National Theatre Wales Egin

Egin

16 Artistiaid | Artists

18 Alison Neighbour

20 Angela Davies

22 David mangenner Gough

26 Dylan Huw

28 Emily Laurens

30 Joanna Wright

34 Jon Berry

36 Owain Gwilym

40 Rebecca Smith Williams

42 Ruth Stringer

46 Shehzad Chowdhury

48 Vikram Iyengar

50 Xenson

Cyflwyniad Trwy gydol y breswylfa, buodd yr artistiaid – naw ohonom yn Gymry a’r pedwar arall o Uganda, Bangladesh, Tasmania ac Preswylfa i artistiaid oedd Egin a gynhaliwyd India – yn byw a bod ym mhenodolrwyddau’n hamgylchedd. yng Nghapel Curig, Sir Conwy, ym mis Gorffennaf Gwrandawom ar safbwyntiau trigolion Capel Curig a 2019, wedi ei arwain gan National Theatre Wales chymunedau cyfagos sy’n ymwneud â thirweddau cyfnewidiol yn mewn partneriaeth â Chyfoeth Naturiol Cymru, eu bywydau bob–dydd, yn ffermwyr, yn artistiaid ac yn weithwyr â chefnogaeth gan yr Ymddiriedolaeth mynydd, a hefyd ar bryfociadau siaradwyr gwadd, a gynigiodd Genedlaethol, British Council Cymru a Pharc ffyrdd newydd, angenrheidiol o feddwl am y pwnc mewn cyfres Cenedlaethol Eryri. Treuliodd grŵp amrywiol o ddigwyddiadau cyhoeddus dan y teitlau Tir, Arian, Gwrthryfel o 13 artist bythefnos yn ymdrochi yn nhirweddau a Gobaith. Yn fwy na dim, gwrandawom ar syniadau’n cyd– bregus a gwefreiddiol gogledd Eryri ac yn artistiaid – am foddau gwahanol o brotestio ac ymateb, am y cyfnewid syniadau creadigol i ymateb rôl dyngedfennol gall dychymyg ei chwarae wrth herio systemau i newid hinsawdd a dinistr ecolegol. hirsefydlog, ac am yr hyn mae’n ei olygu i berthyn i dir ac, yn fwy penodol, y teimlad hwnnw o hiraethu am dir, rhywbeth tebyg _ i’r gair Bengali desh. Dros y bythefnos, archwiliodd artistiaid Egin gyfyngiadau defnyddio celfyddyd i ymateb i fater mor unigryw enfawr â thrychineb hinsawdd – ond hefyd y posibiliadau diddiwedd. Sylweddolom, os nad oedden ni wedi gwneud cyn hyn, nad oes yr un mater rhywsut tu hwnt i newid hinsawdd. Roedd ymwneud ag amgylchedd cyfnewidiol yn Eryri yn 2019 yn

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Introduction During the residency, the artists – nine of us Welsh or Wales‑based and four from Uganda, Bangladesh, Tasmania Egin was a curated artists’ residency which took and India – were intimately engaged in our surroundings. place in Capel Curig, Conwy, in July 2019, led We listened to the perspectives of residents of Capel Curig by National Theatre Wales in partnership with and neighbouring communities who interact with changing Natural Resources Wales and with support from landscapes in their everyday lives, whether as shepherds, the National Trust, British Council Wales and artist–activists or mountain wardens, and to the provocations Snowdonia National Park Authority. A diverse of invited guests, who interrogated themes of Land, Money, group of thirteen artists spent two weeks Rebellion and Hope in a series of public Climate Conversations. immersed in northern Snowdonia’s immense These events were a way of challenging traditional landscapes, exchanging ideas and creating conceptions of the topic, while engaging local residents work in response to climate change and in provocative and global–facing ideas at the cutting edge ecological collapse. of climate discourse. More than anything, we listened to each other’s ideas – _ about different methods of protest and response, about the role of the imagination in enacting systemic change, and about what it means to experience belonging to, and loss of, land, a sensation often evoked in the Welsh word hiraeth, which is similarly expressed, we learned, in the Bengali word desh. Over the course of the fortnight, the Egin artists explored the limits of using art to respond to an urgency as uniquely enormous as climate catastrophe – but also the rich 5 Egin

golygu ymwneud â gwleidyddiaeth cymhleth perchnogaeth Roedd Dylan Huw yn artist ar Egin sy’n ‘sgwennu gwaith tir yn yr ardal; â dadleuon bregus ynghylch pwy sydd â’r hawl beirniadol, ffuglennol a thraethodau. Ar ôl y breswylfa, fe i adrodd straeon pobl eraill; ac i’r natur mae rhyw a rhywedd, ymunodd â thîm National Theatre Wales fel Cynorthwyydd hil a dosbarth yn ymwneud yn annatod â therfysg hinsawdd, a Datblygu Creadigol. sut mae hyn yn galw am solidariaeth y mae angen iddo fod yn lleol ac yn rhyngwladol o hyd. Roedd rhai ohonom yn wynebu rhai cwestiynau hanesyddol ac athronyddol enfawr am y tro cyntaf, rhai na fyddem, cyn Egin, wedi’u gweld fel cwestiynau’n ymwneud â “newid hinsawdd” fel mae wedi cael ei fframio’n draddodiadol. Daeth pob un ohonom o’r breswylfa wedi dyfnhau’n dealltwriaeth o faint sydd angen i’n hymddygiad newid, a sut mae creu celfyddyd yn fodd gwerthfawr o ddatblygu deialog a ffyrdd newydd o feddwl. Does dim dwywaith bod y dylunwyr, perfformwyr, artistiaid sain, ‘sgwennwyr, dawnswyr, beirdd, gwneuthurwyr ffilm, dramodwyr, actifyddion ac actorion a brofodd Egin, ynghŷd â’r cymunedau lleol a chwaraeodd ran mor amhrisiadwy yn y breswylfa, wedi eu herio, eu cyfoethogi a’u hegnïo i ymddwyn yn gasgliadol yn sgil hynny.

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potentialities. It quickly became clear, if it wasn’t already, Dylan Huw was an artist on Egin whose writing practice how there is no issue which can be discussed as somehow spans criticism, fiction and essays. Shortly after the residency, being beyond climate change. To respond to a changing he joined the National Theatre Wales team as Creative climate in Snowdonia in 2019 was to respond to the complex Development Assistant. and contentious politics of land and property ownership in the area; to debates around who is allowed the voice and platform to tell whose stories; and to the gendered, racialised and localised nature of climate disaster, how it calls for a solidarity which must always be both local and global. Some of us were confronting certain big historical and philosophical ideas for the first time, which might not previously have seemed related to “climate change” as it has usually been framed. We all came away from the residency with a deepened understanding of how profoundly set in our ways we are, and how art–making provides a necessary platform for conversation and the development of new ways of thinking. There’s no doubt the designers, performers, sound artists, writers, visual artists, dancers, poets, filmmakers, playwrights, activists and actors who experienced Egin, along with the local community who played such an integral role in it, found themselves challenged, enriched and energised to act collectively as a result. Myfyrdod | Reflection 6

Simon Coates | National Theatre Wales Roeddwn am roi ystyriaeth bellach i hyn. Pam oedd hyn – a sut allwn ni ei wneud yn well? Fel artistiaid, beth wnawn ni nawr? Mae'n anodd meddwl am unrhyw fater mwy Nid ateb i'r cwestiynau hyn oedd Egin, ond yn hytrach ymateb taer, mwy brys, mwy hollbresennol, na hyfywedd greddfol. Cais, mewn gwirionedd, i weithio gydag artistiaid a y blaned hon ar gyfer cenedlaethau o bob chymunedau eraill i roi bob dim sy'n anodd, yn gymhleth, yn rhywogaeth yn y dyfodol. Yn wir, difodiant a anghyson, yn gyfoglyd – ac yn ysgogol? – ynghylch trafodaethau am hil‑laddiad y gorffennol yw'r feirniadaeth fwyaf newid yn yr hinsawdd ar y bwrdd. I edrych arno, i'w gwestiynu, i fod llym posibl ar y ddynoliaeth. Ac wrth geisio beth? yn ddig amdano; i dynnu sylw craff at yr hyn a allai fod yn aneglur, i Rwyf wedi bod yn chwilio am ffyrdd o ymateb bwyntio bysedd (i bob cyfeiriad). Bod yn ddig. Ac yna yn methu wrth i'r cwestiynau hyn – yr hyn y cyfeirir ato'n aml fel wneud hyn ar unwaith, gan gydnabod ei fod yn dreiddiol, ym mhob "newid yn yr hinsawdd" – drwy fy ngwaith. Yn peth a phob man a edrychwn. Mae'n systemig, ac wedi'i wreiddio rhannol oherwydd, yn bersonol, nid wyf wedi dod mor ddwfn ynom bod hyd yn oed meddwl y gallem wneud hyn, o hyd i lawer o waith celf sy'n llywio'r dirwedd yn y pen draw, yn rhan o'r broblem: y gallwn reoli unrhyw beth yr yn briodol. Maent naill ai'n rhy didactig, yn rhy ydym yn ei ddymuno. Gwaith i'w wneud. haniaethol, neu'n rhy ddibynnol ar garisma'r Y cyfan y gallem obeithio amdano oedd gofyn cwestiynau, ysglyfaethwyr apigau mewn argyfwng – gweler a bod yn gartrefol gyda pheidio â chael yr atebion. yr arth ar y cap iâ sy'n crebachu. Hyd yn oed Mae'n brifo. Mae'n brifo pob un ohonom. perfformiadau am ailgylchu. Plastig. Wrth wraidd y gwaith oedd y cyfnod preswyl i artistiaid a adeiladwyd ar sawl blwyddyn o ymarfer yn NTW. Roedd Egin yn _ gyfnod preswyl i greu gofod ar gyfer archwilio, arbrofi a chydweithio, gyda'r disgwyliad y byddai syniadau newydd yn dod i'r amlwg

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Simon Coates | National Theatre Wales I wanted to give this further thought. Why was this – and how can we do it better? As artists, what do we do now? It is hard to think of any issue more pressing, Egin wasn’t the answer to these questions, but an more urgent, more ubiquitous, than the instinctive response. A request, in fact, to work with other viability of this planet for future generations of artists and communities to put all of what is difficult, all species. Indeed, the extinctions and genocides complex, contradictory, nauseating – and mobilising? – about of the past are the darkest stains on humanity. climate‑related discourse out on the table. To look at it, to And in pursuit of what? question it, to be angry about it; to bring what might be I’ve been looking for ways to respond to these unclear into sharp focus, to point fingers (in all directions). questions – what is often referred to as "climate Rage. And then immediately fail at doing this, and to recognise change" – through my work. In part because, that it is pervasive, in everything and everywhere we look. personally, I’ve not found many art works that Systemic and so deeply engrained in us that even thinking that adequately navigate the terrain. They are either we could do this, ultimately, is part of the problem: that we can too didactic, too abstract, or too reliant on control anything we desire. Work to do. the charisma of apex predators in crisis – see All we could hope for was to ask questions, and be at ease adrift polar bear on shrinking icecap. Even with not having the answers. performances about recycling. Plastic. Ouch, it hurts. It hurts all of us. At the core of the work was the artist residency built _ on several years of practice at NTW. Egin was a residency to create space for exploration, experimentation and collaboration, with the expectation that new ideas emerge (they always emerge). So far, so familiar. 7 Egin

(maen nhw bob amser yn dod i'r amlwg). Hyd yn hyn, popeth dychymyg, yr ysbryd creadigol a grym dweud stori er mwyn cyrraedd yn dda. clustiau caeedig. Wrth gwrs, fel artistiaid a gwneuthurwyr theatr, yr Ond y tro hwn, roeddem am fynd ymhellach. Roeddem am oeddem eisoes yn deall hynny, ond yr oedd yn gysur, mewn cyfnod dynnu ar ein lleoliad fel ffynhonnell ar gyfer ein gwaith a'n sgyrsiau. o argyfwng, bod ein sgiliau, sy'n ymddangos yn feddal yn wyneb yr I ddefnyddio tirweddau Eryri wrth lunio ein meddyliau a'n prosesau. hyn y mae'n rhaid inni ei oresgyn, yn gallu miniogi yn sydyn, a chael Yn wir, wrth ddewis yr artistiaid, ystyriasom eu safbwyntiau – o'r effaith wirioneddol ar bobl. lleol i'r rhyngwladol, ffurf ar gelfyddyd (moddau mynegiant), eu Roedd Egin yn gymuned. Adeiladon ni gymuned newydd a gwaith blaenorol a'u disgwyliadau/gobeithion ar gyfer yr hyn y ddaeth ynghyd, i frifo ac i wella. Strwythur cymdeithasol – agored, gallai Egin ei gyflawni/yr hyn y gallent ei roi i Egin. hydraidd, atblygol, dros dro. Gwaith celf, cyfryngiad, ysgogiad i Gwelsom Eryri yn agor. Daeth cymhlethdodau'r lle hwn, a bawb a'i profodd. Cais: i ailfeddwl am yr hyn rydyn ni'n meddwl ein adeiladwyd yn benodol, ag arno greithiau ond eto'n hynafol yn glir, bod yn ei wybod am yr argyfwng hinsawdd a sut y cyrhaeddon a daeth y we o gysylltiadau a ddaeth â gwirioneddau gofodol am ni yma. ecsbloetio dynol ac adnoddau naturiol eraill ar sail ryngwladol yn fyw. Mae canlyniad cyfalafiaeth, rhyddfrydiaeth, echweithredaeth Simon Coates yw Pennaeth Datblygu Creadigol National Theatre yn dal yn fyw, ac yn drasig, yn fwy presennol i rai nag eraill. Wales ac roedd yn Gyfarwyddwr Creadigol ar Egin. Ymdrechodd Egin yn galed i roi sylw i feysydd a esgeulusir yn systematig, drwy dreulio amser yn meddwl ar y cyd (ymhlith artistiaid, cymunedau, ymgyrchwyr a meddylwyr), gan ymgodymu â'r dyfodol mwyaf ansicr gyda'n gilydd. Un o'r pethau pwysicaf a sylweddolwyd yn ystod y cyfnod preswyl hwn oedd angenrheidrwydd deall ac ymgysylltu â'r

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But this time, we wanted to go further. We wanted to draw to reach closed ears. Of course, as artists and theatre–makers, on our location as source for our work and our conversations. we already understood that, but it was reassuring that in a To utilise Snowdonia's landscapes in framing our thoughts time of crisis, our skills, seemingly soft in the face of what we and our processes. have to overcome, can suddenly become sharp, and could take Indeed, in selecting the artists we considered their people by the heart. perspectives – from the local to the international, art form Egin was community. We built a new community that came (modes of expression), their previous work and expectations/ together, to hurt and to heal. A social structure – open, porous, hopes for what Egin may deliver/what they may deliver to Egin. reflexive, ephemeral. An art work, a mediation, a provocation We saw Snowdonia open up. The complexities of this to all who experienced it. A request: to rethink what we think specifically constructed, scarred yet ancient place became we know about the climate crisis and how we got here. clear, and the web of connections that brought spatial truths about international exploitation of human and other natural Simon Coates is Head of Creative Development at National resources came alive. The aftershock of capitalism, liberalism, Theatre Wales and was Creative Director of Egin. extractivism, still ringing out and, tragically, louder for some than others. Egin sought very much to place attention on areas that are systematically overlooked, by spending time in collective thought (among artists, communities, activists and thinkers), grappling with the most uncertain of futures together. One of the biggest realisations of this residency was the necessity of understanding and engaging with the imagination, the creative spirit and the power of storytelling Plannu ein Proses | Rooting our Process 8

— Gysylltwyr Lleol Plannu ein Proses — Local Connectors Y gwreiddiau a'r dail yw'r rhannau pwysicaf o unrhyw Aiden McClearn eginyn. Hebddynt, nid oes sylfaen i unrhyw beth; Alice Douglas nid oes dim i'w gynnal. Yn gynnar ym mhroses Egin, Alys Conran daeth yn hollbwysig meddwl sut y gallai elfennau Arwyn Owen craidd cyfnod preswyl i artistiaid (amser, archwilio, Becs Hardy Griffiths meddwl creadigol) ddod yn hydraidd, yn gyfnewidiol, Catrin Menna ac ynghlwm wrth gyd‑destunau daearyddol, Claire Homes cymdeithasol a gwleidyddol yr ardal. Beth ellir ei lunio David Smith a beth ellir ei ryddhau yn ôl i'r atmosffer? Denise Baker Nid oedd Egin yn mynd i fod yn encilfa. Dewi Davies Nid dyma'r amser i encilio. Ed Straw Mae'r broses o wreiddio unrhyw beth o fewn ei Gaynor Lewis amgylchedd yn gofyn am ofal. Felly fe wnaethon Georgia Colman ni fireinio'r cwestiynau: Sut ydych chi'n ymgorffori Ioan Gwilym cyfnod preswyl i artistiaid mewn cymuned, gan Julie Jones greu mannau ar gyfer cyfnewid sy'n drawsnewidiol Lee Duggan i bawb sy'n dod ar ei draws? Lisa Heledd Jones A sut ydych chi'n gwneud hyn mewn ffordd sy'n Lisa Hudson foesegol. Yn barchus. Yn onest. Meleri Davies Nicola Maysmor ______Steve Peake Tim Albin Tim Cumine Rooting our Process

The roots and leaves are the most important parts of any shoot. Without them, there is no grounding in anything; there can be no sustenance. Early in the Egin process, it became paramount to think about how the core elements of an artist residency (time, exploration, creative thought) might become porous, mutable, entwined in the area’s geographical, social and political contexts. What can be drawn up and what can be released back into the atmosphere? Egin was not going to be a retreat. This is not a time to retreat. The process of embedding anything within its surroundings takes care. So we refined the questions: How do you embed an artist residency in a community, creating spaces for exchange that are transformative for all the people who encounter it? And how do you do this in a way that’s ethical. Respectful. Honest. 9 Egin

Dechreuom feddwl am berthnasoedd a allai gymylu'r ffin rhwng dyfodol (hysbys ac anhysbys) yn fyw ar gyfer lle fel bod sbardunau, artist a phreswylydd lleol. Gofynasom i bobl sy'n byw yn yr ardal ysgogiadau a brys yn dod i'r amlwg? ynghylch bod yn Gysylltwyr Lleol. Roedd y rhain yn bobl oedd yn byw Ac yna sut ydych chi'n defnyddio hyn fel lens y gallem ei ac yn gweithio yn Eryri a'r cyffiniau: artistiaid, addysgwyr, adeiladwyr ddefnyddio i ymchwilio i rai o'r agweddau anoddaf ar ein cymuned, perchnogion busnesau bach, gwyddonwyr hinsawdd a gorffennol a rennir, sydd yn dal i fod yn gwbl bresennol? Tyfu dail. phobl sy'n gweithio i ofalu am y tir a'i reoli. Tyfu gwreiddiau. Ceisiwyd gwybodaeth ac arbenigedd lleol, tywyswyr a Parwyd y Cysylltwyr Lleol â'n tri artist ar ddeg o Egin i greu roddodd gipolwg i ni drwy gyfres o ymweliadau wedi'u curadu â cysylltiadau y buom yn eu gwylio'n tyfu cyn ac yn ystod y cyfnod safleoedd lleol o ddiddordeb mewn perthynas â themâu'r cyfnod preswyl, ac a oedd yn caniatáu i'r artistiaid gael dealltwriaeth preswyl (gweler Ymweliadau wedi'u Curadu, y dudalen nesaf). Yn ychwanegol o'u hamgylchedd o safbwyntiau uniongyrchol. O ogystal â'r penodol amgylcheddol, archwiliodd yr ymweliadau yr ddatblygu gwybodaeth yr artistiaid am y lleoliad a'i hanes cyn effeithiau economaidd, cymdeithasol a diwylliannol ar yr ardal o iddynt gyrraedd, i'w croesawu, cymryd rhan mewn Sgyrsiau safbwyntiau cyfoes a hanesyddol, gan eu cyfosod yn fwriadol. Hinsawdd a phrofi'r gwaith oedd yn cael ei ddatblygu. Roeddent Soniwyd am ddiogelwch diwylliannol. Soniwyd am y ffaith na hefyd yn cynnig teithiau pwrpasol a chyflwyniadau i aelodau fyddai realiti un person, cymuned neu ddiwylliant yr un fathag un eraill o'r gymuned, yn dysgu sgiliau wrth adnabod planhigion a'u arall. Gwnaethom gytuno i wrando mwy nag yr oeddem yn siarad. defnydd, ei gwneud yn bosibl i gael gafael ar adnoddau ac yn Llwyddwyd i guradu gofod ar gyfer deialog a oedd yn helpu artistiaid i wneud rhywfaint o'u gwaith. drawstoriadol, ac yn tynnu ar wybodaeth a chredoau a oedd yn Roeddem hefyd yn gofyn i ni ein hunain: Sut ydych chi'n amrywiol – yn wyddonol, yn ddiwylliannol, yn ysbrydol; rhai wedi'u cyflwyno artistiaid i leoliad, waeth a yw o fewn eu milltir sgwâr neu dysgu a rhai greddfol. eu bod yn hanu o ben draw'r byd? Roedd croeso i unrhyw un ymuno yn y broses hon. Tyfodd y cyfnod Sut allwch chi ddod â hanesion (hysbys ac anhysbys) a preswyl o ofod ar gyfer deuddeg artist i gymuned o dros 400 o bobl.

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We started to think about relationships that could blur the How can you activate the histories (known and unknown) boundary between artist and local resident. We asked people and the futures (known and unknown) of a place so that stimuli, living in the area about being Local Connectors. These were provocation and urgency emerge? people living and working in and around Snowdonia: artists, And then how do you use this as a lens through which we educators, community builders, small business owners, climate might explore some of the most difficult aspects of our shared scientists and people who are working to care for and manage pasts, which are still all too present? Growing leaves. the land. Growing roots. We sought out local knowledge and expertise, guides that We paired the Local Connectors with our thirteen gave us insight through a series of curated visits to local sites Egin artists to create connections that we watched grow of interest in relation to the residency’s themes (see Curated before and during the residency, and which allowed the Visits, next page). As well as the explicitly environmental, the artists additional understanding of their surroundings visits explored the economic, social and cultural impacts on the from first‑hand perspectives. From developing the area from contemporary and historical viewpoints, deliberately artists’ knowledge of the location and its history prior placing them in juxtaposition. to their arrival, to welcoming them, partaking in Climate We talked about cultural safety. We talked about how the Conversations and experiencing the work being developed. reality of one person, community or culture might not be the They also offered bespoke tours and introductions to other same as another’s. We all agreed to listen more than we talked. community members, taught skills in identifying plants and We curated space for dialogue that was intersectional, and their uses, made it possible to access resources and helped drew on knowledges and beliefs that were diverse – scientific, artists to make some of their work. cultural, spiritual; learned and instinctual. We were also asking ourselves: How do you introduce artists We welcomed anyone to join this process. The residency to a location, regardless of whether it is within their square mile, grew from a space for twelve artists to a community of over or whether they come from the other side of the world? 400 people. Ymweliadau wedi’u Curadu | Curated Visits 10 11 Egin Ymweliadau wedi’u Curadu | Curated Visits 12

Llun 1 Gorffennaf Mawrth 2 Gorffennaf Monday 1st July Tuesday 2nd July

— Cerddediad coedwig — Chwareli Penrhyn a Dinorwig — Forest walk — Penrhyn Quarry and Dinorwic Quarry

Ar ol i bawb gyrraedd a cael eu cyflwyno i’w gilydd, Cafon sgwrs am hanesion gwleidyddol, cymdeithasol a cafodd artistiaid a threfnwyr Egin eu tywys ar gerddediad diwylliannol Chwarel Penrhyn, gyda’r artist Lisa Heledd Jones, o amgylch coedwigoedd Plas–y–Brenin, safle’r breswylfa, ac wedyn mynd am dro hir trwy Chwarel Dinorwig, gyda Elin gan Nicola Maysmor. Tomos a Dafydd Gwyn yn son am ei ddefnyddiau amrywiol, ddoe a heddiw. After arrivals and introductions in the morning, the Egin artists and organisers were taken on a guided walk with A discussion about the political, social, cultural and Nicola Maysmor (NRW) through the woodland, ranging from environmental histories of the Penrhyn and Dinorwic Quarry, ancient sessile oak woodland to spruce plantations from with artist Lisa Heledd Jones and historians Elin Tomos and the 1950’s that surrounds the residency site at Plas–y–Brenin. Dafydd Gwyn, addressing their various uses past to present and prominence in the history of international exploitation.

— Hafod y Llan / Llyndy Isaf

Archwiliad o reolaeth tir yn yr ardal, yn amrywio o ddiwydiant i gynhaliaeth i gynhyrchiant bwyd ac egni, oedd hefyd yn gyflwyniad i chwedlau a hanesion unigryw’r ardal. Gydag Arwyn Owen, David Smith a Teleri Fielden.

An exploration of land management in the area, ranging from heavy industry to preservation to food and hydro–electric energy production, which also acted as an introduction to the stories and ancient myths of the area. With Arwyn Owen, David Smith and Teleri Fielden. 13 Egin

Mercher 3 Gorffennaf Iau 4 Gorffennaf Wednesday 3rd July Thursday 4th July

— Cwm Idwal — Ysgol Dyffryn Ogwen

Wâc wedi ei harwain gan Sabine Nouvet, Simon Rogers a Lowri Arweiniodd National Theatre Wales a’r 13 artist Egin weithdy Rogers, yn archwilio arwyddocâd Cwm Idwal i wyddoniaeth a’r bore o hyd gyda disgyblion Ysgol Dyffryn Ogwen ym Methesda, hinsawdd. Dilynwyd hyn gan ymarfer amgen lle cafwyd pawb eu gyda’r bwriad o alluogi’r pobol ifanc i leisio’u pryderon am rhannu i grwpiau llai, ag artistiaid, gwyddonwyr ac arbenigwyr ddyfodol y blaned a’u cymunedau, a gafodd ei fframuo dan lleol yn gymysg, a chael ysgogiadau i sgwrsio’n aml–gyfrwng deitlau’r Sgyrsiau Hinsawdd: Tir, Arian, Gwrthryfel, Gobaith. i ddarganfod ffyrdd newydd o ddeall cyd–destun yr ardal. National Theatre Wales and the twelve Egin artists led a A guided walk with Sabine Nouvet, Simon Rogers and Lowri morning–long workshop with students at Ysgol Dyffryn Rogers, exploring the scientific and environmental significance Ogwen in Bethesda, allowing pupils agency to voice their of Cwm Idwal. This was followed by an alternative guide in concerns around climate issues framed under the Climate which participants were split into smaller mixed groups of Conversations’ headings of Land, Money, Rebellion and Hope. artists, scientists, and local experts, and offered prompts for an interdisciplinary conversation to find new ways Yn y prynhawn, nol ym Mhlas–y–Brenin, cafodd artistiaid Egin of understanding this context. drafodaeth a gweithdy gan Marc Rees, y gwneuthurwr theatr sydd hefyd yn Artist Cyswllt gyda National Theatre Wales, fel pont rhwng dyddiau agoriadol strwythurol y breswylfa a gofod mwy — Ysbyty Ifan agored y dyddiau canlynol i’r artistiaid i feddwl, trafod ac arbrofi.

Golwg wedi ein tywys o’r stad amaethyddol, Ysbyty Ifan, gyda In the afternoon, back at Plas–y–Brenin, the visits were Dewi Davies, fel ffordd o gael dealltwriaeth o’r strategaethau followed by a session with performance–maker, rheolaeth cynhaliol mae Cyfoeth Naturiol Cymru a’r and National Theatre Wales Associate Artist, Marc Rees, Ymddiriedolaeth Genedlaethiol yn eu defnyddio. as a way of transitioning from the residency’s intensive opening few days of curated visits to a less structured A guided view of agricultural estate Ysbyty Ifan, with space for the artists to think, discuss and experiment. Dewi Davies, was a way of gaining insight into sustainable management approaches employed by Natural Resources Wales and the National Trust. Myfyrdod | Reflection 14

Joe Roberts | Cyfoeth Naturiol Cymru Dyma pam yr oedd Egin mor bwerus. Roedd yn anhygoel gweld sut gyrrwyd pob artist i ymdrin â chwestiynau cyfarwydd o’r newydd, Ni wyddwn o hyd raddau’r her sy’n ein hwynebu ac archwilio cymhlethdodau Eryri ddoe a heddiw. Fe blannodd yr wrth i hinsawdd ein planed newid, ond rydym yn artistiaid hadau eu gwaith yn y dirwedd, gan dyfu syniadau pwerus gwybod y bydd yn anferth. Yng Nghymru, rydym a llunio cysylltiadau oes rhwng pobl â’u hamgylchedd. yn mabwysiadu rhai o’r strategaethau mwyaf Fel rhywun sy’n gweithio i gwmni amgylcheddol, roeddwn yn blaengar i warchod ein hinsawdd i’r cenedlaethau cymryd fy arbenigedd ynglŷn â materion hinsawdd yn ganiataol, i ddod, ond bydd newid hinsawdd yn cyffwrdd ein ond cefais fy herio dro ar ôl tro i weld pethau o’r newydd. Dyma sut y bywydau i gyd. Mae’n stori leol a phersonol llawn gall y celfyddydau ein helpu i ddychmygu dyfodol gwell i’n planed, cymaint ag yw’n argyfwng byd–eang, ac mae pob a thrwy wneud hynny ein hysbrydoli i ysgogi newid. Dwi’n methu aros llais yn y drafodaeth hon yn hollbwysig. i weld sut mae Egin yn parhau, a pha ganghennau o greadigrwydd sy’n tyfu o’r cyfnod preswyl. _ Mae Joe Roberts yn Ymgynghorydd Arbenigol Arweiniol: Hamdden a Mynediad i Cyfoeth Naturiol Cymru, ac mae’n byw ym Methesda.

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Joe Roberts | Natural Resources Wales That is why Egin has been so powerful. It was incredible to watch the artists’ insatiable drive to look at things differently, We still don’t know the extent of the challenge exploring the contours of Snowdonia’s past and present. They we face as our planet’s climate changes, but planted the metaphorical seeds of their work in the landscape, we do know it is going to be huge. In Wales, germinating powerful ideas and growing fierce bonds between we are adopting some of the most progressive people and their environment. approaches to safeguarding our environment for Working for an environmental organisation, I thought I future generations, but climate change will touch was well versed in the conversations around climate change, each and every one of our lives. It is a local and but I was challenged so many times to look again and think personal story as much as a global crisis, and differently. This is how the arts can help us to imagine a every voice in this conversation is vital. brighter future for our planet and inspire us to enact change. I can’t wait to see how Egin takes root, and what new shoots _ of creativity emerge.

Joe Roberts is Lead Specialist Advisor: Recreation and Access for Natural Resources Wales, and lives in Bethesda. 15 Egin Artistiaid | Artists 16 17 Egin Artistiaid | Artists 18

Alison Neighbour We saw mountains split open by man for profit, the remains scattered about the hillside, 90% waste, now reclaimed by nature as rightly hers, one day to be mountains It began with swimming in the again. I climbed high to see the expanse, and in this found inspiration and hope: lake. Isolation and vulnerability This landscape is so vast, so alive, it does not need us, but we need it. amid an epic, ancient landscape. Fathomless water below; We can cut a hundred trees with a machine in seconds, throw them in a truck, and mountains beyond, already they become paper, furniture, firewood. We don’t have to think, time means nothing. shed their glaciers and lost The noise means conversation is impossible. We cut a tree by hand and we have to thousands of meters of height, choose carefully, feel the strength and age of the wood as we slowly saw it, hold it in a state of flux again as the and support it as it falls, and take only what we need, for it is an effort, blistering temperature rises. Either side, our hands, we feel a sense of a life taken away that must be respected. forests: crops. I wanted to make work that supports re–finding connection with land and water, that _ offers a chance to reflect, to be still, to set a slower pace more in tune with nature’s time. To consider more carefully the journey of the materials I use and what they mean, and to use my hands not machines. The raft offers a space to be and to reconnect with the wonder of nature, both in the making of it and the experience of being on it.

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Mae Alison yn senograffydd sy’n gweithio mewn amgylcheddau theatr, dawns, gosodiadau safle–benodol. Mae hi’n trawsnewid gofodau ac yn adrodd straeon gweledol, gan anelu at ddefnyddio dylunio i gysylltu pobl a lle.

Alison is a scenographer working in theatre, dance, installation, and site‑specific environments. She transforms spaces and tells stories visually, aiming to use design to connect people and place. 19 Egin Artistiaid | Artists 20

Angela Davies

Mae Angela yn artist aml–gyfrwng sy’n byw yn Ninbych. Gan weithio ar draws croestoriadau celf, gwyddoniaeth, technoleg a natur, mae ei gwaith yn aml yn cysylltu â themâu cyfoes o fewn cyd‑destun safle, gofod a phroses. Mae Gwobr Cymru Greadigol ddiweddar a Chyfnod Preswyl ar Leoliad Digidol NTW wedi cefnogi datblygu gweithiau sy’n archwilio pryderon amgylcheddol a hinsoddol.

Angela is an interdisciplinary artist based in Denbigh. Working across the intersections of art, science, technology and nature, her work often engages with contemporary themes within the context of site, space and process. A recent Creative Wales Award and NTW Digital Located Residency has supported the development of works that explore environmental and climate‑based concerns. 21 Egin Artistiaid | Artists 22

David mangenner Gough Travelling to the beautiful north Wales was such a distance and provided me with time to think of what lay ahead with a feeling of excitement and slight anxiety My journey started in my of the unknown. home Country Tasmania where I live, practice and share my The residency quickly began – the day trips travelling to see landscapes, people, Aboriginal culture in education industry and farms to meet local connectors and other artists, national park staff, and protection of our cultural National Trust, National Theatre Wales, National Resource Management Wales – an heritage sites and landscapes incredible landscape Snowdonia National Park – amazing people, hitting the subject where I witness the effects hard… Climate Change!!! of climate change in our environment and impact So complex and personal. The learning of the local cultural heritage practices and how on cultural resources. it is embedded in the landscape and identity. Change is imminent either way. Either a well guided strategic change or a change that may be beyond understanding. People _ discussing about it in rooms. Questions, presentations, decisions being made about it. My feelings of the need to be engaging with it are very strong. The feeling I felt in not being in the environment whilst discussing it was I felt, at times, disassociated and incomplete. Guilty, like the major stakeholder was missing.

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Mae Dave mangenner Gough yn ŵr trawlwoolway balch o ddwyrain Tasmania. Yn 2019 lansiodd Dave yr ŵyl Ten Days on the Island lle y dyfeisiodd, arweiniodd ac adroddodd mapali – Dawn Gathering. Cymerodd hyn 1,000 o bobl, a gasglwyd ar draeth, drwy daith o seremoni a defod. Ar hyn o bryd, mae gan Dave waith ar arddangosiad parhaol yn Amgueddfa ac Oriel Gelf y Frenhines Victoria yn Launceston, ac roedd hefyd yn un o’r rhai a gyrhaeddodd rownd derfynol gwobr celfyddyd Bay of Fires yn 2018 ac mae wedi cymryd rhan sylweddol yn y gwaith o ddiogelu safleoedd treftadaeth Aboriginaidd ar draws y dalaith.

Dave mangenner Gough is a proud trawlwoolway man from north east Tasmania. In 2019 Dave launched the Ten Days on the Island festival where he conceived, led and narrated mapali – Dawn Gathering. This took 1,000 people, gathered on a beach, through a journey of ceremony and ritual. Dave currently has work on a permanent display at Queen Victoria Museum and Art Gallery in Launceston, he was also a co–finalist in the Bay of fires art prize in 2018 and has been heavily involved in the protection of Aboriginal heritage sites across the state. 23 Egin

Mapali — Ymgynnull Connection Gathering — Ty Un Nos

As the smoke rose from the chimney of the hut we left our devices in the hut and called to gather around the fire…

mapali ymgynnull gathering

We bring water

We cleanse the space

The smell of sage

Lighting of the flame

The bringing of intention

The wanting of connection

The ancient forest hears

The ancient forest welcomes

The unity in the circle

The connection to the environment Is being part of the environment

The need to reconnect people is evident

Gather and feel

To gather and listen

Your voice will speak

To Respect, Protect and to Connect

Egin still Grows…

— Artistiaid | Artists 24 25 Egin Artistiaid | Artists 26

Dylan Huw A late–night reading group we held, at which I read Anne Boyer. Her ‘No’ speaks better than I think any text I know to the permanent sense of lethargic anxiety which Some Egin images: Vikram characterises our times for so many of us. It’s a monument to the radical potential of Iyengar vanishing into Llyn saying No, “a “no” spoken in the tremendous logic of a refused order of the world.” Mymbyr in a dress made of bark. Screaming happy children At Egin I sought comfort in refusal, retreat, No. flying overhead via Zipwire. Joni Mitchell around the fire. Keeping note of the minor, absurd details of our day–to–day became something Walking backwards with my to hold on to. Long–held preconceptions about land, nature, language, discourse, eyes shut, thinking about a relationships, Wales, history, wealth, the future and “our” place in all of them disappeared woodland path were being fantastically upended. Being immersed in this intense environment in Llanfihangel‑Genau’r–Glyn, with this rich collective of artistic minds to think about what “we” might do about where I grew up. A tug–of–war inconceivably enormous planetary collapse put the meaning of “our” and “we” into game, lost, at the Capel Curig a rare kind of perspective. village carnival. English words I didn’t know the meanings Do, daeth cadw cofnod o fanylion bychain a rhyfedd ein dydd–i–ddydd yn rywbeth of scribbled in my notebook. i gydio ynddo. O bob cyfeiriad roedd fy rhagdybion am dir, natur, iaith, Y Disgwrs, perthnasau dynol, Cymru, hanes, cyfoeth, y dyfodol a’n lle “ni” ymhob un o rheiny’n _ cael eu dad–sefydlogi. Rhodd rhannu amgylchfyd creulon a phrydferth Egin, gyda’r casgliad amrywiol hwn o feddyliau celfyddydol, syniadau arferol am yr hyn gallwn “ni” ei wneud am ddinistr amhosib–enfawr ein planed mewn i berspectif newydd.

“Some days my only certain we is this certain we that didn’t, that wouldn’t, whose bodies or spirits wouldn’t go along.”

Egin was a funhouse mirror. Egin was therapy; a playground; a lucid dream.

Since Egin ended, the planet has continued to burn and drown and melt all at once at evermore spectacular scales. I’ve been developing the body of work I began on the residency, a sequence of essay–fictions yn Gymraeg responding to sites we visited in Eryri and what associations (moments in cinema, dance, architecture) and sensations (oneiric, erotic) they evoked in me, Dylan, this human being alive in this place with these people in 2019 yng Nghapel Curig. The pieces are all about climate change; it’s all “about” climate change. 27 Egin

Egin and ‘No’ (also Greta, maybe also Vikram’s unforgettable walks) show us that transformations almost never immediately reveal themselves as transformations. At Egin we confronted what it means to put in the hard work of feeling; for environments and biospheres and “our” place among them. That labour might not always look like labour, like a placard or a polar bear. It might look like a group of people thinking through that hard work – quietly, out–loud – and listening.

Yr hyn taflodd Egin, a ‘No,’ a Greta Thurnberg ac efallai perfformiad Vikram yn yr afon, hefyd, olau newydd arno, oedd sut dydy trawsffurfiadau ran amla ddim yn cyhoeddi eu hunain fel trawsffurfiadau. Fe wynebom, ar Egin, yr hyn mae’n olygu i berfformio llafur teimlo; dros amgylchoedd a biosfferau a’n lle “ni” yn eu plith. Efallai nad yw’r llafur hwnnw o hyd yn ymddangos fel llafur, na fel placard nac arth wen. Gall ymddangos fel casgliad o bobol yn meddwl trwy’r gwaith caled o deimlo, yn dawel–bach neu allan yn uchel; ac yn gwrando ar ei gilydd.

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Mae Dylan Huw, sy’n wreiddiol o Lanfihangel–Genau’r–Glyn ger Aberystwyth, yn awdur aml–gyfrwng sy’n byw yng Nghaerdydd. Mae’n ‘sgwennu ffuglen, traethodau a beirniadaeth, mae ganddo M.A. mewn Theori Celf Gyfoes o Goldsmiths, ac mae ganddo ddiddordeb arbennig mewn celfyddyd byw ac aml–gyfrwng.

Dylan Huw is a Cardiff–based arts writer originally from Llanfihangel–Genau’r–Glyn, near Aberystwyth. He writes fiction, essays and criticism in English and Welsh, has an M.A. in Visual Cultures from Goldsmiths, University of London, and is particularly interested in live and multidisciplinary art practice. Artistiaid | Artists 28

Emily Laurens Datod

_ Edrychwch i lawr. Edrychwch ar y defnydd rydych yn gwisgo. Fe welwch batrwm yn cael ei ail–adrodd. Rhes ar ben rhes ar ben rhes. Mae hyn yn ddrych o hanes y diwydiant tecstiliau. Hanes o ormes, ecsbloetiaeth a chaethwasiaeth. Rhes ar ben rhes ar ben rhes.

Gofynnodd y stori i mi ei hadrodd. Sibrydodd i’m llyfr nodiadau melin wlan… caethwasiaeth… rhes ar ben rhes…

Ar y bore cyntaf hwnnw yn Eryri fe aethom i chwarel lechi Penrhyn, teml i echdyniad adnoddau, a’i ariannwyd gan blanhigfa siwgr yn Jamaica – ac uwch ein pennau y llinell zip gyflymaf yn y byd, a phobol yn hedfan fel gwennol ar draws gwŷdd. Gwelaid y tirwedd, y byd, fel edefau igam–ogam yn teithio trwy gofod ac amser: gwlan o Gymru’n teithio i’r Americas i wisgo caethweision yn y C18 a C19; tecstiliau heddiw’n dod i Ewrop o lafur caethweision yn Tseina, India neu Bangladesh, llafur gorfodol, plant; a hyn i gyd yn cyfrannu at newid hinsawdd. Y diwydiant dillad ydy’r ail mwyaf newidiol yn y byd i’r hinsawdd, yn gyfrifol am 10% o holl allyriadau

CO2 yn rhyngwladol.

Ar Egin fe weais ddarn o frethyn. Casglais wlan defaid o’r caeau, derbyniais gynigion hael o edefau gan wehyddion lleol, a rhoddau o wallt a phethau eraill gan artistiaid Egin. Fe wehyddais fath gwahanol o frethyn. Brethyn wedi ei greu o brosesau o ddatod.

Edrychwch ar y defnydd rydych yn gwisgo. Mae arno dras y bywydau a’i greodd: rhesi a rhesi o berchnogion tir, ffermwyr, pigwyr cotwm; y nyddwyr, gwehyddion, lliwyr, carwyr, cludwyr, gweithwyr siop. Maen nhw’n chwarae rhan yn y stori hon; wrth i hanes, gwladychiaeth a phwer ddatod, rhes ar ben rhes. 29 Egin

Unravel

Look down. Look at the fabric, the material that you are wearing. You will see a repeated pattern. Rows upon rows upon rows. This mirrors the history of the textile industry. A history of exploitation, extraction and slavery. Rows upon rows upon rows.

This story asked me to be told. Whispered into my notebook woollen mills… slavery… rows upon rows…

On that first morning in Snowdonia we wove our way to Penrhyn slate quarry, a temple to extraction, funded by a sugar plantation in Jamaica, and above us on the fastest zip line in the world people slid past like shuttles across a loom. I started to see the landscape, the world, criss crossed by threads travelling through time and space: Welsh wool travelling to the Americas to clothe slaves in the 18th and 19th century; contemporary textiles coming to Europe from China, India, Bangladesh made by modern day slaves, forced labour, children; and all of this contributing to climate change – the textile industry is the second most polluting in the world,

responsible for 10% of global C02 emissions.

At Egin I wove a piece of cloth. Without exploitation. I collected sheep wool from the fields, accepted generous offers of thread and wool from local weavers, and elicited donations of hair and other items from my cohort of Egin artists. I wove a different kind of cloth. Cloth made from unravelling.

Look at the fabric, the material that you are wearing. It bears a trace of the lives that touched it: rows upon rows of land owners, farmers, cotton pickers; those who card, comb and wind; the spinners, weavers, dyers; seamstresses; merchants, transporters, shop workers. They play a part in this story as does history, colonialism, power, and unravelling row upon row upon row.

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Mae Emily Laurens yn artist Cymreig y mae ei gwaith yn integreiddio perfformio, defod, y gweledol a chelfyddyd gymunedol. Yn gyd–gyfarwyddwr Feral Theatre, cyd–sylfaenydd Remembrance Day for Lost Species a chydlynydd celfyddyd gymunedol yn Oriel Myrddin, mae ei gwaith yn anelu at holi, herio, adlewyrchu a thrafod yr argyfwng ecolegol presennol ac ymatebion iddo.

Emily Laurens is a Welsh artist whose work integrates performance, ritual, visual and community art. Co–director of Feral Theatre, co–founder of Remembrance Day for Lost Species and community art co–ordinator at Oriel Myrddin Gallery, her work aims to question, challenge, reflect and debate the current ecological crisis and responses to it. Artistiaid | Artists 30

Joanna Wright I Egin, cymrais ddeunyddiau o archifau fy hen Daid. Roedd e’n gyflwynydd rhaglen banel ar Radio Cymru rhwng 1952 a’r 70au cynnar, Byd Natur, a byddai pobol yn _ ‘sgwennu mewn gyda’u cwestiynau am y byd naturiol oedd yn eu hamgylchynu. Cymrais ddeunyddiau archif hefyd o’r Orsaf Ynni Niwclear yn Nhrawsfynydd, ar ochr orllewinol y Parc Cenedlaethol.

Dwi’n byw’n agos at y Parc Cenedlaethol a chefais fy magu ar ei ymylon. Roedd fy Nhaid yn ddoctor ar ochr Dyffryn Conwy, yn teithio i ffermydd a phentrefi cyn sefydliad yr NHS. Roedd ei Dad e’n athro a’n hanesydd natur amatur. A’i Dad ef yn bensair ar longau oedd yn gwasanaethu chwareli gogledd Cymru, yn cymryd llechi i India a Japan, cyn gweithio yn Chwarel Dinorwig, ac ymddeol yn 83.

( Ychydig o hanesion y menywod sydd wedi ei recordio na’i gofio. Gwn mai Ann oedd enw fy hen Nain.)

Cwestiynau oedd gen i ar y breswylfa:

Pa etifeddiaethau sy’n cael eu pasio o genhedlaeth i genhedlaeth? Sut ydyn ni’n meddwl am amser? Sut fydd y dyfodol yn ein gweld ni?

Archwilion ysbeilio adnoddau hanesyddol wrth edrych ar lechi. Nawr mae llechi’n dod o Tseina i Gymru. Adnoddau sy’n cael eu hallforio o Gymru: gwynt, niwclear, dwr.

Roedd ymdeimlad mai ar benderfyniadau hanes, mai ar un teulu ac un dyn oedd y bai. Hoffwn gofnodi ein bod i gyd yn ran o’r stori hon. Os gallwn gael gwared ar fynyddoedd cyfan, carreg wrth garreg, mae gennym y gallu i adeiladu rhywbeth gwell.

Cwm Cneifio oedd lle byddai defaid yn cael eu cneifio, yn hytrach na chael eu cymryd i lawr y dyffryn. Yn Saesneg, enwir ar fapiau fel “Y Cwm Di–enw.”

Beth ydyn ni eisiau cofio. Beth ydyn ni eisiau pasio ymlaen. 31 Egin

To the residency I brought some archives from my great grandfather. He presented a Radio Cymru panel programme between 1952 and the early 1970s called Byd Natur to which people wrote in to ask questions about the natural world that surrounded them. I also bought some archive material from the Nuclear Power Station in Trawsfynydd, on the western side of the National Park.

I live close to the National Park and grew up on its borders. My Taid was a doctor on the Conwy Valley side, travelling to farms and villages before the NHS. His father, a teacher and amateur natural historian. His father a carpenter on the tall ships that served the quarries of North Wales, sailing slate to India, Japan, China, later going on to work in Dinorwig Quarry, retiring at 83.

( Little information of the women is recorded or remembered. I know my great grandmother was called Ann.)

Questions I had for the residency:

What is the legacy passed from one generation to another? How do we think about time? How will the future think about us?

We explored historical extraction of resources through looking at slate. Now Slate is imported from China to Wales. Power and resources exported from Wales: Wind, Nuclear, Water.

There was a sense that blame lay with the decisions of history, one family, one man. I want to record that we are all implicated. If whole mountains can be removed stone by stone, then we also have the means to build something better.

Cwm Cneifio is literally translated to “The Shearing Valley” because it was a place where sheep were sheared rather than bringing them down to the Valley floor. In English it is marked on maps as “The Nameless Cwm.”

What do we want to remember. What do we want to pass on.

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Artist/gwneuthurwr ffilmiau Cymreig yw Joanna Wright, sy’n gwneud gwaith sy’n cwmpasu rhaglenni dogfen, gosodiadau, analog a llwyfannau digidol. Mae ei gwaith diweddar y cynnwys y rhaglen ddogfen ryngweithiol/byw Two Itinerant Quilters (BBC/The Space) a phrosiect dogfen hir dymor, Atomfa.

Joanna Wright is a Welsh artist–filmmaker whose work crosses over between documentary, installation, analogue and digital platforms. Recent work includes the interactive/live documentary Two Itinerant Quilters (BBC/The Space) and a long–term documentary project, Atomfa. 32 33 Egin Artistiaid | Artists 34

Jon Berry i lose myself in the light of the tv bought by the hands of my fathers * _ and if there is a timescale of where we’re going, we cannot know where it begins or when it ends, but know that it will and know that it cannot be long * The question I pursued at Egin was the question of encapsulation: A project of encapsulating Climate Catastrophe, which is infinitely complicated, irreducible, stretching out across the horizon and into outer space; the questions of how? why? what’s the point?

That question was, and still is in many ways, my propulsion. It led me down corridors, alleyways, houses in rows; to near–empty farmland, renewed floodplains, the hollowed–out mountains of slate; whispered to me from the deep of the woodland, hollered at me through the window frames of shepherd’s huts long since left alone to sit and think on moving nowhere.

Asked me questions of use, usefulness, progress; being and being–in–time and being–without–it–too; not–good–enoughs and just–about–making–it–works * you could almost pick the mountains up the way they looked from afar – like cut–outs stuck to a frame for a shadow puppet play. The world never started when you look at it right, he said. can imagine the christ walking here – it all looks like gethsemane; paths split, unite, divorce again. You can hear the sound of chipping stone in the gargle of the river, the lake where no birds can fly but the mechanical jet engine birds from the valley. bowing trees over brooks speaking in tongues to the fruits of a cool wind summer; a place stitched into time down the meignant towards heaven – four feet tall and no central heating * and the whole myth of humanity against nature, unnatural man; the idea that we as a species are disconnected from the world around us is hubris ad absurdum there is nothing but the world and everything in it and you walk on it with muddy feet forever * here it don’t feel like the end of the world; can only see so many hands outstretched, so many sheep on the roadside farms, so many cows from the top of yr wyddfa; course they’ve been saying it for years, saying that it’s gone, been and gone, and all that matters over here is that petrol’s become more expensive; 35 Egin

can only see so many hands outstretched, finger ferns splayed in an open palm, and not ask what it is that keeps them here unable to see what’s around them,

and get up and walk down the bicycle paths past the dog walkers and climbing fanatics eager to pierce the edge of the world, walk past the cardboard forestry foreign,

the blister pack reservoirs, still from afar, the brighter–blue quarry lakes giving a sky to the black bodies drowned in jamaica beneath them, past all of this to the final horizon

and ask what it means to be part of a globe where nothing else matters but the gas bill. * as the world turns I write down silences. something to mark out the time that I am, that we are, that they are, that everything is, and still ask the question of how it can be to condense all of living to the size of a sugarcube and pass it around to lick in our theatres, to eat the whole world and still live.

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Mae Jon yn awdur ac yn artist sy’n gweithio’n bennaf mewn theatr a chelf gosodiadau. Mae’n cael ei ysbrydoli gan y bach yng nghysgod y mawr, gan wneud gwaith sy’n gam, yn weadeddol ac yn gyfarwydd.

Jon is a writer and artist working mainly in theatre and installation art. He is inspired by the small in the shadow of the large, making work which is wonky, textural and familiar. Artistiaid | Artists 36

Owain Gwilym Crops yw coedwigoedd a nwyddau yw coed. Cafodd coed bytholwyrdd eu plannu wedi’r Rhyfel Byd Cyntaf. Mae ffermio trylwyr wedi newid tirweddau. Gwelwn gliwiau yn _ y broadleaf at sut dylai’r mynyddoedd edrych. Na i ail–wylltio, ie i warchodaeth. Mae’r dadleuon yn gymleth, y labeli’n annigonol. Gwnaiff prosesau organig y tir yn ddiffaith. Mae cemegau’n gwarchod rhywogaethau brodorol rhag rhai mewnlifol. Cymhelliannau ariannol sy’n gyrru edrychiad y tirwedd. Mae i goedwigoedd y coed anghywir a’n agosach at y mor mae ‘na fynydd ar goll. Terminoleg oeraidd, gwrthrychol cymunedau gwyddonol: catastroffi, trychineb, cynhesu, argyfwng. Rhaid cael atebion cymdeithasol, gwleidyddol, diwylliannol, economaidd i broblemau cymdeithasol, gwleidyddol, diwylliannol, economaidd. Nid marw o henaint fyddwn; marw o newid hinsawdd. Felly, lle gall ymarfer creadigol ffitio i mewn i hyn oll?

Forests are crops and trees are commodities. The evergreens were planted after WW1. Intensive farming has changed the landscape. Scattered broadleaf's give clues to what the mountains should look like. No to rewilding, yes to conservation. The debates are complicated and food labelling is inadequate. Organic processes make the land barren. Controlled chemical treatments protect native species from invasive species. Economic incentives have driven the look of the landscape. Forests have the wrong trees and closer to the sea there’s a mountain missing. Terminology from the cold and objective scientific communities: Catastrophe, disaster, heating, crisis. Social, political, scientific, cultural, economic problems need social, political, scientific, cultural and economic solutions. We won’t die of old age; we will die of climate change. So, where does creative practice fit in to this?

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Mae Owain yn gyfansoddwr cerddoriaeth gyfoes o Sir Gâr, sydd ar hyn o bryd yn byw yn Stroud. Mae ei waith yn canolbwyntio ar themâu yn ymwneud â natur, tirwedd, ac argyfwng amgylcheddol, yn cael ei archwilio drwy isafiaeth a chyfansoddiad y broses. Astudiodd Owain Sain Creadigol a Cherddoriaeth yn UWN, ac MRes wedi ei hariannu gan yr AHRC mewn Ymarfer Creadigol yn 2016.

Owain is a contemporary music composer from Carmarthenshire, currently based in Stroud. His work focuses on themes of nature, landscape, and environmental crisis, explored through minimalism and process composition. Owain studied Creative Sound & Music at UWN, and an AHRC funded MRes in Creative Practice in 2016. 37 Egin Artistiaid | Artists 38 39 Egin Artistiaid | Artists 40

Rebecca Smith Williams Whilst reading around the subject I came across this passage, written by Barbara Kingsolver, that seemed relevant and potentially helpful: “It is possible to move away The problem we are facing, from a vast, unbearable pain by delving into it deeper – by diving into the wreck. You and that Egin addressed can look at all the parts of a terrible thing until you see they are assemblies of smaller head‑on, is so wide and so parts, all of which you can name, and some of which you can heal or alter and finally deep it's hard to know where the terror that seemed unbearable becomes manageable.” to start and where to go but talking about it, learning more This left me with a thirst to break down the problem and understand what has led us deeply about the subject here. Instead of becoming paralysed by the overwhelming scale of the issue I decided and responding to it in good to “dive into the wreck” and try and understand the way that I am living, the systems company was a step in the right that surround me and to question them, hopefully finding in the process the “smaller direction. I spent a lot of my parts […] that I can heal or alter.” As a direct result of this, I've been experimenting time at Egin having my brain with working a four–day week, on the fifth day putting my energies into the life I expanded – understanding want to be living, finding a way to interact with our Earth that I can be proud of. the situation of our planet in It's quite a big problem when you stop and look at it and it can be quite scary to do new ways and then letting that from the quietness of your own home. As a gardener as well as a theatre maker my mind settle around this and therefore with an interest in our food production systems, my first step was to newly acquired information. order a 25kg paper sack of British grown, organic oats (I've got a lot of oats to eat!) I read a lot. I took photos of and various British grown, organic, dried beans. I have been taking time to sow my exotic fruit in contrast with the garden with autumnal greens, mizuna, spinach, chard, mustard, land cress and a new Snowdonian mountains as an one, rapa senza testa which my friend's dad gave me. I am aware of the smallness of image of the absurd situation my actions but it feels like a necessary step. Deeply changing what I do in the world, we find ourselves in. Egin my habits, what I give my time to; thinking of the trail I am leaving. Perhaps there are opened my eyes to the history answers to be found in 'homemaking'? Deeply taking responsibility for our homes and of colonialism. I wish that the how we live in them and then expanding this thinking and 'doing' outwards. education system had done this sooner. My experience Going forward I'm going to continue my work with food and plants with a writing of the fortnight was greatly residency in the Vascular Plant Herbarium that exists under National Museum Wales, enhanced by the other artists, Cardiff, working on a project with musician Katherine Toy. practitioners, facilitators and speakers who were ______also taking part. I feel like I left a wiser person for having met them. Cafodd Rebecca ei magu yn Aberystwyth a’i hyfforddi fel actores yn RADA. Mae hi wedi gweithio’n eang mewn theatr a radio ac mae’n un o sylfaenwyr Triongl sy’n gwmni _ cysylltiol yng Nghanolfan Gelfyddydau Chapter, Caerdydd. Mae Rebecca hefyd yn awdur, a gyda Triongl mae’n gwneud gwaith newydd ar gyfer y llwyfan.

Rebecca grew up in Aberystwyth and trained as an actress at RADA. She has worked widely in theatre and radio and is a founding member of Triongl who are an associate company at Chapter Arts Centre, Cardiff. Rebecca is also a writer, and with Triongl makes new work for the stage. 41 Egin Artistiaid | Artists 42

Ruth Stringer Contemplation

_ Near to where I grew up in Shropshire there are fields in which I used to walk our dogs. Whenever I visit these fields I am drawn to a little stream, where I pause for a moment and watch the water flow by. Whatever hardship life is throwing my way, I have always drawn comfort from that stream: the notion that it will always be there, flowing on long after me makes my troubles seem smaller. I take it for granted that the stream will always be there. In Snowdonia I saw a river bed uprooted to protect a profitable patch of land. I saw names scratched onto buildings of slate that had stood for two hundred years, and a mountain whose side had been gouged away to extract the wealth that lay within. I took it for granted that the mountains would always be there too. Who decided that we own the mountain? Who first drew the circle that we live by, of resource, profit, labour, and material possession?

Action

As I worked with fellow artist Vikram to make garments for his series of choreographed walks, I found peace and rhythm in knotting together slivers of wood into a tunic. I was overjoyed to learn the art of peeling bark from an elm tree, slowly and carefully until I had one long, curly line of sinewy string. I hand–washed pieces of plastic and laid them across a rock to dry. The plastic smothered the moss and flowers growing delicately beneath it and I felt grumpy, impatient to finish my task. I watched Vikram move and dance in the landscape, wrapped in nature and wrapped in plastic. A dress made of wood invites us to slow down and consider our closeness to the earth. A dress made of plastic throws up our disconnection from it – an alien material in the serene landscape. Nature’s circles are beautiful and sustaining, but we defy them – buying strawberries in December, picked by unknown hands and swaddled in plastic to await us on a shelf. 43 Egin

Onwards

My journey looking forward has become one of nurture. Have we forgotten how to wonder at nature as we race to smother it in tarmac and concrete? Why do we make effigies of the landscape so crudely out of plastic turf? The challenges we face to mend a world we have injured so greatly, is staggering. And yet… Egin brings hope. Stone by stone we can guide the river back to her true course. An hour spent walking by the sea is an hour spent away from the television. I will make work that will help you to find the forest, and dance in it again. We can nurture the earth as it nurtures us. This is the circle that I draw.

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Mae Ruth yn ddylunydd theatr ac yn artist gosodiadau sy’n gweithio yn ne Cymru, lle cafodd ei hyfforddi yng Ngholeg Brenhinol Cerdd a Drama Cymru. Mae gan Ruth ddiddordeb arbennig mewn perfformiadau yn yr awyr agored ac mewn safleoedd penodol: mae’n cymryd ysbrydoliaeth o’r amgylchedd cyfagos a hanes ardal i’w sianelu i’w phrosiectau.

Ruth is a theatre designer and installation artist based in South Wales, where she trained at Royal Welsh College of Music and Drama. Ruth is particularly interested in outdoor and site–specific performance: she takes inspiration from the surrounding environment and the history of an area to channel into her projects. Artistiaid | Artists 44 45 Egin Artistiaid | Artists 46

Shehzad Chowdhury Hiraeth = দেশ

_ To the land that was drowned from the land that will be drowned “Beware of the Golden Goblet.” From the land that was drowned to the land that will be drowned “Beware of the Golden Goblet.”

_ Our desires shape our garden; our garden shapes our land; what are we desiring? _ Are you listening? Who are you listening to? Are you listening deeply? _ How is our antenna and what signal is it picking up? _ Why can’t we be whole, instead of being divided? _ We need to redefine our privilege. _ STOP the panic, we need to be still to act. _ NATURE of US! Our nature is our meditation. What are we meditating on? _ Despair won’t work, we need to contemplate a garden of HOPE. _ We need to “cultivate” all our relation; our relation with mineral nation, plant nation, animal nation and spirit nation.

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Mae Shehzad Chowdhury yn artist aml–gyfrwng ac yn guradur annibynnol wedi’i leoli yn Dhaka, Bangladesh. Mae’n rhannu ei amser rhwng tynnu lluniau a ffotograffau o’i ymgyrch y mae’n ei alw yn The Lotus Quest! Mae’n cael ysbrydoliaeth o chwedloniaeth a natur. Mae’n cychwyn digwyddiad celf arbennig o’r enw Longitude Latitude ar ysbeidiau afreolaidd.

Shehzad Chowdhury is a multimedia artist and independent curator based in Dhaka, Bangladesh. He splits his time drawing and photographing his quest which he calls The Lotus Quest! He takes inspirations from mythology and nature. He initiates a certain art happening named Longitude Latitude at irregular intervals. 47 Egin Artistiaid | Artists 48

Vikram Iyengar

_ 49 Egin

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Mae Vikram Iyengar yn ddawnsiwr–coreograffydd–cyfarwyddwr a churadur–gyflwynydd sydd wedi’i leoli yn Calcutta, India, ac yn gweithio’n rhyngwladol. Mae’n gyfarwyddwr artistig Ranan ac yn sylfaenydd y Pickle Factory Dance Foundation. Mae ei waith amrywiol ym maes perfformio yn ymwneud â’r egwyddor ganolog o greu cysylltiadau dwfn â’r celfyddydau a thrwyddynt.

Vikram Iyengar is a dancer–choreographer–director and curator–presenter based in Calcutta, India, and working internationally. He is artistic director of Ranan and initiator of the Pickle Factory Dance Foundation. His diverse work in the field of performance revolves around the central tenet of creating deep connections with and through the arts. Artistiaid | Artists 50

Xenson

_ 51 Egin

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Mae Xenson (Samson Ssenkaaba) yn artist aml–gyfrwng sy’n cwestiynu materion cyfoes trwy synergedd o osodiadau, fideos, perfformiad, barddoniaeth, ffasiwn a phaentiadau. Mae gwaith Xenson yn archwilio hunaniaeth a chylchrediad diwylliant yn fyd–eang yn erbyn y cefndir cyd–destunol o hanes cyn ac ôl–drefedigaethol a thuedd obsesiynol y ddynoliaeth i guddio y tu ôl i ffasadau, gweladwy neu anweledig drwy greu’n fwriadol esthetig canfyddedig o flodau, lliwiau llachar a masgiau o amgylch ei bwnc sydd fel arall yn annifyr; ffenomen y mae’n ei galw’n ‘Obscured Identities.’

Xenson (Samson Ssenkaaba) is a multi–media artist who interrogates contemporary issues through a synergy of installations, videos, performance, poetry, fashion and paintings. Xenson’s work explores identity and the global circulation of culture against the contextual background of pre– and postcolonial history and humanity’s obsessive tendency to hide behind facades, visible or invisible, by intentionally creating a perceived aesthetic of flowers, patterning bright colours and masks around his otherwise unsettling subject matter, a phenomenon he calls ‘Obscured Identities.’ Artistiaid | Artists 52 53 Egin Sgyrsiau Hinsawdd | Climate Conversations 54

TIR. LAND. ARIAN. MONEY. GWRTHRYFEL. REBELLION. GOBAITH. HOPE.

Roedd TIR. ARIAN. GWRTHRYFEL. GOBAITH. LAND. MONEY. REBELLION. HOPE. was a series yn gyfres o drafodaethau anffurfiol wedi’u curadu, of curated, informal public discussions about some yn ymwneud â rhai o’r materion pwysicaf i wneud of the most pressing issues relating to climate change â newid yn yr hinsawdd. Gwnaethon wahodd pobl running alongside the artists’ residency. We invited ysbrydoledig â safbwyntiau lleol, cenedlaethol inspiring people working locally, nationally and a rhyngwladol, i ymuno â ni i rannu eu syniadau internationally, to join us and share their thinking o amgylch y ffocws ar gyfer pob noson. Gyda’n gilydd, in relation to the focus for each evening. trafodom y syniadau hyn o’n safbwyntiau gwahanol Together, we discussed their ideas from our i ddychmygu’r dyfodol a rannwn. different perspectives to imagine shared futures.

Gyda diolchiadau i Gentle/Radical, a ysbrydolodd rhai o’r With special thanks to Gentle/Radical, whose gwahoddiadau wnaethom ar gyfer y digwyddiadau rhain ‘Decolonising Environmentalism’ symposia in Cardiff gyda’u symposia ‘Decolonising Environmentalism’ yng and Swansea in 2018 inspired thinking behind the Nghaerdydd ac Abertawe yn 2018. invitations we made for these events. 55 Egin Sgyrsiau Hinsawdd | Climate Conversations 56

TIR ARIAN LAND MONEY — 4ydd Gorffennaf — 7fed Gorffennaf — 4th July — 7th July

TIR, gyda Suzanne Dhaliwal ac Aaron Thierry. ARIAN, gyda Rabab Ghazoul a Radha Patel o Gentle/Radical. Gyda cherddoriaeth gan Eve Goodman. Gyda pherfformiad gan David Hopewell.

Mae Suzanne Dhaliwal yn eiriolwr ‘queer’, cudd–gynhyrfwr, artist ‘Arian sy’n gwneud i’r byd droi’. Neu ydy o? rhyngddisgyblaethol, darlithydd ac yn hyfforddwr cyfiawnder amgylcheddol a gwrth–orthrwm. Yn 2009 gwnaeth gyd–sefydlu Beth mae arian yn ei olygu? A sut mae’n ddefnyddiol i siarad am a dod yn gyfarwyddwr Rhwydwaith TAR Sands y DU, a heriodd arian, neu adnoddau, yng nghyd–destun newid yn yr hinsawdd? fuddsoddiadau BP a Shell yn TAR Sands Canada mewn undod â chymunedau brodorol rheng flaen am ddegawd, a wnaeth Archwiliom y cwestiynau hyn a rhai eraill, i benderfynu pa sbarduno ryngwladoli’r mudiad dihatru. ‘adnoddau’ sydd ar gael i ni a sut y gallwn ddefnyddio’r rhain i sicrhau newid radical. Derbyniodd Dr Aaron Thierry ei PhD mewn ecoleg o Brifysgol Sheffield. Wedi hynny bu’n ymchwilio i effeithiau cynhesu Mae Gentle/Radical yn brosiect sy’n cael ei redeg gan byd–eang ar y gylchred garbon mewn ecosystemau’r Arctig. artistiaid. “Mae gennym ni ddiddordeb mewn newid. Ein Mae ei astudiaethau wedi ei arwain i fod yn bryderus iawn man cychwyn yw diwylliant. O ddiwylliant, rydym yn cysylltu am effeithiau posibl amharu ar ein hinsawdd. Yn eiriolydd gwleidyddiaeth, y gymuned a chyfiawnder cymdeithasol, gan angerddol dros gyfiawnder amgylcheddol a chymdeithasol, adeiladu prosiectau o’r gwaelod i fyny. Rydym yn byw yng Aaron oedd un o’r miloedd a gymerodd ran yng ngweithredoedd Nghymru. Rydym yn credu yng ngrym cenhedloedd bach Extinction Rebellion yn Llundain. ac rydym am greu celf o lefydd o degwch ac undod.”

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LAND, with Suzanne Dhaliwal and Aaron Thierry. MONEY, with Rabab Ghazoul and Radha Patel of Gentle/Radical. With music from Eve Goodman. With performance by David Hopewell.

Suzanne Dhaliwal is an environmental justice and ‘Money makes the world go around.’ Or does it? anti‑oppression trainer, queer advocate, interdisciplinary artist and lecturer. In 2009, she co–founded and was director What does money mean? And how is it useful to talk about of the UK Tar Sands Network, which challenged BP and Shell money, or resource, in the context of climate change? investments in the Canadian Tar Sands in solidarity with frontline indigenous communities for a decade, which spurred We'll be exploring these and other questions, to determine the internationalisation of the divestment movement. what 'resources' are at our disposal and how we might use these to bring about radical change. Dr. Aaron Thierry received his PhD in Ecology from the University of Sheffield. He subsequently researched the Gentle/Radical is an artist–run project. “We’re interested in impacts of global warming on the carbon cycle in Arctic change. Our starting point is culture. From culture, we connect ecosystems. His studies have led him to be very concerned politics, community and social justice, building projects from about the potential impacts of disruptions to our climate. the ground up. We live in Wales. We believe in the power of A passionate advocate for environmental and social justice, small nations and we want to create art from spaces of equity Aaron was one of the thousands who took part in Extinction and solidarity.” Rebellion’s actions in London. 57 Egin

GWRTHRYFEL GOBAITH REBELLION HOPE — 8fed Gorffennaf — 11eg Gorffennaf — 7th July — 11th July

GWRTHRYFEL, gyda Asad Rehman. GOBAITH, gyda Andrew Simms ac Ignasi Torrent. Gyda pherfformiadau gan y Marmaladies, Sioned Eleri Roberts Gyda pherfformiadau gan Ed Wright a Charles Gershom. a Katherine Betteridge. Brys a phosibl – rhesymau i fod yn obeithiol: archwiliom rai Felly beth nesaf? Amser i wneud rhywbeth yn wahanol? enghreifftiau ysbrydoledig o brosiectau a dulliau gweithredu ledled y byd. Byddwn yn edrych ar gamau gwrthryfelgar sy’n ymrwymedig i adeiladu cymunedau a gweledigaethau cyffredin ar gyfer Mae Dr. Ignasi Torrent yn ddarlithydd cyswllt yn yr Adran y dyfodol. Cysylltiadau Rhyngwladol ym Mhrifysgol Anglia Ruskin yng Nghaergrawnt. Mae ei ymchwil yn cynnwys Critical Peace and Asad Rehman yw Cyfarwyddwr Gweithredol War on Want, Conflict Studies, yr Anthropogenig, materoliaethau newydd yn yr elusen ymgyrchu radical sy’n gweithio i roi terfyn ar dlodi ac ogystal â ffurfiau anfodern o adrodd stori megis y brodorol, anghyfiawnder yn fyd–eang ac yn y DU. Mae wedi creu rhai o celfyddydau a ffuglen wyddonol. ymgyrchoedd mwyaf trawiadol a thrawsnewidiol y DU, ac mae wedi bod yn ganolog wrth ail–fframio materion yn ymwneud Mae Andrew Simms yn awdur, yn economegydd ac yn ag anghyfiawnder amgylcheddol a’r hinsawdd, gan amlygu’r ymgyrchydd gwleidyddol. Mae’n gyd–gyfarwyddwr y cysylltiad rhwng yr argyfwng ffoaduriaid, anghydraddoldeb NewWeather Institute, yn gydlynydd y Rapid Transition Alliance, ac effeithiau hinsawdd drwy ei waith yn ymwneud â mudo yn gyfarwyddwr cynorthwyol Scientists for Global Responsibility, a ysgogir gan yr hinsawdd. yn gydymaith ymchwil ym Mhrifysgol Sussex, ac yn gymrawd y New Economics Foundation. Mae ei lyfrau’n cynnwys Cancel the Apocalypse, Ecological Debt, ac Economics: A Crash Course.

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REBELLION, with Asad Rehman. HOPE, with Andrew Simms and Ignasi Torrent. With performances from The Marmaladies, Sioned Eleri With performance from Ed Wright and Charles Gershom. Roberts and Katherine Betteridge. Urgent and possible – reasons to be hopeful: We’ll be So, what next? Time to do something differently? exploring some inspiring examples of projects and approaches around the world. We’ll be looking at rebellious actions that are committed to the building of community and a shared vision of the future. Andrew Simms is an author, political economist and campaigner. He is co–director of the New Weather Institute, Asad Rehman is the Executive Director of War on Want, the coordinator of the Rapid Transition Alliance, assistant director radical campaigning charity that works to end poverty and of Scientists for Global Responsibility, a research associate at injustice globally and in the UK. He has created some of the the University of Sussex, and a fellow of the New Economics UK’s most hard hitting and transformative campaigns, and Foundation. His books include Cancel the Apocalypse, has been pivotal in reframing environmental and climate Ecological Debt, and Economics: A Crash Course. injustice issues, highlighting the connection between the refugee crisis, inequality and climate impacts through his Dr. Ignasi Torrent is an associate lecturer at the Department work around climate–induced migration. of International Relations at Anglia Ruskin University in Cambridge. His research includes Critical Peace and Conflict Studies, the Anthropocene, new materialisms as well as non‑modern forms of story–telling such as indigenity, arts and science fiction. Myfyrdod | Reflection 58

Lindsey Colbourne Rhywbeth a fyddai'n amharu ar feddylfryd pawb dan sylw, — Sgyrsiau Hinsawdd gan arwain at ddewisiadau eraill posibl, camgymeriadau, a chyfleoedd ar gyfer yr hyn ydynt mewn gwirionedd. Roedd y gyfres hon o ddigwyddiadau gyda'r hwyr yn Roedd y digwyddiadau, a oedd yn esblygu gyda mewnbwn rhyw fath o 'asgwrn cefn hydraidd/aflonyddol' ar gyfer gan artistiaid, cerddorion, staff NTW, cynhyrfwyr a phobl leol y cyfnod preswyl, gan ddarparu lle ar gyfer myfyrio hyd at y foment yr oedd pob un yn dechrau, yn orlawn, gyda a sgwrsio dyfnach rhwng yr artistiaid preswyl, y bobl chynifer ag 80 o bobl yn mynychu bob nos. Daeth rhai pobl oedd yn byw'n lleol (neu'n ymweld) a 'chynhyrfwyr' i'r pedwar, eraill i un neu ddau yn unig. Cafodd syniadau a o safbwynt a statws rhyngwladol. Gobeithiem drwy myfyrdodau eu cofnodi gan gyfranogwyr yn ysgrifennu ar ganolbwyntio ar gyfiawnderamgylcheddol (wedi 'lieiniau bwrdd' (rwyf wedi cynnwys rhai enghreifftiau yma), ei ysbrydoli gan waith Gentle Radical a'u symposia ac mae Lisa Heledd Jones wedi'i chomisiynu i greu cyfres 'Decolonising Environmentalism' yn 2018), drwy o bodlediadau i gipio rhywfaint o'r drafodaeth. arbrofi gyda gwahanol gynlluniau ystafell, fideo, Roedd y sgwrs yn amrywio o gysylltiadau personol i dir i cerddoriaeth, sain ac elfennau theatrig fel elfennau anferthedd y tywod tar, o hen ffyrdd o wybod i fargen werdd sgyrsiol, a thrwy ddod â grŵp amrywiol o bobl at fyd–eang, o goedwigoedd meddw i 'Bodyn fwy Blaenau', ei gilydd gyda phwyslais ar wrando ar safbwyntiau o ddenu adnoddau a dychymyg radical i drosglwyddo'n gyflym. amrywiol, yn hytrach na chytuno (ac anghytuno), Wynebwyd newid yn yr hinsawdd fel symptom (ynghyd â gallai rhywbeth diddorol ddod i'r amlwg. symptomau eraill megis gwladychiaeth, echdynnu di–baid ac ariannu a'r 6ed difodiant torfol) o ragdybiaethau _ a gwerthoedd sylfaenol. Roedd yn ymddangos bod pobl ifanc yn benodol wedi'u

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Lindsey Colbourne Something that would disrupt the thinking of everybody — Climate Conversations involved, leading to possible alternatives, errors, and opportunities for what they really are. This series of evening events was a kind of The events, evolving with input from artists, musicians, ‘porous/disruptive backbone’ for the residency, NTW staff, provocateurs and locals right up to the moment providing a space for deeper reflection and each started, were fully booked, as many as eighty people conversation between the artists in residence, attended each night. Some people came to all four, others people living (or visiting) locally and ‘provocateurs’ to just one or two. Insights and reflections were recorded of international standing and perspective. We by participants writing on ‘table cloths’ (I’ve included hoped by focusing on environmental justice some examples here), and Lisa Heledd Jones has been (inspired by the work of Gentle Radical and their commissioned to create a series of podcasts to capture ‘Decolonising Environmentalism’ symposiums some of the discussion. of 2018), by experimenting with different room Conversation ranged across personal connections to land layouts, video, music, sound and theatrical to the enormity of the Tar Sands, from old ways of knowing to elements as conversational elements, and by a global Green Deal, from drunken forests to ‘Be more Blaenau’, bringing together a diverse group of people with from leveraging resources and radical imagination to rapid an emphasis on listening to diverse views, rather transition. We faced climate change as a symptom (along than agreeing (and disagreeing), something with other symptoms such as colonialism, relentless extraction interesting might emerge. and monetization and the 6th mass extinction) of underlying assumptions and values. _ Young people in particular seemed inspired throughout. But there were many realisations or ‘head in hands’ moments. 59 Egin

hysbrydoli drwy'r cyfan. Ond roedd yna lawer o adegau o ei gilydd yn uchel, ac wrth i ni wylio Xenson yn sianeli'r ysbryd wirioneddau neu eiliadau 'pen yn y dwylo'. Fy un i, yn benodol (neo–ryddfrydol) trwy Arglwydd Penrhyn, a phan gaeodd Dave drwy sgwrsio â Rabab Ghazoul a Suzanne Dhaliwal, oedd Mangenner Gough y gyfres gyda seremoni yn y goedwig, roedd sylweddoli cymaint yr oedd 'pwy oeddwn i' a'm perthynas â yn teimlo fel ein bod gyda'n gilydd yn dod yn rhan o'r dyfodol newid yn yr hinsawdd (a'i 'atebion') yn cael ei ddylanwadu gan mwy creadigol, agored hwnnw. Diolch o galon, bawb! syniadau imperialaidd o bŵer, rheolaeth, camfanteisio a braint. Yr union agweddau a'i creodd yn y lle cyntaf. Roedd Lindsey Colbourne yn Gydymaith Creadigol ar Egin. Mae Fel y dywedodd Ignasi Torrent: "Os ydym yn meddwl hi’n artist gyda ymarfer cydweithredol sy’n seiliedig ar 25 mlynedd amdanom ein hunain fel actorion trawsnewidiol mewn sefyllfa o ddatrys gwrthdaro a chyfranogiad y cyhoedd ar gyfer datblygu o wrthdroi goblygiadau'r Anthropocene, byddem yn rhoi ein cynaliadwy yng Nghymru, y DU ac yn rhyngwladol. Mae hi’n hunain yn ôl yn y sefyllfa a greodd hyn i gyd". Sef yr union beth ddysgwr Cymraeg ac yn byw yn Nant Peris. yr wyf i wedi bod yn ei wneud ers tua 30 mlynedd. Mae idiom: "Yr awr dywyllaf yw'r un cyn y wawr," ac roedd yn teimlo ychydig fel hynny pan aeth Ignasi ymlaen i sôn am weithio gydag "estheteg o ansicrwydd" sy'n "ymwneud llai â gorchfygu, meistroli, trawsffurfio'r byd, na dysgu byw gydag ansicrwydd, sy'n mynd i'r afael yn union â chreadigrwydd y byd a natur agored y dyfodol." Dwi'n cael fy nenu'n fawr i hynny. Felly, wrth i ni sefyll yn ein cylch o obaith, a gwrando ar seiniau Accretion Entropy yn nigwyddiad olaf y gyfres, a darllen negeseuon wrth ein gilydd yn uchel darllen negeseuon wrth

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Mine, particularly through conversation with Rabab Ghazoul Dave mangenner Gough closed the series with a ceremony and Suzanne Dhaliwal, was realising just how much ‘who I was’ in the woods, it felt like we were together becoming part of and my relationship with Climate Change (and its ‘solutions’) that more creative, open future. Diolch o galon, pawb! was influenced by imperialist notions of power, control, exploitation and privilege. The very attitudes that created it Lindsey Colbourne was Creative Associate for Egin. She is in the first place. an artist with a collaborative practice based on 25 years As Ignasi Torrent said: “If we think of ourselves as of conflict resolution and public participation for sustainable transformative actors in a position of reversing the implications development in Wales, UK and internationally. of the Anthropocene, we would be placing ourselves back in She is a Welsh learner and lives in Nant Peris. the position that created all this”. Which is exactly what I’d been doing for about 30 years. There is a Welsh idiom: “Yr awr dywyllaf yw’r un cyn y wawr” and it felt a bit like that when Ignasi went on to talk of working with “aesthetics of uncertainty” which are “less to do with conquering, mastering, transforming the world, instead learning to live with uncertainty, which precisely addresses the creativity of the world and the openness of the future.” I’m very drawn to that. So as we stood in our circle of hope, listening to the sounds of Accretion Entropy at the last event in the series and reading out messages from each other, and as we watched Xenson channel the (neoliberal) spirit through Lord Penrhyn, and when Myfyrdod | Reflection 60

Lowri Rogers | Ymddiriedolaeth Genedlaethol Roedd archwilio sut mae pobol yn ymateb i argyfwng rhyngwladol ar lefel leol yn ganolog i breswylfa Egin. Dwi’n edrych ymlaen at Mae’n amhosib mynd dan groen lle, a deall ei weld sut fydd artistiaid yn ymateb i’r materion, a gweld pa ran gall hanes yn llawn, heb ymweld a’r lle gyntaf. Dyma y celfyddydau chwarae i’n helpu i gyfathrebu’r sialens rydym yn pam trefnom i’r artistiaid ymweld ag ystod eang gwynebu, a’r llwyddiannau bydd yn ein galluogi i’w goresgyn. o safleoedd yn Eryri, o ffermydd i gronfeydd, i weld rhai o’r sialensau sy’n ein gwynebu fel Lowri Rogers yw Rheolwr Profiad Ymwelwyr Eryri yr Ymddiriedolaeth elusen warchodaeth. Galluogodd hyn y grwp i Genedlaethol, un o gefnogwyr hael preswylfa Egin. drafod amrywiaeth o faterion gyda’n ffermwyr a’n coedwigwyr, o sut rydym yn balansio defnydd tir ar gyfer pwrpasau adloniant, cynhyrchu bwyd a natur, i sut fedrwn ymateb i’r argyfwng hinsawdd.

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Lowri Rogers | National Trust Exploring how people are reacting to a global issue at a local level was a key factor of the Egin residency. I’m looking You can't get under the skin of a place, and fully forward to seeing how artists will respond to these issues understand its story, without visiting first. Which and ultimately seeing what part art can play in helping us is why we arranged for the artists to visit a broad communicate the challenges we face and the successes that spectrum of places in Snowdonia, from National will help us overcome them. Nature Reserves to hill farms and peatland bogs, to see some of the challenges we face as a Lowri Rogers is Snowdonia Visitor Experience Manager for conservation charity. This enabled the group to the National Trust, who kindly supported the Egin residency. discuss a variety of issues with our rangers and farmers, ranging from how we balance land use for recreation, food production and nature to how we might respond to the climate crisis.

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Ar noson olaf Egin cafon ein ymuno ym Mhlas–y–Brenin gan y Cysylltwyr Lleol, partneriaid ac eraill fuodd yn rhan o’r breswylfa am fwyd a dathlu.

The final night of Egin was the Makers’ Meal. Egin artists and organisers were joined at Plas–y–Brenin by Local Connectors, partners, and others who had been a part of the residency. 63 Egin Diolch yn Fawr | Thank You 64

Cafodd Egin ei gynnal gan National Theatre Wales mewn National Theatre Wales hosted Egin in partnership with: partneriaeth â Cyfoeth Naturiol Cymru: Natural Resources Wales was established in 2013 to care for Sefydlwyd Cyfoeth Naturiol Cymru yn 2013 i roi cyngor ar a and advise on the natural environment in Wales and its natural gofalu am yr amgylchedd naturiol yng Nghymru a’i adnoddau resources. It is the largest Welsh Government sponsored body naturiol. Ni yw’r corff mwyaf a noddir gan Lywodraeth Cymru ac and has a wide range of roles, including: advising Welsh mae gennym nifer o swyddogaethau gwahanol, gan gynnwys Government, land owners/managers and the public; regulating cynghori Llywodraeth Cymru, perchnogion/rheolwyr tir a’r industry on environmental matters; designating protected cyhoedd; rheoleiddio diwydiant ar faterion amgylcheddol, dynodi sites and landscapes; and managing 7% of Wales’ land area, safleoedd a thirweddau gwarchodedig; a rheoli 7% o dir Cymru, including the Welsh Government Woodland Estate, National gan gynnwys Ystad Goetir Llywodraeth Cymru, Gwarchodfeydd Nature Reserves, flood defences, visitor centres, recreation Natur Cenedlaethol, amddiffynfeydd rhag llifogydd, canolfannau facilities and a laboratory. NRW is proud to be leading the way ymwelwyr, cyfleusterau hamdden a labordy. Mae Cyfoeth Naturiol to a better future for Wales by managing the environment and Cymru yn falch o fod yn arwain y ffordd at well dyfodol i Gymru drwy natural resources sustainably. reoli’r amgylchedd ac adnoddau naturiol mewn ffordd gynaliadwy. We thank the following partners for their generous support: Rydym yn diolch i’r partneriaid canlynol am eu cefnogaeth hael: British Council Wales brings the best of international education Mae British Council Cymru yn dwyn y gorau o addysg a’r and arts to Wales and helps Welsh students, teachers, artists celfyddydau rhyngwladol i Gymru ac yn helpu myfyrwyr, athrawon, and others connect professionally with people around the artistiaid ac eraill yng Nghymru i gysylltu’n broffesiynol â phobl world. We enrich people’s lives here in Wales and abroad by ledled y byd. Rydym yn cyfoethogi bywydau pobl yma yng encouraging and supporting this interplay of ideas, skills Nghymru a thramor drwy annog a chefnogi’r rhyngweithio hwn and experiences. o ran syniadau, sgiliau a phrofiadau. The National Trust was founded in 1895 to care for places of Sefydlwyd Yr Ymddiriedolaeth Genedlaethol yn 1895 i ofalu am historic interest or natural beauty, forever, for everyone. In Wales leoedd o ddiddordeb hanesyddol neu harddwch naturiol, am byth, the charity cares for more than 45,000 hectares of countryside, ar gyfer pawb. Yng Nghymru mae’r elusen yn gofalu am fwy na 157 miles of coastline as well as some of the finest castles and 45,000 hectar o gefn gwlad, 157 milltir o arfordir yn ogystal â rhai gardens. The Trust is the largest conservation organisation in o’r cestyll a’r gerddi gwychaf. Yr Ymddiriedolaeth yw’r sefydliad Europe, supported by five million members, more than 160,000 cadwraeth mwyaf yn Ewrop, wedi’i gefnogi gan bum miliwn o of whom live in Wales. As a charity it relies on membership aelodau, y mae mwy na 160,000 ohonynt yn byw yng Nghymru. subscriptions, gifts and other voluntary support to meet its Fel elusen mae’n dibynnu ar danysgrifiadau aelodaeth, rhoddion annual conservation and maintenance costs. a chymorth gwirfoddol arall i fodloni ei gostau cadwraeth a chynnal a chadw blynyddol. Situated on the west coast of Britain covering 823 square miles of diverse landscapes, Snowdonia National Park is a Wedi ei leoli ar arfordir gorllewin Prydain gan gwmpasu 823 milltir living working area, home to over 26,000 people. As well as sgwâr o dirweddau amrywiol, mae Parc Cenedlaethol Eryri yn being the largest National Park in Wales, Snowdonia boasts ardal gweithio byw, ac yn gartref i dros 26,000 o bobl. Yn ogystal the highest mountain in England and Wales, and the largest â bod y Parc Cenedlaethol mwyaf yng Nghymru, mae gan Eryri’r natural lake in Wales, as well as a wealth of picturesque mynydd uchaf yng Nghymru a Lloegr, a’r llyn naturiol mwyaf yng villages like Betws y Coed and Beddgelert. Snowdonia is an Nghymru, yn ogystal â chyfoeth o bentrefi prydferth fel Betws area steeped in culture and local history, where more than y Coed a Beddgelert. Mae Eryri yn ardal wedi’i thrwytho mewn half its population speak Welsh. diwylliant a hanes lleol, lle mae mwy na hanner ei phoblogaeth yn siarad Cymraeg. Snowdonia attracts thousands of visitors each year who enjoy its amazing landscapes and the wealth of outdoor activities Mae Eryri yn denu miloedd o ymwelwyr bob blwyddyn sy’n on offer. The National Park Authority’s aims are to conserve mwynhau ei dirweddau anhygoel a’r cyfoeth o weithgareddau and enhance the natural beauty, wildlife and cultural heritage awyr agored sydd ar gael. Nod Awdurdod y Parc Cenedlaethol of the area; promote opportunities to understand and enjoy yw gwarchod a gwella harddwch naturiol, bywyd gwyllt a its special qualities; and to foster the economic and social threftadaeth ddiwylliannol yr ardal; hyrwyddo cyfleoedd i ddeall wellbeing of its communities. a mwynhau ei nodweddion arbennig; a meithrin lles economaidd a chymdeithasol ei chymunedau. Llun Gan Photography Credits _

Shehzad Chowdhury Simon Coates Lindsey Colbourne Angela Davies Owain Gwilym +44 (0)29 2035 3070 Lisa Hudson [email protected] National Trust Images / John Miller nationaltheatrewales.org Steve Peake community.nationaltheatrewales.org Alex Roberts @NTWTweets Ruth Stringer @nationaltheatrewales Joanna Wright National Theatre Wales

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