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!’
Today, Friday 21st October, marks Apple Day in the UK. We at the Robert Burns Birthplace Museum have been lucky enough this year to open an orchard consisting of 39 trees in the smallholding beside Burns Cottage. The orchard has 28 different varieties of tree, many of which are Scottish in origin, and we are grateful to the organisation ‘Scottish Fruit Trees’ who supplied us with them, as well as advising us on their selection.
In 1756, William Burnes (Robert’s father), took lease of the 7 acres of land around Burns Cottage. The following year, he built the first two rooms of what went on to become the four roomed Cottage that we know today, but it was always his plan to create a market garden on his land – he called this the ‘New Gardens’ project. Burnes was an ‘improver’ and sought new ways of doing things, evident in both his building of Burns Cottage and in his plans for the smallholding. As well as his own land, he worked as a gardener for a John Crawford at Doonside House in Alloway, and had previously been involved in the landscaping of Edinburgh’s Hope Park – now the Meadows.
Unfortunately for William, his New Gardens project did not prosper. Today, over 250 years later, the National Trust for Scotland is trying to recreate some of his ideas, starting with the orchard which was officially opened in July this year.
The national celebration of Apple Day was launched in 1983 by Common Ground, intended to raise awareness of the biodiversity and ecology that we are in danger of losing. Over the years, events celebrating apple day have increased, and have grown in scope – for example encouraging people towards healthy eating. As a lover of nature, Robert Burns would no doubt have been delighted to see his father’s project taken forward, and would have enjoyed watching the trees in our orchard grow year by year. We’ve already been able to watch our trees grow nicely over the last 3 months, and are looking forward to future opportunities to make more of our smallholding here at Burns Cottage!
We hope wherever you are today you’re able to celebrate Apple Day one way or another – why not let us know what you’re doing or send us some pictures?
Earlier this year, two students from the Scottish literature department at Glasgow Uni joined us on a month long placement as part of their degree. This is the first in a series of four blog posts they wrote between them on elements of the exhibition they found significant.
During his lifetime, Burns was inspired by many different things, but one of the most significant aspects – which gave him plenty of creative fodder to chew on – was the oppressive control the Scottish Presbyterian Church held over not only the people within his own locality, who provided his primary concern, but the entire nation. In its ‘A Cauld Kirk’ section, the museum chooses poems which reflect this: ‘Holy Willie’s Prayer’, ‘The Holy Fair’, and ‘The Holy Tulzie’. Burns’s religious satire is a rich source for one who wishes to observe the religious climate of the late eighteenth century, and so we must recognise that our present-day attitudes towards Burns’s contemporary Kirk have probably been largely shaped by his poetry. However, Burns’s religion has often been misunderstood by readers and critics alike – Burns was not an enemy of religion, nor a pious Presbyterian, but we can be sure from his satire that he hated religious hypocrisy. Around the time Burns was writing, a rift was beginning to appear within the Church of Scotland. There appeared two branches of Presbyterianism – the ‘Auld Lichts’ who represented a more severe and unforgiving form of Presbyterianism, Calvinism, which involved fire and brimstone sermons and the idea of predestination which Burns so despised. The ‘New Lichts’, with whom Burns shared sentiments and could really get behind, represented a more moderate form of Presbyterianism which sought to put more emphasis on morality and the human aspects of religion, rather than just being blindly faithful.
It cannot be denied that Burns’s religious satire is an attack on the ‘Auld Lichts’. Ever since the Reformation, individual Kirks within small communities held supposedly God-given authority over their people – and they ruled by fear. To illustrate this, the museum allows you to put yourself in Burns’s riding boots by taking a seat on the ‘cutty-stool’ or ‘creepie-chair’, situated in front of the pulpit and therefore the entire congregation. This chair is not dissimilar to the naughty-step your parents might have chastised you on, and in it Burns would have sat and been told off in front of his family and good friends, as well as he entire village of Mauchline, and this did not sit well with him at all. Burns willingly sat in similar sermons all over the country – he was a ‘sermon-taster’ – but it was his experiences within the Mauchline Kirk which inspired poems such as ‘Holy Willie’s Prayer’ and ‘The Holy Fair’. However, the museum does acknowledge the fact that Burns’s religious allegiances were not as clear cut as they may appear in his satirical poetry by recognising his relationship with ‘Auld Licht’ minister William Dalrymple, whom Burns admired and respected for his liberal views – it is well known that Burns was a man of many contradictions.
Hanging in the ‘A Cauld Kirk’ section is Alexander Carse’s painting ‘The Mauchline Holy Fair’, a depiction of the twice-yearly gathering described in ‘The Holy Fair’. If you look carefully at it you might notice a character resembling Burns, sporting a rather mischievous smile, walking alongside the bright and beautiful personification of Fun, closely followed by the dark, grim, Calvinist-type women representing Superstition and Hypocrisy. Mauchline Kirk is painted at the left, the pub on the right, and between them the village community, caught up in a kind of moral tug-of-war. Carse depicts the villagers as Burns would have recognised them, as individuals caught up on the tension between religion and traditional culture. This moral tug-of-war was about deciding whether to embrace their freedom – drink, chat, eat, and flirt until there heart was content – or to behave themselves and not risk public condemnation in the sermon. We see now that these people lived in constant fear of the Kirk and its authority – one foot out of place was all it took. Burns was a fond observer of human nature and he recognised that in order to be reformed, the Kirk must take moral weakness and human frailty into account.
This exhibit is only a small sample of what Burns’s moderate Presbyterianism and relationship with the Kirk has inspired, and it is important we remember the unjust Kirk practices that inspired Burns to write, so that people never have to live in fear of being ‘only human’ again.
By Kirsty MacQueen
Over the past two years the Robert Burns Birthplace Museum has benefited from generous grants from Museums and Galleries Scotland to enhance the grounds and entrance to the museum with three high quality art and craft commissions.
In 2015 a national call for entries for a new sculpture about or related to Robert Burns to be sited on Poet’s Path. This would be the newest addition to an evolving sculpture garden devoted to Burns.
Scottish sculptor Jake Harvey http://www.artfirst.co.uk/jake_harvey/biography.html won the commission with his modernist, minimalist sculpture of a haggis carved from two types of British granite.
In 2016 there was another open commission to create a mural in the entry foyer above the admissions desk. This commission also attracted many high quality submissions won by Glasgow based duo Little Book Transfers http://www.littlebooktransfers.co.uk/ LBT have painted many large, murals around Scotland for both a public and private clients.
The brief was to create a mural of images based on objects from the collection as a way to encourage visits into the museum. Perched high on scaffolding during open hours LBT painted a dynamic, graphic mural that compliments the architecture with images of star objects from the collection.
The third commission was for benches and cases in the foyer. Craftsman Willie Love from Maryhill http://makeworks.co.uk/companies/WestendCabinetmaker/ created hand-made unique cases and benches from oak. The sleek slat benches echo traditional rail station benches with a contemporary twist. The two museum quality cases combine Victorian and modernist styles with museum quality glass ‘cells’ that use the best archival materials internally.
Like the mural this commission is intended to whet the appetite of interest and encourage visits into the museum. A small study for a Robert Burns statue in Wyoming, a facsimile of the Kilmarnock Edition and even one of Robert Burns’s socks!
Whilst museums warmly welcome visitors who come to use their cafe and shop, the ultimate aim is to engage visitors with collections. The collection at Robert Burns Birthplace Museum, has been described as ‘Scotland’s literary crown jewels’ and has been ‘Recognised’ by the Scottish Government as being of national significance.
Despite this, in a visitor survey carried out at RBBM in March 2015, 52% of visitors were unaware of the Recognised collection yards from where they were standing. More generally, the survey also found that the building and foyer space had an identity problem: 60% of visitors did not think the building looked like a museum and there was a consensus that it did not look like a museum about Burns.
The importance of museum thresholds is an area of burgeoning research, for example Parry, Page and Mosely’s forthcoming Museum Thresholds: The Design and Media of Arrival and in pioneering initiatives such as the Transforming Thresholds project which examines liminal spaces and managing visitor needs.
The new RBBM building, designed by Simpson & Brown and opened in November 2010, has the opposite problem of many classically designed, purpose built museums. It does not look like a ‘typical’ museum, so removes a significant barrier to many ‘non visitors’, but there is not an expectation that this is a building which collects and preserves museum objects. This partially explains why there are low expectations and a low level of awareness of the collection.
In order to tackle some of these issues, a project called Recognising Burns (September 2015 – November 2016) aims to address a low awareness among visitors of there being Recognised collections of national significance within Robert Burns Birthplace Museum, and to tackle some of the wider issues about the building’s identity.
Recognising Burns, funded by Museum Galleries Scotland’s Recognition Fund, aims to tackle the low level of collections awareness in three ways:
Visibility: placing items from the Recognised collection in a public space, making the permanent and temporary exhibitions more visible (online, and by replacing solid doors separating the foyer from the exhibition area with glass doors)
Identification: a mural commissioned for the museum foyer to ‘announce’ the presence of the collection and to identify it with Robert Burns, as well as an artwork outside
Engagement: creating artefact trails from the foyer, staging a significant temporary exhibition, and encouraging greater dwell time in the foyer by installing furniture
This project aligns with two other initiatives which, subject to funding, will run parallel with Recognising Burns in addressing levels of awareness of collections and issues with the museum building’s identity: redevelopment of the museum website, and the creation of an artwork outside RBBM.
The redevelopment of the RBBM website, www.burnsmuseum.org.uk, re-launched in May 2016, had similar aims to Recognising Burns and sought to complement it. There had been a low awareness of collections on the former museum website and little interaction with artefacts. A 12 month £30,000 project, running from autumn 2015, aimed to make the collections more prominent as well as optimising the site for use on mobile devices. This project sought to raise awareness of collections of national and international significance as users cross the museum’s digital threshold.
NTS will be crowdfunding for a major artwork outside the museum to help give the building an identity. Proposals will be welcome which suggests that RBBM is a museum about Robert Burns. A crowdfunding drive will then follow to raise enough money to cover costs.
It is hoped that through improving signage and sightlines, and introducing the collection into the foyer, visitors will be more aware that the building is home to the world’s best collection of Burns treasures. A defining artwork outside the museum and work on rebranding will also go some way to priming visitors to raise their expectations and ‘think Burns’.
For more information on the Recognising Burns project, contact David Hopes on email@example.com or 01292 443700.
Recent visitors to Burns cottage may have noticed something new. Our volunteers have been spending time demonstrating different 18th Century crafts inside the cottage. These crafts are all skills women in the 18th century would have been very familiar with and it is easy to imagine Agnes Burnes (Robert Burns’ mother) toiling away at these chores over the course of the day in the cottage.
One of the crafts underway is a project to make new rag rugs for the cottage. A group of volunteers have been busy starting this process over the winter and have just begun to demonstrate their new skills to visitors.
Rag rugs were popular because they were easy to make and materials were cheap. All you need to make your own is some hessian and lots of scrap material. Our volunteers started with a large hessian lining which would make up the back of the rug. Their first task was to draw a border which they wanted to fill with black material. Using old clothes kindly donated to us, our volunteers cut the material into strips to add to the rug.
The process is very simple: the material is simply pushed through the hessian using wooden pegs and because the material is tightly packed together it will stay in place.
The volunteers have now finished the black border and have been adding the colourful material to the centre of the rug. The material used for the rugs needs to be quite hard wearing and wool cloth is best; this makes the rugs heavy and warm.
The rag rug team will be demonstrating their crafts on Monday afternoon and we recommend popping in to watch them in action!