Community Engagement

After a year (2024) of creating incredible St Fagan’s inspired textile and mixed media art Cutting Edge members gathered at the Gweithdy Gallery, St Fagans National Museum of History on 25th & 26th April to exhibit their work and to provide craft and sewing activities for visitors in celebration of Global Intergenerational Week. And what an awesome two days it was!

Visitors were delighted to be able to view the exhibits close up and to read the workbooks describing how the project developed over time. They were also delighted that they could join in the various activities and we received lots of feedback over the two days, both in conversation and the Visitors Book. Here's a taste of what people said:

“As a fellow quilter and textile artist it is lovely to go out and see everyone’s work. Congratulations." Lesley , Higham Quilters, Gloucester
“Very impressive to see such a stunning piece of local inspiration and imaginative work” Byron family
“Fabulous exhibition. Well done all. Thank you for making us feel so welcome“ Sue & Vicki
 
The children tried out most things from colouring to stamping and sewing, which seemed to be a crowd pleaser. After colouring a picture on fabric many were eager to have a go at sewing and soon became hooked!
One little girl drew a large letter E on a textile square and began sewing it. She was disappointed to be dragged away half way though, but took some threads to finish it at home. However, later in the day she reappeared to pick up some more thread as she had run out of one of the colours. She must have found a little corner on her travels around the grounds to continue her sewing!
The adults enjoyed the sewing too!
The group from Pontadawe stitch group thoroughly enjoyed making brooches and owls:
“What a wonderful exhibition, so inspiring. Thank you for my owl/penguin. I love him! You are all a lovely bunch. Diolch yn fawr I chi gyd“!" Glenda , Stitch Pontadawe. 
“What a lovely event. Thanks for the brooch kit. I really enjoyed making it. All lovely friendly people” Dawn

Plenty of owls appeared thanks to Carol. They were so popular that she had to go home on Friday evening to prepare more!
“Thank you Carol for helping me make my owl!.

There was some great colouring and sketching going on. Pat's little leather bound sketch books were as popular as Carol’s owls. Not surprising as they were a fabulous little gift to take home.
“Lovely day out with lots of great crafts, the children really enjoyed themselves. Thank you so much"

The Cutting Edge members weren’t shy of immersing themselves in the activities either. They thoroughly enjoyed chatting to visitors too as it was an opportunity to pass on tips, advise and direct them to resources. One visitor was planning to repair altar cloths and was delighted to be introduced to another visitor who could help her find the braids that she needed.
Some feedback from the Cutting Edge group members: 
“I enjoyed the afternoon. A lovely way to spend it. I loved looking at the exhibits again and had fun stamping!” Sally
“It was a fun day with so much interest and appreciation… met some lovely people, some commenting that they were inspired to try something creative themselves and very polite children who all said thank you for helping them. Loved it” Ella.
“What a lovely time spent today meeting visitors who were so interested in our groups work. So many were amazed at the range of different textile / art skills exhibited.  My favourite moment though is the young boy in the photo above who was determined to stitch around his daffodils before leaving . So good to have had the opportunity to encourage the youngsters."  Liz
“Such a great couple of days and so many people leaving inspired to carry on stitching." Eleri

The Monopoly quilt was popular and a number of suggestions were made for a permanent home for it, though many were of the view that it should stay at St Fagans.
“Fantastic range of work and skills. Really enjoyed the whole exhibition especially the Monopoly quilt." Lesley, Rhoose
Carol’s stitched family tree project was also popular. Carol was overwhelmed by the repose she received. As a result the seeds of a workshop are now forming!

Over the two days we welcomed over 650 visitors who came from near and far, some as far as the Netherlands!
Two Dutch ladies who visited wanted to buy pieces of our art work. When we asked what they were interested in they pointed to Dianne’s postcard and Monica’s Thomas the Taylor post card. The cards were gifted to the ladies and addresses were swapped with a promise from Monica and Dianne that they would post them a fabric postcard too!
A brilliant two days enjoyed by both visitors and Cutting Edge members alike. 

A huge thank you to:
St Fagan’s staff member Loveday who went above and beyond to make sure that we had everything we needed. She even joined in and helped when we were very busy, which was really appreciated!
Jan’s husband Alan for taking photos for us. They are a fabulous addition to our album!
And an enormous thank you to all our amazing Cutting Edge members for their inspired pieces of work and dedication to make the two day event at St Fagans such a memorable occasion. You are all stars!

We held the event during Global Intergenerational Week which fell at the end of the Easter holiday. It certainly ticked all the boxes for intergenerational engagement as both children and adults went away happy and more confident with the new skills they had acquired.

“Fabulous exhibition and lovely to see the skills on show. Lovely initiative and great for children of all ages to experience”!
"Fantastisch!" Lia, the Netherlands
“Superb inspiring exhibition. I enjoyed the diversity too – patterns, stitch, water colours. Also enjoyed the hands-on activities. Relaxing and fun.” Gwynedd
“Such an excellent event, with wonderful pieces of work to admire and inspire! So kind and generous to supply everything for the intergenerational projects we did” Caroline
“Excellent exhibition. Lovely talented ladies”

Following the event, we were delighted to receive the image of the event sent by Mike who is a member of the St Fagans Sketching Group. He visited on the Saturday and sat quietly in the corner sketching the scene before him. He thought our work, like his, was amazing:
“I had the opportunity to visit the exhibition of members work from the Cutting Edge Textile Group at St Fagans. It was a beautiful day, and the event was very popular with families enjoying the last of the Easter holidays. There were lots of fun activities for children and adults. I was encouraged to visit the Cutting Edge Textile group exhibition to see what they do by a member of the CE group who attends the St Fagans Sketching Group. The answer is a lot and to a very high standard too! Everyone was so kind in sharing their work. I have got loads of ideas and tried to capture the event in my sketchbook” Instagram @mikelinewalker

End note:
Monica posted a fabric postcard to one of the Dutch women who visited our exhibition and surprisingly it arrived before she returned home to the Netherlands! This is the email Monica received from Thea:
“Dear Monica,
It was a surprise to find that the card you sent me has arrived already when I came home from my holiday tour through Wales. 
It was very nice to meet you at the exhibition and that I was allowed to make a choice out of the cards you had made. All in all it was a very inspiring exhibition and I enjoyed it very much.
The cards I will show tomorrow to the members of the quilt club I join and I am sure they will love them as well. I still have to find a nice place to put them. It will be in my house or in my school where I will enjoy looking at them, but I am not sure yet.
Best wishes, also to the other members of the Cutting Edge Textile Group
Thea“

To find out more about the Cutting Edge Group please visit: Cutting Edge | Sharing textiles knowledge, ideas and skills

Who are you? How and why did you join Demystifying Acquisitions? 

My name is Abraham Makanjuola, I am originally from London and I work as a Health Economist for Bangor University. During my masters, I was working with the Sub-Sahara Advisory Panel (SSAP) on a documentary about narratives about the African Continent from the perspective of people from the diaspora linked with the UK. Following the release of this, I was approached about being involved with filming behind the scenes content for Demystifying Acquisitions. I was initially not sure, because I didn’t know what I had of value to offer the project, but I was met with encouragement and that helped me make my decision. I think that was one of the best decisions I’ve made in my life to date. 

How did you find the overall experience of working for Demystifying Acquisitions? 

It was sensational, I would do it all over again exactly as it has played out. I genuinely have nothing negative to say and there aren’t any glaring issues that require addressing from my perspective. I think that is a testament to the people I was blessed enough to work with. I have enjoyed myself and learned so much over the past couple of years and I am grateful to all involved. 

What set of skills did you gain while working on the project? 

Specific to new museum knowledge, I learned about the conservation of artwork, how the bid and grant writing process works, and how to write labels for artworks in galleries. Wider softer skills I was able to develop were teamwork and collaboration, and project management. 

What was your favourite part of working on the project? 

My favourite part was being a part of the install day of the redisplay, I even got to put up one of the works which was cool. Prior to this day though, my favourite part was learning about label writing. Did you feel listened to? Were you able to influence or change things? What instance? Throughout the process we were given complete autonomy and were encouraged and supported with our group decisions. With this support we were able to respect museum practices but also shake things up and challenge how things have previously been done. We did have push back for certain decisions we made but there was always mutual understanding and respect.


 

1 Corinthians 12 introduces its readers to the lasting image of the fledging church as a physical body – each part with different but important roles to fulfil. This metaphor has endured for centuries, and is a challenging one for many Christians today, who struggle with things like hard denominational boundaries and tribal us/them attitudes. For Fr. Ruth, a queer priest in the Church in Wales (CiW), it has a similarly challenging but uplifting message. 

Ruth is a curate (trainee vicar) in the Islwyn Ministry Area in the Diocese of Monmouth, and she’s part of a team that looks after twelve different churches up and down the Gwent Valleys. She’s also bisexual, gender-non-conforming, and in a civil partnership with her spouse, Hannah. In addition to her ministry in the CiW, Ruth is one of four Pastoral Leaders of an ecumenical LGBTQ+ church in Cardiff called The Gathering. 

If that surprises you, that’s okay. But, despite what you may have been taught, queer people have always been a part of the life of the church. We have always been vicars, ministers, deacons, worship leaders, caretakers, congregants, youth group leaders. We are a part of the heritage and life of the church in a way that has, for too long, been overlooked and brushed aside.

The Anglican Church, in particular the Church of England, is undergoing a real reckoning at the moment over the issue of blessing same-sex marriages. The CiW has already had this conversation, and voted in 2021 to bless the marriages of same-sex couples. Whilst, for many, this does not go far enough, it is generally seen as a good first step, and it sets a precedent for other Anglican churches also having this discussion. It also puts those campaigning for marriage equality in a really good position for the Church in Wales to formally allow the sacramental celebration of marriage (hopefully) soon. The current position is bittersweet for many, though. As Fr. Ruth explained to me: “When the current legislation passed, that was a huge change for the Church in Wales. But I felt quite conflicted about it. In part, I am delighted that we can offer something to people for whom the church have been offering nothing. But, in part, it feels like a half-hearted step, where, what you're saying is ‘we're going to recognise that these relationships are good and holy and that God can bless them, but we're not willing to offer you the sacrament of marriage’. It feels theologically incomplete. And it's hurtful, as a queer person in a relationship, to know that the sacrament of marriage is withheld from us.”

It is still a huge deal, though, especially when you consider the length of Christian history that we were completely excluded from the public life of the church. We were still there, though, in closets and in the background, and I like to find queerness reflected in artwork throughout Christian history. It’s forever fascinating to me the ways in which artists, for hundreds of years, have been interpreting biblical stories in ways that we, as audience members and critics, can see the homoerotic. In this artwork, we can see ourselves reflected; here, in the shadow of gender transgression, there, in the hint towards homoeroticism. Indeed, for many artists throughout history, the only acceptable outlet for them to express their homoerotic desires was to displace them through artistic interpretations of ‘safe’ stories and figures – biblical scenes and characters. For example, artwork depicting the martyrdom of St. Sebastian is almost always homoerotic – after all, an attractive young man, mostly naked, is often depicted as being penetrated by arrows.

For Ruth, the ways in which she honours her place in the Church, and where she sees herself in the heritage of the church, is through the practise of the Eucharist. A useful image for her in thinking about the Eucharist is that of a human heart. “During the Eucharist, the church is like the chambers of the heart. It draws in that which needs nourishment. In the movement of the Eucharist, the nourishment is received, like blood going out to the lungs and coming back again, and then it's sent back out into the rest of its community.” So, when Jesus says, at the Last Supper, “Do this in remembrance of me” (Luke 22:19, NRSV), and we partake in this remembrance, we become a part of something bigger than us – an invisible string that stretches back centuries, connecting everyone across the world that’s ever remembered Jesus’ life in this way, like branches of a nervous system spanning time and space and holding us together. In this act of remembrance, “in becoming the body of Christ, all of the boundaries get blurry. So we become parts of a whole. That requires all of our differences.” It requires our differences in sexuality and gender identity, and how we interact with the world around us as embodied creatures. “As someone who the church historically would have said ‘we have no need of you’, I find it really, really heartening that those who still wish queer folks weren’t in ministry can't say ‘we have no need of you’. Because here we stand within the sacramental honours of the life of the church. You cannot say to me: I have no need of you. The challenging side is, I can't say to them I have no need of them either. We are brought together in that wholeness. And that wholeness is of God and so it's not up to us to say we have no need of one another.”

In a world full of divisive individualism, rituals like a Eucharist serve as an important reminder that we are a part of a much, much larger whole. The human body is an ecosystem of multitudinous grace, apathy, compassion and anger – never just one thing, always many interlinking feelings and experiences and beliefs. And, if a single human body is an ecosystem, how vast must the ecosystems of our societies be? Another word for Eucharist is Communion. This is the term that I grew up with in my faith tradition, and it holds both a special and fraught place in my heart because of it. The obvious reason behind it being called Communion is that it is through this ritual that we commune with God – we honour Jesus’ life and death, and are in communion with something greater than ourselves. But, through the connections and interconnections of this action, are we not also in communion with one another? Are we not then, in spite of all the things that separate us, one body? 

 ‘Indeed, the body does not consist of one member but of many. If the foot would say, “Because I am not a hand, I do not belong to the body,” that would not make it any less a part of the body. […] If the whole body were an eye, where would the hearing be? If the whole body were hearing, where would the sense of smell be? But as it is, God arranged the members in the body, each one of them, as he chose. If all were a single member, where would the body be? As it is, there are many members yet one body. The eye cannot say to the hand, “I have no need of you,” nor again the head to the feet, “I have no need of you.” […] If one member suffers, all suffer together with it; if one member is honoured, all rejoice together with it.’ (1 Cor. 12:12-26, NRSV). 

We're busy getting ready for the redevelopment project at the National Slate Museum, which is due to start November 2024! We want to give volunteers the opportunity to be a part of this phase of the project by helping us clean, catalogue and pack our collection in the Pattern Loft. 

To ensure our wonderful industrial collection is protected whilst essential conservation and renovation work is done on the Gilfach Ddu, the collection will be moving. Or at least some of it! Our Collections & Cataloguing Assistants, Osian and Mathew, have been busy labelling and cataloguing items of the collection that haven't before been looked at in such detail. They will be cleaning them, and packing them safely in crates with tissue paper. 

This is a unique opportunity to welcome volunteers and involve them in new ways. We want to make the most of this opportunity to provide experiences, skills development and help improve people's wellbeing through volunteering. 

Sound interesting? Want to Take Part? Take a look at the full Collection Volunteer role description on the website.  You will be able to volunteer on Tuesdays or Thursdays, 10:00-1:00. We can be flexible to suit public transport. This project will run from 24 September to 31 October, but further collections volunteering opportunities will become available in the new year. Any questions? Get in touch with Chloe Ward, Volunteering & Engagement Coordinator on chloe.ward@museumwales.ac.uk. 

I’m currently studying heritage conservation at Cardiff University, so I wanted to undertake his placement as I have a keen interest in how museums digitise their collections for educational purposes and to increase the accessibility of the heritage they safeguard, and I also wanted to explore how museum collections are used for research purposes.

What are diatoms?

Diatoms are microscopic, single-celled algae that inhabit oceans, rivers, and lakes. They are notable for their intricate cell walls made of silica, which resemble delicate glass shells when viewed under a microscope. These cell walls, called frustules, have unique and complex patterns. Diatoms play a vital role in the environment by performing approximately one-fifth of the total global photosynthesis. This process not only produces a significant portion of the Earth's oxygen but diatoms also form an important part of aquatic food webs, supporting a diverse range of marine and freshwater organisms.

Their importance for research lies in their ability to act as bio-indicators in aquatic ecosystems. Analysis of diatom populations and diversity studies have been used to evaluate human impact on freshwater and marine environments. As bio-indicators, diatoms can be used to assess the levels of organic pollution, eutrophication and acidification of their aquatic environment. Different species have differing tolerance levels of environmental conditions like water pH (the acidity or alkalinity of the water) and nutrient concentrations. Several diatom indices have been developed and are used by the Environment Agency to monitor water quality in UK rivers and lakes.

Analysis of diatom populations can also be used to demonstrate trends over time, as Ingrid’s work on the restoration of water quality of the rivers Wye and Irfon through periodic liming shows (for more details visit https://www.sciencedirect.com/science/article/pii/S1470160X20309961#ab010). The same case can be made for historical collections stored in museums, which can provide unique insight into historical diatom populations, and which can be used to infer previous environmental conditions and compare them to those found in contemporary studies.

In addition to their environmental and research importance, diatoms are incredibly beautiful. So much so, that during the Victorian period, they were often assembled into decorative arrangements on microscope slides. For the uninitiated, I would highly recommend searching for images of Johann Diedrich Möller’s work as well as the more contemporary works of Klaus Kemp; they are truly astounding arrangements. 

The Placement

Under Dr. Ingrid Juttner’s excellent guidance I learned basic diatom morphology and how to identify Gomphonema species, which typically display asymmetry along the trans-apical axis (i.e. the top and bottom halves are not usually mirror images of each other).

Ingrid took me through the process of diatom analysis in light microscopy, from “cooking” the water samples with hydrogen peroxide to remove organic cell content and preparing the microscope slides, through to photographing, editing and uploading the images to the museum’s diatom website. The photographs featured were taken with a light microscope at x1000 magnification, and measurements (length, width, striae density) were recorded. These images were then edited and prepared as plates to provide an overview of the cell size distribution in the species population. The plates were uploaded to the website with corresponding literature and morphological descriptions. 

Some notable species I photographed which are now featured on the website are Eunotia arcubus, Eunotia botuliformis and Planothidium incuriatum.

Overall, my placement within the Lower Plants section has

• Provided me with invaluable insights into scientific and particularly, taxonomic, practices
• Highlighted the role that diatoms play in our natural environments
• Demonstrated how museum collections can and are being utilised for the benefit of science as well as being important repositories for mapping changes in biodiversity.
• Illustrated how projects like the Diatom Flora and Fauna of Britain and Ireland can help create accessible resources for professional and amateur researchers as well as opening up collections to a wider public, who might otherwise be unaware of their existence.
• Finally, this placement has been an opportunity to admire the exceptional beauty of diatoms.

If you would like to know more about the diatom collection at the National Museum of Wales, please see the museum’s Diatom Research page  as well as  blog posts by Ingrid entitled ‘Scientific expedition to Rara Lake, Nepal’ and ‘Diatom diversity of the Falklands Islands’. I would also highly encourage anyone interested in diatom identification to view the Diatom Flora and Fauna of Britain and Ireland website.

My heartfelt thanks go out to Dr. Ingrid Jüttner for her instruction, her wealth of knowledge and, not least, her conversation. I would equally like to thank the various staff members who coordinated and supported this placement at Amgueddfa Cymru, may there be many more such opportunities.