Wales is… connected

A very brief look at Black history in Wales and its global connections

An old photograph of a rugby team, there are both black and white skinned boys in the team, the all have their arms crossed with two teachers either side to the team

Group of boys from South Church Street School, Butetown, rugby football club, 1924-25. Mr Bull was headmaster at this time (84.105I/6).

When people think of Wales, they often picture mountains, castles and coal. Yet the stories that connect Wales to the wider world are often less visible. Shaped by empire, migration and global trade, Wales has long been part of a wider network of people, goods and ideas. At Amgueddfa Cymru, we explore these histories through our collections – from photographs and artworks to everyday personal belongings.

The histories of Black and racially minoritised communities are not a recent addition to the Welsh story; they have always been part of it, woven into the fabric of Welsh life even when overlooked or excluded from mainstream narratives.

Tiger Bay

A cd case with the matching cd next to it, there's the orange and black tiger pattern on both with the words 'born down my tiger bay'

Audio CD book 'Born Down Tiger Bay: An extract of childhood memories from the book written and narrated by Cardiff Singer Patti Flynn' (F2018.7.7).

Black histories in Wales are not confined to Cardiff’s docklands, though they provide perhaps the clearest example of Wales’s global connections. During the nineteenth and twentieth centuries, Cardiff became one of the world’s busiest coal-exporting ports, linking Wales to Africa, the Caribbean, the Americas, Asia and beyond. Ships carried Welsh coal across the globe, which returned cultural exchange and new global connections.

Sailors and workers from places including Somalia, Yemen, Jamaica, Barbados, Nigeria and Cabo Verde settled in the communities around the docks, creating one of Britain’s oldest multicultural neighbourhoods.

The terms Tiger Bay, Butetown and Cardiff Docks are often used interchangeably, although they refer to slightly different things. Butetown is the official name of the area established in the nineteenth century, while Tiger Bay was the popular name associated with the dockside district and its diverse population.

A green book with the words 'Cardiff docks, joint registration committee' on it, written in faint black pen is ÂŁ7.00

Cardiff Docks Joint Registration Committee registration card issued to A. Tyler of 23 Swansea Street, Cardiff. Mr Tyler who worked in Cardiff docks between the 1920s and 1940s. Registration number '1466'. Folded card with green covers and black print (88.45I/1).

The Walker family and key workers from Jamaica

Arriving as part of a wider movement of Caribbean migration to Britain, the Walker family represents just one of many Jamaican families who made Wales their home during the 1960’s. Ivy Leslie and Gerald Fitz Walker, both from Jamaica, met in Port Talbot and went on to marry and have a family. They brought with them skills, experiences and cultures that enriched Welsh communities. Their story reflects the resilience, determination and contribution of a generation who helped build post-war Britain while forging lasting connections between Wales and the Caribbean.

A green case with a gold outline and handle to it with a white background

Suitcase used by Ivy May Leslie when she emigrated from Jamaica to Port Talbot in 1961. Born in St Andrew, Jamaica, she later married Gerald Fitz Walker (also of Jamaica) in 1967. They lived in Enfield Street, Port Talbot, where they raised eight children.

Solidarity and resistance

A poster with a golden celtic border on one half and a yellow barbed wire towards the bottom, the middle has a ripped effect in black and white with suffering

Poster produced by Mudiad Gwrth-Apartheid Cymru / Wales Anti-Apartheid Movement advocating against cultural links with the Apartheid regime in South Africa. Designed by Anthony Evans. With slogan: DIM CYSYLLTIADAU DIWYLLIANNOL A DE AFFRICA / NO CULTURAL LINKS WITH SOUTH AFRICA (F2019.6.5). © Anthony Evans/Amgueddfa Cymru

Wales’s history is also a story of resilience, protest and solidarity. From struggles for workers’ rights in coalfields and industrial communities, to campaigns for social justice, language, equality and political representation – people in Wales have long challenged inequality and fought for change. These traditions of collective action connect Wales to wider global movements, including anti-colonial campaigns, civil rights struggles and movements against racism. Black communities in Wales were not only shaped by global connections through trade and migration; they also contributed to local and international struggles for justice.

The future

Exploring Black histories in Wales is not simply about recovering stories from the past; it is about supporting Black communities in the present and ensuring their histories, experiences and perspectives continue to shape how Wales understands itself.

The letters BLM are clearly written in black with a red outline on a piece of cardboard

Placard used by an attendee at the Black Lives Matter Cardiff demonstration held outside the Senedd on 27 June 2020 (F2020.20.13).

It also requires an honest reflection on the gaps that remain. Whose stories have yet to be told? What histories have been overlooked, forgotten or excluded from the historical record? By listening to community feedback, strengthening connections and developing our learning resources, we can continue to broaden our understanding of Wales’s past and present.

The Red Flannel Remedy

As the days grow shorter and the winter chill sets in, we reach for our woolly jumpers, scarves and blankets to keep warm. But did you know that there was once a time when a simple piece of red flannel was believed to do much more than keep out the cold? It was thought to help cure it too!

Long before the days of modern cold remedies, families turned to a humble piece of red fabric, believing it possessed remarkable healing properties. The practise was wonderfully simple. When someone developed a cold or sore throat, a piece of red flannel would be wrapped around their neck, sometimes warmed beforehand and often left in pace overnight. 

For chest complaints the fabric might be worn beneath clothing, close to the skin, while some people wore red flannel throughout the winter months in the hope of preventing illness altogether. 

Red flannel was also associated with remedies for rheumatism, muscular aches and other ailments. 

But why red? You’d think that any warm piece of wool would work.

The answer lies in a fascinating mixture of practical medicine, folklore and superstition. 

Throughout history, the colour red has been associated with warmth, blood, strength, vitality and protection. In traditional folk medicine, colours were sometimes believed to possess special powers, capable of influencing illness or driving away harmful forces. Red was considered particularly powerful. 

In medieval medicine, red cloth and furnishings were sometimes used in the treatment of diseases such as smallpox. It was believed that surrounding a patient with red could influence the course of the illness. 

Over time, such ideas became woven into everyday household remedies, with red threads, ribbons and pieces of cloth used to protect against various ailments. The red flannel remedy was therefore about more than keeping warm. For some, it was a way of wrapping themselves in protection against illness. 

Of course, there was also a more practical reason why flannel became such a popular choice. Wool is a remarkable natural fibre. It can help to regulate body temperature by insulating from the cold and it wicks away moisture to prevent chills from fever sweats. Woven into flannel, it provided a comfortable and practical material for clothing, bedding and wraps.

In Wales, flannel has a particularly rich history. For centuries, Welsh woollen mills produced flannel for clothing and everyday use, supplying both local communities and markets further afield. Red flannel was among the fabrics produced and sold. 

Today, we know that the colour red has no special ability to cure colds or prevent infections. Colds are caused by viruses, and wrapping ourselves in wool cannot make them disappear. Nevertheless, a warm woollen scarf can certainly provide comfort on a chilly winter’s day. 

The story of the red flannel remedy offers a wonderful glimpse into the lives of generations past. It reminds us of a time when home remedies were passed down through families, and when the warmth of a simple piece of wool could offer both physical comfort and reassurance. For the people who believed in its healing properties, red flannel represented something more than a piece of fabric. It was a symbol of care, protection and hope. 

And while we may no longer believe that red wool can cure the common cold, the comforting warmth of wool remains as welcome today as it was centuries ago. 

Welsh love spoons

Although the exact origins of love spoon-making in Wales are unclear, we know that such spoons would have been shaped with great care and devotion by their carvers. Often carved during the long, dark winter months, when outdoor agricultural work slowed down, love spoons were given as a token of love and affection and each spoon was unique.

The lovespoon collection at Amgueddfa Cymru contains beautifully ornamented examples both historical and modern. It conveys the changing nature of the art through time and encompasses a wide variety of styles and designs all carefully handcrafted to the highest quality.

Presenting a decoratively carved spoon to a loved one as a token of affection has long been popular in Wales. From the Museum's oldest dated spoon of 1667 to contemporary examples by renowned present-day carvers, the calibre of the spoons is testimony to the makers' skill and devotion in creating objects intended to be treasured by their recipients.

Two spoons carved from one piece of wood and joined by a single handle, which has intricate symmetrical carvings including star-like shapes, crescents, circles and a letter T.

Young men traditionally made a lovespoon from a single piece of wood, as a love token for their sweethearts.

Young men traditionally made a lovespoon from a single piece of wood, as a love token for their sweethearts.

Romantic gifts to maidens

Despite the lack of historical sources, it is generally believed that lovespoons were formerly crafted by male suitors and then presented as romantic gifts to the maidens they admired. The eighteenth- and nineteenth- century examples which form the basis of the Museums collection were driven by the emotion and passion of carvers who sought to produce works of art worthy of their beloveds.

The simplest of tools, such as small pocket knives, were traditionally used to to create the spoons, if possible, from a single piece of wood. Close-grain woods, such as sycamore, box and fruit woods were particularly popular.

Although the popularity of lovespoons has fluctuated over time, lovespoon carving has survived intact and continues thanks to a new breed of craftsmen determined to preserve the art.

Traditionally, lovespoons were given as romantic gifts, but today they are frequently given as gifts to commemorate events such as weddings, birthdays, anniversaries and christenings. Their function has significantly altered over time - particularly from the mid-twentieth century onwards when the fashion for mass-produced examples became increasingly prominent.

What do love spoons mean?

The symbolism on the spoons has also changed in recent years, with the introduction of Celtic and national emblems, such as daffodils and dragons, a means of expressing Welsh identity. This contrasts with the previously romantic sentiment, such as hearts, diamonds and wheel motifs.

Lovespoons continue to represent an expression of one's thoughts and emotions and carvers remain who honour the folk origins, either by creating spoons on commission or as presents for their family and friends.

Lovespoon carving is an ever-evolving craft and one which is sure to continue to delight and inspire for many generations to come.

Judging by the exquisite array of designs in the Museums collections, carvers have always felt free to decorate their lovespoons as they saw fit. Although each spoon is unique and often features initials or dates personal to the recipient, over time a series of symbols were employed to depict romantic thoughts and feelings. Such symbolism can, of course, be interpreted in many ways, and we can only imagine the true emotions of the carver as he prepared the spoon.

  • Hearts

The heart is the universal symbol of love and is frequently seen on Welsh lovespoons. It is a sign of passion and strong emotion - surely signifying the carver's depth of feeling for his beloved. A lovespoon showing twin hearts might well indicate a mutual love between sender and recipient.

  • Double bowls

Occasionally, lovespoons are carved with two or more bowls, possibly to indicate the union of the souls when joined together, or perhaps the number of children desired.

  • Comma or paisley shape 

Often visible on historic Welsh lovespoons, this shape is said to represent the soul and deep affection.

  • Balls in cage 

Balls carved within cages are commonly thought to represent the number of children desired by the carver, but could equally be a sign of a man held captive by his love.

  • Chain links

Generally considered to indicate loyalty and faithfulness, chain links might also symbolise a couple bound together in their love and loyalty.

  • Diamonds

Diamonds are believed to represent a wish for prosperity and good fortune and a promise to provide well for a loved one.

  • Keys and keyholes 

In addition to the house images that sometimes appear on Welsh lovespoons appearing to represent domestic contentment, key and keyhole carvings are also used frequently, perhaps symbolizing security or, more romantically, the key to one's heart.

  • Wheel 

Wheel symbols often feature in Welsh lovespoons and are said to represent a vow by the carver to work hard and to guide a loved one through life.

Try your hand at designing your very own virtual lovespoon to send to a loved one.

 

From Antarctica to Wales: The Remarkable Journey of Shackleton’s Penguin

From the frozen landscapes of Antarctica to the collections of Amgueddfa Cymru, one remarkable penguin has a story to tell. A story of exploration, scientific discovery and an unexpected connection between one of the world’s most famous polar explorers and Wales. 

More than a century ago, Sir Ernest Shackleton, the celebrated Antarctic explorer, made a gift to the National Museum of Wales (as it was known then) of a King Penguin collected during his pioneering expedition to the Antarctic. 

But how did this extraordinary bird find its way to Wales?

An expedition into the unknown

In 1907, Ernest Shackleton set sail aboard the Nimrod, embarking on an ambitious expedition to explore the largely uncharted Antarctic continent. 

The British Antarctic Expedition of 1907-1909, better known as the Nimrod Expedition, would become one of the most celebrated voyages of the heroic age of Antarctic exploration. 

During the expedition Shackleton and his companions endured extreme temperatures, treacherous ice and unimaginable hardships. In January 1909, they reached within approximately 97 geographical miles of the South Pole, travelling further south than anyone before them. 

Although they did not reach the Pole itself, their achievements captured the imagination of the world. 

The expedition was about more than geographical records. Scientific research and the collection of natural history specimens were also important parts of the voyage, helping to expand knowledge of the Antarctic and its remarkable wildlife. 

Among the specimens associated with the expedition was a magnificent King Penguin, believed to have been collected on Macquarie Island, a remote sub-Antarctic island between New Zealand and Antarctica. 

A rather unusual request

On 16 March 1910, William Evans Hoyle, Director of the National Museum of Wales, wrote to Shakleton with a request. 

The museum was developing its natural history collections, and Hoyle hoped that the famous explorer might be willing to donate a specimen from his recent expedition. Remarkably, the explorer replied the very next day, on 17 March 1910, agreeing to present the museum with a King Penguin. 

Arrangements were made through Rowland Ward, the renowned London taxidermy firm, for the preserved bird to come to the national collection. It was a generous gesture from one of the most celebrated explorers of his generation, and one that would establish a lasting connection between Shackleton’s Antarctic adventures and Wales’s national collections. 

Even more remarkably, the original correspondence between Hoyle and Shackleton survives in the museum’s Natural History Archive, providing a fascinating glimpse into the story behind the donation. 

A Penguin takes centre stage

Standing approximately 90 centimetres tall, the preserved King Penguin became a remarkable addition to the museum’s growing natural history collections. 

In 1914, the bird was displayed at Cardiff City Hall as part of an Antarctic Exhibition alongside an Emperor Penguin. 

For visitors in Wales, the opportunity to see these extraordinary birds offered a glimpse into a distant world that few people could ever hope to experience for themselves. 

More than a century later, the bird remains an important part of the story of the museum’s collections, preserving a connection to one of the most remarkable periods in the history of exploration. 

A lasting legacy

Today, Shackleton’s King Penguin tells a story of courage, curiosity and the human desire to explore the unknown. It reminds us that museums play an important role as storehouses for biodiversity, keeping a record of a species over time, allowing generations of visitors and researchers to learn more about the natural world.

From the icy waters of the Southern Ocean to the museum collections of Amgueddfa Cymru, the journey of Shackleton’s penguin is a reminder that even the most unexpected objects can have extraordinary stories to tell. 

Now, more than 115 years after the generous donation, the penguin continues to connect Wales with one of the greatest adventures in the history of polar exploration as it makes its next journey from Cardiff to Swansea’s National Waterfront Museum.

Winter Folklore and Tradition: The Mari Lwyd

 

What is the Mari Lwyd?

One of the most well-known Welsh customs is the Mari Lwyd, meaning 'Grey Mare', a horse-figure carried from door to door by wassail-singing groups. The tradition begins on Christmas Day and continues through to Twelfth Night and Hen Galan (Old New Year, celebrated on January 13).

Popular in South Wales during the 19th century, the tradition features a real horse's skull, usually decorated with coloured ribbons and rosettes and with glass bottle eyes. The lower jaw is fixed on a spring which shuts the mouth with a loud snap and brings the creation to life. A long white cloth is draped down the carrier which hides him from view.

Occasionally the head was of wood, one account says paper, and in around 1935 a group of boys in Swansea used a pillow, but a horse's head was characteristic. The same horse's head tended to be used annually, for it was buried in lime to preserve it for most the year, and dug up each December.

How is Mari Lwyd celebrated?

In terms of the celebration itself, the custom used to begin at dusk and often lasted late into the night. During the ceremony, a party of usually all men, would carry the Mari through the streets of the village singing and dancing. The Mari does not hunt alone, for depending on the area and the amount of people in the wassailing party, she can be joined by an array of other characters named Punch and Judy, the Sergeant and the Merryman.

Even very small groups usually have a leader, who holds the reigns to control the horse and take charge of the singing.

They would visit every house or pub in the village and stand in front of the door to sing traditional songs.

Next followed the pwnco, an improvised rhyme and verse contest between the Mari party and the inhabitants of the house.

There was a lot of leg pulling, and the verses were usually quite mischievous.

Traditionally these exchanges would be done with the door closed, and the contest could last for some time, sometimes even an hour or so, until one side gave up.

If the Mari side lost the contest, they would have to leave without being admitted to the house. However this would have been quite a rare occurrence, as the Mari entering the building was thought to bring good luck, so they would usually win (or be allowed to win).

Alternatively, the Mari party might sing one last verse begging for entrance.

Once inside, the entertainment continued with the Mari running around neighing and snapping its jaws, creating havoc, and frightening the children, while the Leader pretended to try to restrain it.

The Merryman played music and entertained the householders. Punch and Judy would also be part of the festivities. The participants would be rewarded with food and drink, and sometimes received a gift of money as well. The visit concluded with a traditional farewell song.

Popularity of the Mari Lwyd

With the earliest account of the Mari dating from 1798, the boom years, as regards to the amount of horse's heads in existence, were between 1850 and 1920.

Apart from one or two sightings in the north, the ritual remained exclusive to south Wales, being especially popular in Glamorgan, Monmouthshire and Carmarthenshire.

A general decline occurred in the number of Mari Lwyd groups during the twentieth century. One of the reasons normally given for its demise is the decrease of Welsh speakers, preventing inhabitants from replying to the Mari group, as the Mari Lwyd contest was almost always sung and performed in Welsh.

Another reason for the custom's decline was the increasing rowdiness and drunkenness which became associated with it. This was seen as unacceptable behavior especially with the rise of the Chapel and Methodism in Wales.

However there has been a growing interest in the Mari Lwyd in recent years, and this has resulted in a resurgence in groups performing this tradition across all of Wales.

Where can you see the Mari Lwyd?

Join us at St Fagans this winter to witness the Mari Lwyd tradition brought to life. Explore our full winter programme here.

The Mari Lwyd figure will also be on display as part of our new Wales: Told by Us exhibition. Learn more about the exhibition and plan your visit here.

The Mari Lwyd Song Audio and Lyrics