English: Also, as Danny said, they do what they can do, but it's within the limitations they have in terms of the distribution policy of the Arts Council of Wales. As I was saying earlier, it may not be suitable for the industry, therefore. If I may give one example, as Sain, we've been fortunate enough to receive a small amount of support for touring, but one of the criteria is that 'Your project must be additional to your usual programme of activity. This means it should not be part of your core activity'. So, you're always having to think about something additional, a new project, that may not be appropriate, just in order to get that funding. That's why it doesn't work for the industry that, possibly, does the same thing iteratively and succeeds as a result of doing so. They've been forced into this situation I think, to some extent, because, for example, Cerdd Cymru: Music Wales was the body that was formed between the WMF and the arts council and Wales Arts International. It was a partnership between the industry and the arts, because WMF has been created by professional workers in the industry, all the stakeholders, all the board - they all worked within the industry. So, bringing the two organisations together to create Cerdd Cymru: Music Wales succeeded and it attracted Womex to Cardiff, which was a great success. Following that, the next year, there was no need to explain what Welsh music was at Womex in Santiago, but there was no longer a WMF in place to continue the work that had been undertaken. So, the WAI has taken over that work, because there was no one else to do it, and they're trying to offer support now for people to go abroad, to go to these fairs. But, they're commercial fairs. But it's the arts council that is now trying to send people out to commercial fairs. There is some - . So, the balance isn't quite right there. The fit doesn't quite work, I don't think.
Welsh: Hefyd, fel mae Danny yn ei ddweud, maen nhw'n gwneud beth maen nhw'n gallu ei wneud, ond o fewn y cyfyngiadau sydd ganddyn nhw o ran polisi dosbarthu cyngor y celfyddydau. Fel roeddwn i'n ei ddweud o'r blaen, hwyrach bod hwnnw ddim yn addas i'r diwydiant, felly. Os caf i ddweud un enghraifft, rydym ni wedi cael, fel Sain, rydym ni wedi bod yn ffodus i fedru cael nawdd bach ar gyfer y daith, ond wedyn un o'r criteria ydy, 'Rhaid i'ch prosiect fod yn ychwanegol at eich rhaglen weithgarwch arferol. Rhaid iddo beidio â bod yn rhan o'ch gweithgarwch craidd'. Felly, dŷch chi'n gorfod trio meddwl am ryw brosiect gwahanol drwy'r adeg, hwyrach, sydd ddim yn addas, jest er mwyn cael y nawdd. Dyna pam dydy o ddim yn gweithio i'r diwydiant sydd, hwyrach, yn gwneud yr un peth drosodd a throsodd ac yn llwyddo wrth wneud hynny, felly. Maen nhw wedi cael eu gorfodi i'r sefyllfa dwi'n meddwl, braidd, achos, er enghraifft, Cerdd Cymru: Music Wales oedd y corff gafodd ei ffurfio rhwng y WMF a chyngor y celfyddydau a Wales Arts International. Roedd hi'n bartneriaeth rhwng y diwydiant a'r celfyddydau, achos mae WMF wedi cael ei greu gan weithwyr proffesiynol yn y diwydiant, rhanddeiliaid i gyd, y bwrdd i gyd - roedden nhw i gyd yn gweithio yn y diwydiant. Felly, wrth ddod â'r ddau gorff at ei gilydd i greu Cerdd Cymru: Music Wales mi wnaeth o lwyddo a denu Womex i Gaerdydd, oedd yn llwyddiant enfawr. Yn dilyn hynny, y flwyddyn wedyn, doedd dim rhaid egluro am gerddoriaeth Gymraeg yn Womex yn Santiago, ond doedd yna ddim WMF ddim mwy i fedru parhau â'r gwaith gafodd ei wneud. Felly, mae WAI wedi cymryd drosodd y gwaith yna, achos doedd yna neb arall i'w wneud o, a nhw sy'n trio rhoi cymorth rŵan i bobl fynd dramor, i fynd i'r ffeiriau. Ond eto, ffeiriau masnach ydyn nhw. Ond eto cyngor y celfyddydau sydd yn trio mynd â phobl allan i ffeiriau masnach. Mae yna ryw - . Dydy'r balans ddim yn iawn. Dydy'r ffit ddim yn iawn, dwi ddim yn credu.