English: Well, there are three questions there. I'll try and answer at least two of them to begin with. In terms of ensuring that we have people with knowledge and experience of this field, our concern is that, at a number of levels, we are losing people. People can be moved within local government and within the public bodies that we fund so that they can no longer provide the kind of expert advice that we might expect. I have started a discussion with the Welsh Local Government Association to see how we can have a more robust partnership in terms of public expenditure and the follow-on private expenditure - I will say more about that in a few moments' time - so that we can have a better pattern of expenditure between local government, the Arts Council of Wales and the individual clients, those creative businesses and those arts businesses. I do emphasise 'arts businesses', because we are making a connection between arts and business and that's at the heart of what I'm discussing. So, I do hope that we will be able to ensure that we will have a clear register of the specialists that can advise and of the effective administrators in the area, so that they are able to assist in providing advice on generating additional funds. The arts council has provided you with evidence, of course, and their plans are now tailored for the needs of different clients within their own portfolio. Arts & Business Cymru, who have also provided you with evidence, also provide advice of all sorts to companies. In terms of generating funds - now, I don't consider private money, whether it is funding from the individual artist or a group of artists or from corporate sponsorship from companies and investors through various different companies and, particularly, charities - . I do understand that you've had evidence from the Colwinston trust. I'm very familiar with their work through my connection with Mathew Prichard - he was chair of the arts council when I was a member of the council. So, that link between the commercial sponsorship and support and the public investment is crucial to all activity. What I have set as a task for myself in the department that I am responsible for, and across the portfolio, is to seek creative ways of securing sufficient funding from all sources. So, I very much welcome the inquiry that you are undertaking specifically on non-public funding of the arts. I look forward to receiving the committee's recommendations so that we can use them as a foundation for policy development and development of funding within the department.
Welsh: Wel, mae yna dri chwestiwn yn fanna, rydw i'n meddwl. Mi geisiaf i ateb dau ohonyn nhw, beth bynnag, i ddechrau. Ynglŷn â'r sefyllfa o sicrhau bod gyda ni bobl â gwybodaeth a phrofiad yn y maes, ein gofid ni ydy ein bod ni'n eu colli ar nifer o lefelau. Mae pobl yn gallu cael eu symud o fewn meysydd llywodraeth leol ac o fewn meysydd cyrff cyhoeddus yr ydym ni'n eu cyllido fel eu bod nhw ddim yn gallu darparu'r math o gyngor arbenigol y byddem ni'n ei ddisgwyl. Rydw i wedi dechrau trafodaeth gyda Chymdeithas Lywodraeth Leol Cymru i weld sut y gallwn ni gael partneriaeth gadarnach ynglŷn â gwariant cyhoeddus a gwariant preifat dilynol - ac mi ddywedaf i fwy am hynny mewn dau funud - fel y gallwn ni gael patrwm gwell o wariant, partneriaeth o wariant, rhwng llywodraeth leol, Cyngor Celfyddydau Cymru ac, wrth gwrs, y cleientau unigol, y busnesion creadigol a'r busnesion celf. Rwy'n pwysleisio 'busnesion celf' er mwyn gwneud y cysylltiad rhwng busnes a diwylliant yn ganolog i'r hyn rydw i'n sôn amdano fo. Wedyn, rydw i'n gobeithio y gallwn ni sicrhau bod gyda ni gofrestr glir o'r arbenigwyr sydd yn gallu cynghori ac o'r gweinyddwyr effeithiol yn y maes, fel eu bod nhw yn gallu cynorthwyo i gael cyngor i godi cyllid ychwanegol. Mae cyngor y celfyddydau wedi rhoi tystiolaeth i chi wrth gwrs ac mae eu cynlluniau nhw erbyn hyn wedi'u teilwra ar gyfer anghenion cleientiaid gwahanol o fewn eu portffolio nhw. Mae Celfyddydau & Busnes Cymru, sydd hefyd wedi rhoi tystiolaeth i chi, yn cynnig cyngor o bob math i gwmnïau. Ynglŷn â chodi arian - nid ydw i'n ystyried arian preifat, p'un ai ydy o'n gyllid yn dod oddi wrth yr artist unigol neu grŵp o artistiaid neu oddi wrth nawdd corfforaethol oddi wrth gwmnïau ac oddi wrth fuddsoddwyr drwy wahanol gwmnïau ac, yn arbennig, elusennau - . Rydw i'n deall eich bod chi wedi cael tystiolaeth, er enghraifft, gan y Colwinston trust. Rydw i'n gyfarwydd iawn â'u gwaith nhw drwy fy nghysylltiad â Mathew Prichard - roedd o'n gadeirydd ar gyngor y celfyddydau pan oeddwn i'n aelod o'r cyngor. Felly, mae'r cysylltiad yna rhwng y nawdd a'r gefnogaeth fasnachol a'r buddsoddiad cyhoeddus yn hanfodol i bob gweithgarwch. Beth rydw i wedi'i osod yn dasg i mi yn yr adran yr ydw i bellach yn gyfrifol amdani, ac ar draws y portffolio, ydy chwilio am ffyrdd creadigol o sicrhau cyllid digonol o bob ffynhonnell. Felly, rydw i'n croesawu'n fawr yr ymchwiliad rydych chi'n ei wneud yn benodol ar gyllid nad yw'n gyllid cyhoeddus. Rydw i'n edrych ymlaen at argymhellion y pwyllgor fel y gallwn ni eu defnyddio nhw yn sail i ddatblygiad polisi a chyllido o fewn yr adran.