 Mae hyn o'r ffordd, er mwyn i wneud eich tynnebu, ac yn cael ei wneud eich baith y pethau i'r hwn am y lleol, cyntaf i'r lleol o'u rhain ym mwyn eich felly'r pethau yng ngheilu ymddangos y ffoam ymddangos eich bod yn ymddangos. Ac rwy'n meddwl i'r cyfeirio bod fyddai'n niddiliw λeirwedd chi'n gwneud anser ymddangos eich brosiect i ddweud fel ychydig i ddweud eu mwyach i'ch ei ddweud o tandyw'r ddiogel ar y syniAdfa Cyww minister. Felly mae'r gynwed gy skeleton gwysig o komfoeddol, hyd yn dda nhw'r newid ar y werwyddog. Ddefnyddpas Cwrg SSD y gyd ac erbyn yn gwneud am sut yn gwneud, sy'n angen bod eu sryd yn yng Ng Pretty, os yna nad yw'r pian dramadiad eitha cigarettes yn angen bynnag beth dy'r ysgu os yma gdtundeis cyda nefarfyn ni fromiziad ac maeEi hele'r dregoen ar ddyannwch ac mae'r rŵn rhwy helping o'r Cymru ac mae'r llog bod dan yng lijw nhw ddweud sy'n gwybod. So, rwy'n meddyliadau. Yn ymlaen, ymlaen, yw'r Ffyrdd Wawlstyn Teinwyr yma, a'r Ffyrdd Wawlstyn Archillion Fhwylgrwp, a'r ffordd yw'r tynnu Tony Hac, yr Ffyrdd Wawlstyn Meddwl Gryffiti yw'r ysgol. Maen nhw'n ddim yn ddweud ymlaen, yn ddweud ymlaen, ac rwy'n ddweud ymlaen, yw'r ymlaen, ac rwy'n ddim yn ddweud ymlaen. I'll show you what I mean. Wilcher is a, I haven't got a pointer or anything, it's a small, it's a county in the middle, you can see where the arrow is, and we're looking at this place here, Filding, is a very small, I want to have one, thank you, brilliant, Filding here, very, very small, tiny little village, this whole area is the Salisbury training area that's still a modern day, a military defence training area, a modern training area, and these here are very small. These are a number of the First World War camps that are around, so it's just to give a bit of context. 1916, over 100,000 Anzac troops and British troops were all training in this area before they went over to the front. So this is the little map of the village, part of it, and basically there are three places where the graffiti was found, one in the church, one in a bank of trees at the top actually carved into the tree, so sort of the arbor glyph here. And then one in a small brick building, so those are three areas that we found graffiti. And to give you an idea of the graffiti, this is the church, this is the back of the church, this is basically the graffiti found all the way up, the passage, the stairwell, all the way up the back of the church, which is like a viewing platform looking down on the nave, all the way up into the bell tower, which he actually accepted through, there's a door here, a trap door, a little ladder, even on top of a wooden cupboard that housed all the bell poles and everything like that. So the whole place was covered in graffiti. You can just see the idea that all this stuff here, 90% of it is First World War graffiti. That's another slide showing some of the examples of just this sort of multiple mount of graffiti laid over, some of it laid over the top of each other, some of it higgled, the pencil carved. Amazing that so much of it is still survived 100 years later. This is the little brick building, and again you can just see that this time the graffiti is carved into the brick walls. There's only part of this building left, there was a lot bigger at the time. And these are a couple of examples of the trees. You can see, I think it's at New Zealand, EF, Expeditionary Force, and there's another one up there. There was some Canadian ones as well, and they're still there. As I said, part of it, the simple thing when we started First World's Junior Project, it's like let's identify, can we identify some of the people? So a large bulk of the research was into that. And you can just see a couple of the examples of some of the pencil work graffiti, giving dates, times, units, addresses, nationality, things like that. Some of it's inscribed, this was actually on the barrier looking down, or the rail looking down onto the nave. So in terms of quantity, it's that idea of over 400 graffiti in the church, 200 in the smithy. This is rough. First World War, majority is Anzac, majority is 1916, 17, and lots of different information. If I give some sort of context to other graffiti that's been found on different projects, there has been, it's nearly always associated with training areas, with trenches, but nothing in this sort of quantity. So it's not unique, but it is unique in the county in terms of the actual sheer number and the quantity, and it's focused on two separate areas. And I'll give you an idea of why. So this was it. The next thing was why. We went through all the procedures, go through all the looks. Was it the church associated with a certain unit? Was it a certain area? No, nothing. It's very random. It's all different. And then you start thinking, let's look at Google, and you start looking at some of the archives, and then things start coming about. So the first clue was Anzac Diary entries recording visiting Fyldin, the village. Some of them, again, personal photographs, Anzac photographs of different things, different parts of the church in Fyldin. The school, a smithie. You've got postcards. It starts bringing up, not just in the content of the co-stars, but also in the pictorial representations on them. And then we've got more postcards, and even more postcards. And you start them to get these sort of common denominators, this sort of thing. You know, hold on a minute, they're all saying the same thing. Why? What's going on? And it's all to do with a spreading chestnut tree. And this is one of my favourite bits, so this is a digitised diary of one of the soldiers. That's actually sort of pressed a leaf from a chestnut tree that came from the village Fyldin, and it gives a very good clue. I think if anyone can read it, it says, this is from the tree. I can't read it here. The spot is claimed to be where Longfellow wrote his great poem, The Village Blacksmith. Fantastic. We've done it. We now know why all the graffiti is there. Henry was with Longfellow, 19th century American poet. The Village Blacksmith was written in about 1852-53. He's a famous poet. He wrote Hirewatha, other things like that. Fantastic. Right. We now know why everyone went there to go and see the place where he wrote and set his poem. But the issue is actually very common on this thing. It's fake news. It was a lie. So probably thousands of Alex Trudeau went to visit this place. It became this huge tourist attraction, but it was all based on a myth, on a lie, on a... I don't know where you can do it. This is where you start looking at how these things develop. This is where this research goes. Why? Who started the myth? Who started this? Was it done for a deliberate reason of extorting money? Was it an industry? Or was it just pure chance, pure luck? So it starts this whole thing, and then that's where finished the recording project. That's the bit, but actually you're looking at a whole load more different threads of investigation. I wanted to have some sort of mad mind maps of strings of everything, but I couldn't. So I just found a little kitten. Sorry about that. But it gives an idea of just this unraveling of all the different types of investigations, everything that you can do. And this is where it starts becoming this breaking out of the boundaries of just confined to this very simple project, centenary project, First World War soldiers, trace them, find out what happened, talk to them to actually start this whole area. And it really sort of like a snowball coming down a hill, it gathers and gathers and there's different questions, and you can go quite mad. So what I wanted to do is just quickly as part of this, just look at some of this thing. And I did put my, the global because I suddenly thought, oh, national borders. And I was trying to represent how this village is tiny. It's not even a pub in it. It was a church and that's it. It's how this tiny, tiny little village that very few people even now go to became the centre of this sort of global, well, global army of people. So you've got your Anzacs travelling to Fyldin through the medium of a poem that was written by an American that they all thought was based in a village which they went to the church. They wrote their names on it. They bought postcards. They then went to France and Belgium. Some of them came back, some of them didn't. But when they did come back, they wrote in their diaries because a lot of the information's coming back is from the diaries and from the archives in New Zealand and Australia. There is nothing in England. We have very, very little information. In fact, we have nothing in any of the national archives or any of the local archives or even the newspapers. I've got one newspaper article on this. So it's completely an Anzac in New Zealand and an Australian phenomena even to the point where it got into the New Zealand times. So it's that sort of whole area. And I've tried to just think about it. But what I was going to have a look is just tried to have some of the ideas, some of the ways you can start researching, some of the different aspects. So I put this together as the projects in the middle and you've got these different aspects. So you've got, you know, participative tourism. You've got heritage protection outcome, a little bit of historic England sort of context to that. You've got that direct tracing it. You've got memorisation. You've got making your mark, the whole meaning of graffiti. Why was it made? You've got this whole souvenirs and postcards and physical mementos and then you've got the whole, this whole huge, huge area of the role of the poem in late 19th century, early 20th century, society, culture, education in Australia, New Zealand. These are massive, massive big topics that we've not even started looking at and probably won't, all of them because these are for other things. But it's the idea that there are so much more that can be looked at that it breaks out. So what I'm going to do is just go through a couple of these and a colleague of mine, Katie Whitaker, helped me with this. I'm hoping it's going to work. So I'm going to go. Let's have a look at what you want to do first. First of all, tourism. When we started, Fildeen is tiny and you start looking at stuff and suddenly we started finding loads and loads of references to Stonehenge and pictures and drawings. And it's this, basically a lot of these streets will go over and they write about it. They have these things. They go, oh, we went to Stonehenge and it's a few old stones. And then we went to Fildeen and saw the smithy. And so you've got the village and the smithy in the same line as Stonehenge, which is, you know, a UNESCO World Heritage Site. It's incredibly important. But it's all really interesting because actually these soldiers are going there. They're buying books and talking about it and they're coming back and thinking, actually what am I going to do and everything like that. So it's different. Fildeen here, you can see on this one here, is part of the church. It's part of Cape Town. It's on the same thing. It's actually sort of, you know, it becomes part of a memory of these people. It's the idea of this, the attraction of old villages. These are lollies of first century, first generation New Zealand and Australians. So they're going back and looking back at where they were. Then you start thinking how did this whole tourist industry, how was it created? This is the one article. In 2015, this first postcard made by Fuller, a local A3 photographer, predates the Australians coming. So it's actually created a postcard before they came. So the postcard that originally was there, was there set. So how did that get established? So it's this whole other questions. Who created the attraction? How well organised was it? Was it actually a tourist attraction? Was it sort of created as an industry? And then you've even got the broader ones on looking at First World War tourism or the respite recreation of troops on Salisbury Plain. How was it sanctioned? Was it military sanctioned? So I'll go back and I'll have another look at the, another one, souvenirs. So souvenirs, postcards, physical mementos, the diaries talk about snicking bits out of this chestnut tree, taking bits of bark, taking leaves from the tree, even stealing thread from the bell bull and fabric from the church and from the roof. So they're taking physical mementos with them. Postcards. We've got 11 different postcards of this place and probably thousands and thousands of postcards being published and printed. And again, these are interesting because they're portable. Again, they're taking them away as mementos. Further research in the whole industry of postcards is really interesting. But then the last thing I'll just think here is this dichotomy between graffiti and the portable souvenirs. So you're taking things, take with you, and then you're leaving things behind, you're leaving your mark. So there's a whole era to explore the psychology of that. There are lots of people who research postcards, they research stuff like this so it's tapping into that and trying to broaden it. So I will leave it then in a moment.