Great War drama brings new success to education favourite

The moving story of a boy fighting in World War One has helped a Swansea cultural initiative win powerful approval ratings.

New figures show that the city's annual Schools Theatre Project is rated by 97% of participating teachers as "excellent."
The most recent staging of the event centred on play The White Feather, a poignant fictional account of how a young boy - wishing to impress his father - enlisted. He then fought in the Battle of Mametz Wood where South Wales battalions suffered grave losses.
The annual scheme, thought to be unique to Swansea, has run for 29 years. It is delivered by Swansea Council's Museum Service in partnership with award-winning bilingual organisation Theatr na nÓg and National Waterfront Museum.
Robert Francis-Davies, the council's cabinet member for investment, regeneration and tourism, said: "I congratulate all those involved in the Schools Theatre Project.
"The most recent staging saw nearly 6,000 young people see The White Feather and attend World War One workshops, attracted more than £50,000 of funding to the city and involved nearly 100 schools.
"The external funding means that this is a low-cost exercise for schools, one with which they offer many pupils their first event experience of live theatre.
"Around half of the schoolchildren who took part were from Communities First areas, a focus for tackling poverty.
"There are very few, if any, UK projects of this nature, with such a long history and with such continuing success."

Geinor Styles, artistic director at Theatr na nÓg, said: "We are very grateful to Swansea Council for providing us a foundation to enable young people to engage with their culture and history and to make it part of their day-to-day learning. This has resulted in this event being unique not only to Wales but the UK."
Every autumn, the Schools Theatre Project in Swansea sees schools undertake classroom work alongside a day at cultural and heritage venues in Swansea Marina.
Last autumn's cultural programme included hands-on and interactive workshops at both Swansea Museum and the National Waterfront Museum. Children were able to discuss roles with actors and learn more about the First World War's impact on Wales.
Activity was carried out in English and Welsh. Some schools took part in activity with Swansea University's Technocamps outreach programme.
Philip Bendle, the key stage two lead at Morriston Primary School, said: "The play was excellent and very moving. There was an outstanding presentation by Swansea Museum. All the children enjoyed the activity and were moved by the experience."
Birchgrove Primary School said that this "truly brilliant" project combined "pathos, tension, angst and - remarkably - humour."
Blaenymaes Primary School said: "A day out like this is invaluable for primary schools. Every child should have the chance to watch a live performance like this, especially when it is linked to local history."
One 10-year-old guest said: "I loved the activities in the museum! The play told me everything about the war; I didn't know how horrible it had been. I had a great time and really enjoyed it."
Funders in 2018 included The Colwinston Trust, Arts Council of Wales, and that organisation's Go and See scheme.
Preparations are now being made for this year's 30th anniversary staging of Schools Theatre.

The full project evaluation can be read by clicking the attached pdf.

pdf document: 

Drama'r Rhyfel Mawr yn boblogaidd mewn ysgolion

Mae stori deimladwy am fachgen yn brwydro yn y Rhyfel Byd Cyntaf wedi helpu menter ddiwylliannol yn Abertawe i ennill llawer o glod.

Mae ffigurau newydd yn dangos bod Prosiect Theatr Ysgolion blynyddol y ddinas wedi'i nodi fel digwyddiad "ardderchog" gan 97% o'r athrawon a gymerodd ran.
Roedd perfformiad diweddaraf y digwyddiad yn seiliedig ar ddrama Y Bluen Wen, sy'n disgrifio hanes ffuglennol a theimladwy bachgen ifanc a listiodd mewn ymdrech i blesio ei dad. Bu'n brwydro ym Mrwydr Coed Mametz lle lladdwyd llawer o filwyr o fataliynau de Cymru.
Mae'r cynllun blynyddol sy'n unigryw i Abertawe wedi'i gynnal am 29 o flynyddoedd. Cyflwynir y cynllun drwy Wasanaeth Amgueddfa Cyngor Abertawe mewn partneriaeth â sefydliad dwyieithog arobryn Theatr na nÓg ac Amgueddfa Genedlaethol y Glannau.
Meddai Robert Francis-Davies, Aelod Cabinet y Cyngor dros Fuddsoddi, Adfywio a Thwristiaeth, "Hoffwn longyfarch pawb a oedd yn rhan o'r Prosiect Theatr Ysgolion.
"Roedd bron 6,000 o bobl ifanc yn bresennol ym mherfformiad diweddaraf The White Feather ac mewn gweithdai am y Rhyfel Byd Cyntaf, gan greu mwy na £50,000 o gyllid i'r ddinas a chynnwys bron 100 o ysgolion."

Meddai Geinor Styles, cyfarwyddwr artistig Theatr na nÓg, "Rydym yn ddiolchgar iawn i Gyngor Abertawe am ddarparu sylfaen i ni alluogi pobl ifanc i fod yn rhan o'u diwylliant a'u hanes ac i'w gwneud yn rhan o'u haddysg o ddydd i ddydd."
Bob hydref, mae Prosiect Theatr Ysgolion Abertawe'n gweld ysgolion yn gwneud gwaith yr ystafell ddosbarth ochr yn ochr â diwrnod mewn lleoliadau diwylliannol a threftadaeth ym Marina Abertawe.
Roedd rhaglen ddiwylliannol yr hydref diwethaf yn cynnwys gweithdai ymarferol a rhyngweithiol yn Amgueddfa Abertawe ac Amgueddfa Genedlaethol y Glannau. Roedd cyfle i blant drafod rolau ag actorion ac i ddysgu mwy am effaith y Rhyfel Byd Cyntaf ar Gymru.
Cynhaliwyd gweithgareddau yn Gymraeg ac yn Saesneg. Cymerodd rai ysgolion ran yn y gweithgareddau gyda rhaglen allgymorth Technocamps Prifysgol Abertawe.
Mae arianwyr 2018 yn cynnwys Cyngor Celfyddydau Cymru a chynllun Ewch i Weld y sefydliad.

Mae'r paratoadau'n mynd rhagddynt ar gyfer perfformiad eleni sy'n dathlu 30 o flynyddoedd ers sefydlu'r Theatr Ysgolion.

pdf document: 

A blog by Daisy Williams – Volunteer turned Production Assistant

I started riffling through photos last week, trying to collect together the best ones with all the people I’ve met over the past three and a half years and it was amazing to stumble across pictures I didn’t even know I had. One in particular is the one shown here, from the day of the first production I saw by Theatr na nÓg; ‘You Should Ask Wallace.’ At the time I was a student in my final weeks at the University of Wales Trinity St David’s in Carmarthen and my lecturer was Ioan Hefin. We were rehearsing for our final production, and at the start of one rehearsal Ioan said; “Let’s not rehearse tomorrow, why don’t you all come and watch me perform a one man play instead?” (or something to that effect), and none of us were going to say no to that offer.

The performance was at The National Botanical Gardens of Wales where the new Wallace Bust was being unveiled that day in the Wallace Garden, which is where I first met the marvellous Alfred Russel Wallace. We travelled through his early life, his dislike of school and love of discovering things in library by himself, to meeting Henry Walter Bates and learning how to collect specimens; beetles, bugs and butterflies, to adventuring across the Amazon to create one of his most important collections. I was captivated.

Now if you’ve ever stepped foot into the na nÓg offices you’ll know that if anything coincidental or fateful happens it is branded ‘spooky’ and a large part of the day then will be spent on talking about how ‘spooky’ that thing is. Well, the evening before the performance, without knowing what company Ioan was performing with I had actually emailed Geinor, na nÓg’s Artistic Director about volunteering (*cue spooky music). I met Geinor a few weeks earlier when she came in to talk about the company and about a show she was Directing called TOM the Musical…

So, as I arrived at the Gardens that morning Ioan said; “I’ve got someone who wants to meet you,” (or something like that, this happened over 4 years ago now so I can’t remember his exact words) and after the performance I did indeed meet Geinor and our Production Manager Geraint.

Two weeks later I was in the office! I had made it, they let me in, I had got past the doors of a professional theatre company and they didn’t YET suspect I didn’t know a thing. I can’t remember what exactly I did that week, but I must have done something right as I was asked to come back for a few days the following week. Then the coolest thing ever happened; I got to help at the TOM auditions at the WMC. Now this doesn’t sound like a lot, but at the time being given a backstage pass around the WMC and taking actors from point A to point B for their auditions was the coolest thing that had happened in my thus far short career. At one point as I was showing one person in and one person out, I hovered around outside the audition room, and I can tell you the guy in there belting out ‘It’s Not Unusual’ was amazing. I can’t remember who it was, but I just knew that if that was the standard na nÓg were working with, this show was going to be epic.

Then I had to go off and actually try and earn some money, and I got an acting job for a few weeks, but I knew come hell or high water (that phrase is ironic as I was performing on the ferry between Holyhead and Dublin as a children’s entertainer… but I can’t talk about that now…) I wanted to be involved in one way, shape or form with TOM the Musical and I think up to that point I had managed to hide how much I loved Tom Jones from Geinor. I probably only managed to keep that a secret until September 2nd 2015 though…the day after I started working for the company.

I had emailed Geinor a few weeks before I was due to come back from North Wales and asked if she needed any more help in the office, then once I got back I had spent a day running around Cardiff handing out CV’s in various shops looking for a job, I got a phonecall from Geinor where she offered me a position at the company for two days a week. I was standing outside Crabtree & Evelynn at the time and if we had been in a movie, the moment I hung up the phone the camera would have panned from my face to above my head as the music started playing as I spun on the spot with my arms outstretched, and the wind started blowing in my hair dramatically… Anyway, I didn’t actually spin on the spot but you get the idea, I felt like a weight had been lifted, that I’d got my foot in the door.

I will say coming into a company and the first production you start working on is a UK no 1 tour is pretty intimidating, especially when you have a cast and team that are honestly the most talented bunch I’ve ever met and you’re there like the spare part in the corner. BUT I had the most amazing mentor, the incandescent Sara Lewis! She was amazing, I think she could tell when I didn’t have a clue what was going on and would quietly take me aside and give me a lovely little job to do away from the madness of it all.

Then in January 2016 we set up the Young Ambassador team, one of the things I’m most proud to have come out of my time working at na nÓg. It was a chance to let young people volunteer and get their start in the company like I had. They started by helping us on TOM, collecting data from our audiences and then played roles in ‘The Amazing Adventures of Wallace and Bates.’ Over the past 3 years we have opened the door to around 60 young people through the Young Ambassador scheme, and I love now keeping up to date on everything that they’ve moved on to do.

I am so lucky to have been a part of na nÓg, starting as a volunteer then becoming a full-time member of staff. It’s been fun and hard and mind-boggling at times and I have made connections and friendships for life. The Board have always been amazing, the Ambassadors and of course the core team in the office who I’ve worked with everyday. I’ve done a number of different jobs; flyering, finding schools who’ve gotten lost coming to see our shows, made endless cups of tea, gone on tour and even stood in as Stage Manager at the last minute (which I find incredibly cool and still brag about now if I’m honest).

Out of everyone I’ve worked with I have to especially thank Geinor. Thank you for taking a chance on me all those years ago and making a phone call that literally changed my life at a time when I wasn’t sure where I fitted in this industry.

Anyway, although I’m leaving at the end of the month, this is just ‘see you soon,’ not a goodbye. You see they have to let me back, I’m the only one who knows where I’ve hidden the cameras…


Blog gan Daisy Williams – Gwirfoddolwraig sydd bellach yn Gynorthwyydd Cynhyrchu

Dechreuais ddethol drwy ffotograffau’r wythnos ddiwethaf, yn ceisio casglu’r goreuon ynghyd o’r holl bobl rwyf wedi cwrdd â nhw dros y tair blynedd a hanner diwethaf ac roedd yn anhygoel dod ar draws lluniau nad o’n i gwybod eu bod gen i hyd yn oed! Roedd un yn arbennig o’r cynhyrchiad cyntaf a welais gan Theatr na nÓg; ‘You Should Ask Wallace.’ Bryd hynny, roeddwn yn fyfyrwraig yn ystod fy wythnosau olaf ym Mhrifysgol Y Drindod Dewi Sant, Caerfyrddin a fy narlithydd oedd yr hyfryd Ioan Hefin. Roedden ni’n ymarfer ar gyfer ein cynhyrchiad olaf, ac ar ddechrau’r ymarfer dywedodd Ioan; “Gadewch i ni beidio ag ymarfer yfory, beth am i chi i gyd ddod i ngwylio i’n perfformio drama un dyn yn lle?” (neu eiriau tebyg), a doedd yr un ohonom am wrthod y cynnig hwnnw.

Roedd y perfformiad yng Ngardd Fotaneg Genedlaethol Cymru, ble yr oedd penddelw newydd Wallace yn cael ei ddadorchuddio’r diwrnod hwnnw yng Ngardd Wallace, sef ble y gwnes i gwrdd â’r cymeriad gwych Alfred Russel Wallace. Teithiom drwy ei fywyd cynnar, ei anhoffter o’r ysgol a’i gariad at ddarganfod pethau yn y llyfrgell ar ei ben ei hun, cwrdd â Henry Walter Bates a dysgu sut i gasglu sbesimenau; trychfilod, bygs a phili-palaod, yna’r antur ar draws yr Amazon i greu un o’i gasgliadau pwysicaf. Cefais fy nghyfareddu.

Nawr, os wnaethoch chi gamu mewn i swyddfeydd na nÓg erioed, fe wyddoch os ddigwyddith unrhyw beth sy’n gyd-ddigwyddiad neu’n ffawd ei fod yn cael ei alw’n ‘sbwci’ ac yna treulir rhan helaeth o’r dydd yn siarad am ba mor ‘sbwci’ yw peth hwnnw. Wel, noson cyn y perfformiad, heb yn wybod i ba gwmni yr oedd Ioan yn perfformio iddo, roeddwn wedi e-bostio Geinor, Cyfarwyddwr Artistig na nÓg’s ynghylch gwirfoddoli (*ciw cerddoriaeth sbwci). Roeddwn wedi cwrdd â Geinor rai wythnosau ynghynt pan ddaeth i mewn i siarad am y cwmni ac am sioe yr oedd hi’n ei chyfarwyddo sef TOM the Musical…

Felly, wrth i mi gyrraedd y Gerddi’r bore hwnnw, dywedodd Ioan; “Mae yna rywun gen i sydd am gwrdd â chi,” (neu rywbeth tebyg, mae 4 blynedd ers i hyn ddigwydd felly dwi methu’r cofio’r union eiriau) ac ar ôl y perfformiad gwnes yn wir gwrdd â Geinor a’n Rheolwr Cynhyrchiad, Geraint.

Bythefnos yn ddiweddarach ron i yn y swyddfa! Wedi cyrraedd, a chael fy ngadael mewn, ron i wedi mynd heibio drysau cwmni theatr proffesiynol a doedden nhw heb amau ETO nad on i’n gwybod unrhyw beth. Dwi ddim yn gallu cofio’n iawn beth wnes i’n union yr wythnos honno, ond mae’n rhaid fy mod wedi gwneud rhywbeth yn gywir achos gofynnwyd i mi ddod yn ôl am rai dyddiau’r wythnos ganlynol. Yna digwyddodd y peth mwyaf cŵl erioed; ron i’n helpu gyda chlyweliadau TOM yn CMC. Nawr falle nad yw hyn yn swnio fel llawer, ond ar y pryd cael pas cefn llwyfan CMC a hebrwng actorion o bwynt A i bwynt B i’w clyweliadau oedd y peth mwyaf cŵl oedd wedi digwydd yn fy ngyrfa fer hyd hynny. Ar un pwynt, wrth i mi ddangos un person i mewn a pherson arall allan, ron i’n loetran y tu allan i’r ystafell glyweled, a wir i chi roedd y bachan oedd yn bloeddio canu ‘It’s Not Unusual’ yn anhygoel. Dwi methu cofio pwy oedd e, ond ron i jest yn gwybod os mai hyn oedd y safon yr oedd na nÓg yn anelu ato, fod hon am fod yn sioe epig.

Yna, roedd yn rhaid i mi adael er mwyn ennill bach o arian, a chefais swydd actio am rai wythnosau, ond ron i’n gwybod beth bynnag ddaw, (ac ron i’n perfformio ar y fferi rhwng Caergybi a Dulyn fel adlonwr plant ar y pryd), fy mod eisiau bod yn rhan o TOM the Musical mewn rhyw ffordd neu’i gilydd, a dwi’n credu fy mod i fyny at y pwynt hwnnw wedi llwyddo i guddio oddi wrth Geinor gymaint yr oeddwn yn caru Tom Jones. Dim ond tan 2 Medi 2015 y llwyddais i gadw’r gyfrinach fwy na thebyg, er, y diwrnod canlynol dechreuais weithio i’r cwmni.

Ron i wedi e-bostio Geinor rai wythnosau cyn fy mod i fod i ddychwelyd o Ogledd Cymru i ofyn a oedd angen unrhyw help ychwanegol arni yn y swyddfa, yna ar ôl i mi ddychwelyd ron i wedi treulio diwrnod yn rhedeg rownd Caerdydd yn dosbarthu fy CV mewn amrywiol siopau yn chwilio am swydd. Cefais alwad ffôn oddi wrth Geinor pan wnaeth hi gynnig swydd i mi yn y cwmni am ddau ddiwrnod yr wythnos. Ron i sefyll y tu allan i Crabtree & Evelynn ar y pryd a phe byddem wedi bod mewn ffilm, byddai’r camera wedi panio o fy wyneb uwchlaw fy mhen wrth i’r gerddoriaeth ddechrau ac i mi droelli yn fy unfan â’m breichiau’n lled agored gyda’r gwynt yn chwythu ’ngwallt yn ddramatig....Ta waeth, wnes i ddim troelli yn fy unfan ond we wyddoch beth sydd gen i, teimlais fel petai pwysau wedi eu codi oddi wrthyf, a bod fy nhroed yn y drws.

Gallaf ddweud hyn, sef bod ymuno â chwmni a bod y cynhyrchiad cyntaf rydych yn gweithio arno yn teithio’r DU yn dipyn o orchwyl, yn enwedig ymhlith y cast a’r tîm mwyaf talentog i mi gwrdd â hwy erioed, a minnau fel ategolyn yn y gornel. OND roedd gen i’r mentor mwyaf anhygoel, y disglair Sara Lewis! Roedd hi’n anhygoel. Dwi’n credu ei bod hi’n gallu dweud pan nad oedd cliw gen i beth oedd yn digwydd a byddai’n fy hebrwng i’r naill ochr i wneud jobyn bach hyfryd i ffwrdd o’r holl wallgofrwydd.

Yna, ym mis Ionawr 2016, sefydlom ni dîm Llysgennad Ifanc, sef un o’r pethau yr wyf fwyaf balch ohonynt yn ystod fy nghyfnod yn gweithio i na nÓg. Roedd yn gyfle i adael i bobl ifanc wirfoddoli a chychwyn arni yn y cwmni, fel yr oeddwn innau wedi’i wneud. Roedden nhw’n dechrau drwy ein helpu ni ar TOM, casglu data oddi wrth ein cynulleidfaoedd ac yna chwarae rôl yn ‘The Amazing Adventures of Wallace and Bates.’ Dros y tair blynedd diwethaf rydym wedi agor y drysau i ryw 60 o bobl ifanc drwy gynllun y Llysgennad Ifanc, ac rwy wrth fy modd clywed y diweddaraf am beth maen nhw wedi symud ymlaen ato nesaf.

Dwi mor ffodus o fod wedi bod yn rhan o na nÓg, gan ddechrau fel gwirfoddolwr ac yna dyfod yn aelod llawn amser o’r staff. Mae wedi bod yn hwyl, yn anodd ac yn ddryswch meddwl ar adegau ac rwyf wedi creu cysylltiadau a chyfeillgarwch oes. Mae’r Bwrdd wedi bod yn anhygoel o hyd, ynghyd â’r Llysgenhadon ac wrth gwrs y tîm craidd yn y swyddfa sydd wedi bod yn gweithio gyda fi bob dydd. Dwi wedi gwneud nifer o wahanol swyddi; dosbarthu ffurflenni, dod o hyd i ysgolion coll ar eu ffordd i’n sioeau, paneidiau o de dirifedi, mynd ar daith a hyd yn oed sefyll fel Rheolwr Llwyfan ar y funud olaf (mor cŵl yn fy marn i a dwi’n parhau i ymffrostio amdano heddiw a dweud y gwir).

O’r holl bobl dwi wedi gweithio â nhw, rhaid i mi ddiolch i Geinor yn arbennig. Diolch am ymddiried ynof yr holl flynyddoedd yn ôl ac am wneud yr alwad ffôn wnaeth newid fy mywyd yn llwyr yn llythrennol ar adeg pan nad oeddwn yn siŵr ymhle yr oeddwn yn ffitio yn y diwydiant hwn.

Ta waeth, er fy mod yn gadael ddiwedd y mis, nid ‘hwyl fawr’ dwi’n ei ddweud ond ‘wela’i chi’n fuan’. Chi’n gweld, mae’n rhaid iddyn nhw fy ngadael yn ôl, dim ond fi sy’n gwybod ble dwi wedi cuddio’r camerâu...


Christophe's Story

By Daisy Williams

Let this song forever guide you
Through the world beyond this bay
I will never forget you
Though you will be far away...

Last week, Theatr na nÓg had the honour of working with Llangewydd Junior School’s year 4 classes as they started to look at their theme for this term, which is; ‘Belonging.’ When I heard the word back in December a lot of things ran through my mind; society, home, country…. The concept of belonging is something at once very personal, while also present in wider public debate, particularly at this moment in time.

The focus of this project at Llangewydd School was one pupil, who I’ll call Christophe, and his own connection to the word.

Christophe is 8 years old and lives in Bridgend with his mum, dad and siblings. He loves going to Llangewydd Junior School. His favourite subject is maths, he’s a keen football player, and like most children his age; enjoys his Xbox. He’s a cheeky chap, always has a shy smile on his face. I had the great pleasure one day of walking into his class just as him and his friend were prancing around the room in blonde wigs and big puffy dresses (where they found them, I don’t know).

Of all the year 4 pupils, why tell Christophe’s story? You see Christophe is a refugee. He was born in Syria.

I’m not going to tell you his life story here, but I am going to tell you about the project it inspired, and how Theatr na nÓg supported his friends and classmates in bringing it to life. Over the course of a week we learned about, discussed and dramatised his journey from Syria through Turkey to London, and his arrival in Bridgend. At the end of the week the play was performed to parents and peers.

By telling this story through drama, the children in year 4 were prompted to explore their own relationships with the word ‘Home’. Initially, they started with things like; ‘Xbox’, ‘my annoying mum’ and bizzarely… ‘slime’. As the week progressed, a change in attitude began to emerge. More emotive words began to crop up like; ‘love’, ‘safety’ and ‘family’. I continued to remind them throughout the project to think about their words, about what was important to them so they could start to imagine what it might be like to leave their home, country, Xbox, family, books or clothes behind and travel thousands of miles away to safety.

To devise the play, we began to split Christophe’s story into key sections and improvised the scenes in groups. We learnt songs that we used throughout to help us move from different times and remind us of the message; “Let this song forever guide you, through the world, beyond this bay…” and we even learnt some Arabic and Welsh to include in the lyrics as we saw Christophe travel across the globe.

To end our story the children chose to bring the audience back to the here and now – to how Christophe loves living in Bridgend, enjoys school and being able to play outside – something he was never able to do before, and with everyone welcoming him by singing a Welsh hymn to these lyrics;

Welcome to our home
We hope you like it here
And that you feel safe
While we are near…

Stori Christophe

Gan Daisy Williams

Let this song forever guide you
Through the world beyond this bay
I will never forget you
Though you will be far away...

Yr wythnos ddiwethaf, cafodd Theatr na nÓg y pleser o gydweithio â dosbarthiadau blwyddyn 4, Ysgol Iau Llangewydd wrth iddynt ddechrau edrych ar eu thema ar gyfer y tymor hwn, sef ‘Perthyn.’ Pan glywais y gair yn ôl ym mis Rhagfyr, roedd llawer o bethau yn mynd trwy fy meddwl; cymdeithas, cartref, gwlad. . . Mae’r cysyniad o berthyn yn un personol ond gall hefyd gynrychioli’r gymdeithas ehangach mewn trafodaeth, yn enwedig ar hyn o bryd.

Canolbwynt y prosiect hwn yn Ysgol Llangewydd oedd un disgybl rwyf am ei alw’n Christophe a’i gysylltiad ef â’r gair.

Mae Christophe yn 8 mlwydd oed, yn byw ym Mhen-y-bont ar Ogwr gyda’i fam, ei dad a’i frodyr a’i chwiorydd. Mae wrth ei fodd yn mynychu Ysgol Iau Llangewydd. Ei hoff bwnc yw Mathemateg, mae’n chwaraewr pêl-droed brwd ac fel y mwyafrif o blant ei oed, mae’n mwynhau ei Xbox. Mae’n fachgen direidus sydd bob amser â gwên ar ei wyneb. Cefais y pleser o gerdded i mewn i’w ddosbarth un diwrnod lle yr oedd ef a’i ffrind yn rhedeg o ambell yr ystafell mewn wigiau golau a ffrogiau mawr (lle y daethant o hyd iddynt, dydw i ddim yn gwybod.)

O holl ddisgyblion blwyddyn 4, pam adrodd stori Christophe? Mae Christophe yn ffoadur. Cafodd ei eni yn Syria.

Dydw i ddim am adrodd stori ei fywyd wrthych yma ond rwyf am sôn am y prosiect yr ysbrydolodd a sut gwnaeth Theatr na nÓg gefnogi ei ffrindiau a’i gyd-ddisgyblion i ddod â’r prosiect yn fyw. Yn ystod yr wythnos, bûm yn dysgu, trafod ac yn dramateiddio ei daith o Syria, trwy Dwrci i Lundain a’r modd y daeth i Ben-y-bont. Ar ddiwedd yr wythnos, perfformiwyd y ddrama i rieni a chyfoedion.

Drwy adrodd ei stori, cafodd plant blwyddyn 4 eu hannog i archwilio’u perthnasau hwy â’r gair ‘Cartref.’ I ddechrau, dechreuwyd â phethau fel ‘Xbox’, ‘fy mam sy’n mynd ar fy nerfau’ ac yn rhyfedd ddigon. . . ‘sleim’. Wrth i’r wythnos fynd rhagddi, cafwyd newid agwedd. Defnyddiwyd geiriau llawer mwy haniaethol fel ‘cariad,’ ‘diogelwch’ a ‘theulu.’ Cafod y plant eu hatgoffa, drwy gydol y prosiect i feddwl am eu geiriau, ynghylch yr hyn oedd yn bwysig iddynt fel bod modd iddynt ddychmygu sut deimlad yw gadael cartref, gwlad, Xbox, teulu, llyfrau neu ddillad a theithio miloedd o filltiroedd i ffwrdd i le diogel.

Er mwyn dyfeisio’r ddrama, dechreuwyd rhannu stori Christophe i rannau allweddol gan wneud golygfeydd byrfyfyr mewn grwpiau. Bûm yn dysgu caneuon a gafodd eu defnyddio trwy’r ddrama er mwyn ein cynorthwyo i symud o wahanol gyfnodau a’n hatgoffa o’r neges, “Let this song forever guide you, through the world, beyond this bay…” Gwnaethom hefyd ddysgu peth Arabeg gan gynnwys y Gymraeg yn y geiriau wrth i ni weld Christophe yn teithio ar draws y byd.

Er mwyn dwyn y stori i ben, penderfynodd y plant ddod â’r gynulleidfa yn ôl i’r presennol - i’r modd y mae Christophe wrth ei fodd yn byw ym Mhen-y-bont, yn mwynhau’r ysgol a chwarae y tu allan - rhywbeth na allai ei wneud. Cafodd ei groesawu drwy ganu emyn Cymreig i’r geiriau:

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