English: Thank you, Darren, for the series of questions and your welcoming of the principle of setting up the endowment. The timing of this announcement is in no way meant to be disrespectful of the work of the committee. I understand that work came to a close on 4 February, but, with all due respect to the committee, we've already had a report that has recommended the establishment of this endowment. I don't need another report to tell me I need to establish the endowment; what we need to do is to get on with establishing the endowment, which is what I'm doing today. But, of course, I will be hugely interested to hear from the committee its recommendations and its findings, and Cabinet colleagues and I will reflect on that in how we take this agenda forward. But, as I've said, we've already had a recommendation that this needs to happen, which is why we are doing it. With regard to GSCE music, it's also interesting to note that there has been a drop in the number of students taking GCSE drama also, so there is undoubtedly an issue around children, for whatever reason, making different decisions about the subjects that they take. But you're absolutely right - a balanced education is one that, yes, pays due regard to maths and English and science, but also one that, as a historian, I know myself pays attention to the humanities as well as creative endeavours. One of the things that we have done in relation to GCSE choices is that schools told me that the emphasis on the capped nine was making them narrow their curriculum and was actually making it more and more predictable to choose these subjects. As you know, we will not be using capped nine as the sole, high-stakes accountability measures in schools, thus allowing them to move away from that. So, that's one of the practical things that we are trying to do to ensure that our curriculum doesn't narrow in a way that makes it more difficult for children to take either GCSE music or GCSE drama, because I want our children to have the broadest range and the widest range of education experiences possible. Of course, that is the absolute philosophy behind our Donaldson curriculum reforms. With regard to that, you'll be aware, Darren, that I mentioned in my statement the role of the creative schools. So, we have a network of creative schools that are supporting us in the development of new approaches to creative education. They're also then forming part of the area of learning experience groups that are looking at the frameworks for individual areas of learning experience for the curriculum, and as I mentioned in my statement, we have a multimillion pound fund in conjunction with the arts council to be able to use different ways, and creativity, to engage within the curriculum. So, for instance, literacy can be a particular issue for boys, and engaging young boys in literacy and writing can be a challenge. Through our work with the arts council, schools are being able to bring in lead practitioners, and in some schools they've employed a rap artist, and actually by the use of rap music, and writing music and lyrics of that kind, it has got young men thinking about writing as well as performing. That's a way of engaging children in literacy in a way perhaps they wouldn't. So, we're looking at creative learning in its broadest possible sense. I am very aware of what was said to the committee about the state of the music education that there is. I wouldn't describe it as a crisis, but I would also recognise the evidence that was given by Karl Napieralla about the difficulties of unpicking a situation where we have seen lots and lots of money being delegated to schools and individual schools choosing how to use those resources in a way that meets their children's needs. Last week, I was in Woodlands Community Primary School - that's in Cwmbran, a deprived part of Cwmbran - where they used that resource to bring in professional musicians to the school to work with children. On that day, it happened to be samba that they were listening to and participating in, and enjoying it they were, too. The school has made that decision, unpicking that resource back out of the school. But I would expect schools and local authorities to work creatively together to address needs within their community. I've also been greatly cheered by the use of the pupil deprivation grant. So, Cefn Hengoed Community School in Swansea uses their pupil deprivation grant to pay for membership of the local youth orchestra, because for some of those children, membership of the youth orchestra may be beyond them. So, they use some of that resource to ensure that their children get to be a part of the youth orchestra, as well as the local drama group. So, it's a creative use of that money to ensure that those children get access to those activities that would not be available to them in any other way. But our expectation on local authorities is to work collaboratively to address these points. We are to ensure leadership by the establishment of this fund, but, Darren, at some stage we live in a system that has local government, and local government have to take their responsibility seriously. If Welsh Government keeps doing things because local government doesn't do it, it does beg the question: why have we got local government? It is quite clear they have a responsibility in this area, and as I said earlier, my officials are working with them to ensure that they're taking forward the recommendations in the task and finish group.
Welsh: Diolch i chi, Darren, am y gyfres o gwestiynau a'ch croeso i'r egwyddor o sefydlu'r gwaddol. Ni fwriedir bod amseru'r cyhoeddiad hwn mewn unrhyw ffordd yn amharchus o waith y pwyllgor. Deallaf fod y gwaith wedi dod i ben ar 4 Chwefror, ond, gyda phob parch i'r pwyllgor, rydym eisoes wedi cael adroddiad sydd wedi argymell sefydlu'r gwaddol hwn. Does dim angen adroddiad arall i ddweud wrthyf fod angen i mi sefydlu'r gwaddol; yr hyn y mae angen i ni ei wneud yw bwrw ymlaen â sefydlu'r gwaddol, sef yr hyn yr wyf yn ei wneud heddiw. Ond, wrth gwrs, bydd gennyf ddiddordeb enfawr i glywed am argymhellion a chanfyddiadau'r pwyllgor, a bydd cydweithwyr yn y Cabinet a minnau yn ystyried y rheini yn y ffordd yr ydym yn symud yr agenda hon yn ei blaen. Ond, fel y dywedais, rydym eisoes wedi cael argymhelliad bod angen i hyn ddigwydd, a dyna pam yr ydym yn gwneud hynny. O ran TGAU cerddoriaeth, mae hefyd yn ddiddorol nodi gostyngiad yn nifer y myfyrwyr sy'n dilyn TGAU drama hefyd. Felly mae'n sicr yn broblem bod plant, am ba reswm bynnag, yn gwneud penderfyniadau gwahanol am y pynciau y maent yn dewis eu dilyn. Ond rydych chi'n hollol iawn - ydy, mae addysg gytbwys yn un sy'n rhoi sylw dyledus i fathemateg a Saesneg a gwyddoniaeth, ond hefyd yn un sydd, fel hanesydd, rwy'n gwybod fy hun yn rhoi sylw i'r dyniaethau yn ogystal ag ymdrechion creadigol. Un o'r pethau yr ydym wedi ei wneud o ran dewisiadau TGAU yw bod ysgolion wedi dweud wrthyf i fod y pwyslais ar y capio naw yn gwneud iddynt gulhau eu cwricwlwm, ac mewn gwirionedd roedd yn fwyfwy rhagweladwy bod plant yn dewis y pynciau hyn. Fel y gwyddoch, ni fyddwn yn defnyddio'r capio naw fel yr unig fesurau atebolrwydd arbenigol mewn ysgolion, gan eu galluogi i symud oddi wrth hynny felly. Felly, dyna un o'r pethau ymarferol yr ydym yn ceisio ei wneud i sicrhau nad yw ein cwricwlwm yn gul mewn ffordd sy'n ei gwneud yn fwy anodd i blant gymryd naill ai TGAU cerddoriaeth neu TGAU drama. Rwy'n awyddus i'n plant gael yr amrywiaeth fwyaf a'r ystod fwyaf eang o brofiadau addysg â phosibl. Wrth gwrs, dyna'r athroniaeth lwyr y tu ôl i ddiwygiadau cwricwlwm Donaldson. O ran hynny, byddwch yn ymwybodol, Darren, fy mod wedi crybwyll swyddogaeth yr ysgolion creadigol yn fy natganiad. Felly, mae gennym rwydwaith o ysgolion creadigol sy'n ein cefnogi ni i ddatblygu dulliau newydd o addysg greadigol. Maent hefyd wedyn yn ffurfio rhan o faes grwpiau profiad dysgu sy'n edrych ar y fframweithiau ar gyfer meysydd unigol o brofiad dysgu ar gyfer y cwricwlwm. Ac fel y soniais yn fy natganiad, mae gennym gronfa gwerth miliynau o bunnoedd, ar y cyd â chyngor y celfyddydau, er mwyn gallu defnyddio gwahanol ffyrdd, a chreadigrwydd, i ymgysylltu o fewn y cwricwlwm. Felly, er enghraifft, gall llythrennedd fod yn broblem arbennig i fechgyn, a gall fod yn her cael bechgyn ifanc i ymgysylltu â gwaith llythrennedd ac ysgrifennu. Drwy ein gwaith gyda chyngor y celfyddydau, mae ysgolion yn gallu dod ag ymarferwyr arweiniol i mewn, ac mewn rhai ysgolion maent wedi cyflogi artist rap, ac mewn gwirionedd drwy ddefnyddio cerddoriaeth rap, ac ysgrifennu geiriau a cherddoriaeth o'r math hwnnw, mae wedi ysgogi dynion ifanc i feddwl am ysgrifennu yn ogystal â pherfformio. Dyna ffordd o ennyn diddordeb plant mewn llythrennedd mewn ffordd efallai na fydden nhw wedi meddwl amdani. Felly, rydym yn edrych ar ddysgu creadigol yn ei ystyr ehangaf posibl. Rwy'n ymwybodol iawn o'r hyn a ddywedwyd wrth y pwyllgor am gyflwr yr addysg cerddoriaeth sy'n bodoli. Ni fyddwn yn ei ddisgrifio fel argyfwng, ond byddwn hefyd yn cydnabod tystiolaeth Karl Napieralla ynghylch yr anawsterau o ddadansoddi sefyllfa lle'r ydym wedi gweld llawer iawn o arian yn cael ei ddirprwyo i ysgolion ac ysgolion unigol yn dewis sut i ddefnyddio'r adnoddau hynny mewn ffordd sy'n diwallu anghenion eu plant. Yr wythnos ddiwethaf, roeddwn yn Ysgol Gynradd Gymunedol Woodlands - mae honno yng Nghwmbrân, mewn rhan ddifreintiedig o Gwmbran - lle'r oeddent yn defnyddio'r adnodd hwnnw i ddod â cherddorion proffesiynol i'r ysgol i weithio gyda phlant. Ar y diwrnod hwnnw, roedd y plant yn digwydd bod yn gwrando ar gerddoriaeth samba, ac yn cymryd rhan ynddo, ac yn ei fwynhau hefyd. Mae'r ysgol wedi gwneud y penderfyniad hwnnw, gan ddadansoddi'r adnodd hwnnw yn ôl allan o'r ysgol. Ond byddwn yn disgwyl i ysgolion ac awdurdodau lleol weithio'n greadigol gyda'i gilydd i fynd i'r afael ag anghenion o fewn eu cymuned. Rwyf hefyd wedi cael fy nghalonogi'n fawr gan y defnydd o'r grant amddifadedd disgyblion. Felly, mae Ysgol Gymunedol Cefn Hengoed yn Abertawe yn defnyddio eu grant amddifadedd disgyblion i dalu am aelodaeth o'r gerddorfa ieuenctid leol. I rai o'r plant hynny, gall aelodaeth o'r gerddorfa ieuenctid fod y tu hwnt iddynt. Felly, caiff rhywfaint o'r adnoddau hynny eu defnyddio i sicrhau bod y plant yn cael bod yn rhan o'r gerddorfa ieuenctid, yn ogystal â'r grŵp drama lleol. Felly, mae'n ddefnydd creadigol o'r arian hwnnw i sicrhau bod y plant hynny yn cael mynediad at y gweithgareddau hynny na fyddai ar gael iddynt mewn unrhyw ffordd arall. Ond rydym yn disgwyl i'r awdurdodau lleol fod yn gydweithredol i fynd i'r afael â'r pwyntiau hyn. Rydym yn sicrhau arweinyddiaeth trwy sefydlu'r gronfa hon, ond, Darren, ar ryw adeg rydym yn byw mewn system sydd â llywodraeth leol, a rhaid i lywodraeth leol gymryd ei chyfrifoldeb o ddifrif. Os yw Llywodraeth Cymru yn dal i wneud pethau oherwydd nad yw llywodraeth leol yn eu gwneud nhw, rhaid gofyn y cwestiwn: pam mae llywodraeth leol yn bodoli? Mae'n eithaf clir fod ganddynt gyfrifoldeb yn y maes hwn, ac fel y dywedais yn gynharach, mae fy swyddogion i yn gweithio gyda nhw i sicrhau eu bod yn bwrw ymlaen ag argymhellion y grŵp gorchwyl a gorffen.