Ar Waith Ar Daith: inside NativeHQ’s digital artistry for WMC #Awen2015

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During August 2015 the iconic Wales Millennium Centre celebrated its tenth anniversary with help from Walk the Plank, NativeHQ and other contributors.

As a prelude to the public show in Cardiff Bay on 12th September we sent the Awen Bus on an epic tour of Wales to encounter musicians, poets, visual artists, actors and other talented performers.

Members of the public walking through the foyer of WMC in August were enchanted by these diverse performances – emerging from the smoke and broth of the Cauldron of Inspiration.

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Occasionally they would have a surprise conversation with a ghostly apparition of somebody elsewhere in Wales!

Over one hundred videos were also posted on the web. The videos embedded in this post are just a sample.

To enjoy further encounters with performers, artists and others, go to the Ar Waith Ar Daith website and navigate the map or search for the #Awen2015 tag.

We’re particularly chuffed at the website map, where you can browse the tour and see the artistic encounters at any location. For example the National Eisteddfod tour location includes performances by Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd and many others. The bilingual website was created by our friends and collaborators Proper Design.

I’ll elaborate on the work in detail, for those who are curious.

Almost a year ago NativeHQ was commissioned as digital artist on the Ar Waith Ar Daith project.

When a lighting designer, say, is booked for a theatre show the conventions and expectations tend to be known – but not so in digital work.

Once Walk the Plank, the outdoor events company working on behalf of WMC, had contracted NativeHQ we admitted we didn’t really know the meaning of the job title ‘digital artist’. Maybe they assumed we were joking.

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From our experience of theatrical collaborations, we find that it does help to be open-ended about our involvement, while the possibilities and scale of ambition are still being worked out. There is currently no convention for the role of digital media in the creative aspect of such a project, unlike the lighting and other more traditional elements. We simply don’t know if and how digital media will be used creatively. Our remit here is way beyond sales and promotion of the show. Hence the initial period of work was to understand the story and aims of the project – and then scope possible platforms, content ideas, personnel, hardware, software, budgets and schedules.

From the start we knew that the finale celebration would be based on the medieval Welsh legend of Ceridwen, her cauldron and the ineffable poetic inspiration that is awen – referenced in Gwyneth Lewis’ poem on the face of WMC.

It became clear that digital media platforms and the idea of a bus tour offered opportunities for WMC to have a pan-Wales project, to work with diverse artists wherever they live, and meet the centre’s aspiration to showcase the best of Wales to the world.

We intended for our work to have lasting effects, to connect artists – to each other and to fans. Artists would want to accrue fans beyond the tour, with a view to future gigs and performances, selling artworks, releasing music, offering crowdfunding and the like.

Once the plan was written, refined and approved, the Awen Bus was fitted with a stage, window blinds, rudimentary furniture and storage, electricity supply, modest kitchen, and some much needed access security.

The bus team did a sterling job of sharing the performances through video, Periscope live streams and other social media posts. It became apparent that video editing should be kept to a minimum if we were to reach a maximum number of artists in the time available.

One essential requirement was to render a permanent onscreen credit to each artist in each video – along with a link to become a fan where possible, e.g. the artist’s Twitter account or website. That and the ongoing persistence of the video on YouTube would lead to maximum benefit for the artist.

Each artist had the option of releasing the resulting video under a Creative Commons Attribution-ShareAlike licence to encourage re-use and adaptations. Alternatively they could take a more traditional licensing option to offer the video for use by the Ar Waith Ar Daith project and reserve other rights.

Connectivity was a major challenge, especially in some rural areas, and despite valiant efforts with a BRCK WiFi hotspot and two mobile data plans we struggled to upload videos from all the tour locations. Instead we had to opt for occasional café access and shuttle trips to reliable home broadband.

ar-waith-ar-daith-engagement-globeExample of Ar Waith Ar Daith conversation analytics from Pulsar Platform

We obtained useful data analytics and tour conversation insights from a paid service with Pulsar Platform – although for a smaller projects the level of detail offered might be overkill.

Our aim was for the Cauldron of Inspiration to feel authentic and avoid any associations with computers. According to the writer Arthur C. Clarke, ‘any sufficiently advanced technology is indistinguishable from magic’, which conveys the kind of result we desired.

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At this point I can reveal that the Cauldron of Inspiration was powered by two computers. Inside the chassis was a Raspberry Pi computer connected to proximity sensors, motion sensors, and activation effects: fog, furnace lights and sounds. The other computer was a Mac Mini creating the apparitions of artists, achieved with a remotely-curated Dropbox playlist of fresh performance videos, a darkened panel and foggers.

This Mac Mini was also connected to a webcam for live conversation with the bus team. We deliberately limited the input devices on the cauldron to just the sensors, with no graphical interface or notifications. The live conversations would appear ad hoc without warning, between recent videos.

As a brand new design of a one-off piece of hardware we often had to intervene directly in the cauldron to fix problems and ensure maximum levels of awen. We could also access the two computers remotely, from our phones if necessary. Software tools and platforms included VDMX, Dropbox, WebRTC, Python, Node.js and other libraries.

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Penblwydd hapus WMC! I think we broke new ground, not just for ourselves as a team but in an artistic sense. We are enormously grateful to the following people for their ideas and valuable work.

Diolch o galon i:

  • All artists and performers who took part, each of whom is credited in their video.
  • Liz Pugh, John Wassell, Sarah Cole and the Walk the Plank team
  • Wales Millennium Centre
  • The hardworking Awen Bus team members: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe for booking and curation
  • Proper Design for graphic design, cauldron envisagement, software development and for the website
  • Sarah Edmonds for illustration
  • Wild Creations for cauldron design and construction work
  • Kazimier for kitting out the bus
  • John Rea for music

Ar Waith Ar Daith: celfyddyd ddigidol NativeHQ ar gyfer Canolfan Mileniwm Cymru #Awen2015

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Yn ystod Awst 2015 dathlodd Canolfan Mileniwm Cymru ei ddegfed pen-blwydd gyda chymorth Walk the Plank, NativeHQ a chyfranwyr eraill.

Fel preliwd i’r sioe gyhoeddus ym Mae Caerdydd ar 12 Medi, anfonwyd y Bws Awen ar daith epig o Gymru i gwrdd â cherddorion, beirdd, artistiaid gweledol, actorion a pherfformwyr talentog eraill.

Roedd aelodau cyhoedd a oedd yn cerdded trwy gyntedd Canolfan Mileniwm Cymru ym mis Awst yn cael eu swyno gan berfformiadau amrywiol – yn deillio o’r mwg a hylif y Pair Awen.

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O bryd i’w gilydd byddai hi’n syndod iddynt gynnal sgwrs gyda rhith o rywun yn rhywle arall yng Nghymru!

Cafodd dros gant o fideos eu postio ar y we hefyd. Detholiad bach yw’r fideos yn y cofnod hwn.

Ewch i’r map ar wefan Ar Waith Ar Daith i fwynhau rhagor o fideos gyda pherfformwyr, artistiaid ac eraill, neu chwiliwch am yr hashnod #Awen2015.

Rydym yn bles iawn fod y map ar y wefan, lle gallwch bori’r daith a gwylio’r fideos mewn unrhyw leoliad. Er enghraifft, mae lleoliad taith Eisteddfod Genedlaethol yn cynnwys perfformiadau gan Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd a llawer eraill. Cafodd y wefan ddwyieithog ei chreu gan ein ffrindiau a chydweithwyr Proper Design.

Byddaf yn ymhelaethu ar y gwaith yn fanwl, i’r rhai sy’n chwilfrydig.

Bron i flwyddyn yn ôl cafodd NativeHQ ei gomisiynu fel artist digidol ar brosiect Ar Waith Ar Daith.

Pan mae dylunydd goleuo, dyweder, yn cael ei gomisiynu/chomisiynu ar gyfer sioe theatr mae’r arferion a disgwyliadau yn weddol amlwg fel arfer – ond nid felly mewn gwaith digidol.

Ar ôl i gwmni digwyddiadau awyr agored Walk the Plank ein comisiynu ar ran Canolfan Mileniwm Cymru, roeddem yn cyfaddef nad oeddem yn wir yn gwybod ystyr y teitl ‘artist digidol’. Efallai roedden nhw yn meddwl taw jôc oedd hi.

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O’n profiad o gydweithrediadau theatrig, rydym yn meddwl fod hi’n helpu i fod yn benagored am ein cyfranogiad, tra ein bod yn ansicr am y posibiliadau ac union naws y prosiect. Ar hyn o bryd nid oes templed ar gyfer rôl y cyfryngau digidol yn yr agwedd greadigol mewn prosiect o’r fath, yn wahanol i’r golau ac elfennau traddodiadol eraill. Yn syml, dydyn ni ddim yn gwybod os a sut fydd y cyfryngau digidol yn cael eu defnyddio yn greadigol. Rydym yn meddwl tu hwnt i werthiannau a chyhoeddusrwydd y sioe. Felly roedd y cyfnod cychwynnol o waith am ddeall y stori ac amcanion y prosiect – ac yna sgopio platfformau posibil, syniadau cynnwys, personél, caledwedd, meddalwedd, cyllidebau ac amserlenni.

O’r dechrau roeddem yn gwybod y byddai’r dathliad terfynol yn seiliedig ar stori Ceridwen, ei phair ac awen – y cyfeirir atynt yn y gerdd Gwyneth Lewis ar wyneb Canolfan Mileniwm Cymru.

Daeth yn amlwg bod platfformau cyfryngau digidol a’r syniad o daith bws yn cynnig cyfleoedd i’r Ganolfan gael prosiect Cymru gyfan, i weithio gydag artistiaid amrywiol ble bynnag maent yn byw, ac yn mynegi dyhead y ganolfan i arddangos y gorau o Gymru i’r byd.

Roeddem yn bwriadu cael effaith parhaol trwy’r gwaith, i gysylltu artistiaid – i’w gilydd ac i’w ffans. Byddai artistiaid eisiau casglu cefnogwyr ar ôl y daith, ystyried gigs a pherfformiadau yn y dyfodol, gwerthu gweithiau celf, rhyddhau cerddoriaeth, cynnig ariannu torfol ac yn y blaen.

Unwaith yr ysgrifennwyd a datblygwyd y cynllun, cafodd y Bws Awen ei gyfaddasu gyda llwyfan, bleindiau ffenestri, dodrefn a storfa syml, cyflenwad trydan, cegin gymedrol, a diogelwch.

Gwnaeth y tîm bws gwaith gwych o rannu’r perfformiadau drwy fideo, ffrydiau Periscope a chofnodion eraill ar y cyfryngau cymdeithasol. Daeth yn amlwg y dylid lleihau ar waith golygu fideo pe baem yn cwrdd a gymaint o artistiaid sy’n bosibl yn yr amser.

Un o’r gofynion hanfodol oedd i roi priodoledd parhaol ar y sgrin i bob artist ym mhob fideo – ynghyd â dolen i ddod yn ffan lle bo hynny’n bosibl, e.e. cyfrif Twitter yr artist neu wefan. Byddai hynny a fideo parhaus ar YouTube yn arwain at y budd mwyaf i’r artist.

Roedd gan bob artist yr opsiwn o ryddhau’r fideo o dan drwydded Comin Creu Priodoledd-‘ShareAlike’ i annog ailddefnydd ac addasiadau. Fel arall, gallent wedi dewis opsiwn trwyddedu mwy traddodiadol i brosiect Ar Waith Ar Daith ddefnyddio’r fideo a chadw hawliau eraill.

Roedd cysylltedd yn her fawr, yn enwedig mewn rhai ardaloedd gwledig, ac er gwaethaf ymdrechion gyda dyfais di-wifr BRCK a dau gynllun data symudol roeddem yn straffaglu i lanlwytho fideos o’r holl leoliadau daith. Yn hytrach roedd rhaid i ni ddefnyddio caffis yn achlysurol a thethiau gwennol i fand eang dibynadwy gartref.

ar-waith-ar-daith-engagement-globeEnghraifft o ystadegau sgwrs Ar Waith Ar Daith oddi ar Pulsar Platform

Cawsom ystadegau defnyddiol a mewnwelediadau i sgyrsiau taith o wasanaeth Pulsar Platform am ffi – ond ar brosiectau llai gallai’r manylder a gynigir fod yn ormodol.

Ein nod oedd i greu Pair Awen go iawn ac osgoi unrhyw awgrym o gyfrifiaduron. Yn ôl yr awdur Arthur C. Clarke, ‘nid oes modd gwahaniaethu rhwng unrhyw dechnoleg sy’n digon datblygedig – a hud’, sy’n cyfleu y math o ganlyniad roeddem eisiau.

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Erbyn hyn gallaf ddatgelu bod dau gyfrifiadur o fewn y Pair Awen. Y tu mewn i’r ffrâm oedd gyfrifiadur Raspberry Pi yn gysylltiedig â synwyryddion agosrwydd, synwyryddion symudiad, ac effeithiau: niwl, goleuadau ffwrnais a seiniau. Mac Mini oedd y cyfrifiadur arall, yn creu’r delweddau o artistiaid, trwy rhestr chwarae Dropbox o fideos perfformiadol newydd, panel tywyll ac unedau niwl.

Roedd y Mac Mini hefyd yn gysylltiedig â gwe-gamera ar gyfer sgwrs fyw gyda’r tîm bws. Yn fwriadol roeddem yn cyfyngu’r dyfeisiau mewnbwn ar y pair i dim ond y synwyryddion, heb unrhyw rhyngwyneb graffigol na negeseuon ar y sgrin. Felly byddai’r sgyrsiau byw yn ymddangos yn sydyn heb rybudd, rhwng fideos diweddar.

Fel dyluniad newydd sbon o galedwedd yn aml roedd rhaid i ni ymyrryd yn uniongyrchol yn y pair i ddatrys problemau a sicrhau’r lefelau gorau o awen! Roedd modd i ni gael mynediad i’r ddau gyfrifiadur o bell, o’n ffonau os oedd angen. Roedd offer a phlatfformau meddalwedd yn cynnwys VDMX, Dropbox, WebRTC, Python, Node.js a llyfrgelloedd eraill.

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Penblwydd hapus i’r Ganolfan! Rwy’n credu ein bod wedi torri tir newydd, nid yn unig fel tîm ond yn yr ystyr artistig. Rydym yn ddiolchgar iawn i’r bobl ganlynol am eu syniadau a mewnbwn gwerthfawr.

Diolch o galon i:

  • Yr holl artistiaid a pherfformwyr a gymerodd ran – mae pob un ohonynt yn cael priodoledd yn ei fideo.
  • Liz Pugh, John Wassell, Sarah Cole a thîm Walk the Plank
  • Canolfan Mileniwm Cymru
  • Aelodau tîm gweithgar yr Awen Bws: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe am fwcio a churadu
  • Proper Design am ddylunio graffeg, gwaith ar y pair, datblygu meddalwedd ac am y wefan
  • Sarah Edmonds am ddarlunio
  • Wild Creations am ddylunio ac adeiladu’r pair
  • Kazimier am gyfaddasu’r bws
  • John Rea am gerddoriaeth

Swyddi eraill ar Ar Waith Ar Daith: Cynhyrchydd Cyfryngau Cymdeithasol, Fideograffydd a Gyrrwr / Rheolwr Llwyfan

Rydym yn hybysebu rhagor o swyddi o heddiw ymlaen: Cynhyrchydd Cyfryngau Cymdeithasol, Fideograffydd a Gyrrwr y Bws / Rheolwr Llwyfan.

Maent yn rhan o brosiect Ar Waith Ar Daith, ar gyfer dathliadau dengmlwyddiant Canolfan Mileniwm Cymru yn ystod haf 2015.

Dyma gyfleoedd gwych i gymryd rhan mewn prosiect cyffrous gyda chwmni Walk the Plank, NativeHQ ac eraill; taith o gwmpas Cymru i ddarganfod ysbrydoliaeth a chelfyddyd y wlad, i’w rhannu o’r Ganolfan i’r wlad a’r byd.

Plîs rhannwch y manylion gyda phobl sy’n addas am y swyddi.

Ewch i wefan Ar Waith Ar Daith am ragor o fanylion am y prosiect.

More jobs on Ar Waith Ar Daith: Bus Driver / Stage Manager, Social Media Producer, Videographer

We are advertising three more jobs from today: Bus Driver / Stage Manager, Social Media Producer and Videographer.

All these roles are for the Ar Waith Ar Daith project, part of Wales Millennium Centre’s tenth anniversary celebrations over summer 2015.

These are fantastic opportunities to take part in an exciting project with Walk the Plank, NativeHQ and others; a tour of Wales to discover inspiration and artistry of the nation, to share from the Centre to Wales to the world.

Please share the details with people who would be interested in these jobs.

Check out the Ar Waith Ar Daith website for more details on the project.

Er sylw pobl celfyddydol Cymru! Tair swydd gydag Ar Waith Ar Daith / Walk the Plank

Rydym yn chwilio am gyflwynydd, dylunydd a threfnydd taith ar gyfer prosiect mawr o’r enw Ar Waith Ar Daith, ar gyfer dathliadau dengmlwyddiant Canolfan Mileniwm Cymru yn ystod haf 2015.

Dyma gyfleoedd gwych i gymryd rhan mewn prosiect cyffrous; taith o gwmpas Cymru i ddarganfod yr ysbrydoliaeth a chelfyddyd y wlad, i’w rhannu o’r Ganolfan i’r wlad a’r byd.

Plîs anfonwch y manylion at unrhyw un sy’n addas am y swyddi.

Rydym ni yn NativeHQ yn falch o gael ein penodi fel artist digidol gan gynhyrchwyr cwmni Walk the Plank. Byddwn yn rhannu mwy am y profiad hwnnw trwy gofnodion sydd i ddod.

Yn y cyfamser, ewch i wefan Ar Waith Ar Daith am ragor o fanylion am y prosiect.

Calling all Wales arts people! Three jobs with Ar Waith Ar Daith / Walk the Plank

We need a host, a designer and a programmer for a big project called Ar Waith Ar Daith, for the 10th anniversary celebrations of the Wales Millennium Centre in summer 2015.

These are superb opportunities to participate in an exciting project; a journey around Wales, discovering the inspirations and art of the country, sharing it from the Centre to the country and the world.

Please pass the details to anyone you think might be interested.

We at NativeHQ are chuffed to have been appointed digital artist by producers Walk the Plank. We’ll be sharing more about that experience in upcoming posts.

In the meantime, head to the Ar Waith Ar Daith website for further info on the project.

Philip Glass’ The Trial: sharing the life of an opera in social media

The Trial by Philip Glass / Music Theatre Wales

In recent months we have been working with Music Theatre Wales, the contemporary opera company, for the first time. Our aim has been to help develop the innovative use of digital media by the company: developing audiences, sharing company practice and complementing its existing creative work. In particular we have focused on their currently touring production The Trial, renowned composer Philip Glass’ new adaptation of the Franz Kafka novel.

No two organisations are alike and in the field of social media, no two strategies are alike either. Although we have clear processes for ideation and development of viable initiatives there is no template plan as such. This is particularly true in the performing arts. In working with people we are looking to bring the best of our experience at NativeHQ while being open to learning and collaboration with them as specialists in their own field.

Music Theatre Wales was founded in Cardiff in 1988 from the merger of two companies with roots going back to 1982. They focus on contemporary opera rather than the canon of classic works. I had several eye-opening moments working with the team. Maybe I should say ear-opening moments. One thing I have learned is just how central music is to the experience of opera. Being an art fan with more curiosity than knowledge about opera – and a relative outsider – was an advantage in some ways.

Our work with the company and the production has included designing and running strategy development sessions, co-running the resulting initiatives, bespoke training and coaching. It will culminate in an evaluation of all these activities. It has been very encouraging to see how the company’s use of social media has progressed since we began. This has been a fruitful collaboration between people who specialise in fields which seldom converge. In other words I believe that the opera world’s mastery of social media is at a very early yet promising stage.

There were many ways to approach The Trial and we explored a greater number of exciting ideas than resources could possibly support. A key part of the work has been to commission a social media producer, Helen Griffiths, to investigate the life of the production and capture conversations among the director, composer, writer, performers, crew, office team and audience. These conversations deal with the creative development of the production, the themes raised by the narrative, the music and the roles of cast and crew members.

To watch the videos which Helen has produced, this YouTube playlist is a good starting point.

You can watch, listen and interact with other content produced by Helen via the Storify grid underneath this post. More content across various platforms will be appearing in the next few days.

This work has reminded me of how it’s important to be clear whether an online activity is promotional or conversational (or maybe something else). In our development sessions with Helen and the Music Theatre Wales team we have been careful to distinguish the two categories of purpose. We did spend time helping with a Facebook advertising campaign so that Music Theatre Wales’ page can reach more fans, targetting according to relevant geography and topics.

The bulk of the interesting work has been in the conversational category, in which the guiding principles have been to share the ‘heart and soul’ of the company and stimulate genuine multi-way conversation. We really hope you enjoy engaging with the results!

The Trial gan Philip Glass: rhannu bywyd opera ar gyfryngau cymdeithasol

The Trial gan Philip Glass / Music Theatre Wales

Yn y misoedd diwethaf rydym wedi bod yn gweithio gyda Music Theatre Wales, y cwmni opera cyfoes, am y tro cyntaf. Ein nod ni oedd helpu datblygu defnydd arloesol o gyfryngau digidol gan y cwmni: datblygu cynulleidfaoedd, rhannu arferion y cwmni a chyfrannu at waith creadigol y cwmni. Rydym yn canolbwyntio ar gynhyrchiad cyfredol The Trial yn enwedig, addasiad newydd sydd ar daith gan y cyfansoddwr amlwg Philip Glass o’r nofel Franz Kafka.

Mae pob dau sefydliad yn wahanol ac ym maes cyfryngau cymdeithasol, mae pob dau strategaeth yn wahanol hefyd. Er bod gyda ni prosesau clir am daflu syniadau a datblygu mentrau dilys, does dim cynllun templed fel y cyfryw. Mae hynny yn wir yn y celfyddydau perfformio yn arbennig. Trwy weithio gyda phobl rydym eisiau dod â’r gorau o’n profiad yn NativeHQ tra bod yn agored i ddysgu a chyd-weithredu gyda nhw fel arbenigwyr yn eu maes nhw.

Sefydlwyd Music Theatre Wales yng Nghaerdydd yn 1988 o gydsoddiad dau gwmni gyda gwreiddiau ers 1982. Maent yn canolbwyntio ar opera cyfoes yn hytrach na’r canon o weithiau clasur. Ces i sawl moment agoriad llygaid wrth weithio gyda’r tîm. Efallai dylwn i ddweud moment agoriad clust. Un peth sydd wedi dod i’r amlwg yw’r pwysigrwydd cerddoriaeth i brofiad opera. Roedd bod yn ffan celf gyda mwy o chwilfrydedd na gwybodaeth am opera – ar y tu allan i ryw raddau – yn fantais mewn ffordd.

Mae ein gwaith gyda’r cwmni a’r cynhyrchiad wedi cynnwys dylunio a rhedeg sesiynau datblygu strategaeth, cyd-redeg y mentrau canlynol a hyfforddiant pwrpasol. Bydd y cyfan yn bennu gyda gwerthusiad o’r gweithgareddau hyn. Mae hi wedi bod yn galonogol iawn i weld sut mae defnydd y cwmni o gyfryngau cymdeithasol wedi cynyddu ers i ni ddechrau. Mae hi wedi bod yn gyd-weithrediad rhwng pobl mewn meysydd sydd ddim yn dod at eu gilydd yn aml ac wedi dwyn ffrwyth. Yn y byd opera ar hyn o bryd mae hi’n gyfnod addawol gyda llawer o botensial i feistroli’r cyfryngau cymdeithasol.

O ran The Trial roedd sawl ffordd i fynd ati ac edrychon ni at nifer fawr o syniadau cyffroes, mwy nag sy’n bosib i’w gynnal ar yr adnoddiau ar gael. Rhan allweddol o’r gwaith oedd comisiynu cynhyrchydd cyfryngau cymdeithasol, Helen Griffiths, i ymchwilio bywyd y cynhyrchiad a chipio sgyrsiau ymhlith y cyfarwyddwr, cyfansoddwr, ysgrifennwr, perfformwyr, criw, tîm swyddfa a chynulleidfa. Roedd y sgyrsiau hyn yn delio gyda datblygiad creadigol y cynhyrchiad, y themau a godwyd gan y adroddiant, y gerddoriaeth a rhannu’r cast ac aelodau’r criw.

Er mwyn gwylio’r fideos a gynhyrchwyd gan Helen, mae’r rhestr YouTube yn fan cychwyn da.

Gallech wylio, gwrando a rhyngweithio gyda’r cynnwys eraill a gynhyrchwyd gan Helen trwy’r grid Storify o dan y cofnod hwn. Bydd mwy o gynnwys ar draws platfformau amrywiol yn ymddangos yn ystod y dyddiau nesaf.

Mae’r gwaith hwn wedi fy atgoffa bod hi’n bwysig i fod yn glir os yw gweithgaredd ar-lein yn hyrwyddo neu sgyrsiol (neu rywbeth arall efallai). Yn ein sesiynau datblygu gyda Helen a thîm Music Theatre Wales rydym wedi bod yn ofalus i wahaniaethu rhwng y ddau gategori o bwrpas. Treulion ni amser i helpu gydag ymgyrch hysbysebu ar Facebook er mwyn i dudalen Music Theatre Wales gyrraedd mwy o ffans trwy dargedu ar sail daearyddiaeth a diddordebau.

Ond mae’r rhan fwyaf o waith diddorol wedi bod yn y categori sgyrsiol ac rydym wedi dilyn egwyddorion o rannu ‘calon ac enaid’ y cwmni ac ysgogi sgyrsiau aml-ffordd go iawn. Rydym yn gobeithio eich bod yn mwynhau rhyngweithio gyda’r canlyniadau!

Y Bont, Gwobrau Theatr Cymru 2014 a diolchiadau pwysig

Mae’n anodd credu bod blwyddyn lawn wedi mynd heibio ers cynhyrchiad Y Bont yn Aberystwyth. Roedd y ddrama yn nodi hanner ganrif ers y protest iaith torfol enwog ar bont Trefechan yn 1963. Mae Theatr Genedlaethol Cymru yn lansio archif o’r cynhyrchiad ddydd Sul yma (2il Chwefror 2014). Bydd e’n cyfle i bobl a fynychodd y ddrama weld safbwyntiau eraill yn ogystal a chynnig cyfle i’w wylio i bobl a fethodd y digwyddiad. Ewch i gyfrif Twitter Theatr Genedlaethol am ragor o fanylion cyn hir.

nativehq-gwobrau-theatr-cymruMae NativeHQ a Theatr Genedlaethol Cymru newydd dderbyn gwobr am waith ar Y Bont oddi wrth Gwobrau Theatr Cymru, sef Defnydd Gorau o Gynnwys Digidol/Ar-lein. W00p!

Fel y dwedais ar y llwyfan nos Sadwrn, y stwff digidol yma ydy cyfrwng. Fydd ddim llawer i wneud ar ein pennau ein hunain ac rydym yn hollol ddibynnol ar bobl eraill er mwyn i ni ddogfennu, dehongli, rhannu, recordio Vines fel yr un uchod (platfform yr oedd yn newydd sbon ar y pryd) – ac ati.

Rydym fel cwmni eisiau cymryd y cyfle i ddweud diolch i’r bobl ganlynol.

  • Heledd Hardy a’r tîm digidol am eu gwaith caled, sef myfyrwyr o Brifysgol De Cymru a Choleg y Drindod Dewi Sant: Efa Harris-Davies, Lowri Wynn, Catrin Lewis, Sioned Evans, Elen Jones, Aaron Cooper, Mali Rees, Bethan Evans, Aled Bishop, Steffan Morgan, Steffan Griffiths. Mae’r wobr yma i chi hefyd.
  • Yr ysgrifenwyr Catrin Dafydd, Ceri Elen ac Angharad Tomos
  • Lois Jones, Chris Hoskins a’r cast i gyd
  • Elin Williams a Steve Dimmick am eistedd mewn ystafell dywyll gyda llwyth o dabiau porwr ar agor tra oedd pawb arall tu fas
  • Green Bay, Dylan Richards, S4C a Huw Marshall am gydweithrediad weddol esmwyth rhwng platfformau
  • Arwel Gruffydd a phob aelod o dîm Theatr Genedlaethol Cymru a’r criw ar y cynhyrchiad

This post is about our Wales Theatre Award: Best Use of Digital/Online Content for our work on Y Bont with Theatr Genedlaethol Cymru. There isn’t enough room on the slate for the names of the digital team who are sharing in this award with us plus the others we want to thank, so we’ve credited them here. Congratulations to the other nominees in our category too!

Free Folk collaborative map project

Free Folk Map

We’ve just finished putting together a collaborative map project for Forest Forge Theatre Company for their new production, Free Folk.  The Free Folk map is a place where anyone can add their story to the map in a place that they have lived in the past, whether or not they stayed.

The map is a living document of people’s relationship with the places they’ve lived, and asks them to tell their story, and answer the specific questions; did you stay or did you leave? And was that your choice, or did you have to?

Built on Google Maps, the Free Folk map builds on work we did to create a similar public mapping site for National Theatre Wales for their show Love Steals Us from Loneliness. We worked with the young people in Bridgend to help them tell their stories using digital media, and populating the map – mostly with stories of love.

Now, we’ve updated the platform, giving it a responsive design that works on tablets and smartphones, and uses the updated Google Maps API for it’s interface. Many thanks to our associate Marc Heatley for his contribution to the project

The Free Folk map will be used to engage with audiences on the theatre company’s national UK tour of Free Folk, which throws five strangers together on a dark night and asks; who will be left come the morning?