techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: I just wanted to go back to venues. For live performances in my region of north-west Wales, as Dafydd was saying, there are smaller venues - village halls and chapel vestries, very often. There are many small communities that try to arrange live events and to sustain music in their communities in rural Wales. I think that one thing that needs to be noted - and this is something positive - is the Night Out plan from the Arts Council of Wales. That is something extremely valuable. It's a means of supporting musicians, where, you might be invited to go and sing in a small village in Pen Llŷn and perhaps you wouldn't be able to go because they have no way of offering you a fee, so it would be very difficult to maintain. I think that that is an extremely valuable structure to support musicians, and also to support music of all types in smaller communities. But I'd also like to return to what Dafydd said - as a performer, I think there is a lack of people working as agents for musicians, and as managers. There is a lack of such people. I speak to many musicians who are in the same field as me, perhaps in Scotland or Ireland, or wherever it may be, and there's a structure in place to support them, helping them to find venues to perform in, to find work, and so forth. So if there's any way of developing that in Wales, I think that that would be extremely valuable.
Welsh: Jest i fynd yn ôl at leoliadau, mae perfformiadau byw yn fy ardal i yn y gogledd-orllewin, fel oedd Dafydd yn dweud, lleoliadau llai - neuaddau pentref a festrioedd capel oedden nhw'n aml iawn. Mae yna lawer iawn o gymunedau bach yn ceisio trefnu digwyddiadau byw a chynnal cerddoriaeth yn eu cymunedau yng nghefn gwlad. Felly, un peth, dwi'n meddwl, i nodi - jest rhywbeth positif - ydy cynllun Noson Allan Fach Cyngor Celfyddydau Cymru. Mae'n rhywbeth gwerthfawr y tu hwnt. Dwi'n meddwl ei fod o'n fodd i gynnal cerddorion, lle, efallai y buasech chi'n cael gwahoddiad i fynd i ganu, yn rhyw bentref bach ym Mhen Llŷn, efallai, ac yn methu mynd oherwydd bod ganddyn nhw ddim modd i roi ffi i chi, ac wedyn mae'n beth anodd i'w gynnal. Dwi'n meddwl bod hwnna'n strwythur hynod o werthfawr i gynnal cerddorion, a hefyd i gynnal cerddoriaeth o bob math mewn cymunedau llai. Ond i fynd yn ôl hefyd at beth oedd Dafydd yn ei ddweud, fel perfformiwr hefyd, dwi'n meddwl bod yna ddiffyg yn y maes - pobl sy'n gweithio fel asiant i gerddorion a rheolwyr. Dwi'n meddwl bod yna ddiffyg yn hynny, yn bendant. Dwi'n siarad efo llawer iawn o gerddorion sydd yn yr un maes â fi, sydd yn gweithio allan yn yr Alban, yn Iwerddon, ble bynnag, ac mae yna strwythur yna sydd yn eu cefnogi nhw ac yn eu hybu nhw i ffeindio lleoliadau perfformio, i ffeindio gwaith, ac yn y blaen. Os oes yna ryw fodd o geisio datblygu hynny yma yng Nghymru, dwi'n meddwl y byddai hynny'n beth gwerthfawr iawn.
English: Yes, it is helpful. There are a number of festivals in Wales at the moment and, of course, they do benefit artists. They do tend to happen in the summer, over a brief period. What concerns me is what happens for the rest of the year. But they are good places for bands to get publicity and attention. But, again, that's a small part of the picture in terms of the industry as a whole. I know that many of them are having difficulties and are reliant on sponsorship, but we do welcome the festivals - they are very beneficial to artists.
Welsh: Ydy, mae o'n ddefnyddiol. Mae yna nifer o wyliau yng Nghymru ar hyn o bryd, ac, wrth gwrs, maen nhw o fudd i artistiaid. Maen nhw'n tueddu i ddigwydd yn yr haf, neu am gyfnod byr. Beth sy'n fy mhoeni i ydy beth sy'n digwydd am weddill misoedd y flwyddyn. Ond maen nhw'n llefydd da er mwyn i fandiau gael cyhoeddusrwydd, ydyn, i gael sylw. Ond eto, rhan fach ohono fo ydy o o ran y diwydiant. Dwi'n gwybod bod nifer ohonyn nhw'n cael trafferth hefyd i fodoli, yn dibynnu ar y nawdd maen nhw'n ei gael, ond rydym ni'n croesawu'r gwyliau - maen nhw o fudd mawr i artistiaid.
English: In terms of the small and large festivals, I think it's important to continue to support them. I don't know if we are going to talk a little bit more about overseas festivals and Wales's link with those, but I do know that, as a performer, I've had the opportunity to go to many Celtic festivals, particularly in Glasgow - Celtic Connections there - and Celtic Colours. This Celtic label is there, and I feel perhaps there's a lack on our side. When one goes to these festivals, there isn't very much awareness of Wales and of any type of music, really, from Wales. I was in Iceland recently, where Icelanders are very proud of their Celtic culture - because they feel that they have a close link with the Celtic nations. But, to be honest, they didn't know very much about Wales. So, is there any way for us to expand our presence in these Celtic festivals where we should be playing our part? I think that that is something that's important.
Welsh: Dwi'n meddwl bod yna nifer fawr o wyliau bach a mawr, ac mae'n bwysig cynnal a datblygu'r rheini, wrth gwrs. Dwi ddim yn gwybod os ydym ni'n mynd i sôn mwy am wyliau tramor a chyswllt Cymru efo'r rheini, ond dwi'n gwybod, fel perfformiwr, dwi wedi cael y cyfle i fynd i nifer fawr o wyliau Celtaidd, yn arbennig felly yn Glasgow - Celtic Connections yn Glasgow - a Celtic Colours. Mae'r label Celtaidd yma, a dwi'n teimlo bod yna ryw ddiffyg, efallai, ar ein rhan ni. Yn aml iawn mae rhywun yn mynd i'r gwyliau yma, a does yna ddim llawer o ymwybyddiaeth o Gymru nag unrhyw fath o gerddoriaeth, dweud y gwir, o Gymru. Roeddwn i yng Ngwlad yr Iâ yn ddiweddar, rhywle mae eu pobl nhw yn falch iawn o'u diwylliant Celtaidd - maen nhw'n teimlo bod ganddyn nhw gyswllt, yn arbennig efo'r gwledydd Celtaidd. Ond, a bod yn onest, doedden nhw ddim yn gwybod llawer iawn am Gymru. Felly, os oes modd o gwbl inni bresenoli ein hunain fwyfwy yn y gwyliau Celtaidd yma lle dylem ni fod yn rhan ohonyn nhw - dwi'n meddwl bod hynny'n rhywbeth pwysig iawn.
English: And also, something that was talked about some time ago, was cultural tourism. Many people do come to festivals in Wales looking for that kind of cultural tourism - it's holidays to a festival type of thing - and I think this is something that does need to be developed far more comprehensively: the fact that we are exporting our music in order to attract these people who do want to visit Wales, and we need to inform them of what's happening within the arts. You have the IAMIC system. I'm sure you're aware of IAMIC, the International Association of Music Information Centres. And every country has one of these, usually, and you go to the IAMIC website and you will see where to click on any given nation. And then, once you click on that nation, you get information about the music of the nation and what's going on. But, unfortunately, the Welsh member of IAMIC is Tŷ Cerdd, and they only cover classical music. They don't mention any other genres. If you go to the IAMIC sites of other countries - again, I'm talking about Finland - it's worth comparing the two: if you go to the Finnish website of the music information centre, you'll see everything that's happens in Finland across all genres and where these things are happening. And that attracts interest for our music, and for our nation more generally.
Welsh: A hefyd, hwyrach, rhywbeth a oedd yn cael ei sôn amdano lot yn ôl, sef cultural tourism - roedd yn rhywbeth a oedd yn cael ei anelu ato fo. Mae nifer o bobl yn dod i'r gwyliau yng Nghymru yn chwilio am y math yna o wyliau i'r wŷl, felly - sef holidays to a festival teip o beth - ac mae hyn yn rhywbeth dwi'n meddwl sydd angen ei ddatblygu yn llawer mwy: y ffaith ein bod ni'n allforio ein cerddoriaeth er mwyn denu'r bobl yma sydd eisiau dod i deithio a gadael iddyn nhw wybod lle mae'r pethau'n digwydd, y digwyddiadau celfyddydol. Mae gennych chi system IAMIC. Mae'n siŵr eich bod chi'n gyfarwydd ag IAMIC, sef yr International Association of Music Information Centres. Ac mae gan bob gwlad fel arfer un o'r rhain, ac rydych chi'n mynd i wefan IAMIC a gwnewch chi weld lle i glicio ar wefan rhyw wlad yn arbennig. Ac, os ydych chi'n clicio ar y wlad, rydych chi'n cael manylion am gerddoriaeth y wlad yna a beth sydd ymlaen. Ond, yn anffodus, aelod Cymru o IAMIC - Tŷ Cerdd ydy'r aelod, a dim ond cerddoriaeth glasurol sydd yno. Dydy o'n sôn dim byd am unrhyw gerddoriaeth arall. Cerwch i wefannau IAMIC gwledydd eraill - eto dwi'n sôn am y Ffindir - mae'n werth i chi gymharu, hwyrach, y ddau: os ewch chi i wefan y Ffindir o'r music information centre, mi wnewch chi weld pob dim sy'n digwydd yn y Ffindir, ar draws pob genre, a lle mae'r pethau yma i gyd yn digwydd. Ac mae hynny'n help i ddenu diddordeb, dwi'n meddwl, i mewn i'n cerddoriaeth ni, ac i'n gwlad ni.
English: Gwynedd Council, I was reading on Twitter today, is arranging a tour to some countries in Europe where they're going to be taking performers from Wales who perform - I believe traditional music, in this example - in order to raise awareness of Wales and Welsh culture more generally, and I think that something like that is an excellent idea. Anything that ties our music with tourism is something that we should be thinking of.
Welsh: Mae gan Gyngor Gwynedd - . Roeddwn i'n darllen ar Twitter heddiw eu bod nhw'n trefnu taith i ambell wlad yn Ewrop lle maen nhw'n mynd â pherfformwyr o Gymru sy'n perfformio - cerddoriaeth draddodiadol, dwi'n meddwl, oedd yr enghraifft yma - er mwyn codi ymwybyddiaeth o Gymru a diwylliant Cymru'n gyffredinol, a dwi'n meddwl bod rhywbeth fel yna'n syniad arbennig o dda. Unrhyw beth sy'n clymu ein cerddoriaeth ni efo twristiaeth - dwi'n meddwl bod hynny'n rhywbeth y dylem ni - .
English: We don't have statistics, but what I would imagine is happening here is that, yes, Britain is very successful in music because of the Anglo-American genre. That's what creates the income and, in a way, Wales suffers because we are a neighbour of such a musically-strong neighbour in terms of that mainstream Anglo-American genre. It's much easier for us as a nation to export world music, if you like - folk music, music that has some element of our own culture. It's much easier to export that than it is to export indie, pop or rock groups that emulate the Anglo-American genre. So, that's perhaps why we haven't been that successful, because we are next door to such a dominant country and London is the heart of that income stream, I would have thought.
Welsh: Does gennym ni ddim ystadegau, nac oes. Does gennym ni ddim ystadegau, ond beth fuaswn i'n ddychmygu sy'n digwydd yn y fan yma ydy, ydy, mae Prydain yn llwyddiannus iawn mewn cerddoriaeth achos y genre Anglo -Americanaidd. Dyna sydd yn creu yr incwm ac, mewn ffordd, mae Cymru yn dioddef achos ein bod ni nesaf at wlad mor gryf yn gerddorol o ran y genre yna - y prif-ffrwd Eingl-Americanaidd. Mae'n llawer haws inni fel gwlad allforio cerddoriaeth byd, os liciwch chi - cerddoriaeth werin, cerddoriaeth sydd efo rhyw elfen o'n diwylliant ni yn y gerddoriaeth. Mae'n llawer haws inni allforio hynny nag ydy o inni allforio grwpiau indie pop-roc sydd yn efelychu'r genre Eingl-Americanaidd. Ac felly dyna pam hwyrach dydyn ni ddim wedi llwyddo gymaint yn hynny, achos rydym ni drws nesaf i wlad mor gryf a Llundain ydy'r canolbwynt i'r incwm yna, mi fuaswn i'n dychmygu.
English: Yes, certainly. After the WMF went, we'd lost the body that looked at all these things, that carried out the research, would hold music management courses and such courses, courses in terms of rights, courses that would promote artists to go out to festivals. It also held courses in order to try to get agents and managers in Wales, which there's a great lack of. There's nobody we can turn to in Wales who's an agent or who is a manager, for example, so that we can tell young bands, 'You can turn to this person', how to develop young bands. They held a great many courses, even on composing - so, all parts of the industry were involved - and then they'd collect data. It was a two-way system. They would feed information to the Government and then they would feed the information from the Government to the industry, so it worked both ways. To be honest, I just don't understand why they stopped funding the WMF.
Welsh: Ie, yn bendant. Ar ôl i'r WMF fynd, roeddech chi wedi colli'r corff oedd yn edrych ar hyn i gyd, oedd yn gwneud yr ymchwil, oedd yn cynnal cyrsiau - music management courses, er enghraifft - cyrsiau o ran hawlfreintiau, cyrsiau oedd yn hybu cerddorion ac artistiaid i fynd allan i wyliau. Roedd hefyd yn rhedeg y cyrsiau er mwyn trio cael asiantaethau a rheolwyr yng Nghymru; dyna sy'n brinder mawr yng Nghymru - does gennym ni neb fedrwn ni droi atyn nhw yng Nghymru sydd yn asiant, er enghraifft, neu sy'n rheolwr i fedru dweud wrth y bandiau ifanc, 'Cerwch at y person yma', sut i ddatblygu'r bandiau ifanc. Roedden nhw'n cynnal nifer o gyrsiau yn ymwneud hyd yn oed â cyfansoddi - pob rhan o'r diwydiant - a hefyd, wrth gwrs, yn casglu gwybodaeth. Roedd o'n rhywle lle roedd o'n gweithio ddwy ffordd. Roedden nhw'n bwydo gwybodaeth i'r Llywodraeth, ac roedden nhw hefyd yn bwydo gwybodaeth o'r Llywodraeth i'r diwydiant, felly roedd o'n gweithio ddwy ffordd. I fod yn onest, dwi jest ddim yn deall pam maen nhw wedi stopio ariannu'r WMF.
English: I wanted to ask you some questions about the Arts Council of Wales. Gwenan, you've already referred to the Night Out scheme. What has been your experience of working with the arts council, in terms of the support that is available from them, and in terms of how they allocate funding to different venues? Now, Dafydd has been talking about different genres of Welsh music. Do you think that the support that the arts council provides is equitable, or reflects those different genres? So, I know it's a broad, open question, but there it is.
Welsh: Roeddwn i eisiau gofyn i chi rai cwestiynau am Gyngor Celfyddydau Cymru. Gwenan, dŷch chi wedi cyfeirio'n barod at y cynllun Noson Allan. Beth yw eich profiadau chi o weithio gyda'r cyngor celfyddydau, o ran y cymorth sydd ar gael ganddyn nhw, o ran sut maen nhw'n dosbarthu cyllid i leoliadau gwahanol? Dŷn ni wedi sôn hefyd, mae Dafydd wedi bod yn sôn am genres gwahanol mewn cerddoriaeth Gymraeg. Ydych chi'n meddwl bod y cymorth mae cyngor y celfyddydau yn rhoi yn adlewyrchu'r genres gwahanol? So, cwestiwn eithaf mawr, agored.
English: Well, I don't know if I can speak about the arts council's work in general, but from personal experience, I've had excellent support. I've met with the representative in their office in north Wales, and they outlined what I could do in terms of career development, and what grants one could gain and move from one to another. So, as a performer, I've had a very positive experience in working with the arts council. But, perhaps Danny could talk about the other side in terms of funding.
Welsh: Fedra i ddim deud am waith y cyngor celfyddydau yn gyffredinol, ond, o brofiad personol, dwi wedi cael cymorth arbennig, a dweud y gwir. Dwi wedi bod yn gallu cyfarfod efo'r cynrychiolydd yn y swyddfa i fyny yng ngogledd Cymru, ac roedden nhw'n amlinellu beth buaswn i'n gallu gwneud o ran datblygu fy ngyrfa, a pha grantiau fuasai rhywun yn gallu camu o un i'r llall iddyn nhw. Felly, mae gen i brofiad, o safbwynt perfformiwr, profiad braf iawn o gydweithio efo'r cyngor celfyddydau. Ond, dwi ddim yn gwybod, efallai buasai Danny yn gallu dweud o'r ochr arall, o ran y cyllido.
English: I think there are things that we take for granted here in Wales. The two main associations that we have that are safeguarding traditional music - Cymdeithas Cerdd Dant Cymru and Cymdeithas Alawon Gwerin Cymru - have been in existence for many years without any external support. Also, Danny mentioned the amateur tradition that we have here, of course. I'm very much involved with choirs and so on - something that's active all over Wales - and young people are very active in that, and I think it's important that we invest in that kind of activity, something that happens from the bottom up on the ground. Be they classical choirs, brass bands, folk choirs, but it's that kind of community activity, because I know, very often, if a choir wants to tour, or to compete, even within Wales, never mind going abroad, you do have to be able to pay hundreds of pounds to pay for a bus to take you from one place to another, and I think it's very important to invest in that kind of activity too.
Welsh: Dwi'n meddwl ein bod ni'n cymryd pethau ychydig bach yn ganiataol, mae'n siŵr, yma yng Nghymru hefyd. Mae'r ddwy brif gymdeithas sydd gennym ni sy'n gwarchod cerddoriaeth draddodiadol - Cymdeithas Cerdd Dant Cymru, Cymdeithas Alawon Gwerin Cymru - wedi bod yn bodoli am flynyddoedd heb unrhyw gymorth allanol, felly. Hefyd, roedd Danny yn crybwyll y traddodiad amatur sydd gennym ni yma, wrth gwrs. Dwi'n ymwneud llawer efo corau ac yn y blaen - rhywbeth sydd yn frith ar hyd a lled Cymru - ac mae pobl ifanc yn ymwneud llawer iawn efo nhw, felly, a dwi'n meddwl bod o'n bwysig iawn ein bod ni'n buddsoddi yn y math yna o weithgarwch, rhywbeth sy'n digwydd o'r gwaelod i fyny mewn ffordd ar lawr gwlad, onid e? Boed hynny yn gorau gwerin neu glasurol neu'n fandiau pres, ond y math o weithgarwch cymunedol yna, achos dwi'n gwybod weithiau, yn aml iawn, os ydy côr eisiau mynd i rywle i deithio, p'un ai i gystadlu, jest yng Nghymru, hyd yn oed, heb sôn am fynd dramor, mae'n rhaid eich bod chi'n gallu talu cannoedd o bunnoedd jest i gael bws i fynd o un lle i'r llall, a dwi'n meddwl ei fod yn bwysig iawn buddsoddi yn y math yna o weithgarwch cerddorol.
English: The arts council in Canada has a very good system, because they've been split into two. On one side, it's purely cultural art. They sponsor pure cultural projects. And the other side is commercial, so they provide funding to develop projects. That's how Cirque du Soleil began. And then out of the money that they've given out they've received millions back. It's an investment, it's a commercial financial investment, a loan. They expect a return on it, so they invest in the artists or the projects that they believe are likely to succeed and that does bring money back in to them.
Welsh: Mae gan gyngor celfyddydau Canada system dda iawn, achos maen nhw wedi hollti'n ddau. Mae gennych chi un ochr, sef y celfyddydol pur. Maen nhw'n noddi prosiectau celfyddydol pur. Ac mae'r ochr arall yn fasnachol, lle maen nhw'n rhoi arian i ddatblygu prosiectau. Dyna sut wnaeth Cirque du Soleil ddechrau. Ac o'r arian maen nhw wedi rhoi allan maen nhw wedi cael miliynau yn ôl. Buddsoddiad ydy o, buddsoddiad masnachol ariannol, benthyciad. Maen nhw'n disgwyl cael arian yn ôl, felly maen nhw'n buddsoddi yn yr artistiaid maen nhw'n credu - neu'r projects - sydd yn debygol o lwyddo ac mae'n dod ag arian yn ôl iddyn nhw.
English: Thank you very much for that. That's very interesting and there's a great deal for us as a committee to look at. Now, perhaps this brings us to my final question, which is: have you been part of the Welsh Government's plans for Creative Wales? And is there more or should the Government be playing more of a role in order to promote and support music in Wales?
Welsh: Diolch i chi gyd am hwnna. Roedd hwnna'n ddiddorol iawn. Mae lot i ni edrych arno fe fel pwyllgor. Efallai bod hyn yn dod â ni, mewn ffordd daclus, at fy nghwestiwn olaf, sef: a ydych chi wedi bod yn rhan o gynlluniau'r Llywodraeth ar gyfer Cymru Greadigol? Ac a oes yna fwy dŷch chi'n meddwl y dylai'r Llywodraeth - ? Oes yna fwy o rôl dylai'r Llywodraeth fod yn cymryd er mwyn hybu a chefnogi cerddoriaeth yng Nghymru?
English: We were part of the consultation or the report or the research by Dai Davies back in 2016-17, I believe it was, when it was published then that Creative Wales was going to be launched in Easter 2017.
Welsh: Fe fuon ni'n rhan o'r ymgynghoriad neu'r adroddiad neu'r ymchwil a wnaeth Dai Davies yn ôl yn 2016-17, dwi'n meddwl, pan oedd o'n cyhoeddi adeg hynny fod Cymru Greadigol yn mynd i gael ei lansio yn y Pasg 2017.
English: It's about to be launched at the end of this month, I believe - at last.
Welsh: Mae ar fin cael ei lansio, dwi'n meddwl, ar ddiwedd y mis yma - o'r diwedd.
English: The concern that I have with that is - . Also, based on what I've seen of the new international strategy that's been published - . I looked at the strategy that the Minister Eluned Morgan has published - the international strategy for Wales to raise its profile internationally - and the only mention of music in it is the national Welsh orchestra and opera. That is a bit of a cause for concern, to be honest, because if you want to raise the profile of any country, I would have thought that music would be the first point of contact. That would be how you would attract attention, and Ireland and Scotland do that very successfully. So, it is a concern not to see that in the international strategy. Also, in terms of Creu Cymru, I saw that what they talked about there was the creative industries - just talking about tv and film. The risk there is that music would be subsumed, and any funding would be swallowed up by tv and film, which are much larger partners than music is. So, there's a risk there. I would like there to be an organisation, first and foremost, that represents the music industry, that creates the strategy. Then, that body could feed into Creative Wales, as a body that represents music solely.
Welsh: Y pryder sydd gen i efo hwnnw ydy - . Hefyd, o beth ro'n i'n ei weld o'r strategaeth ryngwladol newydd sydd newydd gael ei chyhoeddi - . Ro'n i'n edrych ar y strategaeth yr oedd y Gweinidog Eluned Morgan wedi'i chyhoeddi - y strategaeth ryngwladol i Gymru i godi proffil Cymru yn rhyngwladol - a'r unig sôn am gerddoriaeth sydd ynddi yw'r gerddorfa genedlaethol Gymreig a'r opera. Mae hynny'n dipyn bach o bryder, a dweud y gwir, achos os ydych chi eisiau codi proffil unrhyw wlad, buaswn i'n meddwl mai cerddoriaeth yw'r ffordd gyntaf un, bron, i fynd allan. Dyna sut rydych chi'n denu diddordeb, ac mae'r Iwerddon a'r Alban yn ei wneud o'n llwyddiannus iawn. Felly, mae hynny'n bach o bryder os mai honno ydy strategaeth ryngwladol Cymru. Fel arall, o ran Creu Cymru, roeddwn i'n gweld mai beth oedd ganddyn nhw yn y fan yna ydy'r diwydiannau creadigol - jest yn sôn am deledu a ffilm. Y perygl yna ydy y buasai cerddoriaeth yn cael ei llyncu, ac unrhyw gyllid yn cael ei lyncu gan deledu a ffilm, sydd yn bartneriaid llawer mwy nag ydy cerddoriaeth. Felly, mae peryg. Felly, buaswn i'n hoffi bod yna gorff, yn gyntaf, sy'n cynrychioli'r diwydiant cerdd, sy'n creu'r strategaeth. Medrai'r corff yna wedyn fwydo i mewn i Cymru Greadigol, fel corff sy'n cynrychioli cerddoriaeth yn unig.
English: I agree. I think that, in any strategy, the indigenous music of Wales needs to be central to it. I've been in Hong Kong, talking about cerdd dant, and they are really interested because it's different. What they're asking is - . They know that we're part of the Celtic nations, but they ask me, 'What makes you different to Ireland and Scotland?' I think that we need to build on that.
Welsh: Dwi'n cytuno. Dwi'n teimlo, mewn unrhyw strategaeth, fod angen i gerddoriaeth gynhenid Cymru fod yn ganolog. Dwi wedi bod yn Hong Kong yn siarad am gerdd dant, ac maen nhw'n llawn diddordeb achos mae o'n rhywbeth gwahanol. Beth y maen nhw'n ei ofyn ydy - . Maen nhw'n gwybod ein bod ni'n rhan o'r corff yma o wledydd Celtaidd, ac maen nhw'n gofyn yn aml, 'Beth sy'n eich gwneud chi'n wahanol i Iwerddon a'r Alban?' Dwi'n meddwl efallai bod eisiau i ni adeiladu ar hynny.
English: Can I turn, therefore, to the issue of talent development? It's a question I've been asking of many witnesses during this inquiry. As to the talent pipeline, are there any problems arising there? Also, can you tell us what else can be done in order to ensure that that pipeline still flows?
Welsh: Gaf i droi, felly, i'r pwnc o ddatblygu talent? Mae hwn yn gwestiwn dwi wedi gofyn i sawl tyst yn ystod yr ymchwiliad hyn. Ynglŷn â'r ffrwd dalent, oes yna unrhyw broblemau dŷch chi'n gweld ar hyn o bryd? Hefyd, beth arall allai gael ei wneud er mwyn sicrhau bod y ffrwd yn dal i lifo?