Amgueddfa Cymru

Hafan

We have created word clouds based on the most commonly used terms in the responses to two questions on display in the exhibition. Figure 1 shows the feedback to the question "Which object would you recommend to a friend?" and Figure 2 shows the terms used to the query "How do you feel surrounded by so many fragile objects?".

We hope to periodically produce these word clouds; they may show that the most frequently used terms change over time or that they remain the same. Interesting conclusions could be drawn from either. If they change it could be that people will appreciate certain works due to the time of year, the likelihood that they attended an event or changing fashions. If they remain unchanged the conclusion could be drawn that some works resonate strongly with the majority of visitors.

The questions are posed using two methods on the landing of the west wing galleries; as a comments section on the iPad's and a bulletin board with paper and pencils provided to write a response (Figure 3).

These questions were posed to combat the standard "What do you think of the exhibition?". Rather we wanted to create questions which would encourage key concepts of the exhibition: to stimulate curiosity and encourage debate. This (we hope!) will happen through visitors reading the questions and considering their own responses and by seeing the responses of others which are left on display in the space.

Excitingly we have found visitors have taken to this style of questioning; the responses to the question about recommending an object to a friend (on the "bulletin board") have been through text and images with some visitors expanding upon why they like certain works (Figure 4) . In the comments field on the iPad's which asks about personal experience in the exhibition we have been interested to seeing the varying reactions. Such as a visitor on the 5th May who responded: "Scared worried but its lovely" or from the 16th May "I really liked the pull between wanting to touch and not being able to touch. When i stepped into the first installation i was overwhelmed with a child like want to feel and discover for myself.".

Let us know If you have any comments on the exhibition, questions or if there's a subject you'd like to see a future blog post about. By Penelope Hines & Jennifer Dudley

Dros y Pasg, cynhaliwyd gweithgaredd o’r enw ‘Trwy’r Twll Clo' yn Sain Ffagan. Y syniad oedd i aelodau o’r Adran Addysg fod yn yr adeiladau hanesyddol yn dehongli a dangos gwrthrychau i’n hymwelwyr, er mwyn denu sylw at hanes yr adeilad neu agwedd wedi ei gysylltu â fo. Yn ystod yr wythnos bydd 3 blog gan 3 aelod o staff a gynhaliodd y digwyddiad yma.

Roedd hi’n ben set arna i fi braidd yn penderfynu pa adeilad i ddefnyddio. Felly dyma fi’n penderfynu tro ‘mha, i lynu at rywbeth dwi’n nabod reit dda yn barod, sef Siop Gwalia. Dwi’n cynnal sesiynau addysg ffurfiol (hefo grwpiau plant ysgol) yma’n barod felly mae gen i syniad reit dda o’i hanes a beth allai wneud yna, ac mae gen i wisg yn barod i fynd!

Mi oni wedi herwa’r archif er mwyn cael lluniau o’r siop yn ei leoliad gwreiddiol, ac roedd gen i goffi ffres a ffa coffi er mwyn dangos y peiriant malu ffa. Defnyddiol hefyd i ddod a ‘chydig o aroglau yn ôl i’r siop a fysa’n llawn aroglau pan oedd ar agor yn gwerthu’r holl gaws, ffrwythau sych, cig, te, coffi a bob math o bethau.

Un o’r lluniau a greodd yr ymateb fwya’ oedd ‘ Gorwyl House’ ar ben y bryn uwch Cwm Ogwr, tŷ adeiladodd Wiliam Llywelyn pan wnaeth ddigon o ffortiwn i symud allan o fod uwchben y siop. Mae’r gwrthgyferbyniad rhwng y tai eraill a lleoliad y ‘mansion’ fel gelwid y tŷ yn lleol, yn neges glir o statws uchel y teulu Llywelyn ar anterth Siop Gwalia yng Nghwm Ogwr.

Roedd yn brofiad braf bod yn y siop a chael cyfle i allu adrodd ei hanes, sy’n adlewyrchol o hanes y cymoedd yn gyffredinol. Ond hefyd siarad gyda’r ymwelwyr am ba mor wahanol oedd y profiad o fynd i siop tua 100 mlynedd yn ôl, pa mor gymdeithasol yn enwedig.

Roedd y staff yn cael eu hyfforddi am flynyddoedd ac roedd yn swydd uchel iawn ei barch, ac roedd y siopau gwir yn ganolbwynt i’r gymdeithas. Braf iawn oedd hefyd cyfarfod rhai o gyn-gwsmeriaid y siop yn hel atgofion yno, daeth mwy nag un i mewn yn cofio’r siop yn ei leoliad gwreiddiol. Disgrifiodd un ddynes y bwlch oedd yng Nghwm Ogwr yn ei le dros y ffordd i’r orsaf drên, ac wrth drafod ac edrych nôl mae colli profiad siopa fel hyn wedi gadael bylchau mawr ar draws Gymru

Bydd y blog nesaf yn dilyn cyn bo hir yn trafod y gweithgaredd wedi ei leoli yn un o’r adeiladau hanesyddol eraill.

I was just making coffee for the team and when I looked around at everyone beavering away at their desks - and realised just how diverse the work we do is… Take this afternoon as an example:

Kay Hanson, our Peoples Collection Wales Technical Officer is fresh from the launch of a brand new “Learn’ section of the People's Collection Wales website – over six months in the planning, such a milestone is no mean feat. The result is the combination of thousands of assets from the main heritage institutions around Wales as well as content contributed from the public and filters all this data according to what educational purpose you require. Give it a go yourself at: www.peoplescollection.wales, what will you learn?

Rhodry Viney our Web Officer (and Final Cut Pro guru) is hard at work editing, slicing and generally making good the video he filmed in the field a few weeks ago with our scientists and paleontologists. It'll be ready soon, but in the meantime I’ll give you a clue… it’s big, it’s extinct and it had lots of teeth. (Shhhhh!!)

Chris Owen our Web Manager is working hard on creating exiting new sections for our website, where all the collections content is brought together in the most user-friendly way possible. Not an easy task given we have 7 physical sites, 5 main collecting departments, hundreds of staff and millions of collections… oh yeah, and two languages to consider!

Dave Thorpe, Senior Developer is tweaking his very popular audio guides, developed as a first for Amgueddfa Cymru – for the new exhibition: Chalkie Davies: The NME Years at National Museum Cardiff. The exhibition focuses its interpretation on an audio guide you access through your own mobile device. Given the theme of the gallery is based around photographs captured in the 1970’s, bringing our new mobile era into the mix is very interesting. He’s also fine tuning some super duper interactives in the gallery. But come and visit the show for yourself to witness his handywork first hand!

Myself, I’m the Digital Programmes Manager and have been up to my eyes in fleshing out software/digital briefs for the new galleries in development at St. Fagans. Funded by a HLF grant, the largest ever awarded in Wales, the plans are ambitious and exciting. Not due to open until 2017/18, it's all about planning at this stage so I’m surrounded by spreadsheets, tables and forms - what a good time to stop for a coffee break and to knock out a quick blog post!

 

Yn dilyn ymlaen o flog Elen am Wersyll Carcharorion Frongoch, dw i am dynnu eich sylw at y gwrthrychau sydd gennym yn ein casgliadau sy’n gysylltiedig â charcharorion rhyfel neu gwersylloedd rhyfel yn ystod y ddau ryfel byd.

Am gyfod byr bu’r peilot Arthur Wellesley Rees Evans yn garcharor rhyfel pan saethwyd ei awyren i lawr tra ar ei ffordd i fomio Cologne yn ystod y Rhyfel Byd Cyntaf. Mae ei gasgliad gennym yn yr archif yn Sain Ffagan ac yn cynnwys dogfennau megis canllawiau am gyfathrebu â charcharorion rhyfel sydd wedi'u caethiwo dramor, canllawiau'r Pwyllgor Canolog Carcharorion Rhyfel ynghylch anfon parseli bwyd i garcharorion rhyfel yn yr Almaen, yn ogystal â cherdyn post o Wersyll Carcharorion Rhyfel Limburg yn hysbysu ei deulu ei fod yn garcharor rhyfel.

Mae enghreifftiau gennym hefyd o wrthrychau a wnaed gan garcharorion rhyfel Almaeneg a Thwrcaidd yn ystod y Rhyfel Byd Cyntaf. Mae'r rhain yn cynnwys set ysmygu a wnaed gan garcharor Almaeneg mewn gwersyll carcharorion rhyfel ym Mhenarth, a model gleinwaith o neidr gyda chameleon yn ei geg gyda'r geiriau 'TURKISH PRISONER 1917'.

Mae pawb yn gyfarwydd â’r ddelwedd o garcharorion rhyfel Prydeinig yn brwydro ac yn dianc o wersylloedd y gelyn yn ystod yr Ail Ryfel Byd mewn storïau anhygoel megis ‘The Great Escape’ neu ‘Pum Cynnig i Gymro’.

Mae stori Cecil Rees yn debyg iawn i’r storïau hyn. Bu’n aelod o’r RAF, a chymrodd rhan mewn nifer o chyrchfaoedd bomio yn ystod yr Ail Ryfel Byd. Saethwyd ei awyren i lawr yn Mai 1943, a chafodd ei ddal gan yr Almaenwyr tra’n lloches gyda theulu Ffleminaidd. Danfonwyd Cecil i wersyll carcharorion rhyfel Almaeneg, Stalag Luft 3, ond nid oedd yn bwriadu treulio gweddill y rhyfel y tu ôl i’r weiren bigog. Felly, dihangodd o’r gwersyll ym Mawrth 1944 cyn cael ei ddal eto gan yr Almaenwyr a’i ddanfon yn ôl i’r gwersyll. Rhoddwyd ei gasgliad o ddogfennau i’r Amgueddfa ddwy flynedd yn ôl, ac mae’n gasgliad hynod ddiddorol. Mae’n cynnwys cynlluniau i ddianc , mapiau hancesi papur , trwyddedau ffug gyda’r stamp Natsïaidd , a hyd yn oed ambell i Reichsmarks!

‘Drown’d in drowsy sleep, of nothing he takes keep’. These were the words that William Goscombe John chose to accompany his sculpture Morpheus when it was first exhibited at the Royal Academy in 1891.

The caption was taken from the 16th century poem The Fairie Queene by Edmund Spenser, although it is not a direct quotation. This epic allegorical poem follows the journey of several Arthurian knights as they battle their way through a mythical fairyland.

Morpheus, the Greek god of dreams, plays a small role in The Fairie Queene. He is called upon to help the black sorcerer Archimago trap Redcrosse, one of the Christian knights. He does this by conjuring up a false dream of love and lust to fool Redcrosse into believing that his lover Una has been ‘sporting’ with another knight. This leads to Redcrosse abandoning her and continuing his quest alone.

In this sculpture Morpheus is shown asleep - or perhaps softly stirring from sleep, his arms stretched languidly above his head. Apart from this, John makes no other reference to the narrative of The Fairie Queene and it is not clear why he would have chosen to depict a figure who plays a relatively small role in the story, and in Greek mythology.

We might say that the mythological theme was a pretext for depicting a nubile male nude. Alternatively, we might see it as a statement about the role of the figurative sculptor. In mythology, Morpheus had one great power: he could mimic the human form, and trick people into seeing physical bodies that are not really there.

 

Stephanie Roberts and Penelope Hines