: Community Engagement

Volunteering at the National Slate Museum

Chloe Ward, Volunteering Co-ordinator, 4 August 2023

What are the volunteering opportunities at the National Slate Museum? 

Getting people involved in volunteering at the National Slate Museum has been a priority since I began my role as Volunteering Co-ordinator here in May 2022. So what opportunities for taking part are there at the Museum?

Blacksmithing placement 
In December 2022 we excitingly welcomed Dai to the museum on a Student Work Placement. Dai was on a Welding and Fabricating college course, which requires students to partake in 20 days of work experience. He worked with Liam, our Blacksmith, in the historic forge in the Gilfach Ddu workshops and over the 20 days learnt how to make a bottle opener, a fire poker, and a pair of tongs. It was great to see his confidence and skills develop over the months he was here!

Skills Development Placements 
Last year we started Skills Development Placements in Llanberis, something that already exists at Cardiff National Museum. They are one day a week of shadowing the front of house team, providing invaluable experience for people who have barriers to work. We piloted the placement over the Winter 2022, and this year Aaron has just started a placement with us. He says he is looking forward to learning about the history and the opportunity to be part of a team. These placements are available almost all year round – please feel free to get in touch for more information.

Rag rug volunteers 
If crafting is your thing, helping us create rugs might be your motivation to volunteer! We have around 3 volunteers weekly in the Chief Engineer’s House, working on making rag rugs for our historic houses. Since they started in May they have had many interesting conversations with our visitors. Many of our visitors talk about how they used to make rag rugs with their grandparents when they were younger, albeit not everyone knows them as rag rugs! They are known by different names across the United Kingdom – we have learnt about 'proddy rugs', 'peg rugs' and many more!

What can we look forward to?  
We’re currently developing a few interesting roles in Llanberis... we will soon be recruiting for an Ambassador Volunteering Role, and a Machine Conservation Volunteering role! We will also be advertising a Heritage Student Work Placement in September for students looking for general experience in the heritage industry. Keep your eyes peeled!

Beginning my journey into science, starting 450 million years ago!

Manus Leidi (PTY Student), 27 July 2023

Everyone has that favorite Christmas from their childhood, I bet you can picture yours now. Mine was when I was about eight years old. I woke up to find a small rectangular present underneath my pillow, not then realizing the butterfly effect this present would have on my life. Most kids that age would be wishing for Lego or superhero figures, and I did love Lego at that age, yet this present was none other than BBC’s Walking with Dinosaurs series. I was hooked like a bee is to pollen, getting more and more lost in the land before time, the animals of today paling in comparison to the monsters that used to stalk our planet, wondering if one day I’d be able to discover and name my own.

Unfortunately, this dream was put on hold as I dealt with my terrible teenage years.  Impressing my peers became the centre of my life and being the dinosaur/science kid was not going to cut it. Once I had left school for college and grown up, considerably, I went back to my original passion, studying Biology at A level and then moving to a biology undergraduate degree at Cardiff University. 

Though I have studied biology for many years, I still had no actual experience in doing real scientific work. So, when the opportunity to partake in a professional training year (PTY) arose, I reached out with both arms. I applied for a placement at Amgueddfa Cymru-Museum Wales in Cardiff, and after a few weeks I embarked on a project with the Natural Sciences staff in the museum. This is where my journey into the scientific world begins, working on animals that perished over 450 million years ago.

The day I started my project in the museum felt a bit like a first swimming lesson, nervous but excited at the same time. Luckily for me I was put under the tutelage of the wonderful Lucy McCobb, a paleontology curator who had a vast knowledge and understanding of the time and fossils I would be working on. My first few weeks of the project were spent organizing nearly a thousand fossils by species, so that they could be transferred into drawers for easier access. The collection of fossils I had been assigned to work on was called the Sholeshook Limestone collection. These fossils were collected in South-west Wales by an amateur collector called Patrick McDermott, who graciously donated them to the museum so they could be further studied. 

My project over the year would be to curate the collection, organizing and documenting it, as well as to help identify a possible new species. The animals I would be focusing on from this collection are a group of archaic, marine arthropods known as trilobites. These creatures are some of the earliest known fossils, first appearing around 520 million years ago in the Cambrian period and lasting almost 300 million years, before going extinct with 90% of all other life in the end Permian mass extinction. 

But why trilobites? Most people overlook the arthropods of today in favour of more impressive animals. Trilobites, however, have proved vitally important to scientists in the study of evolution. Firstly, trilobite fossils are one of, if not the most, abundant fossils of their age. This is due to trilobites being amazingly successful as a class, having a hardened exoskeleton which they moulted off regularly and many species living in shallow coastal environments, both features that increase chances of fossilization massively. In fact, they have been so useful that entire evolutionary studies have been conducted on them, such as Peter Sheldon's important study of over 15000 trilobites from mid Wales in the 1980s, which resulted in an eye-opening paper shedding light on evolutionary trends based on trilobites. Excited by my prior reading, and especially the prospect of helping discover a novel species, I was eager to begin my project. 

Once all the fossils were sorted, my first task was to select the best specimens from each species to photograph. Photographing the specimens is very important as this will eventually allow them to be uploaded online and in turn, become accessible to many more people, including scientists and the public alike. 

Once this was all completed, it was time for my favourite part of my project so far, helping discover a new species! This has always been a lifelong dream of mine, although when younger I did hope I’d discover the biggest dinosaur ever, and I couldn’t wait to get started. I gathered all the fossils of the suspected new species; each specimen, over 250 in total, needed to be worked on in a number of ways. First, they had to be sorted according to which part of the body it represented.  Luckily trilobite exoskeletons tend to break into consistent parts (head, thoracic segments, tail) so this part was not too difficult. Second came the most time-consuming part, examining their features in detail under the microscope, making observations and taking multiple measurements of each specimen - like the initial sorting, this process took a few weeks but was vital, as these measurements are used to distinguish our species from others in the genus.

Once all the raw data were collected, along with Lucy, we compared our species with every other known species in the genus. This was not as easy as it first seemed.  The well-known species were rather quick to distinguish based on their different features, however, some species are not even given full species names, as only one poorly preserved fossil has been found. Comparing these fragmentary fossils to our species was taxing, especially when the papers some of these species were figured in are from the 1800’s or written in Russian! 

I am hopeful that this paper will be finished and submitted to a scientific journal before I begin my third year of my university degree. I believe this will be a huge help to make me more desirable to future employers. As well as curating and writing this paper, the museum has also given me other opportunities to help develop my scientific skills. This September, in fact, I will be presenting a poster on the project at the Paleontological Association annual conference, which I am beyond excited to do. 

Another area the museum has helped me develop is science communication. I was given the opportunity to produce trilobite spotter sheets to help the Welsh public in their fossil hunting. This involved me finding local and well-preserved fossils in the museum’s collections to photograph, laying these images out on the sheets, and working with Lucy to draft text about them. I was then able to present these sheets at a public outreach event, After Dark: Science on Show, where Lucy and I ran a stand, promoting the museum’s spotter sheets and inviting people to play a board game, which showed them how difficult it is for fossils to form. 

Having the opportunity to work in the museum has further solidified my passion for natural science, as well as giving me the tools to progress in the field post degree. I feel I have finally taken my first steps into the scientific world, rather than simply learning about other peoples’ discoveries. Being able to say that I have published scientific work before even graduating from university and knowing I can work with fellow peers in my workplace who have said they have appreciated me being here (they could be lying), has given me great self-confidence. I cannot stress how important doing a year in industry has been for me and would recommend it to any other student. The insight and experience it will give you will in my opinion completely influence your future decision making. I implore any student with the opportunity to take a training year to ask yourself, do you actually know what it will be like or have any experience working in your field? If the answer is no, then a training year should be a MUST!

Finally, I would like to thank Lucy, Caroline and Jana, as well as all the staff in Natural Sciences that have helped me this year. I feel prepared to take my next steps into science and that’s all because of the help everyone has given me. 

New English Learner Resources for Amgueddfa Cymru

Loveday Williams, Senior Learning, Participation and Interpretation Officer, 10 May 2023

Amgueddfa Cymru Museum Wales have been working with Refugees and Asylum Seekers, supporting people to integrate into their new communities for many years. 

As part of this work, we have developed partnerships with key organisations such as Addysg Oedolion Cymru Adult Learning Cymru. They have been working with us over the past year, alongside their ESOL students, to develop new ESOL learner resources designed to support people learning English to explore our museums and galleries. 

The new resources cover the National Waterfront Museum in Swansea, the National Slate Museum in Llanberis and the National Roman Legion Museum in Caerleon. 

The resources have been created by ESOL tutors and tested by ESOL learners. They follow the ESOL curriculum and cover a range of different levels from Entry to Level 2. 

Now that the new resources have been tested, tweaked, and trialed they are ready to download from our website for any ESOL learner or group visiting one of the museums. (See the links above). 

We also have a suite of ESOL resources for St Fagans National Museum of History which were developed in a similar way as part of the HLF funded Creu Hanes Making History Project in 2014. 

We continue to work with our partners and community members to provide meaningful opportunities for people facing barriers to participation in the arts and cultural heritage. 

We learn so much from the people who visit our sites and engage in the learning opportunities we offer. 

Supporting those people who are newly arrived in Wales to settle and integrate into their new communities is a very important area of our work and we hope that these new learner resources help many people on that journey. 

Diolch yn fawr to Addysg Oedolion Cymru Adult Learning Wales and the ESOL tutors and learners who have contributed to the creation of these new learner resources. 

Spirited

Laku Neg, 26 October 2022

Spirited is an immersive installation in honour of fractured African traditions that feed and underpin our island culture in Trinidad and Tobago.

 

The Vision

In dreaming this work we thought about women. We knew about Luisa Calderón whose torture became well known during the infamous 1806 trial of Picton. We found reference to Present (a young enslaved woman executed by Picton for attempting to run away), in a Bridget Brereton history book. V.S. Naipaul’s Loss of El Dorado informed us of Thisbe, who was accused of sorcery and condemned to death - hanged, decapitated and burnt at the stake - her head placed on a pole. These women are essentially our ancestors. We considered questions such as: what would they say if they were able to speak through us? How can we honour them and transform their suffering - scream into song, torture into dance?

On seeing the drawings of Luisa’s torture we imagined her suspended figure as an elegant dancer. Captivated by the beauty of the human form, that motif would become a feature throughout the final piece.

Mary-Anne has a beautiful phrase: “6 aunties and a grandma -  embodying in many ways the kitchen space as a creative yard, a place for wisdom, disagreement, challenge, questioning and throwing lots of ideas into a pot - The kitchen, that yard aesthetic, was how we dreamed together. 

In dreaming, we imagined that anything was possible. We wanted to play with traditional and contemporary digital media and create an immersive journey, a dance.

 

The Work

While the kitchen yard aesthetic informed our dreaming, it was the Carnival yard aesthetic that informed how we made the work. At the heart of this was an invitation to be involved. 

Having worked in community arts, the intuition here was that, in order for people (such as museum staff) to have ownership over the work, they must feel part of it, so that they can deliver the message and share with others.

The making involved:

Collecting, Twisting, Weaving - “A tapestry of memory and understanding” The woven newspaper was the most communal aspect of our work - chosen as a way of utilising a handmade, something-from-nothing Carnival making aesthetic.

Metal work - Led by Cindy, we worked with Cardiff Engineering Company on the large centrepiece gallows structure. The intricate music box with a chocolate-covered wire Luisa, is a micro reflection of the macro centre installation.

Video & Photography - We produced 3 videos, each speaking to a different aspect of the journey we were symbolising through the 3 women. The photographs  aimed to re-imagine a childhood for Present, our women and all whom they represent.

Soundscape - We approached the audio as a continuation of the weaving. We invited and commissioned 4 musicians and composers to contribute pieces based on their interpretation of the environment we wanted to invoke. Interwoven are the spoken words of Luisa from a translation of Governor Picton’s trial.

Everyday hurricane Passing - This acapella by Mary-Anne is an invocation for Grandmothers we never knew and Nennen, women who cared for us in their absence, to dance.

‘Everyday Hurricane Passing’ but despite destruction, invasion, derision, separation, obstruction, bombardment, intrusion and denial, ever resourceful, we dream, we create riches, we dance and fight, we raise.

Painting - In this we wanted to engage an idea of transformation, with a particular focus on Thisbe representing warrior and healer. The limited and bright colour palette is in deliberate high contrast to Picton’s portrait.

The women - The presence, the actions and the duties of women are all pervading in the Caribbean. Our men were not allowed to be there to protect us. Through the narratives we know and the narratives we imagine, we centre these women within our paintings, wire work, photographs, videos and chocolate. We dance with beauty and the macabre - we tell a story of the named and step into the unnamed collective - the procession of those killed, tortured, wounded and maimed.

Creating the environment - The spiral is an echo of the centrepiece moving outward and inward - symbolising the processional. The colours on the wall represent the vibration and intensity of Caribbean colour and flavour.

 

The Resonance

This work is a celebration - we are still here.

 

See Spirited for yourself as part of the Reframing Picton exhbition at National Museum Cardiff until 3 September 2023.

Black Lives Matter - A speech from the opening of the Reframing Picton exhibition at National Museum Cardiff

The Reframing Picton group, 13 October 2022

Black Lives Matter.

For generations, even up to recent years, that’s been a controversial statement. Thomas Picton is only one of many instruments of the British Empire who exported, demonstrably, an opposing belief.

I’m unsure where I heard this but it’s stuck with me since:

“The instant a subject becomes aware they have been exposed to propaganda, that propaganda ceases to be effective”

In the case of Thomas Picton and his legacy, drenched in the blood of Africans and Native Caribbeans, was sanitized, valorised iteratively while he lived and especially following his death. The murder of George Floyd spurred people and institutions into gear, Amgueddfa Cymru were thankfully one of those institutions.

At the heart of the idea of empire is a differential sense of importance. Some places are more important than others, setting up the Metropole and the Colony. A center and a periphery. The prevailing narrative has always been fundamentally white supremacist, at the expense of Africans and Natives. The British Empire used the metropole-colony model to evade accountability for events driven by people like Picton.

Reframing Picton represents a divergence from this narrative. 

In the time we worked on this project we made a point to expose, not erase history. It was essential that we directly involved people connected to Trinidad, where Picton entrenched his reputation for barbarism during his tenure as Governor. 

Amongst the goals for this exhibit is the creation of a site of conscience rather than indoctrination. To create a dialogue between museums, the governments that fund them and the communities they serve. To create healthy ways of addressing.

Finally, I’ll leave you with a quote that I think encapsulates the purpose of the project most pertinently:

“If we want our future to be better than our past we need to challenge which aspects of our culture we preserve, build upon and deconstruct”