: Collections & Research

My name is Anna Watson and I’ve been volunteering with the National Museum of Wales since November 2024. I volunteer every week as a collection care assistant in the conservation department. I have enjoyed the experience immensely as every week is different, so I am always learning something new and developing my skills. I began this volunteering role after finishing my MSc in Care of Collections with Cardiff University and this opportunity has been fantastic for putting the skills I gained from that course into practice. So far, I have been able to help with exhibition maintenance in the art galleries and natural histories department, microclimate maintenance in archaeology, collection audits in entomology and have helped clean and relocate the fluid store (pictured here)! The opportunity to work in multiple departments and meet so many different curators, conservators and technicians who are all specialists in their fields has been invaluable and each week I am excited to see what we will do next.

Earlier this year, I took the helm at the National Waterfront Museum, and as we enter the Autumn it already feels like we’re catching the wind in our sails. From my very first day, I’ve been inspired by the passion and expertise of our team, who love and breathe the extraordinary stories held in our collections. Their insights, and the warm welcome I’ve had from Swansea itself, have convinced me of one thing: this museum has the potential to be a destination that surprises, delights and connects people in new ways. 

Anchoring Our Story

One of the first challenges we’re tackling is how we tell our story. Visitors often arrive and are unsure of where their journey should start. With three different entrances and meandering routes, it’s easy to lose your bearings. Add to that an expectation (based on our name and location) that the museum is about the sea, and Wales’s maritime stories, and you can see why some visitors leave a little puzzled. 

Visitors are often curious about the story behind our historical warehouse. What was it built for? Why is it here? And for too long, we realised, we hadn’t been telling the story behind this remarkable building. 

The Warehouse stands proudly in its original setting, where it once overlooked a bustling dock alive with ships, dockworkers, and the rhythm of industry. Here, the Warehouse played its part in the great exchange between Wales’s heavy industries and the wider world across the sea. 

It is that story that inspired us to turn our gaze seaward, to let the sea guide how we tell our stories: the sea really is at the heart of our vision. It’s the thread that ties everything together – industry, art, archaeology, and the lives of communities from across Wales. From coal and copper exports, to the journeys of families who crossed oceans, the story of Wales is a story shaped by the sea. 

And what better place to tell this story than in our historic Warehouse? Built in 1900 beside South Dock – now Swansea Marina – the building itself still whispers of its industrial past. Rail tracks run through its floor, the Harbour Trust office and Pump House still stand nearby. This is history you can see, touch and feel all around you. 

Opening the Doors to the Sea

We’ve already begun small but powerful changes. Shuttered windows in the Warehouse are now open again, letting in light and reconnecting the space with the Marina outside. This simple act has transformed the atmosphere, and it feels like the building is breathing again. We’ve also removed bulky exhibition structures that block the view, making the Warehouse’s historic environment part of the visitor experience once more. 

The Weston Hall, which links the New Gallery to the Warehouse has already seen some changes as well. We’re stripping back the clutter and reimagining it as an inspiring space of welcome and orientation. Here, visitors will encounter stunning focal points – objects that stop you in your tracks and give you that WOW moment!

Picture this: the 1842 South Bishop Lighthouse optic, restored to working order, its top glowing each day when wound by hand. Or a historic railway van positioned on the historic tracks, making the Warehouse’s industrial past visible at a glance. These aren’t just exhibits, they’re the beacons of our identity and conversation starts about safety at sea, Swansea as a City of Sanctuary, and the deep connections between Wales and the wider World. 

Coffee with a View

Our café is also likely going to move. We’re scoping to relocate it upstairs to make the most of our balcony overlooking the marina. Imagine sipping your coffee with a panoramic view of the waterfront. It will also help us transform the Marina Entrance into a true front door to the museum, ready to welcome the growing number of people who pass by.

Fresh Horizons for Exhibitions

Until now, temporary exhibitions have been held in the Weston Hall, a space which was never designed to host exhibitions. This resulted in compromises and limits on what we could show. That’s about to change!

We’re expecting to create a dedicated temporary exhibition space on the mezzanine of the New Gallery. This fresh, flexible area will allow us to host high quality, ambitious exhibitions that surprise and inspire, giving visitors more reasons to return again and again. 

Looking Further Ahead

The journey ahead is an exciting one for us as a museum and for Swansea. We plan to redevelop the New Gallery and Warehouse displays in line with modern exhibition standards, placing communities and inspiration for all at the heart of what we do. Over the coming months, we’ll be shaping the details, working with communities and our visitors, mapping out how to tell Wales’s story through the lens of the sea. 

Until then, expect small but powerful changes – unexpected moments, joyful encounters, and new perspectives that highlight how the sea has shaped life across Wales. 

A Living Museum for Everyone

I’m incredibly grateful to the team here, whose ideas and enthusiasm are steering us forward. Together with the people of Swansea and our visitors, we’re making the Waterfront a place to be explored, enjoyed, and celebrated – a living museum, full of hands-on, joyful experiences for everyone. 

So come board. The tide is turning, and a new chapter for the National Waterfront Museum is just beginning. 

Slipmats are an essential component for DJing when using vinyl. Even more so for Hip Hop DJs who also scratch or do 'turntablist’ tricks. Many, including Jaffa, found out early on that using the home hi-fi system to learn how to scratch might soon ruin your parents record collection. Rather than rubbing the vinyl against the rubber or plastic of the turntable, a slipmat allows you to move the record back and force gracefully without damage. For this reason alone it would make sense for us to include a pair of slipmats in the exhibition, but the fact that we have the first pair purchased by DJ Jaffa is a huge bonus for us.

If you’re not already engaged with the Hip Hop scene in Wales then you might not be familiar with the name, so here’s a little extra context for this particular item. As I go through some of Jaffa's history, it will relate to a few other pieces we have included in the exhibition. I’ll also explore more about the actual slipmats themselves.

Like many people in Wales and the rest of the UK, Jason Farrell, more widely known as Jaffa, first got a taste for Hip Hop after seeing the music video to Malcolm McLaren’s ‘Buffalo Gals’ which showcased graffiti, breaking, scratching and rapping from New York artists. He also remembers seeing snatches of the culture on the BBC 2 show ‘Entertainment USA’ in 1983.

It wasn’t the World Famous Supreme Team DJs that he tried to emulate from the video first though, it was the Rock Steady Crew breakers. He started practicing as often as he could, both at home and school, using any pictures or clips from the television that he could find. When the ‘breakdance’ craze hit its peak after films such as ‘Beat Street’ and ‘Breakdance The Movie’ in 1984 he was already advanced for the time and entered his first proper battle against a crew from Port Talbot in Cardiff city centre.

I don’t have the space to give you Jaffa’s whole history here, but this is integral to the next stage of his development because it was after battling a crew from Bristol that he became friendly with them all and started to spend his weekends hanging out across the bridge. He would go to Wild Bunch parties and witnessed the rise of the Bristol scene, noting how the future Massive Attack members approached the art of DJing.

But it was while hanging out at St Paul’s Carnival, watching his friend Dennis Murray performing turntable tricks on the Galaxy Affair sound system, that he realised he wanted to become a DJ himself. Dennis Murray incidentally would go on to become an important pioneer of the rave movement as DJ Easygroove.

The DJ at his local Whitchurch Youth Centre would occasionally allow him to play records and as I mentioned above, he developed a way to learn scratching on the home hi-fi system, using crude homemade slipmats made of cardboard. He had to learn mostly by ear, dissecting live audio recordings of the DMC Championships, where the world’s top turntablists would compete. However, when he got his first set of professional record decks in 1986 he was able to take his DJ skills to the next level.

Of course this meant buying a proper set of slipmats. He had already been purchasing records from the Spin-Offs record shop on Fulham Palace Road in Hammersmith, West London, mostly via mail order at the time. Spin-Offs was a shop opened by New York DJ Greg James, who had moved to London to help open The Embassy night club in 1978. Greg is widely credited as being the first DJ to bring the disco style of DJing - seamlessly mixing the records together - to the UK.

Spin-Offs was also known for selling the latest DJ equipment, so it was the perfect place to find the right slipmats. Jaffa remembers that it was DJ Richie Rich who served him that day. He was a well-respected DJ at the time with his own show on Kiss FM, back when it was a pirate radio station. He also had some underground Hip Hop and Hip House hits in the 80s and 90s and started the Gee Street record label.

I’m personally intrigued that these slipmats say Mixmaster on them. There would have only been a few DJs known for the name ‘Mixmaster’ at the time. Mix Master Mike had not yet joined the Beastie Boys or started his career. Mixmaster Spade was still only making underground tapes in Compton, California. The three that come to mind around 1986 would be: Mixmaster Morris with his Mongolian Hip Hop Show on London’s Network 21 pirate radio station; Mixmaster Ice of the New York group U.T.F.O; and Mixmaster Gee And The Turntable Orchestra from Long Beach who had a couple of underground hits on MCA Records. But I’m getting slightly off tangent here.

Jaffa locked himself in his room and practiced. Eventually he was coaxed out with his decks to set them up outside Rudi’s Donut store at the Capitol Centre end of Queen Street in Cardiff. Although there were some club DJs playing Hip Hop locally at the time, such as Paul Lyons in Lloyds, this is widely viewed as the first proper Hip Hop jam in the city. Jaffa brought along a microphone which was picked up by just one rapper from Gabalfa called Dike (pron. Dee-Kay).

After that there were regular Saturday afternoon Hip Hop jams at Grassroots youth centre. Jaffa would DJ and rappers such as Dike, Mello Dee (later known as 4Dee) and MC Eric (later known as Me-One) would jump on the mic. A crew formed around them called Hardrock Concept, made up of rappers, graffiti artists and Jaffa. This was a period where collectives were more prominent than individuals, but towards the end of the 80s Jaffa and Eric would break off from the rest and move to London. A major label deal with Jive Records followed and their tracks featured on the compilations Def Reggae and Word Four under the name Just The Duce. These are both in the exhibition as well.

Jaffa eventually returned to Cardiff and Eric went on to global chart success with Technotronic. During the early 90s many people left Hip Hop behind when the rave scene exploded, but Jaffa helped to keep the culture going through his work alongside 4Dee and his sister Berta Williams (RIP) with The Underdogs – a youth organisation based in St Mellons that was focussed around developing skills such as Hip Hop dance, rapping and DJing. He has remained a cornerstone of the scene here ever since and has been involved in countless projects from Rounda Records to groups such as Tystion, Manchild, Erban Poets and Kidz With Toyz – right up to Xenith today.

He once deejayed for 70 hours, breaking the UK record for longest set, but just missing the World Record by 4 hours. He supported Snoop Dogg on his UK tour and he still DJs every weekend. He hosts the show This That & The Third on the Paris based station Radio Raptz, showcasing countless releases from Welsh artists. He has featured on various releases across the world as both a DJ and producer, including The Yellow Album from The Simpsons (his scratches are on the track ‘The Ten Commandments of Bart’ which Dike co-wrote the lyrics for).

Jaffa has also been integral in putting this exhibition together and is the main face on our posters, so it seems fitting that we should focus on his slipmats here. Hopefully, now you can see why we are so excited to include them. Do revisit this blog as we look into other items you will find in Hip Hop: A Welsh Story.

Challenge! You’ve got three days to tackle a clean of five massive rooms, open to the public seven days a week. How do you plan and undertake a conservation deep clean for reams of panelling, paintings and pots? Buff up the furniture, freshen up curtains and carpets in a mansion house built around 1580 with collections reflecting the grandeur and period of the space? Solution - with an army of skilled and specialist conservators, cleaners and volunteers, scaffolding, ladders (working at height regs noted!), brushes, vacuums, cloths, solvents, cotton wool swabs, a lot of elbow grease, stamina, enthusiasm, tea and chocolate!

At the end of June 2025, the conservation department, under the close supervision of the Senior Furniture Conservator, carried out a deep clean of the public spaces. This was carried out whilst the Castle was still open to the public.

For a successful outcome, we needed to remove the loose particulate soiling deposits retained in the hidden crevices of the furniture and fittings. This activity would have the impact of brightening the appearance of the castle display and improve the visitor experience. From a conservation perspective this annual task is a hugely important one as it removes the grime which can provide the fodder for hungry pests and mould. The presence of this grime raises a risk of biological attack on our unique collections. It also removes particulates, which in the right environmental conditions can speed up the rate of deterioration of objects in our care.

We started in the dining hall, to the right of the main entrance. We worked as a team to move objects off and from walls, decanting the smaller objects to the old servant’s hall. 

The larger objects, for example the Edwinsford Sofa, the tables and side boards, were carefully moved to the middle of the room to enable access, both the object in full and the spaces they occupy to do a thorough clean.

After three days of going up and down ladders, the fiddly brushing of fine and ornate details, lots of vacuuming and the careful application of emulsions in solution and drying oils to provide residual protection and protective layers. The clean was complete.

We hope you enjoy the finished result. The Castle is only one of more than 50 historic buildings which need a rolling programme of care and maintenance to ensure that they remain accessible to everyone.  Next time you visit the Museum, you may see our conservation and cleaning teams out in action on site. If you do, make sure you say hello. We’d be thrilled to answer any questions you have on cleaning the historic buildings and collections. 

There are two questions which have been at the forefront of my mind when curating Hip-hop: A Welsh Story for National Museum Cardiff. Firstly, ‘what is Hip Hop?’ and secondly ‘what is a museum?’ You’d think both would be relatively simple to explain but I’ve still not come up with a satisfactory answer. Yet continually searching for some kind of resolution to them both has laid the foundations for the whole project.

You’d think the former would be easier for me. I’ve followed Hip Hop since the early 80s and it forms an important part of my identity. At various moments I’ve been a rapper, a DJ, a promoter, a blogger and an artist manager, but most of all I’ve been a fan of Hip Hop culture in all of its many forms. My background is in Hip Hop, not in museums. However, I took the responsibility of bringing an exhibition like this to life incredibly seriously. To do that properly I would have to step outside of my own relationship to Hip Hop, to ensure that I was representing a cross section of the whole country. I had to investigate the many ways that Hip Hop has become a part of Welsh culture and in many cases Welsh identity. I wanted to explore and celebrate the impact that Hip Hop has had on Wales since it first arrived back in the early 80s.

Although Hip Hop was born in the 1970s, the culture really started to make an impact here from the tail end of 1982. It was easy to form a collective identity then as we only had 4 TV channels and limited print media. However Hip Hop has been through many changes since and in the age of the internet and increased globalisation, it’s not so easy to put your finger on what makes something Hip Hop.

That’s a long conversation and I'm not going to unpack that here just yet, but it was important for me to hear thoughts and experiences from as many people as possible. To make an exhibition with legitimacy we had to include voices older and younger than myself as well as my peers. I travelled across Wales and spoke to lots of people I knew and a number of others that I didn’t - in Newport, Cardiff, Port Talbot, Bridgend, Swansea, Carmarthen, Caernarfon, Aberystwyth, Bangor, Conwy, Colwyn Bay, Wrexham and many other smaller towns and villages in-between. In total there were over 70 recorded interviews - a number of which are going into the museum’s oral history archive. However I met and spoke to hundreds more people along the way and this whole project has been a huge collective effort. I also have to give a special mention to Luke Bailey who collected a number of important interviews in podcast form which were invaluable to the research.

I trawled through multiple archives to find more stories and information. Newspapers, libraries and the BBC in particular. There were a number of videos and articles that I knew existed, but most seemed to be lost forever. I spent hours looking through websites and articles on the internet and I’m grateful to Dr Kieran Nolan the founder of irishhiphop.com for finding some of the archived pages of my old website welshhiphop.com from 2000. I found some incredible pictures but years of being passed around the internet had greatly degraded the quality of them. Wild goose chases were common in trying to hunt down the originals but they all led me to find even more voices, and more stories. This inevitably led to more photos and more (objects) for us to share with you. Some people I chased around social media sites for years before I got to speak to them in person and it took time to build and maintain trust enough for them to unlock their memories and lend us their most cherished connections to the past. I often felt the weight of this huge responsibility and still do for everything that’s on display.

I started to pull out recurring themes from the interviews and conversations. Community and competition were the most common. Not that everybody recognised these within their own experiences, but enough to start building a narrative for the exhibition. There has been a common misconception that we are creating a history of Hip Hop in Wales, perhaps this is because people view museums as a place to store history and that’s arguably one part of their function. In fact a number of people didn’t want to take part at first for the simple fact that they weren’t ready to be consigned to the past. That’s certainly not what this exhibition is about and it’s not how I view museums. For me they help us to explore our identity, especially as it relates to nationality. In the Victorian and Edwardian eras this seems to have been more prescribed, but now it’s an ever-evolving discussion and I’m so pleased that Hip Hop is finally part of that conversation.

But we really are only able to scratch the surface. We’d need the whole building and then some to get close to a proper history of Hip Hop in Wales. I heard a podcast with Neil deGrasse Tyson in which he said, “The goal of a museum is to inspire you to want to learn more” and I hope we manage to do that for you. We will continue to populate this blog with more context and more information over the next few months.

I thought I knew a lot about Hip Hop in Wales when I started this project but I have learned so much along the way. We have such a rich Hip Hop history here and you can see its influence everywhere if you look closely enough. I know people are apprehensive about the way Hip Hop will be represented and believe me nobody is more nervous than me about getting things right. I’ve been grateful for such an incredible team in pulling everything together. I could never have guessed how much work goes into a museum exhibition before I started. 

We wanted to make sure this exhibition was accessible to as many people as possible but it had to be historically and academically sound as well. This meant spending hours of my own time doing my homework on Hip Hop and unpacking the many mythologies that underpin it. Books, academic papers, interviews, documentaries, articles. It’s difficult to scrutinise something you love that much but this was largely background research. In Wales we have adapted and carved our own chapter within Hip Hop’s history. We echo the wider narratives of struggle, acceptance, self expression, healthy competition and passing on the torch to the future generations that follow us. There are many stories worth telling, we have highlighted a few to create ‘Hip-hop: A Welsh Story’ and we really hope you visit and leave the exhibition as inspired as we’ve been whilst building it.