Month: December 2016
The final blog post in our series written by two placement students from Glasgow University is on the Beggar’s Badge in the museum.
It doesn’t matter who you are, where you live or what you do for a living: you will have come across beggars in some context. Whether that experience is witnessing people begging on the streets of a busy city, or being approached by someone asking for money on public transport, begging is one of the few features which appears to be current in most cultures. Tolerated in some countries, looked down on in others; the presence of begging appears to be both a problem for society and a means of survival for individuals. With the high population of beggars seen today in streets all over the world, it is easy to justify not financially helping individuals due to the overwhelming size of the community. However, perhaps it is time we stopped looking for change in our wallets and purses and instead look at the change we can spare from ourselves.
The beggar’s badge on display in the Robert Burns Birthplace Museum only emphasizes how constant this problem is in society, and the different attempts that have been made to ‘fix’, or at least control, it. It seems quite bewildering that we have managed to go for so many centuries, with no success of fixing this issue. But how can it be fixed?! Alongside the badge in the museum is an edition of The Big Issue, a modern-day scheme which provides a ‘hands-up’ approach to aid solving the problem, giving people in hopeless positions an opportunity to find hope through their own actions. With these items paired together in the museum, the timelessness of the problem of urban poverty and homelessness becomes even more prominent. Though the modern-day scheme of The Big Issue magazine, the people in these vulnerable life-states are empowered, there is still a separation in the wider community today. In all these attempts to tackle the ‘big issue’ are we really just avoiding the issue at the core of the problem? Perhaps the issue is not the presence of beggars on the street, but instead our attitudes towards them?
Today, attitudes toward beggars are not what most people would describe as positive. Often avoided and ignored, those sitting on the street asking for help are subject to both financial and social poverty, in the lack of acknowledgement they are given. Here in the UK street begging is illegal, making it not only socially frowned upon but lawfully as well.
With this in mind, it seems that Burns’s poem ‘The Jolly Beggars’ challenges this view today. It not only goes so far as to acknowledge this community of people, but also to romanticize their situation and their ‘freedom’ from responsibility. How different this view of the homeless is from the one displayed today. Though Burns is obviously not representing the views of his community through this poem, he is providing a new take on the begging community that has for so long been looked down on in so many different cultures. In a documentary by Power and People, Barnaby Phillips investigates the differences that begging has on the culture in Sweden and in the Philippines. At the end of this 30 minute film, Phillips states that despite the differences in how the issue is handled in both countries, the common denominator of both cultures is the ‘growing gap between the rich and poor’ in society. So, if the real issue is the class divide in our society, is this not something that we have the power to improve? Or are we all out of spare change?
By Kathryn Thompson
Visitors to the museum lately can hardly help but have noticed our latest temporary exhibition – ‘Witches’ Brouhaha Spooks and Spells’ by Sharmanka Kinetic Theatre. Sharmanka, which is the Russian word for ‘Barrel-Organ’, is a collaboration between sculptor-mechanic Eduard Bersudsky, theatre director Tatyana Jakovskaya, and light and sound designer Sergey Jakovsky. You can see more of their work at Trongate 103 in the centre of Glasgow.
The exhibition consists of five ‘Kinemats’, or motorised machine sculptures – carved figures and pieces of old scrap which perform an incredible choreography to haunting music and synchronized light. One is themed on Burns’s famous poem ‘Tam o’ Shanter’ and the other four are all themed on witches, giving the whole exhibition a Burnsian feel. Due to the nature of the exhibition, shows are timed throughout the day and are introduced by our hard-working volunteers, but the exhibition is open for viewing the sculptures between shows as well. It runs until February 28th and is free! Why not pop down and see it one day and bring the family? Shows last approximately ten minutes.
Alongside the exhibition itself, our new Scots Scriever (poet in residence) Rab Wilson has written a fantastic poem in Scots to compliment the show:
Professor Sharmanka’s Magick Sheddae Schaw
Wheesht! Whit’s gaun oan in the Burns Museum,
In the howe-dumb-deid o the wee sma hours,
Thair’s eldritch whigmaleeries cam alive,
Tae fleg the weans oan this All-Hallow’s Eve!
Professor Sharmanka’s traivellin schaw,
Trundles ower the Brig O’Doon’s auld keystane,
An frae his cairpet-bag cam’s crawlin oot,
A damned menagerie o infernal craiturs!
Whan nae-yin is abraid they tak their post,
Heizin scrap-yaird treasuirs intil place,
Bits o cast-iron Singer shewin machines,
A pair o auld pram wheels, a lavvie cistern.
The doors frae a bracken doll’s hoose kythe,
Blinkin de’ils Hieronymous Bosch wid ken,
Biggin their Heath Robinson contraptions,
Ilk beam an ratchet fixed, when naethin steers.
Uncanny bears an wolves an burly bulls,
Rax an jundy, streetch an rax an puhl,
Wi aa their micht an main, wi sweit an thew,
Til evri gear an wheel an pinion’s fixt.
Sharmanka taks his concert-maister’s place,
Syne shoogles his sauch wan an gies a tap,
Ilk craitur in their place taks tentie care,
An then a kist o whustles girns tae life!
Rid lichts lowe oot, glentin lik damnation,
The eerie music rises tae its pitch,
The strainin chains growe taut, the gear-wheels catch,
An syne the hale clanjamfrie jyne the dance!
Sharmanka’s airm flails lik a Tattie-Bogle,
Claucht in some back-end November storm,
Whiles oan their heich trapeze the ferlies birl,
The Tod an Yowe, a Bear wi bairn in airms,
Lood an looder screichs the Deevils score,
The hale queer unco’s gaun lik a fair!
The ragged Gaberlunzie’s Hurdy-gurdy,
Adds its timmer-tuned vyce tae the choir.
Chained in their wee bit hoosie, backs tae the licht,
The ‘Children o the Daurk’ jalouse frae sheddaes,
The warld they ken frae saicent-haund daylicht;
Cantrips dancin oan the wa afore thaim.
An aa the hoose around is sleepin soundly,
Anely a doverin Houlet blinks an ee,
Douce fowk o Ayr! Gin anely ye cuid see!
Sharmanka’s diabolical Kinetics!
When aa a suddent, chanticleer dis craw,
The dancin stoaps an lichts aa fade awa,
Sharmanka pynts his wan i the risin sun,
The Houlet shaks his feathers, aa’s gaen lown.
The Gallery door’s flang apen tae the public,
A mither wi her twa bit bairns gangs furth,
The auldest lassie rugs her mither’s sleevie,
‘Mammy, mammy! Thon bear winkt its ee!’