techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: I see that. When I was younger, I put on gigs. There were groups that put on gigs on the ground. And so, there was potential in Carmarthen, but there was also a tradition of going to gigs across Wales. But now those don't exist. So, in looking at where the provision is and where the opportunities are to participate in the scene, it is shrinking. And also venues such as the Parrot and so on are disappearing, and that in itself means, as someone develops their craft, those local opportunities are lost. So, there's a duty to look at what the provision is and what our work is in terms of our role with Maes B and the brand and so on. But the opportunities are far fewer.
Welsh: Dwi'n gweld hynny. Pan o'n i'n ifanc, mi o'n i'n creu gigiau. Mi oedd yna gelloedd oedd yn creu ar hyd llawr gwlad. Felly, mewn gwirionedd, mi oedd yna botensial yng Nghaerfyrddin, ond hefyd roedd yna draddodiad o fynd i gigiau hwy ar hyd Cymru. Ond nawr dydy'r rheini ddim yn bodoli. Felly, mewn gwirionedd, o edrych ar lle mae'r ddarpariaeth a'r cyfleoedd i rywun gyfranogi yn y sîn, mae'n crebachu. Ac wrth gwrs, mae lleoliadau megis y Parrot ac yn y blaen yn diflannu, ac mae hwnna ynddo'i hun yn golygu, wrth i rywun ddatblygu crefft, mae'r cyfleoedd lleol yn diflannu. Felly, mae yna ddyletswydd o ran edrych ar beth yw'r ddarpariaeth a beth yw'n gwaith ni i'w wneud o ran ein rôl ni gyda Maes B a'r brand ac yn y blaen. Ond mae'r cyfleoedd yn lawer llai.
English: I would agree. I was brought up in the west of Wales and I started to organise through organising buses for gigs, and that practice has disappeared. The gigs don't exist, and that's coming through. We're reliant on the bands coming through for who we book for llwyfan y maes and Maes B, and that's what attracts audiences to our events. But we're reliant on that. The scene isn't developing to the extent that it could because there aren't enough gigs in the areas that Alun and Betsan have mentioned.
Welsh: Byddwn i'n cytuno. Fe ges i fy magu yng ngorllewin Cymru a dechreuais i drefnu trwy drefnu bysys i gigs, ac mae'r arfer yna wedi mynd. Dyw'r gigs ddim yn bodoli, ac mae hynny'n dod trwyddo. Dŷn ni'n ddibynnol ar y bandiau i ddod trwyddo o ran pwy dŷn ni'n bwcio ar gyfer llwyfan y maes a Maes B, ac wedyn hwnna sy'n denu cynulleidfa i'n digwyddiadau ni. Ond dŷn ni'n ddibynnol ar hynny. Dyw'r sîn ddim yn datblygu i'r graddau y gallai achos bod yna ddim digon o gigs yn yr ardaloedd mae Alun a Betsan wedi sôn amdanyn nhw.
English: Do you think you're providing enough opportunities for different genres? We've heard some criticism of the Eisteddfod and Maes B, that there is a specific type of band that plays there, whereas there could be more varied genres, perhaps.
Welsh: Ydych chi'n credu hefyd eich bod chi'n rhoi digon o gyfleoedd i genres gwahanol? Rydym ni wedi clywed bach o feirniadaeth o'r Eisteddfod a Maes B, bod teip o fand yn chwarae yna, lle gallai fod yna genres mwy amrywiol, efallai.
English: I think, in looking at Maes B, it's specifically for that 16 to 25 audience. So, in terms of the experience, you're talking about 5,000 people, so not every genre would work in that context. So, it's pointless for us to say, 'We'll open up the whole range of genres for that live music experience', because, for example, there are more acoustic gigs that are not going to work within Maes B itself. That's why Maes B also works with what happens on the Eisteddfod maes. We have tŷ gwerin, llwyfan y maes, we have the llannerch. There are different platforms and stages for these different genres. I think what's important is that we look after the artist; we need to give the artist and the audience the best experience possible. I don't think you can say, 'We have a stage here with a 5,000 capacity; put all genres on it.' Likewise, in terms of Maes B, it's unique because this is a first opportunity for someone to experience live music and that whole experience. I think, in terms of our role, that development - . Many people, particularly in the Welsh language rock scene, there are groups where their experience on the ground in terms of sound quality, in terms of lighting, would be quite basic. So, this is the pinnacle where you do have an audience of 5,000 people, you have a proper light rig. It's a proper experience. So, I would say that the Eisteddfod has a role to look at the range of genres, but we also have to be fair to the artist and the audience, that we do connect them.
Welsh: Dwi'n credu, o edrych ar Faes B, beth sy'n rhaid i ni edrych arno yw ei fod e'n benodol ar gyfer 16 i 25. Hefyd, o ran y profiad, rydych chi'n sôn am 5,000 o bobl yn edrych, felly fyddai pob genre ddim yn gweithio o fewn hynny. Felly, mae'n ddibwrpas i ni ddweud, 'Wnawn ni agor yr ystod gerddoriaeth ar gyfer y gerddoriaeth fyw', oherwydd, er enghraifft, mae yna gigiau sy'n fwy acwstig sydd ddim yn mynd i weithio o fewn Maes B ei hun. Ond dyna pam mae Maes B yn cydweithio hefyd gyda'r hyn sy'n digwydd ar y maes. Mae gennym ni dŷ gwerin, mae gennym ni lwyfan y maes, mae gennym ni y llannerch. Mae yna lwyfannau gwahanol ar gyfer y gerddoriaeth wahanol. Dwi'n credu beth sy'n bwysig yw bod rhaid i ni edrych ar ôl yr artist; mae'n rhaid i ni roi'r profiad gorau i'r artist a'r gynulleidfa. Dwi ddim yn credu y gallwch chi ddweud, 'Mae yna lwyfan fan hyn sy'n eistedd 5,000; rhowch bob ffurf arno fe.' Ac yn yr un modd, o ran Maes B, mae'n unigryw oherwydd dyma'r cyfle cyntaf i rywun brofi cerddoriaeth fyw a'r profiad yna ynddo'i hyn. Dwi'n credu, o ran ein rôl ni, mae'r datblygiad yna - . Mae nifer o bobl, yn enwedig yn y sîn roc Gymraeg, mae yna grwpiau lle byddai efallai eu profiad nhw ar lawr gwlad o ran y sain yn eithaf elfennol, o ran y golau yn eithaf elfennol. Felly, mae hwn yn un o'r pinnacles lle mae gennych chi 5,000, mae gennych chi'r goleuadau a phob dim. Mae'n brofiad. Felly, mi fuaswn i'n dweud bod yna rôl gan yr Eisteddfod i edrych ar yr ystod o genres, ond mae'n rhaid i ni hefyd fod yn deg i'r artist ac o ran y gynulleidfa, ein bod ni'n cysylltu nhw.
English: I'll speak in English, if that's okay. It's easier for me.
Welsh: Sori, dwi'n mynd i siarad Saesneg, os yw hynny'n ocê. Mae bach yn haws i fi.
English: If I can return on that point? Around five years ago, there was discussion on the role of women in the rock scene. And that's happening across the UK. People are saying currently, in terms of the top artists, it's very difficult to identify ones where women are leading. That's why we drew up ' Merched yn Neud (Gwallt ei Gilydd) Miwsig ', because we saw that, and that there was a problem in terms of confidence. But us putting Lleuwen on in Maes B wouldn't help, it would say 'Well, there's been a response', but that isn't the proper space. As all of us here are saying, we have to look at the resources available to us and how we can develop, but we need a clear strategy in terms of addressing the range of art forms involved, and to be clear in terms of what works, what's available, and also to look at it at a national level. Because at the moment, you've had evidence about what the Forté project are saying, but that only happens in five local authority areas. So, in reality, what also happens, if you look at venues and particular centres, in looking at rural Wales, additional funding isn't going to help in that regard. So, we have to look at the whole of Wales and look at the various needs, because all areas have different needs and requirements, and there are different traditions there too, and that has to be respected, and also develop that indigenous, inherent side.
Welsh: A gaf i ddod nôl hefyd yn ogystal? Mi oedd gennym ni, rhyw bum mlynedd yn ôl, drafodaeth o ran lle mae rôl y ferch yn y sîn roc. Ac mae hynny'n digwydd drwy Brydain. Mae pobl yn dweud ar hyn o bryd, o ran y prif artistiaid, mae'n anodd iawn dod o hyd i rai lle mae gennych chi yr ochr o ferched yn arwain. Dyna pam gwnaethon ni greu 'Merched yn Neud (Gwallt ei Gilydd) Miwsig', oherwydd mi ro'n ni'n gweld bod hynny, a bod hynny o ran hyder a phob dim. Ond byddai ni'n gosod Lleuwen ym Maes B ddim yn cynorthwyo, mi fyddai'n dangos, 'Gwrandewch, mae nhw wedi ymateb', ond dim dyna'r gofod pwrpasol. Dwi'n credu, fel mae pob un ohonom ni fan hyn yn dweud, mae'n rhaid i ni edrych ar beth yw'r adnoddau sydd gyda ni a sut gallwn ni ddatblygu, ond mae angen strategaeth glir o fynd i'r afael â'r ystod o ffurfiau ar gelfyddyd, a bod yn glir o ran beth sy'n gweithio, beth sydd ar gael, ac hefyd edrych yn genedlaethol. Achos, ar hyn o bryd, rŷch chi wedi cael tystiolaeth o ran yr hyn mae'r prosiect Forté yn dweud, ond mae hwnnw ond yn digwydd mewn pump sir. Felly, mewn gwirionedd, beth sy'n digwydd hefyd, os dŷch chi'n edrych ar leoliadau a chanolfannau, o edrych ar Gymru wledig, dyw arian ychwanegol ddim yn mynd i gynorthwyo gyda hynny. Felly, mae'n rhaid edrych ar Gymru ac edrych ar beth yw'r anghenion gwahanol, oherwydd mae pob un ardal ag anghenion gwahanol, a hefyd mae yna draddodiad gwahanol, ac mae'n rhaid parchu hynny, a hefyd esblygu'r ochr gynhenid yna.
English: Great, thanks. We'll come on to transport and the Forté project, if that's okay. A quick last question, before we move on, from me with regard to the Welsh language music scene. We've heard that there are silos between the English-medium scene and the Welsh-medium scene, and I'm interested in trying to see how we can merge those, and ensure that people don't just grow up knowing about Welsh-medium bands, which is great, of course, but that they know about other bands as well. How do you think that that can happen?
Welsh: Grêt, diolch. Fe ddown ni ymlaen at y stwff cludo a'r prosiect Forté, os yw'n iawn. Mae'r cwestiwn olaf gen i yn glou, cyn i ni symud ymlaen, ynglŷn â'r sîn gerddoriaeth Gymraeg yn benodol. Dŷn ni wedi clywed efallai bod yna silos rhwng y sîn Saesneg ei hiaith a Chymraeg ei hiaith, ac mae gen i ddiddordeb mewn ceisio gweld sut y gallwn ni uno'r rheini, a sicrhau bod pobl ddim jest yn tyfu lan yn gwybod am fandiau Cymry Cymraeg, sydd yn grêt, wrth gwrs, ond eu bod nhw'n adnabod bandiau gwahanol. Sut ydych chi'n meddwl y gallai hynny ddigwydd?
English: That's a hugely important point, I think. I think that we've reached a point where the Maes B audience is a very large audience, but is a specific audience drawn from Welsh-speaking communities. I think, for the Welsh language and Welsh music to expand, we need to go beyond that audience. I think there's a strong argument, in less Welsh-speaking areas of Wales, for having bilingual gigs. Again, if we look at areas such as Wrexham or the Valleys, there is a strong argument for having bilingual gigs in those sorts of areas. I think we need to look at those two linguistic communities and look for crossover. I think the success of things like Alffa on Spotfiy does show that there's been a normalisation of the Welsh language to a great extent, and that the Welsh language can take its place on platforms such as that without linguistic considerations being an issue. And we need to carry on with that spirit, and say 'Well, why not put Welsh and Welsh music in contexts where they've not been in the past?' I think that's important in terms of expanding the audience.
Welsh: Mae hwnna'n bwynt pwysig iawn, dwi'n meddwl. Dwi'n meddwl bod pwynt wedi dod, er enghraifft, lle mae cynulleidfa Maes B, er enghraifft, yn gynulleidfa fawr iawn, ond yn gynulleidfa gymharol benodol o'r gymuned Gymraeg. Dwi'n meddwl, i gerddoriaeth Gymraeg a Chymreig ehangu, mae'n rhaid mynd tu hwnt i'r gynulleidfa yna. Dwi yn meddwl wedyn bod yna ddadl gryf iawn, iawn, mewn ardaloedd llai Cymreig o Gymru, dros roi mwy o gigs dwyieithog ymlaen. Eto, i edrych ar enghreifftiau o ardaloedd fel Wrecsam neu'r Cymoedd, mae yna ddadl gryf dros mwy o gigs dwyieithog mewn llefydd fel yna. So, dwi'n meddwl bod rhaid edrych ar y ddwy gymuned ieithyddol yna a sut mae modd croesi drosodd. A beth sydd yn ddifyr hefyd ydy bod llwyddiant pethau fel Alffa ar Spotify ac yn y blaen yn dangos bod yna normaleiddio o'r Gymraeg wedi digwydd i raddau, a bod modd i'r Gymraeg gymryd ei lle ar blatfformau tebyg i hynny heb fod yna ystyriaethau ieithyddol yn digwydd. A bron wedyn mae'n rhaid i ni gario ymlaen efo'r ysbryd yna a meddwl, 'Beth am osod y Gymraeg a cherddoriaeth Gymraeg mewn cyd-destunau lle nad ydyn nhw wedi arfer bod?' Dwi'n meddwl bod hynny'n bwysig i ehangu cynulleidfa.
English: That's important as well. I'm a fan of what Neal is doing with FOCUS. There's a FOCUS app, when you go to the festival, and that's bilingual. Small things like that normalise the language. When bands come into Wales, they see that they're in a nation that has two living languages. So, those little things are really important for us as well.
Welsh: Mae hwnna'n bwysig hefyd. Dwi'n ffan o beth mae Neal yn ei wneud efo FOCUS. Mae hyd yn oed ap FOCUS, pan dŷch chi'n mynd i'r ŵyl, yn gwbl ddwyieithog. Mae pethau bach fel yna yn normaleiddio'r iaith, ac mae bandiau'n dod o'r tu allan i fewn i Gymru, er enghraifft, ac maen nhw'n gweld eu bod nhw mewn gwlad sydd â dwy iaith fyw. Felly, mae pethau bach fel yna hefyd yn bwysig i ni, dwi'n meddwl.
English: I think it's also important not to put the Welsh language scene in a particular genre. Because, in that scene, you have bands performing hip hop, more folk-based music, and so on. The Welsh scene isn't a genre in and of itself. So, we've had certain festivals where they have had a Welsh stage, and that doesn't help matters either, putting everyone who is a Welsh performer on the same stage, rather than permeating the whole line-up.
Welsh: Dwi'n meddwl hefyd ei fod e'n bwysig peidio â rhoi'r sîn roc Gymraeg mewn genre sîn roc Gymraeg. Achos, yn y sîn roc Gymraeg, mae yna fandiau sy'n gwneud hip hop, mae yna fandiau sy'n gwneud stwff mwy gwerinol, ac yn y blaen. Dyw'r sîn roc Gymraeg ddim yn genre. So, mae achlysuron mewn rhai gwyliau lle maen nhw'n rhoi llwyfan Cymraeg, so dyw hwnna ddim yn helpu materion chwaith, drwy roi pawb o'r sîn roc Gymraeg ar yr un llwyfan, yn hytrach na'u bod nhw'n treiddio drwy'r line-up i gyd.
English: I think, in terms of our side of things, in three years we'll be going to Rhondda Cynon Taf, and one of the discussions that we were having, last week, as it happens, was about how we can introduce the scene there. So, we'll be looking, in the lead-up, in the community projects, to create those bilingual gigs, because it's pointless for us to say, 'We'll do this monolingually in Welsh.' We do need that assimilation.
Welsh: Dwi'n credu, o ran ein hochr ni, mi fyddwn ni mewn tair blynedd yn mynd i Rhondda Cynon Taf, ac un o'r sgyrsiau roedden ni'n cael, wythnos diwethaf, fel mae'n digwydd, oedd sut allwn ni gyflwyno'r sîn yno. Felly, mi fyddwn ni'n edrych, wrth arwain i fyny yn y prosiectau cymunedol, ar greu gigiau dwyieithog, oherwydd mae'n ddibwrpas i ni ddweud, 'Gwnawn ni wneud hwn yn uniaith Gymraeg; dyma fe.' Mae angen i ni wneud y cymathu yna.
English: The festival itself is through the medium of Welsh, but in the lead-up it's important that everybody is part of that. That's what's important. The Eisteddfod is used to look, on a community basis, at what's happening and to present the language and the culture, but that happens in a range of languages on the ground. But, as important as this being about normalising the language in the lead-up to the Eisteddfod is the fact that a festival through the medium of Welsh isn't a linguistic barrier. Because one of the things that happened in the Bay was that communities from Cardiff were coming to the Bay, seeing llwyfan y maes, and they said, if we could have something like this, where we could see our culture - and we felt that this opened the door to it. So I think it's ironic when someone says that language is a barrier in music. Well, children at the moment, and young people are going on the streaming platforms, and it's multilingual. I listen to groups from Korea - I don't speak Korean, but it's not a barrier, because it's the genre; it's the music. So we have to not look at language as a barrier. Sometimes, we're quite old fashioned in our concept - we think, if you don't speak it, you won't appreciate it. That's long ago disappeared, and we need to be, in terms of our strategy, and about Wales, we need to think about the way that we look at ourselves as being multilingual, and that we're confident in that.
Welsh: Mae'r ŵyl ei hun trwy gyfrwng y Gymraeg, ond wrth i ni arwain i fyny mae'n bwysig bod pawb yn rhan. Dyna beth sy'n bwysig. Mae'r Eisteddfod yn cael ei ddefnyddio i edrych yn gymunedol ar beth sy'n digwydd, i gyflwyno'r iaith a'r diwylliant, ond mae'n digwydd mewn ystod o ieithoedd ar lawr gwlad wrth arwain at yr ŵyl. Ond hefyd, cyn bwysiced â bod hyn yn normaleiddio iaith yn arwain at yr Eisteddfod yw'r ffaith bod yna ŵyl drwy'r Gymraeg ddim yn rhwystr ieithyddol. Oherwydd un o'r pethau ddigwyddodd yn y Bae oedd bod yna gymunedau cynhenid o Gaerdydd yn dod i'r Bae, gweld llwyfan y maes, ac yn dweud, pe baem ni'n gallu cael rhywbeth tebyg, lle rŷn ni'n gweld ein diwylliant ni - ac roeddwn i'n teimlo ei fod e'n agor y drws iddo fe. Ac felly, dwi'n ei weld e'n eironig pan mae rhywun yn sôn am ydy iaith yn rhwystr mewn cerddoriaeth. Mae plant ar hyn o bryd, a phobl ifanc, yn mynd ar y systemau ffrydio, ac mae'n aml-ieithog. Felly, er enghraifft, dwi'n gwrando ar grwpiau o Corea - dwi ddim yn siarad yr iaith, ond eto i gyd dyw e ddim yn rhwystr, oherwydd y ffurf a'r gelfyddyd yw e; y gerddoriaeth yw e. Felly mae'n rhaid i ni beidio ag edrych ar iaith - efallai ein bod ni weithiau yn bod yn eithaf hen ffasiwn yn ein cysyniad ni: 'Os nad wyt ti'n ei siarad, wnei di ddim o'i werthfawrogi'. Mae hwnna wedi hen ddiflannu, ac mae angen i ni fod, o ran ein strategaeth ni, o ran Cymru hefyd fel rŷn ni'n edrych ar ein hunain, yn ddwyieithog, yn aml-ieithog ac yn hyderus yn camu ymlaen fanna.
English: May I say one thing? I would throw it back at the Government, and say that we have to be confident in creating the brand Wales. At the moment, we are looking at the things that are British that people could understand about Wales, rather than saying, 'This is what's unique about Wales - sell it, take ownership of it'. I feel, on occasion, that the Eisteddfod is lost as something simply for Welsh speakers. If we in Wales think that, then woe betide us. Because what Cardiff proved, and what the free entry in Llanrwst proved, is that people do really want that experience. And if you don't present the Welsh language, and its viability, then you will always place the Welsh language in a box in the corner.
Welsh: Gaf i ddweud un peth? Byddwn i'n taflu yn ôl at y Llywodraeth - mae'n rhaid i ni fod yn eofn wrth i ni greu strategaeth brand Cymru. Ar hyn o bryd, dŷn ni'n edrych fel petai dim ond ar y pethau sy'n Brydeinig y byddai pobl yn gallu eu deall yng Nghymru, yn hytrach na dweud, 'Dyma beth sy'n unigryw am Gymru - gwerthwch e a pherchnogwch e'. Dwi'n teimlo weithiau bod yr Eisteddfod wedi mynd ar goll fel rhywbeth ar gyfer y Cymry Cymraeg. Os rŷn ni o fewn Cymru yn dweud hynny, gwae ni. Oherwydd y gwir amdani yw, beth brofodd Caerdydd, beth brofodd y diwrnod am ddim yn Llanrwst, yw bod pobl yn dyheu am gael y profiad yna. Oherwydd os nad ŷch chi'n cyflwyno'r Gymraeg, a hyfywedd y Gymraeg, yna, mi fyddwch chi wastad yn rhoi'r Gymraeg mewn bocs yn y cornel.
English: Okay. Thank you. I'm sorry, we have to move on. John Griffiths.
Welsh: Ocê. Diolch. Mae'n rhaid i ni symud ymlaen, sori. John Griffiths.
English: No, there isn't. In PYST, we give some advice and assistance to artists and labels mainly - that kind of support. But in terms of formal support, there is no such support available. And a lot of that stems from the fact that there is expertise that is limited within Wales, and among Welsh-speaking Welsh people. So, we need to look in a more far-reaching way, and think about where the wider strategy is, what do we want to achieve over the next 20 years, what kinds of skills do we want to develop, what kinds of individuals do we want to nurture, so that we can mentor the following generations? And I think it's important that we need to look ahead and think about the next 20 years, rather than the next two years. We have a generation of young people now who are listening to music, who are living through the medium of music, but they don't have access to develop their skills or opportunities in music. And they should be the ones who will be providing that support in future.
Welsh: Nac oes. Fel cwmni PYST, dŷn ni'n rhoi rhywfaint o gyngor a help i artistiaid a labeli yn bennaf - y math yna o gymorth. Ond yn nhermau cymorth ffurfiol, does yna ddim o'r ffasiwn gymorth yn bodoli. Ac mae lot o hwnna'n deillio o'r ffaith bod yr arbenigedd hefyd yn gyfyng o fewn Cymru ac ymhlith y Cymry Cymraeg. Wedyn, mae'n rhaid i ni edrych yn fwy pellgyrhaeddol a meddwl, yn nhermau strategaeth ehangach, beth dŷn ni eisiau ei gyflawni dros yr 20 mlynedd nesaf, pa fath o sgiliau dŷn ni eisiau eu datblygu, pa fath o unigolion dŷn ni eisiau eu datblygu, a fydd yn gallu cynnig y math o fentora i'r cenedlaethau i ddod? A dwi'n meddwl bod hynna'n bwysig - bod yn rhaid i ni edrych ymlaen llaw, rŵan, a meddwl am yr 20 mlynedd nesaf, yn hytrach na meddwl am y ddwy flynedd nesaf. Mae gennym ni genhedlaeth o bobl ifanc, rŵan, sydd yn gwrando ar gerddoriaeth, sydd yn byw y gerddoriaeth, ond does ganddyn nhw ddim o'r mynediad yna i ddatblygu sgiliau nac i ddatblygu cyfleon. A nhw, i raddau, ddylai fod y bobl fydd yn rhoi'r cyngor yna yn y dyfodol.
English: I don't think the infrastructure is there, but there are pockets of activity. What we need to ensure is that there is support available on a practical level - this agency that everyone says is needed - but also that we use that expertise. Because the sector - because there isn't that leadership, we do collaborate; we have conversations. So, we do have regular discussions with PYST as to how we promote. We work closely with Clwb. And that's because that makes sense but it's a necessity as well, because there are so many people who don't have support to develop and therefore, we need that infrastructure, be it an agency or anything else.
Welsh: Ie, dwi'n credu does yna ddim isadeiledd, ond yn hytrach, mae yna bocedi o ddigwydd. Beth sydd ei angen, wedyn, yw i sicrhau bod yna gymorth ar gael yn ymarferol - yr asiantaeth yma y mae pawb yn dweud y mae ei angen - ond hefyd wedyn ein bod ni'n defnyddio'r arbenigedd. Oherwydd, yn yr un modd, mae'r sector - oherwydd nad oes yna arweiniad, mi ydyn ni'n cydweithio; mae yna sgyrsiau. Mi fyddwn ni'n cael trafodaethau aml gyda PYST o ran fel rŷm ni'n hyrwyddo. Rŷm ni'n gweithio'n agos gyda Clwb a phob dim. Mae hynny oherwydd ei fod yn gwneud synnwyr, ond hefyd o ran rheidrwydd oherwydd bod yna gymaint o bobl sydd heb gymorth ar gyfer datblygu, felly, mae angen yr isadeiledd, boed yn asiantaeth neu beth bynnag.