaliadwy’. language, using words like ‘sustainable fair-chase Ein cwestiwn ni yw: i beth? hunting’. We ask: for what purpose? Rhif 56: Peithynen No. 56: Iolo Iolo Morganwg Morganwg’s Peithynen Roedd Iolo Morganwg yn deall pŵer geiriau i’r dim. In the closing years of the 18th century, Iolo Roedd yn ddyn eithriadol o dalentog, yn rebel ac yn Morganwg, a talent of preposterous magnitude, chwyldroadwr, a bu’n protestio yn erbyn learned the power of his words and the benefit of caethwasiaeth. Iddo ef, roedd creu yn gyfystyr â his actions. A maverick revolutionary, he protested rhyddid. Creodd Iolo ei fyd ei hun, yn gymysgedd o against slavery. He preferred the only true freedom: hen syniadau a’i ddychymyg byw. Mae Coelbren y creation. Iolo manufactured his own world from old Beirdd, sydd i’w weld ar y beithynen hon, yn un o’i ideas and his imagination. The Coelbren y Beirdd is ddyfeisiadau; mae’n adrodd stori, ond dim ond i’r one of his inventions; it tells a story but only to those sawl all ei darllen, stori all gael ei newid gydag un who can read it, a tale that can be changed through llinell... one line… Rhif 57: Dawns y Cimychiaid No. 57: Lobster Quadrille

Cafodd yr olygfa hon ei chreu gyda chregyn ac This scene was created using fish bones and shells; esgyrn pysgod; i ni, mae rhywbeth braidd yn its artistry strikes us as frivolous. The Quadrille ddisylwedd am y gwaith. Mae’r cwadrîl yn gadael leaves many unanswered questions. It brings to sawl cwestiwn heb ei ateb. Mae’n dwyn i gof hefyd mind the beautiful story of Alice in Wonderland stori ryfeddol Anturiaethau Alys yng Ngwlad Hud (Chapter Ten, The Lobster Quadrille, Lewis Carroll, (pennod 10, Dawns y Cimychiaid, cyfieithiad 1865): M. Selyf Robers, 1982):

‘Efallai nad ydych chi ddim wedi byw rhyw lawer You may not have lived much under the sea – (‘I dan y môr–’ (‘Naddo,” meddai Alys.) ‘–ac efallai haven’t,’ said Alice) – and perhaps you were never na chawsoch chi ‘rioed eich cyflwyno i gimwch–’ even introduced to a lobster – (Alice began to say (Dechreuodd Alys ddweud ‘Fe brofais i unwaith–’ ‘I once tasted –’ but checked herself hastily, and ond ataliodd yn frysiog a dywedodd, ‘Naddo, said ‘No, never’) – so you can have no idea what a ‘rioed.’) ‘–felly does ganddoch chi ddim syniad peth delightful thing a Lobster Quadrille is! ‘No, indeed,’ mor hyfryd ydi Dawns Gimychiaid!’ ‘Nac oes yn said Alice. ‘What sort of a dance is it?’ wir,’ ebe Alys. ‘Sut ddawns ydi hi?’ Rhif 58: Tas Ŷd No. 58: Mow

Wrth gynaeafu ŷd, roedd ein hynafiaid yn gwybod yn When harvesting corn, the old ones knew that they were iawn eu bod yn lladd ysbryd y cae. Roedd rhaid i’r slowly killing the spirit of the field. The spirit had to ysbryd gilio i’r ŷd oedd yn weddill, ac felly câi’r das retreat into the remaining corn and the very last corn olaf ei chlymu i ddathlu’r cynhaeaf. Cafodd y model was bound into a rick to celebrate the harvest. This hwn ei wneud o das ŷd gan Henry Jones, Lunnon, model of a corn rick, known locally as a mow, was made Penrhyn Gŵyr o gwmpas 1887. Cafodd ei wneud i fod of wheat straw by Henry Jones, Lunnon, Gower, around yn ganolbwynt gwasanaeth diolchgarwch yn eglwys 1887. It was made specifically to be the centrepiece of the Llanilltud Gŵyr. Am dros ganrif roedd yn cael ei annual harvest thanksgiving service at St Illtyd’s Church, gario i Lanilltud Gŵyr ac yn ôl bob hydref gan aelod Ilston. For over one hundred years it was carried to o’r teulu. Erbyn 1995, fodd bynnag, roedd y das wedi Ilston and back each autumn by a member of the mynd yn rhy fregus, a chafodd ei rhoi mewn family. By about 1995, however, it was felt that the rick cwpwrdd arbennig. Y tro nesa fyddwch chi’n bwyta had become too fragile, and a cabinet was made to house brechdan, ceisiwch ddychmygu mor bwysig oedd y it. Try to imagine how special harvests were to those who cynhaeaf i weithwyr y tir. toiled the land and think about this when you have your next slice of bread. Rhif 59: Amgueddfa mewn Bocs No. 59: Museum in a Box Mae llawer o’r bocsys yn yr arddangosiad hwn wedi Many of the boxes you see in this display once teithio ar draws Cymru yn ymweld â gwahanol travelled across Wales to visit different schools ysgolion a phrojectau. Maen nhw’n cynnwys eitemau and projects. They contain items that tell a story sy’n adrodd stori am anifeiliaid ein byd. Mae’r eitemau about the animals we find in our world. Part of the hyn yn rhan o’r amgueddfa, ond ddim yn cael eu museum, without being a part of its acquisitioned hystyried yn ddigon pwysig i fod yn rhan o’r casgliadau collections, these items are not considered to be swyddogol. Mae amgueddfa yn ystyried ei gwerthoedd irreplaceable specimens. A museum constantly trwy’r adeg, ac mae arddangosfa yn cynrychioli’r negotiates its values, and building an exhibition is gwerthoedd hynny. Beth sydd fwyaf gwerthfawr i chi a representation of value. What do you value the yn ein harddangosfa? most in our exhibition? Rhif 60: Tŷ Crwn Sut ydych chi’n gweld y dyfodol? Anifeiliaid ydyn ni, wedi’n cymryd o’r gwyllt. Pam ein bod ni wedi pellhau’n hunain o’r gwyllt? Pam ein bod ni’n ymwrthod â natur? Mae’r dyfodol yn lle llawn breuddwydion a rhyfeddodau, ond mae’r dyfodol bron â chyrraedd. Rhaid i ni ddysgu pwy ydyn ni, cyn iddo’n taro ni. Rhaid i ni ddod i nabod ein cydrywogaethau, dod i ddeall y llong ofod o ddaear sy’n gartref i ni, datblygu syniadau, uno cysyniadau a dathlu arloesedd. O feddwl fel hyn, gallwn ddechrau credu yn ein hunain fel rhan o’r dyfodol ac fel rhan o natur. No. 60: The Roundhouse How do you perceive the future? We are animals taken from the wild. Why did we distance ourselves from the wild? Why do we set ourselves apart from nature? The future may be a place of dreams and wonderment but as it is fast approaching, we must learn who we are, lest we collide. We must get to know our companion species, understand this earthy spacecraft we are on, develop ideas, merge concepts and celebrate innovation. Within this realm of thinking, we can begin to believe ourselves as part of the future and of nature.