Collections & Research

As a Biological Sciences student I am very familiar with the concept of classification and evolution, having been taught about it from primary school level. The idea of using a filing system to organise species became common place at secondary school level. Constantly reciting the Linnean system and its eight levels of taxa (domain, kingdom, phylum, class, order, family, genus, and species) for exams and coming up with rhymes and mnemonics to remember it in class. 

Museum scientist in the DNA lab

Due to this I was vaguely familiar with taxonomy, I knew what it was and why it was important, as I describe below. However, we never truly explored taxonomy in any great detail, especially in a modern context, and so I never thought about it as a career many still do today. That was until February of 2020 when I was searching for placement opportunities for my Professional Training Year as a part of my degree at Cardiff University, and I came across an opportunity to undertake at National Museum Cardiff exploring taxonomy. I now have a much greater understanding of taxonomy’s importance and unfortunately the crisis it might be facing.

What is taxonomy?

Taxonomy is the science of naming, describing and classifying species, including species new to science. It is the foundation stone of biological science. The first step in understanding how many species we have, where they live, and what they look like so others can identify them. For example, it can be an early indicator of evolution, and in seeing how the morphological characteristics of species may help in adapting and surviving in their environments. 

Some tools for taxonomic drawing for a species of shovelhead worm (Magelonidae)

Why is taxonomy important?

To understand the great diversity of the world we must know what is in it, and so taxonomy is essential in beginning to describe distributions and habitats of species. This will help scientists determine for example, whether a species is under threat, or the presence of an invasive species that can threaten other species and as a result their ecosystem. Scientists need to know all of the species in an environment, all described in a standardised manner that can be understood by those from around the world no matter the language spoken. This is so that they can begin to understand how to help preserve biodiversity and help the planet. 

Taxonomy is essential in aiding communication between scientists by giving a species a binomial scientific name. Many species will have many differing common names, for example Puma concolor, also known as the puma, cougar, panther, mountain lion, catamount, etc. in fact, P. concolor has over 40 common names in English alone. A binomial name (often in Greek or Latin) reduces confusion by surpassing language barriers and avoiding differing common names.

Puma concolor CC BY 2.0

Taxonomy is also the first step in identifying species that have the potential to help people, to that end, the species related to them which may possess similar qualities. 

Truthfully, it is not known how many species share the planet with us. The most commonly cited number is 8.7 million species, however, this number ranges from five to ten million species. Either way taxonomists have only identified and described around two million species. Unfortunately, there will be many species that become extinct before we even know they existed. Scientists are unable to determine the rate of species extinctions or truly understand changes in biodiversity on a global scale because of the frightfully little knowledge of the species we share the planet with.

Importance of taxonomists

As mentioned, I mostly knew taxonomy as science undertaken in the past and if I did think of it in a modern context it was through modern techniques such as DNA barcoding. As a career opportunity for new biologists, taxonomy barely crosses the mind. It has been suggested that funding in taxonomic research is also on the decline, and that traditional taxonomy is too slow in producing research papers. 

Museum scientist in the DNA lab

But while using DNA to aid in identifications and for evolutionary relationships is no doubt useful, it is dangerous to remove all of the other “old-fashioned” techniques used for looking into morphological characteristics. Techniques such as drawing, AutoMontage imaging, scanning electron microscopy, written descriptions from observations, notes on habitat and distribution to name but a few. DNA analysis should be used to supplement the more traditional techniques, not replace them. There have been numerous examples in papers of errors in conclusions being made due to scientists looking at species from only a genetic point of view but having misidentified the species. To that effect integrative taxonomy has recently become a popular choice. It includes multiple perspectives such as phylogeography, comparative morphology, population genetics, ecology, development, behaviour, etc., so as to create the best descriptions and knowledge of species. 

After all, without taking the time to properly observe and describe a specimen you won’t truly know what the species looks like and how it uses its features to survive. How shall keys and field guides be properly constructed so that non-experts can identify species too? Without taxonomists how can the irreplaceable and valuable collections in our natural history museums be properly maintained and organised?

Imaging software used to image specimens, in this instance, the abdomen of a new species of shovel head worm

As I have experienced in my research on a relatively understudied family, mistakes have been made in identifications leading to false conclusions to be drawn, which has dangerous consequences for example in determining biodiversity. These false identifications may be enhanced by a purely DNA route into taxonomy. If taxonomy starts to die and fewer experts who truly understand a species exist who shall correct these mistakes and continue to document the rich biodiversity of the world?

About the Author - Lowri is one of the Freelance Young people Programme makers, working with Amgueddfa Cymru on the Winter of Wellbeing project. 

The Situation 

I’m standing at the Supermarket checkout bagging up copious amounts of nibbles, cakes and booze. The checkout lady says ‘ Ooh are you having a party! You lucky thing!’ 

Here’s what I should have said: 

 ‘Actually my Dad just died and all of this is for my family and me (mainly me) to drown our sorrows after the funeral. I don’t need to be doing this but I need something to keep me busy or else I would have to deal with my feelings.’ And then I would make a scene by ugly crying while swigging from one of the wine bottles.  

And what I actually said: 

‘Yes, I’m having a party.’ And then I went back to my car and cried. 

This exchange would never have happened if Mourning dress was still a social convention. Of course, I could wear all black but that wouldn't necessarily convey that I had recently suffered a loss, it would just convey that I am chic… or a vampire… or a chic vampire. There aren’t too many old school social conventions that I would want to revive; however, certain parts of formal mourning are, in my opinion, due a revamp.  

So, what is traditional Mourning? 

After the death of a close family member or friend it has been a tradition for centuries in many parts of the western world to wear black for varying periods of time, to communicate that they have suffered a loss. However, during the Victorian period, Mourning and all the social conventions that went with it, were at their peak. This was for several reasons but the high death rate, rise of the middle classes and the wider availability of reliable Black clothing dyes contributed heavily to its popularity. Queen Victoria herself, was the poster girl for Mourning, famously remaining in mourning and seclusion for many years after her husband, Prince Albert's death. 

Mourning conventions varied and were dependent on class, location, religion and relationship to the deceased. For example, an upper class widow could stay in Mourning clothing for several years whereas a working class widow who had not the means for Mourning wear may show no outward grieving at all. The Mourning period also limited which social occasions the Mourner could attend. Dancing and other frivolities were a no go. Those who disregarded the expected conventions could become social outcasts. 

What is Mourning wear? 

In October 2021 following a talk on cross-dressing in history by Norena Shopland, a Welsh language ballad, Can Newydd, came to light in the Welsh Music Archive (WMA), National Library Wales. More can be read on that story in A Queer Bawdy Ballad. What is striking is the explicitly sexual nature of the ballad, depicting cross-dressing women having sexual relations with women.

Archifdy Ceredigion Archives (ACA) and Archives and Special Collections, Bangor University (BU) have exact copies in their collections but in February 2022 a third copy was located at Amgueddfa Cymru — National Museum Wales (ACNMW) however this version is simply entitled Can and has a few differences. Mair Jones who did the first translation of Can Newydd, also did the translation for Can.

The lyrics of both versions were written by a rather eccentric part-time criminal, one-eyed balladeer Abel Jones, ‘the last of the “great” balladists’ but who was often known by his bardic name Bardd Crwst after his birthplace, Llanrwst. Jones was a balladeer who travelled and performed at fairs across Wales, selling his ballads as ‘new songs’ (can newydd) on specific topics, such as the death of the Emperor of Russia, industrial accidents and disaster, tithe war and murders - though not always historically accurate, because his main aim was to sell his ballads. Sometimes he sold them with his son, and usually it was to people like the agricultural working-class community. He was the most well-known and popular balladeer of his time, though he died in Llanrwst Workhouse.

Dating the ballad is difficult although dates of between 1865-1872 have been suggested (see A Queer Bawdy Ballad for more details) and there is nothing in Can to suggest whether it comes before or after Can Newydd. However, all three versions of Can Newydd are signed Bardd Crwst while the ACNMW version is signed Abel Jones, (Bardd Crwst) and there may be a reason for this.

Jones wrote a number of humorous ballads, often using the tune Robin yn Swil (Robin is Shy), the same as for Can Newydd, a tune ‘more suitable for the tavern than for singing at respectable concerts and eisteddfodau.’ One of his ballads is listed as a poem about ‘courtship’, another was about Dic Sion Dafydd, and another about a drunken woman, while his other ‘courtship’ poems were advice not to marry or a man’s complaints about his wife.

One mention of Can Newydd in a newspaper of 1915, when discussing Bardd Crwst’s works, as ‘Song about two Young Women who went to knock at Ffermdy (Farmhouse) Tu Ucha’r Glyn, near Harlech’, has an added note by the compiler, ‘I didn’t give the title of the last one in full’ which seems to show that this would have been too disrespectful even for the newspaper, including leaving out the cross-dressing aspect.

The risqué nature, not only of the lyrics, but of the tune it was associated with may have caused Jones to remove his full name from the Can Newydd version. No tune is associated with the ACNMW version so there may be the possibility that Can came first and Jones made it saucier in the second version but decided to omit his full name. Can also uses some English words, such as ‘beauty,’ ‘Kate Pugh,’ ‘Visles’ and ‘Cirnoleens [sp],’ while Can Newydd uses Welsh spellings such as ‘biwty,’ ‘Cit Pugh’ and ‘busle,’ and has removed the spelling error of ‘crinoline’.

Another difference is the location where the event takes place. The introduction to Can is "A song about two young women who dressed themselves in men’s clothes and went to knock at Ffarmdy (Farmhouse) at two other young girls, and entered their House, to bed like two men and two dear lovers" whereas in Can Newydd it is "The tale of two young women from this region who dressed themselves in men’s clothes, and went courting to a country house to seduce two young women, who were strangers to them".

The farmhouse has disappeared and is replaced by ‘Plas uchaf and Glyn’. Plas Uchaf (Upper Hall) is 1.5 miles (2.4 km) from Corwen, Denbighshire, and Plas Glyn, possibly short for Plas Glynllifon 56 miles (90km) from Corwen. It seems Jones has moved the location from an obscure working-class farmhouse to named gentrified houses, although no cross-dressing reference has been found in connection with these two properties. It is however, a trope used even today, to place sensational stories among the wealthy who are fewer in number and have more time on their hands, than working-class people and Jones may not have wanted to offend his main audience.

Whatever the purpose of the ballad, it was decided to revive it for a presentation at an LGBTQ+ History Month 2022 by Aberration recorded by Cerys Hafana with backing vocals by the community.

By sharing this queer-related ballad today as a part of our Welsh history, it is reclaimed by the LGBTQ+ community, creatively reimagined and helps to build our Welsh queer community today.

Hello! I’m Ellie, an undergraduate from School of Biosciences at Cardiff University (School of Biosciences - Cardiff University), completing a Professional Training Year as part of my undergraduate degree. I’ve spent the last few months at National Museum Cardiff working in the Natural Sciences department in Mollusca, spending my time aiding in the research conducted by curator Anna Holmes (Staff Profile: Anna Holmes | National Museum Wales). The project I’ve been involved in is to identify common British post-larval bivalve shells. This is important because there is very limited information available for identification of these species at post-larval stage, so the aim of this research is to provide a taxonomic tool for fisheries and other similar organisations to be able to identify these juvenile bivalve shells at a species level. So far, my main task has been imaging specimens from within the Museum collections, which contain an impressive number of shells with some dating back as far as the early 1900’s.

A common cockle, Cerastoderma edule, spanning just over 1mm in width, from the Phorson collection at National Museum Wales in Cardiff.

One particular part of the collections I have been lucky to study, and one found to be most useful to the project, is the Phorson collection. This collection consists of thousands of miniscule specimens, ordered by size and species, glued onto small pieces of black card. This collection is by far the most impressive I have yet seen, with the larger of the specimens on these size series slides all withinaround 6-8mm, so you can only imagine the time and effort that Ted Phorson himself spent ensuring his collection was to the utmost perfection. The collection itself was organized and curated by another student, Theodore (Curation of a British Shell Collection | National Museum Wales), a few years ago, who wrote about his time in the Museum and with this phenomenal collection: Adventures in the Mollusca Collections | National Museum Wales

Two soft-shelled clams, Mya arenaria, imaged from the slide pictured to the right, from the Phorson collection (smallest specimen being number 1 on the slide, the larger specimen being number 20).

Ted Phorson’s incredible collection consists of 160 different shell species, all of which have been carefully and precisely arranged (Ted Phorson: A personal recollection | The Conchological Society of Great Britain and Ireland (conchsoc.org)). I have found in my five months of imaging many different types of specimens of bivalve shells that Phorson’s collection is a shell enthusiast’s paradise. It is a dream to image this collection, where every shell is perfectly sorted, ready and waiting in a patient line to be photographed. Other specimens from other collections have to be gently put into position, one by one, so the camera can capture the exact angle of each shell, which can be rather time consuming.

The setup for taking images of the specimens (pictured is the Canon camera attached to the Leica microscope tube).

February each year is LGBT+ History Month, with events throughout the month that help to increase the visibility of LGBTQ+ people, their history and lived experiences. Each year there is usually a theme, and this year it is ‘Politics in Art’. 

Amgueddfa Cymru has a number of events planned for LGBT+ History Month 2022: 

On display at St Fagans National Museum of History throughout February 2022 will be the original design drawn by Jonathan Blake for the Lesbians and Gay Men Support the Miners badge from 1985. This will be displayed in the Wales is… gallery at St Fagans alongside an original LGSM badge. Lesbians and Gay Men Support the Miners were a group that raised money for striking south Wales miners during the 1984-85 strike. By the end of 1984 there were eleven branches of LGSM across the UK. Each of these branches ‘twinned’ with a particular community – with the London branch twinning with communities in the Neath, Dulais and Upper Swansea valleys. This story, and LGSM’s visit to Onllwyn, became immortalised in the 2014 film Pride. Last year Mark Ashton, who was one of the founders in 1984 of LGSM, was one of the faces of LGBT+ History Month 2021, so it is great that again this year we are able to celebrate the amazing achievements of Lesbians and Gay Men Support the Miners.

 As part of Amgueddfa Cymru’s ‘Museum Talks’ series, curator Mark Etheridge will give a talk on the LGBTQ+ Collection at St Fagans and the importance of representation in museum collections. You can book here -  Museum Talks: LGBTQ+ Collections at St. Fagans | English | National Museum Wales

We have an exciting project being developed for LGBT+ History Month. Funded by Arts Wales, composer Gareth Churchill’s piece LGBTQ+ History Wales Songbook will be performed at Oakdale Institute at St Fagans during LGBT+ History Month. This will be a musical performance piece for voice and piano/keyboard that will celebrate and give musical voice to the St Fagans LGBTQ+ history collection. Initially it will be a closed performance that will be filmed and broadcast online. This will be broadcast as a finale to LGBT+ History Month, and will be advertised on the museum’s social media channels.

Of course, LGBTQ+ history should not just be celebrated during one month each year. So throughout 2022 look out for further displays and events across Amgueddfa Cymru’s museum sites. These are just a few things we have planned:

At St Fagans some LGBTQ+ related objects are now on display in the Wales is… and Life is… galleries. As well as the LGSM items mentioned, these include a teapot and toy paddle relating to the Ladies of Llangollen (probably the most famous lesbian couple in history) and a songsheet for the song We’ll Gather Lilacs that was written by Ivor Novello.

From mid-March some LGBTQ+ objects from the LGBTQ+ collection will be on display at the National Waterfront Museum as part of the exhibition Trawsnewid. This is part of a project for LGBTQ+ young people aged 16-25 that explores queer and gender non-conforming figures in Welsh history and supports participants to create work inspired by their own experiences.