: National Waterfront Museum

The  National Waterfront Museum will be fifteen years old this autumn, so recently staff have been looking through our archive of the opening ceremony on 17th October 2005. 

Steph Mastoris Head of the Waterfront Museum, reading Gwyneth Lewis' poem at the opening of the Museum 

That day was a great moment of celebration, as the museum had taken around five years to plan, build and fill with fascinating displays on the story of Welsh industrialisation over the past four centuries. Also, because interactive displays were then still a very

Steph Mastoris Head of the Waterfront Museum, reading Gwyneth Lewis' poem at the opening of the Museum 

new thing for museums there was considerable public interest in what was soon to be described as Wales' first digital museum.​

Over 200 invited guests attended the opening ceremony that was conducted by the (then) First Minister, Rhodri Morgan, and rugby legend Sir Gareth Edwards. The first National Poet of Wales, Gwyneth Lewis, composed a bilingual poem in honour of the museum and this was read at the opening ceremony by the National Museum's Keeper of Industry, Dr David Jenkins, and myself. 

It was certainly a day to remember!

The Royal National Lifeboat Institution’s highest award for gallantry is its Gold Medal, only 150 of which have been awarded since 1824. Richard Evans (1905-2001), Coxswain of the Moelfre Lifeboat, Anglesey, remarkably was presented with two RNLI Gold Medals for heroic rescues at sea.

Richard Evans won his first Gold Medal on 27 October 1959 when in hurricane force winds the M.V. Hindlea, a small cargo ship, was dragging its anchor in Moelfre Bay and being driven onto the rocky coast. The captain of the Hindlea gave the order to abandon ship when only 200 yards from the rocky shore and coxswain Evans took the Moelfre reserve lifeboat Edmund and Mary Robinson, with an incomplete crew, close to the ship ten times, enabling the eight man crew to one by one jump onto the lifeboat. During the rescue the lifeboat was once washed onto the deck of the ship and back off, and the coxswain had to manoeuvre perilously close to the ship’s propellers which were churning at full speed, at times out of the water and above the lifeboat. At one point the lifeboat heeled over until its mast was under water before righting itself. Thirty five minutes after the last of the crew were saved, the Hindlea struck the rocks and was lost.  

R.N.L.B. Watkin Williams, the Moelfre lifeboat from 1957 to 1977, on which Richard Evans won his second R.N.L.I. Gold Medal in 1966. The lifeboat was donated to Amgueddfa Cymru – National Museum Wales in 1983 and displayed until 1998; it is currently in store but can be viewed by appointment.

On 2 December 1966 coxswain Evans won his second Gold Medal. The Moelfre lifeboat Watkin William had been at sea since early morning having been called out to two vessels in trouble. They were then told that the Greek cargo vessel M.V. Nafsiporos was being driven out of control by 100 mile an hour winds towards Point Lynas, five miles north of Moelfre, and the Holyhead and Moelfre lifeboats went to her assistance. The Holyhead lifeboat rescued five of the crew and sustained damage. The Moelfre lifeboat rescued ten more crew but the captain and three crew of the Nafsiporos remained on board. After landing the rescued crew members at Moelfre, coxswain Evans took the lifeboat back to the Nafsiporos and stood by all night until a tug from Liverpool arrived and managed to take the cargo vessel in tow. The lifeboat returned to Moefre after 24 hours at sea; coxswain Evans, then aged 61, had been at the wheel the entire time.

Over his 50 years as a lifeboatman Richard Evans was involved in 179 launches which rescued 281 lives. In addition to his two RNLI Gold Medals, for other rescues he was awarded the Thanks of the RNLI on Vellum and the RNLI Bronze Medal, for the 1959 rescue was awarded the Queen’s Silver Medal for gallantry at sea, and in 1969 was awarded the British Empire Medal. In 1978 he was made an Honorary Bard at the National Eisteddfod.

On a Monday morning in January 2016 I received a phone call from the Museum’s archaeology department in Cardiff. It turned out that the storm a few days earlier had shifted the sand in Oxwich Bay on the Gower. Apparently a wreck had been uncovered and some old wooden casks were visible!

Because National Waterfront Museum in Swansea is the home of our Maritime Collection, I was asked to take a look and grab a few images before the sand covered it up again. As curator I’m part of the National Museum’s History & Archaeology Department, and I studied archaeology at Trinity College Carmarthen so I was well up to the task. Now, as much as I love a field trip, it was January and a cold wind was blowing from the Atlantic, but the weather in two days’ time was supposed to be fine. I hunted for my wellies (found in the boot of the car eventually) and charged my camera batteries.

So Wednesday morning bright and early found me in the car park for Oxwich Bay. Time was on my side, as at nine o’clock the tide was out as far as it would go that day. I had vague directions to follow as to where on the beach the barrels had been found – a very crude ‘X marks the spot’ hand drawn map. There was no scale on the map so I started at the western end of the beach and worked my way across it, zig-zagging to check out every little bump in the sand.

There were a lot of bumps too! Many pieces of metal, plainly from ships that had ended up there. Bits of steel rope, hull plating and rusty conglomerates. It was a lovely day for the search even though a keen wind was

Barrel exposed on the beach

blowing from the north now making the tops of the breakers misty. Then in the distance I spotted a larger disturbance in the sand and I could make out barrel shapes. There appeared to be six barrels and pieces of broken barrels, none of them were intact. They were lovely wooden casks and we had all hoped that they might be at least a few hundred years old. Alas, their proximity to a piece of steel hull spoke of a more recent wreck. Throughout the Twentieth Century, during WW2 and just after, a number of ships ended up on Oxwich Beach. Some were re-floated but others were broken up for scrap.

With such scant evidence it was impossible to tell which our ship was. The barrels contained a hard concrete-like substance, which later proved to be lime - originally a powder, it hard set hard in the sea water. Lime is used for a number of things such as making cement or lime mortar; as a soil improver just spread on the land, and for marking white lines on football pitches!

Wooden barrel containing hardened lime revealed by winter storms at Oxwich Bay

I took plenty of images and luckily had remembered to take a 30cm ruler with me to give a scale to the casks. As I worked I noticed the tide had turned and was getting closer and closer soon to cover the scene. It was time to leave and make my way back to the Waterfront Museum.

Are the barrels still visible? I don’t know. The power of the sea shifts the sand about after every storm revealing and then hiding historic treasures away maybe for another seventy years, maybe never to be seen again….

While The National Waterfront Museum’s GRAFT team and volunteers cannot gather to garden the Museum’s courtyard garden at this time, they are nonetheless keeping busy setting up ‘Seeds Out in the Community’ and encouraging us all to grow sunflowers in visible and public spaces to show support for key workers. Here’s a little more about this innovative community project and how it’s grown from a seed of an idea to a flourishing project that grows plants, food and people.

GRAFT: a soil based syllabus is the National Waterfront Museum's edible land and educational project, and a permanent piece of green infrastructure within Swansea City Centre. The project is also a socially engaged work of art by artist Owen Griffiths, and was originally commissioned as part of Now the Hero / Nawr Yr Arwr in 2018 funded by 1418NOW as part of a huge UK wide cultural project commemorating the first World War.

GRAFT works with community groups from a wide range of backgrounds across the city who came together, to transform the Museum's once industrial courtyard into a beautiful, sustainable, organic growing environment; creating an edible landscape to encourage participation and conversation around land use, food and sustainability in an accessible and empowering way.

Owen and Senior Learning Officer Zoe Gealy develop the ongoing program at GRAFT around these ideas of collaboration, sustainability and community. Every Friday, (other than during this lockdown), volunteers young and old work alongside one another to share skills working in wood and metal, learning how to grow plants, gaining qualifications and supporting each other along the way. The project has seen successful apprenticeships develop as a result of its program as well as seeing the long-term mental health benefits of working outside together. New friendships are formed, and people, as well as plants, flourish. During GRAFT’s development, in addition to raised beds, a pergola and benches from local timber, a cob pizza oven and beehives have been introduced to the garden. GRAFT's youngest volunteers come from Cefn Saeson School in Neath and work with Alyson Williams, the resident Beekeeper, learning about biodiversity, the environment and working together to care for the bees.

Some of the produce grown in the garden usually makes its way into delicious meals at the Museum's café whilst some is used for community meals at GRAFT. A portion of produce is used by volunteers, and some is donated to projects and groups throughout the area who provide food for those in need, such as Matts House, Ogof Adullam and the Swansea refugee drop in centre.

SPREADING SEEDS AND SUNSHINE DURING LOCKDOWN

Over the coming weeks GRAFT will be posting seeds through City and County of Swansea’s food parcel scheme and to community groups they regularly work with such as Roots Foundation and CRISIS. The seeds include squash and sunflowers, which were harvested by the gardeners last season.

Another initiative GRAFT is developing in the coming weeks is encouraging people to plant sunflowers in visible and public spaces, to show support for key workers alongside rainbow paintings. People are also invited to post pictures of their successful growing on GRAFT’s social media pages.

To request seeds contact zoe.gealy@museumwales.ac.uk

07810 657170

During lock-down, the GRAFT garden continues to need some tending and so  The National Waterfront Museum's on-site team are watering the GRAFT garden and seedlings during their daily shifts.

With thanks to players of the People’s Postcode Lottery for supporting Amgueddfa Cymru’s public programme of activities and events.

FOLLOW GRAFT:

www.facebook.com/graft.a.soil.based.syllabus

INSTAGRAM: Graft____

Like so many events during these unprecedented times, our Quarrymen exhibition was curtailed last month when Waterfront Museum closed its doors for lockdown. We wanted to find a way to continue to share it with you, so here’s some background to the exhibition by Carwyn Rhys Jones, who developed it. In it speaks about how it came about and how it was shaped by the stories and memories of five quarrymen. We’ve illustrated this with images from the exhibition and hope you enjoy the experience.

I began this project as a development of some work I’d previously done at university about the landscape of quarries. The project included some quarries in North Wales including Parys Mountain, Dorothea, Penrhyn, Alexandra and Oakeley. It focussed on how the natural landscape had changed due to industrialisation and how a new landscape formed around the quarries. The natural next step was to look at the people of the quarries. Sadly, few quarrymen remain, so it became timely to capture and record this important history and heritage.

Ideas for this project were driven by the quarrymen I interviewed, so it was only fitting that it would be titled Chwarelwyr which means Quarrymen. The exhibition is formed of two key parts: a short documentary and photography stills to accompany it with. The first quarrymen I interviewed was based in Trefor. He was known locally as Robin Band due to the fact that most of his family were in bands. He worked in the stone quarry of Trefor for a few years, and shared fantastic memories of the good, bad and humorous times there.

The next was Dic Llanberis, which, as his name suggests, was based in Llanberis. Dic had years of experience and so much knowledge about the history of the Dinorwic quarry. I used the same process for each of the five quarrymen, interviewing, filming and then photographing them. Dic worked at the quarry even after it had closed down in 1969, helping to clear the remaining slate.

Then it was the turn of Andrew JonJo and Carwyn. They had both worked at Penrhyn quarry in Bethesda on the outskirts of Bangor. I interviewed them both at the National Slate Museum in Llanberis where they both now work. Andrew is the last of six generations of quarrymen in his family that had all worked in two quarries: Dinorwic and Penrhyn. As you might imagine, he spoke movingly of how he was bread into the industry. Carwyn also comes from a large quarrying family, some of them had worked at the slate hospital in Llanberis for injured quarrymen. A number of his ancestors’ signatures can be found in the slate hospital museum’s books, recording surgical procedures.

Finally, I met up with John Pen Bryn, based in Talysarn just outside of Caernarfon. This quarry was so large that it contained a village, and John had been raised there. He now owns the quarry and has lived in Talysarn all his life. He showed me around the quarry and where the village used to be – difficult to imagine now that it was once a bustling place with three shops, within the quarry. John was full of stories and knew everything that had happened in his quarry over the years.

Sadly, both Robin Band and Dic Llanberis have passed away since completing the exhibition, and so the film that accompanies it finishes with their images. They, and I are very glad that we managed to capture some of their stories and document this important heritage and history just in time. I am very grateful to all who were involved in making this exhibition possible. I hope you enjoy it.