 Ddweud o'r fawr i ni oeddwn yn ymddangos fel ydw i gweithio. Helo, rydyn ni'n hen nôr ten, rydyn nhw'n cael ei cofawr yn fawr i ymweld yn 2011. Yn ymweld, o'n gweithio'n holl bachwound, yw unrhyw ffordd yma cyfeithio ymddangos yma ddiwethaf. Yn ymddangos ymddangos ymddangos ymddangos ymddangos ymweld yn ei wneud bod i'w gweithio'r cerddau o'r amser o'r amser o unrhyw gwahodd o rhan o gyfnodd ar wahanol, o'r cyfnodd o'r cyfnodd o'r cyfnodd o gael i chi'n angen a'r ffordd o'r hyn. Rhaid i ddim ystod i'r gwrth gael cyfnodd mae'r ddim yn gwneud o'r rhan o'r cyfnodd. Felly, rydyn ni'n gwybodaeth i gyd, y mae'n amser o'r amser o'r cyfnodd, wedi bod gwneud o'r gwrthwynt. verse. Wat makes me, I think different from other crowdfunding platforms out there is that I don't claim that a crowdfunding platform is the answer, I see online platforms, these crowdfunding platforms there are loads and loads of them out there, we, this isn't the only one, in fact we've recently merged with people, fund it, you know we're not I mor amser â'r newid, nad ydym hwn i os yw y gallu unrhyw edrych. Beth ceisio i ddim yn dwi'n ddyn nhw'n sicr yn ei wneud weld y gwahau i'r platform gwybodaeth. Mae'r Lodio'r Dyn, mae'n ddifall arwod, mae'n gwneud y gwmwysbeth, mae'n ddim melio ym gweithio uchydig yma. Mae'n ddilyn – ychydig yn ddim yn gwybod – yn ei ddim yn gwybod bwysig yma, ond y cyfnod yma'n dim yn gweithio yn dweud o ddyn nhw. Mae'n bod yn gweithio yma am��il ar hyn, Ond, yw'r yw'r iawn i'n ei wneud i'r byw i? A dyna'r projekty? Felly, rym ni'n gyda'r plawd. Felly, yr wych yn dda, Edd i'n meddwl, rwy'n meddwl wedi'i eu hwnnw i'n meddwl. Edd i'n meddwl i'n meddwl. Yn ymlaen i'r plaf yw'r unrhyw. ac i ddweud yn ganddwych chi'n gwneud eu cyfnodol mae'r platform hefyd yn ddweud. Felly, dwi'n meddwl wnaeth i gyd o'r cyfnodol y website. Edd yn cael ei gynhyrchu iddyn nhw, oedd ymddangos yn y cyfnodol. Rydyn ni'n ganddwy'n ganddwy'n ganddwych ei chyfodwch ar y ffarn, ond ni'n ganddwy'n ganddwy'n ganddwy'n ganddwy'n ganddwy'n ganddwych ar y ffarn o gilyddol ar y ffarn. ond rhai o gweithio'r allan. Ond mor hwn wedi gweithio'r relasiad a hwn i'r llwyddaeth yna ar y ddweud. Acbeniaid yn y bydd y ffordd o'r host ar y bydd dziwethaf ar y gael o d precisoiaid. Felly, ydych yn gyfwku i wedi gweld y gymdeithas oedd ar gyfrifio'r artist ar gweithio yw ddechrau'r gwaith, a'r gwaith o hyd i'r ddechrau, that the audiences communicate with their audiences. One of the things that I think about crowdfunding, which I brought over from when I was working as a producer, and what I learnt from what I used to work with Artichoke, which is, did the Gormie plinth project of the elephant, and one of the big things I believe about crowdfunding is that it's not just about the money. So, I think people have sort of gone, Okay, there's crowdfunding platforms, this is how we can access money, this is how we solve the problems of funding cuts in the arts. Crowdfunding isn't just about money. It's about providing a way for you, as artists, to communicate your ideas, market your ideas, right from the start. So when you conceive of an idea, what I think needs to happen is there are three strands, and what often happens with the arts is you have an idea, a dwi'n gwybod phobl yma'n gwybod yma'r idea ac dwi'n gwybod gwneud o'n ymdilydd yma'n ddysgu'r idea. Ond dyna'r ffodol gwybod yw y cyffredin a gwybod i'r ddeueth yn dwi'n gwybod i'n gwybod i'r ddweud yma'r idea. I'n dweud i'n dweud i'n ddweud i'r idea. Felly yna'n ddiwedd i'n dduodd, rhaid i'r idea fydd yma, yna dwi'n gwybod i'n ddweud i'r ddweud i'r ddeuedd, How do I make people as excited about my idea? And who am I talking to? And who is my audience? And why are they going to give me something back for that? And then you need to think about what tools you're going to use to communicate it. And crowdfunding platforms, and we did this, for example, provide a platform for you to do that. It provides a series of tools. But it's no good trying to use those tools if you're not thinking about the problems you're trying to solve behind this. A gallwn cyfle i wneud i wneud am rhan o gwneud y dynol i'r prysau o'r gweithio, a'r ddweud o ddyddol. Yn y fwy yw'r gofod o cefnod o'r ddoedd, mae'r cyfeirio o ddweud o'r ddweud i'r ddechrau, dda'i'n gweithio gweithio'n gweithio'n gweithio, ddyddio'n gweithio'n gweithio. Mae'r ddweudio'n gweithio i'w ddweud i'i ddweud, ac mae'n rhaid i ddweud i'w ddweud i'w ddweud, Yn ymddangos, ydych chi'n gwybod ar hyn o gweithio'r cyffredin yn ymddangos? Yn gyfnod, yna fyddai gael 10000 pwn o'r gweithio ydych chi'n gweithio, yma yng nghymru o phobl yma yma eich 10000 pwn o'r ardych chi'n gweithio. Mae'r cyfrifiad o'r ffrif meddwl o'r 1,000 o'r 1,000 o'r 1,000 o'r 1,000 o'r 1,000. Rwy'n gweithio, mae'n gofio'n cyfarifio. Yn ymdangos, mae'n gweithio ar y cyfrifiad ar y gweithi, sy'n gweithio i mi ddweud ac rwyf wedi gwneud wybod ac rwyf wedi gwneud chi dwy negesiad. Mae'r bwysig heatingr am ystod pan yw'r iawn ar ei ddisgol. Mae gennych y gwaith ym mhob a'r wahanol yn ysgrifennu i'r fawr. Mae'n gallu gwahanol mae'r cwmfaen â'r cwmfaen mae'n gallu gwahanol mae'n gallu rhoi arwain mae'n gallu gwnaeth o'r ysgrifennu. Ac mae'n gallu wneud mae'n gallu gwahanol mae'n gallu gwneud A dwi eich bod yn ddiddordeb. A'r ddim yn ddiddordeb,夷 o ran oeddol, ydy'r ddu llyfr, ydy'r ddu llyfr o ddiddordeb o ddiddordeb yw hwn. Yn gyfweld, ac yn gyfweld o ddiddordeb a ddiddordeb yw'r campaign, a phobl o'r gwybod, ydy'r ddiddordeb ar gyfer, ac mae chyfoddu ddim yn gwybod i'r ddiddordeb. Ac mae'n gwybod i ddiddordeb yn gwybod i ddiddordeb. Wel i ddiddordeb o'r ddiddordeb, mae'n cael ei ddwy'r informau yna i'ch ganddurwch maes ddwy'r ddwyf yn ddwy, mae'n cael ei ddwy i'ch ganddurwch ar ddwyf yn bodai, ac ar y ddwy'r ddwyf yn fach yn gweithio. Felly, dwi'n rhoi 100 o'r pobl. Rwy'n reddwech chi'n ddwyf, a dwi'n rhan o hyd oedd yn fawr. Rydyn ni'n ddwy iawn i ddwyf yn gweithio ar gyfer y bafnodau. Rydyn ni'n ddwy iawn i ddwy, Gwyddo ddweud yr R&D, ddweud ddweud ddweud. Rwyf yn fawr, dwy'r fawr ddweud, mae'n fawr i chi ddweud, dwi'n amlant i gael. Dwi'n aelod i gael, gallwn gwneud hynny. Dwi'n ddweud yn fawr o ddwy, gallwch gweithio'n cyfodd o'r chef. Dwi'n ddweud i'ch fawr i gael, mae'n ddweud i'r artist. Yn yw'r cyffredin nhw'n ychydig y ddweud. Felly, o'n fawr, mae'n dweud y gweithio'r fawr yn yw'r own awg. Felly mae'n dweud cyhoeddwyd yn amwbwg a phwysigwch ar y gweithio. Felly, yw'r gweithio, mae'n gweithio'r gweithio'n amlwg i fathio, ac mae'n dweud ei gweithio'n gweithio'n gweithio'r gweithio. Mae'n dweud i geithio'r prosesio. Mae yw'n dweud hynny yn y drafod y gweithio'r gweithio'n gweithio'n gweithio'n gweithio. Mae'n cyfniodd yn yw amdweithio'n cyfnodiol, yn rhan o'r llwydon, oeddoedd yn gwybod y ffynol, mae'n cyfnodi ar y sefyddo. Mae'n cyfnodi, mae'n cyfnodi, mae'n cyfnodi. Mae'n ceisio'n gweithio. Mae'r cyfnodi erbyn i chi oedd, mae'n meddwl yng Nghymru, mae'n meddwl yng Nghymru, mae'n meddwl yng Nghymru, mae'n meddwl yng nghymru i chi i chi yn ddwyf, a'r meddwl ynghymru i chi'n meddwl hwn. byddwyd yn ymgyrch. Felly, yw'r ysgol yw'r ffordd yw'r company mewn theatre yn ei wneud yw'r rhaid peth o'r awdurdodau ond fod yn ymmerfynol, o'r ddaeth yw yw'r cyffredin hwnnw o'r adeiladau ac yn ymdweud ar hyn, yw'r cyffredin hwnnw, felly mae'r oedd yn gweithio'r diwelog yn ysgol yw'r adeiladau yw'r ymdyniad yw'r ysgol yn gweithio a gyd-diamol i'r argyfwngu o'r gwirdd yma'r ysgol i gael y gawr yma erbyn y byddai'r cyffredin. Ond, llwyddiad hyn yn ei wneud, maeth weithio'r grennu na ddefnyddio yn fwy hwnnw gan grwp ymlaen i gael ymddangos gyfaint ac rwy'n cael cyfrifatau beth efo'r cyfrifatau ac mae'r mwyaf i gweithio i'r gyfrifatau ar mwyiyngraedd Knick Hunt, gan gydag ei hynny o'r ysgrifennu I'll report that poem once that he had seen… …and it had been written for the 16th century… …about this journey across Europe… …and he was going to go on this journey himself… …and he was going to rewrite this piece. But from today's point of view. He raised over £1000 on what he did this. He exceeded his target. His offer of rewards was postcards. mae'n gwybod i'r gweinwys hi'n gwybod y ddigonol yng Nghymru efallai, ond mae'r ddigonol y gallu ddweud cyfle yn unig oherwydd iawn o'r wrthyn nhw'n gwybod i'w fath o'r ffordd. Mae'r ddigonol bydd wedi'u gwneud o'r fath o'r cyffredin yn oed byd a'r hyn sy'n i'n gweithio'r cyffredin o'r Eurahol. Mae'r cyffredin i'w gweithio i'n gweithio i'n gweithio i'r cyffredin, ac mae'n dweud yn cael ei wneud erioed, y dyfodol o'r postgarn yn cael ei hwnnw. Felly, y cofnod yw'r rhaid drwy'r gweithio ar gyfer gyda'r company clasklop. Byddwn yn cael eu rhaid i'r projectol i gynnwys ymddangos ymddangos. Mae'n gweithio ymddangos, mae'n gweithio 10,000. Ond yna, mae'n gweithio, mae'n gweithio, mae'n gweithio i'r pryd yn gweithio i'r operau a rhaid i'r ffordd. A gweithio'r rhaid i'r rhaid. I'r ddigitellaeth pod wedi'u sy'n un isad tyfnol. But it's quite hard to think about how someone could participate in that. And what they did was they offered a bar of the music for Ten Pounds. You could sponsor a bar of the music. And if you sponsored a bar of this music, you just signed into your email and it played it to you. Or it played a series of bars, and people became really really excited by this. So the reason I'm talking about this is for me Yna, y platform digital, y gynlluniau sy'n cymryd o'r platformau o'r ymddiadau, mae'n ni'n gwybod ychydig o'r cyfnodau cymryd. Yn y byddwn i'n gweithio y website ar y bach yma, mae'n gallu rydyn ni, mae'n mynd i'n gweithio'r cyfnodau. Mae'n mynd i'n gallu'n gweithio'r cyfnodau i'n gweithio'r cyfnodau i'n gweithio'r cyfnodau. I'm not advocating putting everything online, but what I see is that you can use crowdfunding platforms as a tool to access your audiences. Another thing you can do is you can look at what I think, do it using a crowdfunding platform enables you to do so. The way it works is just to sort of, if you would put a project up, you have your project pitch up there which forces you to think about 200 words of how you're going to say to someone who's never heard of your idea, get excited about this. You then make a short film which again says this is why you should be excited, this is what we're trying to do, this is how much money. You come up with a series of rewards, but you also would have kind of Twitter so you're communicating with your audiences through that. You'll have your Facebook, you'll be using all those communication tools that everyone's probably using now. But what it forces you to do is to think about your project and think who is my audience in this situation and maybe you want a new audience. So Orchestra Age of Enlightenment did a project with us and they wanted to start doing classical gigs in pubs and they were looking at how they could actually take this very traditional form of music out into a much more public space and actually get people behind it and excited about it. So one of the things they were looking at was of course you have to access your existing audiences. You're not going to get 100 random people who've never heard of you funding you if you are on zero when you start. You need to get your friends, families, greatest fans to put a bit of money in there first. But you can also start to think about, OK, I want to build a younger audience or I want to build an audience in this area of the country and you can then target via these rewards, target by what you're offering those people and then start talking about it. I also recently was speaking somewhere and someone had said before I was speaking, a crowdfunding is just a version of shaking a tin outside a tube station. They put the money in, they go away and that's the end of it. And I wanted to stand up and scream because it's all about thinking about how you sustain these relationships and how you build on it and that is down to the artists and the organisation themselves. And I do think that what we need to start doing is we need to start thinking about where our money comes from and why people fund. So it's no good saying, you know, there's been all these funding cuts and we can't get any money anymore. It's a complete pain but it's fact and it's about thinking about, OK, well how can we build relationships of people where they will keep coming back and how can we show people why making art costs money and what can we offer them and how can we bring them into that because people aren't just going to keep handing over money unless they feel that they're involved or they're being enriched by it. And I think that it's about crowdfunding provides almost a structure or a strategy for you to use or to then form a campaign around how to do this. So, and I also think the other really important thing about it which I have touched on already is about is evidencing want and need. So it's really, really, you know, when we all fill in applications, when people fill in applications for the Arts Council or for public funding bodies, they say to them, can you, you know, we all have to evidence want and need of our projects before we've done them, this is almost impossible to do and we all kind of sort of fudge that section of the application form. What crowdfunding does is it provides you with an answer to that as well, you know, and we are talking to Arts Council and other public funding bodies about how actually it can form part of an overall fundraising strategy. It can form part of a, you know, a longer term thing. If you can only get a thousand pounds from it, what can you then, who can you find to match fund if you can reach that? Who can you appeal to beyond that? So you can think it's not the kind of solution on its own necessarily either. The other thing is that micro philanthropy and where micro philanthropy is going, I have recently, we did this as I say, has merged with people fund it. And we've done that because we recognise that people fund it. It's run by, you know, it's Keogh films, it's Hugh Fernley Whittingstall, they have an enormous network of people behind them, they have an enormous audience and it made much more sense to us to merge with them. And we're still on the steering committee, we're still on the board and we're still helping money, but because they have that audience and the hardest thing about crowdfunding platforms is finding a way to scale. And it's all about the numbers and, you know, yet you look at Kickstarter in the States and it's huge and it works, but their whole mentality towards philanthropy is different from ours. It is a completely different thing and we need to start, I mean, whether you like it or not, the UK and Europe's got to start thinking about this kind of individual micro philanthropy idea a bit more and this idea that everyone can be a philanthropist. And I think so what I'm now moving into is looking actually at going and talking to people, talking to artists on the ground, talking to communities about how they can collaborate with one another, how they can engage their audiences, what techniques and tools they can use to use these platforms and to start looking at new ways of building these networks because I think there is a gap and I think that there's this danger with the digital where we kind of assume, okay, right, we've created this platform, this app, whatever it is, that solves the problem, but I completely understandably, people don't instinctively know how to use this stuff or how best to benefit from it. And so I think it is really important to remember that when you're looking at what digital tools you're going to use, thinking about why you're using them, who's using them and the benefits you want from them and making sure that you've got a really clear sense of that and making sure your audience has a really clear sense of that as well rather than assuming they're the solution, which is what Jane touched on as well. So yeah, I'm getting that signed, so I'm going to wind up and do just ask questions because there's lots that I've left out.