English: I will speak in Welsh. Before I started in this post, I ran my own company, which worked on raising funds within the sector, and it wasn't easy. There is a reliance on the public sector, and that isn't going away. But, having said that, there are alternative models of funding that could be looked at around the world. To approach this from an international context, I would say that, when we look at working in China, in Argentina - or in Europe in the future - what are the models that allow us to work in a different way with nations that have different experiences? I think that would be useful. But one of the things that I felt before I came to this post and I ran my own company was that one of the major risks that is difficult for arts companies to take is that major step of becoming a partner in an international programme - particularly with European funding. And whatever follows on from that, then many of those same points would still be valid, I would suspect. Now, if you're targeting funds outwith your own country, it's a risk, it takes time. It takes a great deal of resources to put that together. Who takes that risk, and then is it possible to develop some sort of funding stream that supports success? Because there are a number of partnerships that, at the moment, don't know where their future lies in the context of Creative Europe, for example, where we simply aren't sure how much we're going to have to bring in or where that funding is coming from, and the partnerships may not continue - some of which have been running for 20 years and more.
Welsh: Fe wnaf i siarad yn Gymraeg. Cyn i fi ddod i'r swydd yma, roeddwn i'n rhedeg cwmni bach fy hun yn gweithio ar godi arian ar gyfer y sector, ac nid oedd e'n waith hawdd i'w wneud. Mae yna ddibyniaeth ar y sector cyhoeddus, ac ni fydd honno'n mynd i ffwrdd. Ond, wedi dweud hynny, mae yna fodelau gwahanol o ariannu sydd yn bosib edrych arnyn nhw o gwmpas y byd. Ac i ddod at hyn o gyd-destun rhyngwladol, fe fyddwn i'n dweud, pan fyddem ni'n edrych ar weithio yn Tsieina, yn yr Ariannin - yn Ewrop i ddod hefyd - beth ydy'r modelau sydd yn ein caniatáu ni i fedru gweithio mewn ffyrdd gwahanol efo gwledydd lle mae profiad gwahanol? Rydw i'n meddwl bod hynny'n mynd i fod yn rhywbeth a fydd yn ddefnyddiol i ni. Ond un o'r pethau roeddwn i'n ei deimlo, cyn i mi ddod i'r swydd yma, pan oeddwn i'n rhedeg fy nghwmni fy hun oedd: un o'r risgiau mawr sy'n anodd i gwmnïau celfyddydol i'w cymryd ydy'r cam mawr o fod yn bartner mewn rhaglenni rhyngwladol - yn arbennig mewn arian Ewropeaidd. A beth bynnag sy'n dod i ddilyn hynny, bydd lot o'r pwyntiau yn ddilys, byddwn i'n amau. Hynny ydy, os ydych chi'n targedu arian tu allan i'ch gwlad arferol chi, mae'n cymryd risg, mae'n cymryd amser, mae'n cymryd lot o adnoddau i roi hynny at ei gilydd. Pwy sy'n cymryd y risg honno? Ac wedyn: a oes modd i ddatblygu rhyw fath o arian sydd yn cefnogi llwyddiant? Achos mae yna nifer o bartneriaethau sydd, ar hyn o bryd, ddim yn gwybod lle mae eu dyfodol nhw'n dod mewn cyd-destun Creative Europe, er enghraifft, lle nid ydym ni'n siŵr faint o arian rydym ni'n mynd i orfod prynu i mewn, na lle maen nhw'n mynd i gael hynny ohono fo, ac efallai, o ganlyniad, ni fyddant yn cario mlaen efo partneriaethau, mewn rhai achosion, sydd wedi bod yn rhedeg ers 20 mlynedd a mwy.