Mayu Seguchi

Hi my name is Mayu Seguchi and I have just graduated with a BSc (Hons) in International Wildlife Biology from the University of South Wales. The most commonly asked question I’ve received since moving away from my small town in Michigan is “Why Wales”? My automatic response has always been to praise my university course for the extensive amount of travelling embedded into the curriculum. I recount stories about my experiences - like how an African elephant herd mock charged us in South Africa, or swimming in this gorgeous river in the Chiquibul Rainforest while rainbow marques flew overhead in Belize. I will tell anyone who listens about diving in the second largest barrier reef and how these nine dives cleaved open a new path I never expected to follow: marine biology. I went as far as selecting a dissertation on iguanas so that I could live on a small island off the coast of Honduras for two months, diving and snorkelling whenever I had a spare minute. 

Thus, when a placement opportunity became available to work with marine bristle worms aka polychaetes at National Museum Cardiff, I knew I had to apply. My first day was spent trying to avoid getting lost in the labyrinth they call hallways and start learning about the museum’s digitization methods used for specimens. It was only when I became settled that I really began to realize how amazing the collection I was working with was. The samples were obtained by R. D. Purchon from five locations along the Bristol Channel: Peterstone Wentlloog, Sully Island, Barry Harbour, Breaksea Point, and Dale Sands. This means every specimen I’m handling has resided in Welsh waters surrounding Cardiff! With only having travelled abroad for field work, it was easy to get enthralled by colourful reefs and larger marine mammals. This collection enlightened me to the gaps in my knowledge about species that I share a home with and provided me with the opportunity to learn. So now when people ask me why I moved to Wales, I can respond with “Why NOT Wales”? With all the beautiful wildlife, from puffins to polychaetes, there is so much to explore. 

At museums with large collections, like Amgueddfa Cymru, it is nearly impossible to register every conserved specimen that has been accessioned. However, this limits the amount of information that can be ascertained regarding a species, and that holds valuable insight into the fauna of Wales and the UK. Thus, my colleague, Caitlin Evans (see below), and I were tasked with 1) curating the specimens into the museum's database and 2) taking and attaching images to each specimen. I will be discussing the methodology used for curating the collection from Purchon (1950), before Caitlin continues into how we performed the imaging aspect of our work with the polychaetes. 

To curate the collection, I used the database FileMaker Pro with a museum developed template (Figure 1). For each specimen, I documented the collection’s name, accession number (a unique number enabling each specimen to be located), and the date the specimen was collected, as well as the specimen’s family, genus, and species. Each specimen also specified a collection site which, when paired with R. Denison Purchon’s Ph.D. on The Littoral and Sublittoral Fauna of the Northern Shores, near Cardiff and Dale Fort Marine Fauna edited by J.H. Crothers provided me with the information needed to determine the approximate latitude and longitude coordinates of the locality the specimen came from. Additionally, these papers supplied a greater context into the specimen’s collection site, with some individuals having descriptions on the surrounding sediment in which they were discovered. Once the sediment was recorded and these documents were complete, key identifying information was printed onto smaller labels to be preserved in the jar with the specimen (Figure 2). With the collection fully curated onto the museum’s database, it was time to begin the imaging process. 

Caitlin Evans

Imagine being able to learn and research animals that go completely un-noticed by humans. Polychaetes are marine invertebrates that some people don’t even know about due to their predominate nature of burrowing in the sand. They live all along the shoreline and tides of our favorite beaches and can get completely overlooked. I’m Caitlin, a Biology student currently in my final year completing my undergraduate degree in the University of South Wales. The opportunity of a summer placement at Amgueddfa Cymru - Museum Wales came to me completely by chance, I had no real plan to take part in a placement. However, when one of my lecturers mentioned this chance, I knew I had to jump on the opportunity. When I began university, I wasn't sure which field I wanted to pursue. But as soon as I began studying ecology and zoology, I knew I had found my passion. I travelled to the Belizean rainforest and coast for a month, gaining hands-on experience on what it’s like to pursue a career in the field. From mist netting to scuba diving, this opportunity only solidified my interest. I am currently collecting data for my upcoming dissertation project on bat populations, collecting data for the Bat Conservation Trust alongside completing this placement, meaning my weeks are full of zoology-based activities.

During my time at the museum, I was tasked to curate and complete imaging practices on the Mendelssohn Collection by my supervisor Dr Teresa Darbyshire (Senior Curator: Marine Invertebrates). This is a large collection of around 115 fluid preserved specimens. They range from tiny samples that are barely noticeable to large worms that barely fit in their jars. The specimens in this collection have all been collected from Guernsey by J.M. Mendelssohn and have been preserved in ethanol. Working with this collection has allowed me to appreciate the biodiversity of a place I have never visited before. It gives a great insight to the nature that can be found there. 

As Mayu mentioned, the task of curating this collection involved thoroughly searching Mendelssohn’s PhD thesis from 1976 in order to discover exact locations of where the specimens were collected from. Through the use of the thesis and the help of trusty google maps, I was able to determine latitude and longitude coordinates for each specimen and log them into the database. Any and all information was inputted into the database including all taxonomic information and even sediment details. Once this was completed for every sample, we moved onto completing fresh labels for the physical fluid samples. This involved opening the samples and placing a new label into the jar. This allows for quick and easy identification of the specimen.

The next stage would be navigating through the maze down to the imaging room. 

The imaging process of these specimens involved being able to get physical experience of how to handle the preserved fluid specimens properly. Taking the preserved polychaetes out and being able to analyze the amazing details and evolutionary traits of these worms was truly amazing. The imaging allowed us to gain skills we would never be able to develop if it wasn't for the museum, including how to properly handle old specimens and even gave us a foundation in photography. During our time at the museum, we were lucky enough to trial a DISSCO-style project (Distributed System of Scientific Collections) which involves digitizing the collections of the museum, this extensive project includes ALL collections and it is hoped that the marine collections may form a part of it some time in the future (Figure 3).

The first step of the imaging process is to complete an audit image, this means to photograph everything that is present in the jar (Figure 4). Using forceps, we would take out the specimen(s) and place them in a petri dish full of ethanol. We would then take all of the labels, old and new, and lay them neatly in frame. Next was added a QR code for the DISSCO process. After photographing the fronts and backs of the labels and specimen, we would then move on to the specimen images. Next, more close up images such as Figure 5 are taken to help identification, for example, the lugworm Arenicola marina has a specific number of ‘rings’ on its head that is used to identify it. This process of specimen imaging takes numerous photos at different focal levels, which are then combined to create a crystal clear and detailed photograph. This final image is rendered by using the Helicon Focus software before transferring it to Photoshop to add a scale bar. This process was completed for both mine and Mayu’s collections (Figure 5). We switched jobs regularly, which allowed us both to progress our imaging skills further (Figure 6). The final task we completed during our time at the museum was using Photoshop in order to edit our images to make them clean and tidy. 

Our experience completing the placement has allowed us to gain valuable skills that are impossible to get anywhere else. It has been an incredible experience and has opened the door to the world of natural science and has been an amazing steppingstone for our future careers.

The entire natural science department has made our time in the museum fun and incredibly fascinating. In addition to the marine section, we were able to get an inside perspective of many other sections including vertebrates and botany which we are extremely thankful for, and working together has allowed us to develop new friendships. Thanks to the staff and our supervisor, Teresa Darbyshire, for creating a warm and welcoming environment for us to work in and making our time at the museum irreplaceable. They have expanded our knowledge greatly and we couldn’t have asked for a better experience. 

As part of the REACH (Residents Engaging in Arts, Culture and Heritage) project, we’ve had the absolute pleasure of working with groups from Innovate Trust and First Choice- two organisations supporting people with learning disabilities in Rhondda Cynon Taf and the Vale of Glamorgan. Over the past few months, we’ve come together for a series of creative workshops to connect with our local history and heritage through art and creativity.

Since starting REACH, we have held six museum-focussed workshops. We started off with a mindfulness walk around St Fagans National Museum of History. It gave us all a chance to slow down, notice our surroundings, and chat in a relaxed setting. It set a gentle and open tone, one that has carried through all the sessions since. 

One of the standout moments was a visit from our Principal Curator of Collection Development: LGBTQ+, Mark Etheridge. Mark shared powerful LGBTQ+ stories from the museum’s collections, which led to some thoughtful conversations. It gave the group space to reflect, ask questions and connect those stories to their own experiences. Rhys, one of the participants, said “The LGBTQ+ activity at St Fagans was important to me, after that I started to talk to people and be more open with the group about being gay”. Zac also added “this is for me, I’m gay so this is for me, look it’s cool”.

Inspired by objects from the museum, the group began creating their own artwork. Some people sketched out images and messages, while others designed T-shirts. What really stood out was the thoughtfulness behind each piece. Every design had meaning and reflected something real to the person who made it. According to Rhys, “Two of my favourite activities were the art lesson with Marion and designing a t-shirt about what being Welsh meant to me. I liked them because I liked sitting down with friends and support workers, just having fun and getting creative”.

Some of our more recent workshops focused Pride. Two of our Amgueddfa Cymru Producers led an engaging session about the history and significance of Pride, which sparked lots of curiosity and discussion. The group were tasked with creating bold, bright banners that could be carried in the parade. These sessions were full of enthusiasm, plenty of colours and a real sense of celebration. 

REACH is all about learning new skills and making new friendships. It is about telling unheard stories and strengthening and highlighting pride. It is about using the talents of local people to challenge the stigmas that their communities face. Hear what Eve, Health and Wellbeing Coordinator for First Choice, has to say: 

"Being part of the Wales REACH Project, I've loved seeing a core group form of people who are passionate about learning, sharing and creating. Wales REACH has provided the group with opportunities to try new things and form new friendships; some of these people may have never otherwise crossed paths despite their common interests. Their energy and enthusiasm has been infectious and it's been wonderful to join in with some of the sessions, hosted by kind and knowledgeable facilitators".

Keep an eye out for others upcoming blogs, showcasing the amazing work that’s been happening across all our participating communities. 

Wales REACH is made possible with The National Lottery Heritage Fund. It is a partnership between thirteen organisations and is led by The Open University and Amgueddfa Cymru. It is funded with a grant from the National Lottery Heritage Fund. The current phase started in autumn 2024 and is scheduled to run until autumn 2026.

We’re having an eventful August at St Fagans! We’ve already explored the Celtic period and Medieval times and this week we are immersed in Tudor life! 

Until Friday this week you can book to take part in interactive sessions at St Teilo’s Church, where you’ll meet a Tudor guide who will introduce you to some of the customs and practices of the times. You’ll learn about Tudor life, handle replica objects from the collection, and gain an understanding of the significance of the Church’s intricately painted walls. Our aim is to create a fun learning experience for the whole family. Times, prices and booking information can be found here: Explore the Tudor Church

You can also join the Art Cart Corner, where we’re running drop-in craft activities Mondays-Fridays throughout August. This week you can further explore the Tudor period by creating your own Tudor roses, ruffs, swords, crowns, houses, stained glass effect windows and paper dolls! The Activities are £4 per child (accompanying adults craft for free!). You’ll be given a wristband allowing you to drop-in and out of the activity space as much as you like between 10:30 and 15:00. 

And the fun doesn’t end with the Tudors! Next week, we will be getting to know the Victorians! We’ll be running Meet the Victorian Teacher sessions, and our craft activities will be Victorian themed! We’ll be making peg dolls, Victorian houses, paper cup-and-ball games and thaumatropes along with other activity sheets and crafts. Find out more about what’s on at St Fagans and book your tickets here: What's On at St. Fagans National Museum of History

There are several Tudor and Victorian buildings to explore on site, you can learn more about these here: Historic Buildings | Museum Wales

We also have fun educational resources that you can access from home:  

Iron Age Wales: Daily Life of the Celts Resources

Age of the Princes

eBook: Victorian School in Wales

We hope to see you soon,

St Fagans Learning Team

Telling a story is a complicated process - especially a Museum story! 

Objects, information panels and websites do a good job of giving information and films are invaluable at setting context - but what we all want to know more about are the stories of the people who were there at the time.  And there's no better way of doing that  than by bringing them back to life! (sort of!)   

Rhian Cadwaladr - a popular local actor, has been telling 'stories' and creating 'characters' at the museum for over 25 years, and her latest creation, Margaret the Matron, has recently taken up residence at the Quarry Hospital in Llanberis as the Museum is temporarily closed for redevelopment. 

Margaret (or Gladys as she was more popularly known) was quite a character! An excellent nurse but also an excellent singer. She worked at the Hospiatl for many years and Rhian has meticulously researched her history so that she's able to answer all visitor questions that might come her way! 

Rhian first worked with the Museum back in the autumn of 1997 when she was asked to become a character in the Museum’s then newly restored Chief Engineer’s house.  Over the years she has portrayed various characters from the original Elizabeth, the Chief Engineer’s maid,  to Hanna the Chief Engineer’s wife and Anti Marged, who brings to life the 'washday' for local schoolchildren. 

As Hanna, Rhian would tell people all about her life in the Chief Engineer's House and the many objects in it  – from the beautiful willow pattern crockery on the dresser to the handmade rag rugs on the floor. She would also draw attention to the ubiquitous SALEM painting on the wall – a common find in many Welsh homes circa 1919 due to the brilliant advertising mechanisms of sunlight soap! 

During Christmas events at the Museum 'Hanna' was often surrounded by families helping her to make Victorian oranges – leaving a gorgeous festive aroma through the house.

Whilst families enjoy these activities, they are learning that these  are places where people lived. Hanna spends a lot of her time making fires to warm the house and cook the food. She makes the rag rugs on the floor and polishes the brasses that have been passed down from generation to generation. Her favourite possession is the slate fan made by her father to show his skill as a quarryman. 

“Bringing our history to life, not only to generations of Welsh people but to people from all over the world has been an honour,” said Rhian, who is originally from the village of Llanberis and whose grandfather, great grandfather and great great grandfather worked at Dinorwig quarry. 

"People are so willing to imagine that they have stepped back in time and are meeting a ghost from the past - though I must admit some people, who have not expected to see me there, can be a bit spooked to start with!"

Another character Rhian brought to life with local schoolchildren is 'Anti Marged'.  These sessions focused on the traditional washday – from intense scrubbing with carbolic soap to pushing clothes through the mangle to drying and ironing – all centred around a warm coal fire of course and all a far cry from the convenience of our electric washing machines, tumble dryers and electric irons today. School children are always gob-smacked by the fact that the whole thing takes so long compared to the modern-day set-up!  

Another actor who has worked at the museum for a number of years is Leisa Mererid. Leisa would regularly take on the role of a 1901 housewife struggling to cope with the hardships brought about by the Great Strike at Penrhyn Quarry in Bethesda a difficult story!  Based in 1901 Leisa’s Quarryman husband is on strike – during the Great Lockout of Penrhyn Quarry. She has little bread on the table and life is generally a struggle. Most prominent in the house where she ‘lives’ is a large conch shell which she and others who are married to men who are on strike, hoot through at the men who have decided to break the strike and go back to work. They are ‘bradwrs’ (traitors) but as the sign in Leisa’s window states “Nid oes Bradwr yn y ty hwn” (There are no traitors in this house!) 

In May 2022, the National Slate Museum celebrated its 50^th birthday and introduced a new character – ‘Wil the Fitter’ – a former engineering fitter at the Gilfach Ddu workshops. The script for this was written by Rhian...and in 2024 Gwyneth was created - a character who was based in the 1969 House of the Fron Haul Quarrymen's Houses.

This Summer, as the Museum is temporarily closed for redevelopment, Rhian takes on the role of yet another character - Margaret the Matron at the Quarry Hospital, located in the shadow of the Quarry but overlooking the beautiful Padarn Lake. Here she tells people about the type of injuries and illnesses that are treated at the Hospital, the Doctors who treat them, the type of work the Matron and other staff carry out day to day and just how progressive this amazing community Hospital is. There are many sad stories to be heard but it's also a story of innovation and of a community working together to provide an essential service for the Quarrymen and their families. 

Said Elen Roberts, head of National Slate Museum:

“Being a museum actor is a hard role to take on! The depth of knowledge they have to accumulate is huge because the questions that can be asked are extremely wide ranging – from basics such as how to tell if the iron is hot enough to more complicated issues such as the political events of the day. We’re incredibly lucky to have such talented actors as part of our museum family; they’ve added so much value and enjoyment to thousands of visitors’ experiences over the years.”

Siân Iles behind the scenes in our medieval collections storeroom

Hi Siân, tell us a bit about yourself and your role at Amgueddfa Cymru.

I grew up in Cardiff and trips to the Museum to view the archaeology displays at Cathays Park are a happy childhood memory for me. I was so excited to begin working at the Museum in 2008 when I joined as curatorial assistant of the medieval archaeology collections. I am now the Senior Curator responsible for this collection, which covers the period c. AD 500–1500. Prior to that I worked in an archaeology museum in Southampton, which was a wonderful experience working with material from many time periods. At Amgueddfa Cymru I love being part of a team of passionate and knowledgeable colleagues who all work hard to care for the many different aspects of the archaeology collections at Amgueddfa Cymru.

What does the responsibility of looking after our medieval collections entail on a day-to-day basis?

The role is a really varied one, which is a big part of what I love about my job! Some of my day-to-day tasks include the accessioning of archaeological materials, writing treasure and other specialist reports, answering enquiries from the public and facilitating volunteering projects focussing on our medieval archaeological collections. I also enjoy working on large projects including exhibitions.

Tell us a little about the objects and stories you’ve come across. Is there a particular object with a story that has stuck with you?

The joined tile from Neath Abbey, made from three cut pieces forming a single design.

I recently came across an odd discovery whilst working on a volunteer project to repackage and check the documentation of our medieval floor tiles. Amongst a group of tile from Neath Abbey was one was made up of three separate tiles of the same design that had been deliberately cut and stuck together. This isn’t something we would consider doing today but it gave us an interesting perspective into the curatorial practices of the past!

You mentioned our Treasure findings take up some of your time. Can you tell us more about our involvement with Treasure in Wales, and any exciting findings we have recently received?

17th-century vervel, or hawking ring, acquired by us via the Treasure process.

I’m part of a team at Amgueddfa Cymru who help administer the Treasure process in Wales. We offer advice to finders, coroners, local museums, and other interested parties on items of potential Treasure found in Wales. A large part of my treasure role is to research and write specialist reports for the medieval and post-medieval treasure cases, making recommendations to coroners who decide on whether an object or collections qualifies as Treasure.

Looking at all aspects, what do you wish our visitors knew about the work you do behind the scenes?

That the care we provide to the collections is active and continual. A key responsibility of the role of curator is provide a balance between providing access to collections with providing continued care to preserve them for future generations.

And finally, what’s your favourite piece in the Amgueddfa Cymru collection and why?

I find picking a favourite object very hard! I really enjoy working with all materials, but I particularly enjoy working with medieval ceramics – basically fragments of broken pottery and tile! I enjoy the variety of information you can glean from studying it about both the makers and the users. You can see a creative choice or moment (sometimes a fingerprint!) recorded in clay. A single action by a single person representing a single moment in time.

Sherds from 14th-century jugs found at Drybridge Park, Monmouth