techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: Well, we've been e-mailing back and forth, and I did bump into somebody in Wrexham in September - somebody who is no longer in Creative Wales - and we started to discuss what was launched yesterday. I don't feel that I've been part of it, but I did say during my conversations in September and in e-mails how positive I feel that is. And it does fill a void, I think. Historically, the arts council would have helped with things like that. They don't do that anymore, because they don't seem to want to support the kind of things that we could make bids for to Creative Wales. I think that's a positive step, personally.
Welsh: Wel, rydym ni wedi bod yn e-bostio yn ôl ac ymlaen, ac fe wnes i 'bump-io' i mewn i rywun yn Wrecsam ym mis Medi - rhywun sydd ddim yn Creative Wales dim mwy - a dechrau siarad am beth sydd wedi cael ei lansio ddoe. Dwi ddim yn teimlo fy mod i wedi bod yn rhan ohono fo, ond mi wnes i ddweud yn y sgyrsiau ym mis Medi ac ar e-bost pa mor positif dwi'n teimlo ydy hwnnw. Ac mae o'n llenwi gofod, dwi'n meddwl. Yn hanesyddol, buasai cyngor y celfyddydau wedi gallu helpu efo pethau fel yna. Dydyn nhw ddim yn gwneud dim mwy oherwydd, dydyn nhw ddim yn hoff o gefnogi'r math o beth y buaswn i'n gwneud cais amdano efo Creative Wales. So, dwi'n meddwl ei fod o'n gam positif iawn, yn bersonol.
English: I don't think the three of us know about what happened yesterday. Not as a member of a band, somebody who runs a label, or who runs a venue. We didn't know anything about it.
Welsh: Dwi ddim yn meddwl bod yr un o'r tri ohonom ni'n gwybod am beth ddigwyddodd ddoe. Dim fel aelod o fand, fel rhywun sy'n rhedeg label, na rhywun sy'n rhedeg venue. Doedd neb yn gwybod dim byd amdano fo.
English: Okay. We will try and ensure that we provide that information for you. Just one brief question, because I did ask it to the previous panel: there's an idea in terms of venues, the Music Venue Trust says that we could have public ownership of some of those venues, perhaps when there's a change of use in what a business does so that they don't do live music, is there scope to do that? Do you agree that that could happen as a kind of policy?
Welsh: Ocê. Fe wnawn ni geisio sicrhau eich bod chi'n ffeindio mas a'ch bod chi'n cael yr wybodaeth. Un cwestiwn clou, achos fe wnes i ei ofyn i'r bobl gynt: mae yna syniad o ran lleoliadau, mae'r Music Venue Trust yn dweud y gallem ni gael perchnogaeth gyhoeddus o rai o'r lleoliadau, efallai pan mae'r busnes eisiau newid beth maen nhw'n gwneud fel nad ydyn nhw'n gwneud cerddoriaeth fyw, a fyddai yna scope i wneud hynny? Ydych chi'n cytuno y gallai hwnna ddigwydd fel rhyw fath o bolisi?
English: It depends how that would happen. When Neuadd Ogwen was developed - the building is 150 years of age. The council couldn't wait to get rid of it, I think, and pass it on. I think it cost £5 or something. I have concerns about Gwynedd Council specifically. I feel that Gwynedd Council is more of a problem than a support to us. That's not about running a venue, but historically when I've run festivals and so on, I've seen that they are less supportive and more of a problem, and that they don't see it as being part of their role to support. They see their role as dampening, trying to stop what's happening, almost, in terms of licensing and so on.
Welsh: Mae'n dibynnu sut buasai hynny'n digwydd. Dwi'n meddwl, pan gafodd Neuadd Ogwen ei datblygu - mae'r adeilad yn rhyw 150 oed. Roedd y cyngor methu aros i gael gwared ohono fo, dwi'n meddwl, a pasio fo ymlaen. Dwi'n meddwl mai £5 neu rywbeth oedd o'n gostio. Mae gen i ofnau ynglŷn â Cyngor Gwynedd yn benodol. Dwi'n teimlo bod Cyngor Gwynedd yn fwy o broblem nac o gefnogaeth i ni, yn sicr. Dyw hynny ddim ynglŷn â rhedeg canolfan, ond yn hanesyddol pan dwi wedi rhedeg gŵyliau y tu allan a ballu, dwi wedi gweld eu bod nhw'n llai cefnogol ac yn fwy o broblem, a'u bod nhw ddim yn ei weld o fel eu rôl nhw i gefnogi. Eu rôl nhw ydy trio ' dampen -io', bron iawn stopio, beth sy'n digwydd, o ran trwyddedu a phob dim.
English: We'll come on to that.
Welsh: Gwnawn ni ddod ymlaen at hynny.
English: Do you have a quick view on this idea of putting venues in public ownership if there is a threat to any given venue?
Welsh: A oes barn clou gyda chi ynglŷn â'r cysyniad yma o roi rhywbeth i mewn i berchnogaeth gyhoeddus os oes bygythiad i'r lleoliad penodol hynny?
English: There was some talk about Neuadd Buddug, that that might happen, but the work that was required on the building - you're talking hundreds of thousands of pounds, so it wasn't realistic. As I said earlier, we're in a unique position in Bala, where people use village halls to stage gigs anyway. So, it is happening organically.
Welsh: Mi wnaeth yna ryw hanner sôn ddigwydd o ran Neuadd Buddug yn y Bala, bod hynny'n mynd i ddigwydd, ond mae'r gwaith sydd angen ei wneud ar yr adeilad - rydych chi'n siarad am gannoedd o filoedd, felly dydy o ddim yn realistig. Yn ôl at beth roeddem ni'n dweud cynt, rydym ni mewn sefyllfa unigryw yn ardal y Bala, lle mae pobl yn defnyddio neuaddau pentref ar gyfer gigs beth bynnag. Felly, mae o'n digwydd yn eithaf naturiol.
English: I think that would certainly be a great help. Anything that helps people who organise gigs, perhaps there could be a platform for people who are organising gigs for the first time, because there's nothing out there to tell them how to run a gig and what you need. I think it would be of great assistance, where people could have access to sound systems, lights, stages, or at least that there's help there so that people know where to go to get the assistance that they need.
Welsh: Dwi'n meddwl yn bendant y buasai hwnna'n help mawr. Rhywbeth sy'n helpu pobl sy'n trefnu gigs, rhyw blatfform neu rhywbeth i bobl sy'n trefnu gigs am y tro cyntaf, achos does dim byd allan yna i helpu pobl i ddweud wrthyn nhw sut i roi gig ymlaen a beth rydych chi ei angen. Buasai rhywbeth fel yna, dwi'n meddwl, yn help mawr, lle mae pobl yn gallu cael access i systemau sain, golau, llwyfan, neu o leiaf bod yna help yno lle ti'n gallu arwain pobl i wybod lle i gael y pethau yma.
English: The only thing you need to be mindful of is that you don't take business from the companies that we're trying to support across Wales that do make their living by providing sound systems and lighting, which is also of course an integral part of live music.
Welsh: Yr unig beth fyddai angen bod yn wyliadwrus ohono ydy eich bod chi ddim yn mynd â busnes oddi wrth y cwmnïau rydym ni'n trio eu cefnogi o gwmpas gogledd Cymru sydd yn gwneud eu bywoliaeth o gynnig sain a goleuadau mewn digwyddiadau, sydd hefyd yn faes annatod o'r byd cerddoriaeth fyw.
English: We have to acknowledge the cuts in terms of royalties from albums, which usually provide the funds for bands to go back into the studio. That doesn't exist anymore. Sales are less than half of what they used to be five years ago. And the payments that come from Spotify and iTunes, as you know, are next to nothing. So, that's a problem. Bands have to use their own funds from playing gigs to pay for their studio time. That's a problem. I'm not sure how to solve that.
Welsh: Rhaid cydnabod y toriadau mewn gwerthiant albums, a oedd fel arfer yn rhoi'r arian a'r elw i fandiau fynd yn ôl i mewn i stiwdio i recordio. Dydy o ddim yn bodoli ddim mwy. Mae gwerthiant hanner, os nad llai, beth oedd o arfer bod rhyw bum mlynedd yn ôl. Ac yn amlwg, fel rydych chi'n gwybod, mae'r taliadau sy'n dod o Spotify ac iTunes ac yn y blaen y nesaf peth i ddim. So, mae hynny yn broblem. Mae bandiau'n gorfod mynd i mewn i'r pres y maen nhw'n cael am chwarae gigs i dalu eu hunain, o'u cyflog eu hunain, i fynd yn ôl i mewn i stiwdio. Mae hynny'n broblem. Dwi ddim yn siŵr iawn sut i ddelio â hynny.
English: I agree with that as a musician. As a venue, one of the biggest things that's hit us in the past two years is Brexit. It's had an impact. We've had two artists that we've booked, and then we've had to cancel because they hadn't got their visas. So, that's had an impact on us. And it only takes one gig. Because we work from one month to the next in terms of paying our bills, and if you have problem like that, then you can be in deep trouble. So, that does stand out.
Welsh: Dwi'n cytuno efo hynny fel cerddor. Fel canolfan, un o'r pethau mwyaf sydd wedi'n taro ni yn y ddwy flynedd ddiwethaf ydy Brexit. Mae wedi amharu. Rydyn ni wedi cael dau artist rydyn ni wedi'u bwcio, ac wedyn rydyn ni wedi gorfod canslo oherwydd dydyn nhw ddim wedi cael eu visas. Felly, mae hynny wedi amharu arnom ni. Dydy o ond yn cymryd un gig. Oherwydd ein bod ni'n mynd o fis i fis i dalu biliau, os wyt ti'n cael un broblem fel yna, ti'n gallu bod mewn trwbl. Felly, mae hynny yn sefyll allan.
English: Better not to go there, but it's true.
Welsh: Gwell peidio â mynd i fan yna, ond mae'n wir.
English: We've been trying to fill the space that's been left in terms of education. We hold drum sessions, guitar sessions, rap sessions, bass, piano and singing to get young people in to have those experiences - children from the age of seven up. Because that is a weakness. But another thing is youth clubs, because I remember two years ago, I had a meeting with Gruff Rhys because I arrange a festival with him, and he was saying, 'It's brilliant that you're starting to have these lessons, because I started music in a youth club, playing drums in a youth club.' So, that was his starting point. That doesn't exist any more. It's gone. So, it is important to have that foundation. We try to provide opportunities for young people at the age of 16 to perform with recognised and international artists. I think that expands their horizons and gives them that first opportunity.
Welsh: Rydyn ni wedi bod yn trio llenwi'r gofod sydd wedi cael ei adael o addysg. Rydyn ni'n cynnal sesiynau drwms, gitâr, rap, bâs, piano a canu i gael pobl ifanc i mewn i gael y profiadau hynny - plant o saith oed i fyny. Mae hynny'n wendid. Ond rhywbeth arall ydy clybiau ieuenctid, achos dwi'n cofio, dwy flynedd yn ôl, ro'n i'n cael cyfarfod efo Gruff Rhys achos dwi'n trefnu gŵyl efo fo, ac roedd o'n dweud, 'Brilliant eich bod chi'n dechrau gwneud y gwersi yma, oherwydd wnes i ddechrau gwneud cerddoriaeth yn y clwb ieuenctid, yn chwarae drwms yn y clwb ieuenctid.' So, dyna oedd ei fan cychwyn o. Dyw hynny ddim yn bodoli dim mwy. Mae o wedi mynd. Mae'n bwysig cael y bâs yna. Rydyn ni'n trio rhoi cyfle i bobl ifanc 16 oed berfformio efo artistiaid adnabyddus a rhyngwladol. Dwi'n meddwl bod hynny'n hanfodol i agor eu gorwelion nhw a rhoi'r cyfleon cyntaf yna iddyn nhw.
English: In terms of my work with the Urdd, I do stage workshops on composition. I've been around schools, with Osian and other musicians from Y Cledrau, working on those workshops. There is the talent available within schools. Young people do want to be in bands. But I have noticed that the resources available in schools are disastrous. You have a drums room in one school, and they're falling apart. The school simply doesn't have the funds in order to have that proper equipment in place. But if they did, if there was a small pot of money available, provided to music departments in schools, then there would be people who go in - . When I'm schools, I see people there at lunchtime, after school, or even before school on one site, going in to jam and to play and just to learn. Because we started in school, and you started in school. But if that equipment isn't there, they're not going to learn their craft, they're not going to then go on to buy the drums and continue after they've left school.
Welsh: Efo fy ngwaith i efo'r Urdd, dwi'n gwneud dipyn o weithdai cyfansoddi. Dwi wedi bod yn mynd rownd ysgolion, dwi wedi bod yn gofyn i Osian ac aelodau eraill o'r Cledrau i ddod, i wneud gweithdai ysgolion. Mae'r talent yn yr ysgolion, mae o yno. Mae'r bobl ifanc eisiau bod mewn band. Ond dwi'n sylwi bod yr adnoddau sydd gan ysgolion yn drychinebus. Dwi'n mynd i ystafell drwms mewn un ysgol, ac maen nhw'n disgyn yn ddarnau. Felly, does gan yr ysgol ddim arian er mwyn cael offer da. Ond dwi'n meddwl petasai ganddyn nhw, petasai yna bot bach o bres yn cael ei roi i adrannau cerdd ysgolion, buasai yna bobl yn mynd - . Pan dwi mewn ysgolion, dwi'n gweld pobl amser cinio, ar ôl ysgol, neu hyd yn oed cyn ysgol, mewn un safle, yn mynd i jamio a dysgu crefft. Achos yn yr ysgol, mwy neu lai, wnaethon ni gychwyn, ac yn yr ysgol gwnaethoch chi gychwyn. Os nad ydy'r offer yna, dydyn nhw ddim am ddysgu eu crefft, a dydyn nhw ddim am brynu'r drwms a mynd ati ar ôl gadael ysgol wedyn.
English: I can only echo how important these workshops are, and the lessons that do happen after schools. I've done a great many workshops for companies similar to Galeri - they provide a Marathon Roc course on rock for young people, it's a week over the summer to write songs and play instruments. I can only add how important these opportunities are. They shouldn't disappear. These things have to be provided in every area.
Welsh: Gallaf i ond ategu pa mor bwysig ydy'r gweithdai yma i gyd, a'r gwersi sy'n digwydd ar ôl ysgol. Dwi wedi gwneud llwyth o weithdai i lot o gwmnïau tebyg i Galeri - maen nhw efo'u system Marathon Roc i bobl ifanc, sydd yn rhoi wythnos dros yr haf i ddysgu offerynnau ac ysgrifennu caneuon. Gallaf i ond ategu pa mor bwysig ydy'r rhain. Gall y pethau yma ddim diflannu. Mae'n rhaid i bethau fel yma ddigwydd ym mhob ardal, dwi'n meddwl.
English: I think it would be. In our school, there wasn't a computer strong enough to think about recording, never mind a recording studio. So, if there was that equipment available locally, I think it would be of huge benefit to school bands.
Welsh: Dwi'n meddwl y byddai. Yn ein hysgol ni, doedd yna ddim cyfrifiadur digon cryf i feddwl am recordio, heb sôn am stiwdio recordio. Felly, os byddai yna ryw offer fel yna yn lleol, dwi'n meddwl y byddai o fudd mawr i fandiau bach yn yr ysgol.
English: I do think it's a good idea. What I see that works is if there is a space available that can be multi-purpose - for rehearsal, recording, development and providing lessons - I think it's important to think along those lines, because what we don't want to do is to create something that's empty in one place, and could work with another use. What I see that works is that we create these centres that are open and available to what comes into them. What comes into them may be very different to what you had anticipated initially. You need a plan, of course, but it's important that these places are open to new things. So, I think it's a good idea, but we need to be guarded as to how we spend the money.
Welsh: Dwi'n meddwl ei fod o'n syniad da. Beth dwi'n gweld sy'n gweithio ydy unrhyw ofod sy'n gallu cael ei ddefnyddio i lawer o bethau - i ymarfer, recordio, datblygu a gwersi - dwi'n meddwl ei fod o'n bwysig meddwl fel yna, achos beth ti ddim eisiau gwneud ydy creu rhywbeth sydd jest yn wag yn un lle, a gallai fod yn gweithio yn rhywle arall. Yn bersonol, o fy mhrofiad i, beth dwi'n gweld sy'n gallu gweithio ydy ein bod ni'n creu canolfannau sy'n agored i beth sy'n dod mewn iddyn nhw. Gallai fod beth sy'n dod mewn iddyn nhw yn wahanol iawn i beth oeddech chi wedi meddwl yn y cychwyn. Dŷch chi angen cynllun, wrth gwrs, ond mae'n bwysig bod llefydd yn agored. Felly, dwi'n meddwl ei fod e'n syniad da, ond mae eisiau bod yn ofalus wrth wario pres, onid oes?
English: In the past, I used a scheme called Jobs Growth Wales to bring in two young people. Those two young people now work in the industry; not with us, unfortunately, but they have gone on to get full-time jobs in the industry, in marketing and technical aspects. That's very positive. But that scheme's changed, and it doesn't - . We need much longer than six months as well. So, from my point of view, where I struggle is that I have no staff. It would be too much of a risk to bring in a young person and they would leave after a year, or that we would have to pay a wage and train them. We couldn't afford to do that. So, if we want to get young people into the industry - they want jobs and it's an opportunity to develop skills and to develop venues.
Welsh: Yn y gorffennol, mi wnes i ddefnyddio scheme o'r enw Jobs Growth Wales i ddod â dau berson ifanc i mewn. Mae'r ddau berson ifanc yna rŵan yn gweithio yn y diwydiant; ddim efo ni, yn anffodus, ond maen nhw wedi mynd ymlaen i gael swyddi llawn amser yn y diwydiant, mewn marchnata a technegol. Mae hynny'n bositif. Mae'r scheme yna wedi newid, a dydy o ddim yn - . Mae angen lot mwy na chwe mis hefyd. O ran ni, lle dwi'n ' struggle -io' yw does gen i ddim staff. Mi fyddai'n ormod o risg dod â rhywun ifanc i mewn a'u bod nhw'n gadael ar ôl blwyddyn, neu ein bod ni'n gorfod talu eu cyflog nhw a'u hyfforddi nhw. Gallwn ni jest ddim fforddio ei wneud o. Felly, dwi'n meddwl, os ydyn ni eisiau cael pobl ifanc mewn i'r diwydiant - maen nhw eisiau swyddi ac mae o'n gyfle i ddatblygu sgiliau a datblygu canolfannau.
English: Yes. I think - .
Welsh: Ie. Dwi'n meddwl bod hwnna'n - .
English: I think you've touched on this, Dilwyn. The six-month schemes are not sustainable. Maes B arranged a tour of schools, which was very effective, where they'd bring a band into a school, but not only that, they'd also train young people as to how to prepare a room and how to market. They gave young people lessons as to how to arrange their own gigs. That model was superb, and I think if we could have more funding to support that kind of approach and that kind of tour, rather than having just the one visit to a school, and we see it through, to see schools being developed and young promoters being developed within schools. That provides you with the infrastructure you need then in order to have a healthy scene in terms of promoters and musicians.
Welsh: Rwyt ti newydd ei godi o, Dilwyn. Dim cynlluniau chwe mis. Dydy o ddim yn rhywbeth cynaliadwy o gwbl. Mi wnaeth Maes B drio gwneud teithiau i ysgolion hynod effeithiol lle roedden nhw'n dod â band i ysgol, ond nid yn unig hynny, roedden nhw'n rhoi hyfforddiant i bobl ifanc ar sut mae addurno ystafell ar gyfer gig a'i gwneud hi'n ddeniadol. Roedden nhw'n rhoi gwersi i bobl ifanc ar sut mae mynd ati i drefnu gigs eich hunan. Roedd y model yna'n ffantastig, so dwi'n meddwl petasai yna fwy o gyllid i gefnogi'r daith yma'n fwy na dim ond un ymweliad i ysgol, a'i gweld hi drwodd, er mwyn gweld bandiau ysgol yn cael eu datblygu, neu hyrwyddwyr ifanc yn cael eu datblygu. Mae hynny'n rhoi yr isadeiledd sydd angen wedyn i gael sîn iach o ran yr hyrwyddwyr a'r cerddorion.
English: Sorry, I've turned to English - I'm not quite sure why, I wasn't even thinking; I was just answering your question. So, in terms of licensing, that's been an issue for us and also, how the council has dealt with it. It's not about the council; it's about individuals in one department, and they're doing their jobs, of course. They get a complaint and they deal with it, but it has been a real stress; it's a huge source of stress having to deal with all of that. You're running a centre for the benefit of the community, and if one person isn't happy, then you feel that you're not doing your work properly. So we're trying to do something about it now. We're making some grant applications to try and see if we can do that necessary work, but it's hugely difficult. It's a real juggle. I never see music being played. I run around with monitors , writing things down - that's what I do during gigs.
Welsh: Sori, dwi wedi troi i'r Saesneg - dwi ddim yn gwybod pam, doeddwn i ddim hyd yn oed yn meddwl. Roeddwn i jest yn ateb dy gwestiwn di. Ie, felly, o ran trwyddedu, mae hwnna wedi bod yn issue i ni, a hefyd sut mae'r cyngor lleol wedi delio â fo. Dydy o ddim am y cyngor; mae am unigolion mewn un adran, ac maen nhw'n gwneud eu gwaith. Maen nhw'n gwneud eu gwaith - maen nhw'n cael cwyn a maen nhw'n delio â fo, ond mae o wedi bod yn boendod ac yn straen, ac mae'n stress; m ae'n o'n stress mawr gorfod delio â hynny. Dŷch chi'n rhedeg canolfan er bendith cymuned, ac os oes yna un person ddim yn hapus, dŷch chi'n teimlo eich bod chi ddim yn gwneud eich gwaith, felly rydyn ni'n trio gwneud rhywbeth am y peth, rŵan. Rydyn ni'n trio gwneud ceisiadau grant i drio gweld os allwn ni wneud y gwaith ond mae o'n anodd iawn. Mae o'n juggle. Dwi byth yn gweld cerddoriaeth yn y venue. Dwi'n rhedeg o gwmpas efo monitors ac yn ysgrifennu pethau lawr, a dyna dwi'n ei wneud yn ystod gig, felly.
English: Not at the moment, and every time we arrange events in halls, we just receive a temporary licence, so we haven't come across these problems yet.
Welsh: Dim ar hyn o bryd, a bob tro dŷn ni'n trefnu digwyddiadau mewn neuaddau, dŷn ni jest yn cael trwydded dros dro, felly dŷn ni heb ddod ar draws y broblem yma eto.
English: Yes, and at the moment, the experience in terms of licensing has been positive, but we only just opened in September.
Welsh: Ie, ar hyn o bryd, mae'r profiad o ran trwyddedu wedi bod yn iawn, wedi bod yn gadarnhaol, ond rydan ni ond wedi agor ers mis Medi.
English: No. Everyone's great, of course, but we don't feel that we have got that support. They say, 'You have to sort it out', or they -
Welsh: Na. Mae pawb yn grêt, wrth gwrs, ond na, dŷn ni ddim yn teimlo ein bod ni wedi cael cefnogaeth. Maen nhw wedi dweud, 'Rhaid i chi sortio hwn allan', neu maen nhw'n - .
English: You know, they give us fair warning, and they say, 'Well, if you do this, then fine.' But we did come to an informal agreement at one point, and we did stick to that agreement fully. We always listened to what they had to say, and then they'd say, 'I'm sorry, we've had another complaint'. 'Well, we made an agreement with you, we adhered to that agreement - '. But if they get another complaint they come back to us, and it's something that I have to sort out.
Welsh: Maen nhw'n rhoi rhybudd i ni. 'Os dŷch chi'n gwneud hyn - '. Mi wnaethon ni ddod i rhyw gytundeb anffurfiol ar un adeg, a gwnaethom ni gadw at y cytundeb yn llwyr, a gwrando arnyn nhw bob tro, ond wedyn maen nhw'n dweud, 'Wel, dŷn ni wedi cael cwyn arall'. 'Wel, dŷn ni wedi gwneud cytundeb efo chi, dŷn ni wedi cytuno - '. Ond os ydyn nhw'n cael cwyn, maen nhw'n gallu dod yn ôl, ac mae'n rhywbeth dwi i angen sortio allan.
English: I think that's a very good idea. I feel a little bit isolated at the moment, and I'm sure that many venues or promoters feel the same way. So bringing people together is important. I think what's also important is to value all forms of culture and have that level playing field. Because historically - and this is speaking historically - the arts council haven't been supportive of things that weren't high art. But, they are starting to open up a bit more now. I think that having meetings, bringing people together, and placing everybody on that level playing field in terms of cultural value is important, because the cultural value is what we want - it's that cultural and economic value. I think it's very important that any kind of culture isn't seen as having greater value than another, because it might be some kind of high art, whatever that is. So, I think that drawing people together, regardless of what we provide, in Arfon, Gwynedd, or wherever in north Wales, is a very good idea, to see what's happening and have that overview.
Welsh: Dwi'n meddwl bod hynny'n andros o syniad da. Dwi'n teimlo ychydig bach yn isolated ar y funud, a dwi'n siŵr bod lot o ganolfannau neu hyrwyddwyr yn teimlo o'r un fath. Mae dod â phobl at ei gilydd yn bwysig. Dwi'n meddwl beth sy'n bwysig hefyd ydy rhoi gwerth i bob un math o gelfyddyd, ar yr un un playing field, mewn ffordd. Yn hanesyddol, dydy'r cyngor celfyddydau ddim wedi bod yn gefnogol o gwbl o bethau oedd ddim yn high arts, neu beth bynnag. Ond, maen nhw'n dechrau agor i fyny llawer mwy. Dwi'n meddwl buasai cael cyfarfodydd a dod â phobl at ei gilydd, a rhoi pawb ar yr un playing field, yn werth celfyddydol. Oherwydd gwerth diwylliannol dŷn ni eisiau, on'd yw e - gwerth diwylliannol ac economaidd. Dwi'n meddwl ei fod yn andros o bwysig bod unrhyw fath o gelfyddydau dim yn fwy o werth oherwydd ei fod o'n rhyw fath o gelfyddyd. Dwi'n meddwl, fy hunan, buasai tynnu pobl at ei gilydd a dweud beth dŷn ni'n ei gynnig yn Arfon, Gwynedd, neu gogledd Cymru neu beth bynnag, yn syniad da i gael gweld beth sy'n digwydd.