The Scottish Arts and Humanities Alliance (SAHA) is a joint initiative of eleven Scottish Higher Education institutions, the Royal Society of Edinburgh and the Scottish Graduate School for Arts & Humanities. It was established to give a public and collective voice to the Arts and Humanities in the context of Higher Education and will also make connections as appropriate with work at a UK level to promote the value of SHAPE (social sciences, humanities and the arts for people, the economy and the environment).
This new Alliance is designed to widely promote the contribution of our disciplines to positive change in society, to economic progress and to cultural understanding.
We envisage a reflective alliance that sets agendas and responds to current concerns; we see it as an interdisciplinary and capability-building organisation that will launch new initiatives and engage with policymakers and the general public openly and collaboratively, via an active and inclusive work programme.
The Alliance has the following remit:
- To be a united, public voice on matters relating to the arts and humanities in Scotland;
- To advocate for the arts and humanities, enhancing understanding of their intellectual, creative, and social as well as economic, contribution to the wellbeing and advancement of Scottish society;
- To influence government policy on current higher education issues relating to the arts and humanities, giving a Scottish perspective, but also speaking to wider debates;
- To create, foster and enhance links and partnerships between scholars and local communities and communities of practice;
- To disseminate its work in the media, in government and within the education sector.
Areas of strategic priority
The Alliance will seek to contribute to a wide range of areas through a variety of means (e.g. podcasts, blogs, short videos, advice papers). Initial areas for in-depth attention include:
- Climate change;
- Education policy;
- Post-Covid-19 society;
- Digital and cultural economy.
Membership and governance
- All Scottish HEIs are invited to become members of the Alliance;
- A Steering Committee comprising representatives from contributing organisations determines the strategic direction and activity of the Alliance.
SAHA was established in 2019 to give a public and collective voice to the arts and humanities in the context of Higher Education.
Scotland has a rich arts and humanities heritage and an impressive history of arts and humanities education. We believe that the arts and humanities are a public good with a central role to play in meeting the challenges of contemporary society. They help individuals and society by shaping our cultural, political and inner lives, equipping us with the critical skills to engage with a changing social and geopolitical landscape, helping us to identify and learn from the patterns of the past and to imagine new ways forward. The arts and humanities are, therefore, a necessary part of 21st-century debates on issues such as climate change, wellbeing, diversity and shaping a post-Covid-19 future. SAHA is uniquely positioned to give voice to the value and diversity of Arts and Humanities education in Scotland and to foster further collaboration across and beyond institutions in order to provide a coherent perspective on the challenges facing Scottish society. SAHA can also help to promote the value of SHAPE (social sciences, humanities and the arts for people, the economy and the environment), within a broader UK context.
The Alliance aims to enhance public and governmental understanding of the intellectual, creative and social, as well as economic, contribution of the arts and humanities to the well-being and advancement of Scottish society. It provides a forum for debating and collaborating on current and future challenges, for united attempts to influence government education policy, and for public advocacy and celebration of the arts and humanities in a specifically Scottish context. It engages with stakeholders within the educational, cultural and civil sectors and delivers a coordinated arts and humanities standpoint on issues relating to education and research in Scotland and beyond.
Co-Chairs of the Scottish Arts and Humanities Alliance
Professor Murray Pittock – University of Glasgow
Professor Catherine O’Leary – University of St Andrews
SAHA Policy and Communications Officer
Royal Society of Edinburgh
University of Aberdeen
University of Dundee
University of Edinburgh
University of Glasgow
University of the Highlands and Islands
Queen Margaret University
Royal Conservatoire of Scotland
Scottish Graduate School for the Arts and Humanities
University of St Andrews
University of Stirling
University of Strathclyde
For further information about the work of the Scottish Arts and Humanities Alliance, please contact Dr Cristina Clopot.
We continue our podcast series with a conversation with Dr Bridget McConnell. Dr Bridget McConnell CBE FRSE has a track record of achievement in the cultural and sport sector. She has been Chief Executive of Glasgow Life since 2007 where she leads a team of over 2,500 people. During her time there, she has overseen the development of the Zaha Hadid-designed Riverside Museum, which won the 2013 European Museum of the Year; the Emirates Area; and Sir Hoy Velodrome. She was a member of the 2014 Commonwealth Games bid team and organising committee. In 2015 Bridget was awarded a CBE in the New Year Honours for Services to Culture. Bridget has links with several SAHA member institutions. An alumna of the University of St Andrews and the University of Stirlling, Bridget was also awarded honorary doctorates from the Universities of St Andrews, Aberdeen, Glasgow and The Royal Conservatoire of Scotland. She is also a fellow of the Royal Society of Edinburgh. Our SAHA Conversation focuses on arts and culture and Bridget reflects on her career trajectory and the importance of culture to support our post-Covid recovery.
Listen to the podcast here.
Resources mentioned in the episode:
COP26 – event held in Glasgow 31 Oct to 12 November 2021
[00:01:56] Cristina: Hello, and thank you for joining us today, Bridget. You have a distinguished record of work in arts and culture in Scotland. Could you please tell our listeners a little bit more about your career trajectory and how this has intersected with your studies?
[00:02:15] Bridget: Yes. Well, good morning to you, Cristina and I’m really delighted to be part of this podcast. This is a subject very close to my heart and in terms of my career and my studies they have very much been intertwined, for as long back as I can remember, I would say right back to my school days. I have been engaged in the arts in particular since I was a child, not just the usual painting and drawing, but I went to music and piano lessons from a very young age, was junior student at the Royal Academy of Music and Drama, as it was then, now the Royal Conservatoire of Scotland.
And I was just passionate about literature, about music, about painting and learning. My appetite was almost insatiable and it therefore was not a surprise, I think to anyone, least of all me that when I went to university I was looking at art arts courses, doing English, fine arts, music and basically my career once I left university, that was, was basically about how can I work in the arts. And there’s a bit of similarity with the current predicament that we are in post-COVID, because certainly in the early 1980s, the economy was in a very bad place in the country. And at that time, a job in the arts seemed both to many like a luxury and really difficult to achieve. But I was really determined that was where I wanted to be. I thought seriously at that point about doing post-graduate studies, but I instead went on and did a postgraduate qualification in administration. Interestingly, the careers advice I had at that time, I was at university in St Andrews, was that if I wanted to work in the arts I needed to go to London. And as I was the mother of a small child at that point, that did not appeal at all. So I felt if I could do an administrative course and learn the basic business skills and focus what was my practical part of that diploma on arts administration, it would put me in a very good place, I hoped, and get a job.
And I should say at that point, and this is really a message for young people in the arts who are feeling very deflated, applying for many jobs at the moment. I think then, I actually applied, I think I gave up counting after 40, 40 jobs. And finally I did get one. First of all started off working part-time teaching piano and arts appreciation at a community art centre in Dundee but then got my first full time job through a scheme that the government had created to try and tackle the significant unemployment at the time. It was through what was called the Manpower Services Commission, and I became the first curator of a traveling art gallery in a local authority in Scotland.
[00:05:20] And it was – a dream job doesn’t begin to describe it – it was a blank canvas in terms of what I could do and what it would actually achieve. And that was wonderful. And I think for me, that has been one of the amazing things about every job I’ve held in the arts since that that there has in many senses, even though there have been physical things like buildings and a mobile art gallery, et cetera, it’s still has been that ability to shape and influence in partnership with some amazing people. I have worked with incredible number of people and I should see right at the outset nothing I have achieved has been possible without the efforts and brilliance and imagination for whole lot of others. So anyhow, every job, although my job now covers sports and tourism, every job I’ve been involved in since leaving university has had at its core arts and culture.
[00:06:19] And for me, one of the big things in all of this is I have never lost my, some people think it’s a bit strange, almost insatiable desire as well to keep learning, because I think for many of us, I think particularly women in any job, feel a bit of an imposter and I just always felt and still feel, I don’t know enough. I don’t know all the answers for sure. And never will and therefore research, and I loved studying again, people find that a bit strange, you know, I did two post-graduate degrees, a master of education, done the doctorate both concerned with cultural policy. I did, both of those part-time when I was working full time. But I loved it. And that’s not to say that there weren’t moments in doing those studies and research projects that weren’t really difficult, but I still loved it. I loved that capacity to learn more, to explore, to ask questions and to work with amazing supervisors as well, who really helped me think right out of the box, I know that’s a cliché, but they are so important. That’s why I feel strongly that universities and practitioners like me have to be linked in many ways, because we don’t know the answers. And only through research and new insights and real thoughtfulness and reflection can we come to the new ways forward and solutions many of which have not been imagined yet. That’s the only way we can do it. You can’t just be in a job and keep doing the same old things. You have to keep questioning, keep being inquisitive and curious, and keep seeking for new answers to what often are perceived as intractable problems. So I hope you can tell, I am passionate about not just the work that I do, but passionate too, about the role of education and intellectual pursuits and study alongside it. I hope that’s a very long answer to your question, Cristina, apologies.
[00:08:37] Cristina: No, that was great. It was amazing to hear this and of course, we’re going to cover some of these issues as we discuss further. I wanted to probe a little bit more in the academic part and ask you if there are particular experiences or learnings that have stayed with you.
[00:08:57] Bridget: So in terms of particular experiences and learnings, I think what has been really important for me has to be being exposed and connected with people from other disciplines. I love, I mean, I remember doing my first dissertation on Russian art. And I just loved the sheer intellectual pleasure of exploring all of that. But actually when I took up employment in culture and the arts, my real thirst was to widen the opportunities for people to experience what I had had the pleasure to experience through school, through higher education and of course through my work. And what became very clear was that for too many people, and I think it’s still the case and increasingly the case post-pandemic now that many people feel excluded and that arts and culture are still difficult for them to engage with and that is despite massive developments in the school curriculum. Lots and lots of work done about widening access, but I think we still have real fundamental issues around opportunity and access.
[00:10:22] And for me, working with others who had that same agenda and particularly people in more recently, the areas of health, and understanding some of the societal and the health issues affecting people’s engagement with culture. So for me, one of the joys, I think I said at the beginning that the beauty of the first full-time job I had was basically being able to write the script. I think one of the joys of actually studying is that you can ask questions that can take you in directions that you had not anticipated. And that can take you into other fields of study and connections with experts in other areas who can really shape and inform what you’re doing as well. And for me, that’s been really important that it hasn’t just been a purist approach to study to, you know, working, as I said, my research was primarily concerned with cultural policy. But I think the real learnings, have been working with others who’ve been engaged in the arena of culture and public health and similar areas. So I think, again, the opportunities offered by an arts and humanities degree, really does open up all sorts of possibilities as I said can take you in directions that you might never have imagined.
[00:11:50] Cristina: Yes, I think that’s something that’s common with our interviewees on this podcast series. To move on a little bit, I wanted to ask you, you’ve been leading now Glasgow Life for quite a bit of time and looking back, maybe you could reflect a little bit on the key lessons that you’ve learned and also reflecting a little bit on what the different forms of culture can do for a city and its people.
[00:12:18] Bridget: I’ll start with that second part of your question first of all if that’s okay with you and really, to just state that it is absolutely abundantly clear from the work that I’ve been involved in that culture its different forms can be transformational for a city and for its people. And it can sound like old rhetoric or clichés, you know, it builds pride, sense of place, et cetera, but I have seen that, I have seen it in individuals, in communities and indeed the way a city like Glasgow is perceived nationally and internationally, and the way it is spoken about. Let’s not forget, you know, back in 1990, there were many who laughed and scoffed at the concept of Glasgow being a European city of culture and all my goodness it rose to the challenge then and has done despite many difficulties, rose to the challenge again and again, and it will be one of the things I have no doubt will help Glasgow recover from this current pandemic and the really dreadful population, health and economic impacts that we are really only beginning to see.
[00:13:36] So culture isn’t just a nice thing to have when times are good. It is absolutely fundamental in transforming both perceptions of the city, the life chances of people, and that sense of confidence, that sense of compassion and human engagement. And I think many of us have seen that through the pandemic. What have been the things that people now speak about as having helped them through. It’s been books, it’s been music, it’s been drama on the television. And indeed we know from the responses to the facilities that we have been able to open and services that we’ve been able to restart people have a thirst for culture, not just as a distraction from life, but something that affirms the goodness, the essential goodness of life and people. And as I say, that is what even in the bad times has always kept me going because I have always understood and experienced the joy of culture, but actually that ability of culture to make frankly life worth living.
[00:14:52] So it’s not as I have heard some people describe it as a bit of fluff or something that’s not essential. It is absolutely essential. And I’ve learned that from my work, especially in Glasgow Life. Basically some of the key lessons are that culture can transform opportunities and aspirations and just really change people’s lives. I’ve seen that, I’ve actually seen it. I’ve had people who’ve been young people in schools who’ve been inspired by a visit to a museum. I can remember when a museum resources centre, which can sound very boring as a facility, was first opened to school groups. Basically, you know, I have been able to witness young people who had never been in a museum and the head teacher, actually saying at the time that he felt really bad that because he’d been in a part of the city that wasn’t close to some of the services that he thought, you know, just wouldn’t be of interest to kids, he hadn’t taken them to a museum. But now that he had taken them to this store and seen the first-hand impact of the inspiration, he said we had young people now, and I heard these young kids saying things like: ‘I’m going to be an archaeologist when I grow up’ and another saying standing beside, I’ll always remember it, a big painting by John Byrne, it was a self portrait, saying ‘I’m going to be an artist like him’. And it really has that ability to, to inspire and really tap in to aspirations that are latent and I think, you know, for me post pandemic, the work we are doing is not peripheral. It is so important and has to come centre stage.
[00:16:50] Cristina: Yeah, definitely. And it’s, it’s lovely that image, ’cause I’ve been thinking about how many young people just don’t think of different career options just because they haven’t been exposed to the right environment or had the opportunity to learn through their studies. So you’ve kind of pre-empted a little bit something that I had planned to discuss a little bit later, but given that we’ve already touched on this, and you’ve mentioned several times the COVID crisis, I wanted to ask you have you seen it bring changes in your organization, but also maybe other organizations and do you think it will change how public institutions operate?
[00:17:36] Bridget: Well, I think the sad fact of COVID is it has had a tremendous impact in organizations like Glasgow Life, all across the country, all across the UK, in that many of our organizations depended on income streams from earned income which have more or less dried up and in somewhere like Glasgow, that is huge, earned income was around 38 million, this year we’ll be lucky if we manage to achieve somewhere between six and eight million. So it’s a huge drop. However, nonetheless, I think and this might seem counterintuitive, but we have seen in Glasgow, but in other places across the UK, public campaigns and protests about non-access to some facilities post-COVID primarily because of finances. And in many ways I see that as a real positive because people care, people want access to books. They want access to music. They want access to those things that are life affirming. So I have no doubts that people in positions like mine and elsewhere, we’ll continue to advocate. But importantly, this is coming back to the very purpose of our conversation, why the relationship with academia and researchers becomes so crucial to provide the evidence of the very, very real and now well logged and charted and evidenced information, showing that participation in culture, in sport, in events actually improves health, creates new skills and pathways to employment. That you know, you can’t deny it. So I think things will be more difficult now because the economy inevitably has been adversely affected and I’m not being Pollyanna saying everything’s wonderful and it will all be great. I’m sure it will be great eventually, but I equally have no doubts that the next few years will be really difficult for our sector.
[00:19:50] But it’s importance again, has become even more important that, that evidence and that central place that culture has in people’s lives and should have in our education system. We need to be keeping on making that case. I don’t think we’ll ever stop having to make the case to be honest, but I think the more and more voices we can have, because people want it, people need it. And yeah, I hope that that answers your question. I do think the economic impact will affect everything in our lives and I think from an arts and humanities perspective, there has been a sense that jobs and careers in technology, in engineering, in science, et cetera, are somehow more valuable. I think actually the pandemic, despite those negative impacts I’ve described have actually shown. Technology is wonderful medicine, science, all of it amazing. But actually we also need those very fundamental things that make us human and that’s what’s covered by arts and humanities and actually for the innovation and the imagination that we need to find new ways of living new jobs, et cetera, you need that. And that comes it’s at the heart of what arts and humanities are about.
[00:21:23] Cristina: I absolutely agree with you, of course. In terms of the relationship between the post-COVID recovery and the way that universities or, higher education institutions more widely, and their students can contribute. Can you think of a particular ways this can happen? Like what can the sector do to help society recover more widely?
[00:21:49] Bridget: Just about 20 years ago, I established what was then the first dedicated research team within a local authority, culture and leisure service. And since then, we’ve encouraged a number of staff to study for and gain a range of postgraduate and doctoral degrees as part of their in-post development. And, you know, I’ve already said how much I believe the only through study, analysis, reflection etc can we be hope to deliver better public services and outcomes for communities. But actually I think it’s enhancing and expanding that function because we need… What’s really crucial is that we find new ways of working together as communities. I think we’re moving away from the old sort of notions of public service provision where this body provides and the community accepts. I think we’ve got all the laws around community empowerment, et cetera. But I think we will move into a possession where that has to become more meaningful, more real.
[00:22:57] And that students, that universities, that service providers direct and those involved in policy, we’ll have to work much more closely co-producing with each other and communities. And I think the challenges are huge but I think the skills that come from doing an arts and humanities degree are central to this because we do need to now face up to the challenges that have landed as a result of COVID. People want to live differently. They want to have a deeper and more meaningful experience of life and a deeper and more meaningful connection with their local place, with their communities. But actually you know, with COP 26 coming, people are also outward looking, and that is where the wonders of technology can never be overstated. And it makes those communications much more possible in ways even just 10 years ago, we could never have imagined. So I think one of the very practical things is for organizations like us to continue to see research leading to degrees, and that will influence how universities structure the programs, maybe more part-time, more in-work placements, both for undergraduates and post-graduates. I think there’s a lot that we can do together, which will be, you know, an almost inevitable consequence of the situation we all now find ourselves in. I also think it’s really exciting. There’s so much doom and gloom, particularly around, you know, the climate predictions, the economic predictions. And I have no doubts that many of those predictions are going to come to pass. But at the same time, the amazing thing about being a human being is that capacity to re-imagine and to reach out and for me that is where the value of an arts and humanities education really comes centre stage.
[00:25:06] Cristina: I agree, sorry, I sound like a broken record I think but I absolutely agree with you’re saying. Would there be some kind of key advice that you would have for, for students that are just starting their degrees now, or they’re just finishing their arts and humanities degrees in Scotland?
[00:25:27] Bridget: For me, and some people might think is a bit of a luxury, but my advice … and I have, I have two children and four grandchildren and 21 nieces and nephews, many of whom now are at university or starting off. And my advice to them when they ask is always do what you love. It is a real opportunity to be at a university and do that undergraduate degree. And particularly in the arts and humanities, I think the skills and insights that come from doing that degree in what you love are absolutely transferable skills that will be required for the future. Because for a long time, I have been really saddened at the amount of advice that has been given to young people that says, oh, do something that’s vocational and guarantee you a job at the end of it. Yes, I understand that. Absolutely. But I do think that arts and humanities degrees can bring a way of working and thinking about the world that is going to be central to the responses we need to make to the difficulties economically, socially, that we are facing in the future.
[00:26:43] So, I guess, you know, my advice is don’t get too hung up on finding a degree that you feel can guarantee you a particular outcome because sometimes just the course of life and doing a degree means that that outcome disappears. So do what you love, gain experience there. And I do think universities and practitioner bodies like my own are increasingly working together. So do get experience where you can, do engage through your course with practitioners in the field, wherever you can. And also volunteer where can too. Again, you know, whether it’s at your local events organization or your local community group or your local library or museum. I think there are a huge benefits to be gained from that.
[00:27:39] And certainly I have found, and it’s not been through design or plan, there’s been a lot of serendipity and increasingly through life I have come more and more to trust my intuition and my gut feeling, which sometimes, you know, you think you shouldn’t. So I haven’t planned a career trajectory, but I do think those fundamental skills that you gain through your arts and humanities study really helps you navigate what can be a very complex and overwhelming world. And in terms of jobs, I believe strongly that many of the jobs that we need in the future do need those very human qualities of kindness, love, compassion, and innovation and imagination. And those are going to become so important for the future and will help shape the future of work going forward. So that is my advice. It’s not, you know, I’m not knocking anyone who wants to do a particular vocational course for a very particular outcome. I did do that after I did my first degree I did a post-graduate diploma in industrial administration by I moved it to work for me in arts and culture. So I’m not saying don’t do anything vocational, but at the same time, do not underestimate the value and power of an arts and humanities degree and its potential to take you in lots of different directions and not put you in a straight jacket of one option only.
[00:29:19] Cristina: Wonderful, Bridget, thank you very much. It’s been a very inspirational discussion to say the least and some very important lessons that we all need to consider. So thank you very much for joining us today.
[00:29:33] Bridget: Thank you. You’re very, very welcome. Thanks Cristina.
The new SAHA podcast series reflects on the contribution of arts and humanities to society. We will speak with a range of inspirational individuals who have experienced first-hand the value of arts and humanities in their lives and their careers.
Listen to the first SAHA podcast here.
Our first guest for the SAHA Conversation series is Dr Clark McGinn. Clark is a leading consultant in the global mission-critical helicopter industry, based in London but advising international clients. He was educated at the University of Glasgow, where, in addition to graduating MA (Hons) in Philosophy, he was a noted student debater, founding the World Student Debating Competition, winning the Observer Mace and selected to represent the UK in the annual ESU Debate Tour of the USA. After university, he embarked on a thirty-year career in corporate banking and capital markets in London and New York, which pivoted in 2004 into helicopters. After creating RBS’s rotary wing business, he built the Captive Dublin lessor for the largest helicopter operator (CHC) and later, the global sales and relationship team for Waypoint Leasing. He has worked as an independent subject matter expert and consultant to leading investors and operators since 2018. Clark holds the Fellowship of the Chartered Institute of Bankers. He is also known as a speaker and writer on Robert Burns, having earned his PhD from Glasgow on the history of the Burns Supper. He is currently an Honorary Research Fellow of the Centre for Robert Burns Studies and was awarded Fellowship of the University of Glasgow for his charitable support of its alumni Burns Supper programme over many years.
In this SAHA Conversation, Clark reflects on the value of an education in philosophy today and he explains how this degree has helped him in his career in the banking sector. We discuss his passion for Robert Burns also and the bard’s role in bringing people together the world over also.
Resources mentioned in this episode:
01:37 Cristina: Good morning and thank you for joining our discussion today. To start our talk today I wanted to ask you when did you decide to do an arts and humanities degree? What made you choose that particular subject?
01:59 Clark: Yeah, that’s a good question. At school, at high school, I was very much in the science stream and when I was looking to come to university my first choice was to come to Glasgow to read theoretical physics as it was called ‘natural philosophy’… and that old it was called, it wasn’t even called physics then. In the run up to coming to university in those days there was a general bursary examination that school students from all over Scotland participated in for a week in Glasgow. And one of the papers was a general paper, which had logical and philosophical questions in it, that were totally alien to the high school curriculum. And I can remember one question was ‘an irrational fear is a fear that is not rational’, ‘John fears that his fear is an irrational fear” is that rational?’ And that really caught me in philosophy cause it’s very like theoretical physics, you have to parse the strands apart. And so when I came up to university all those years ago I did natural philosophy, mathematics and – because at Glasgow, and I’m not sure if it’s still true now – but philosophy and physics could be taken either as science subjects leading to BSc or arts subjects to lead to an MA. And I took as my third subject in my first year moral philosophy and that just entranced me. The analytics of the same strength as mathematics and theoretical physics but it seemed to probe even deeper into making the brain work and making you think so I moved after my first year increasingly into philosophy and then graduated in Moral Philosophy as an MA. So that is how I got, sort of, dragged into it.
03:48 Cristina: That’s a nice way of putting that ‘dragged into it’. Looking back now how do you think your degree helped you in your career?
03:56 Clark: I think there are two things, Cristina. One, at school and at university my hobby was debating and so philosophy helped you construct arguments that analysed data to build a persuasive case. So when I was graduating, I joined Lloyds Bank on its Fast track graduate scheme and I found very quickly, if you are in the financial services world you can’t be as good a farmer as the farmer to whom you’re lending money. You can’t be as good as the shopkeeper or the post bank, ’cause they live their business every day, so the skill in banking is then to step back and analyse what the key risk elements are in that business. Sometimes the ones that the farmer won’t recognise because he or she is living in that every minute of the day and so philosophy for me … a lot of my colleagues had done economics or mathematics or law, and I found that I could ask questions in a different way that would bring us back down to the building blocks of what that business was and by taking it apart then you can build it back together again. Great fun. I think the debating element helped. Obviously, Glasgow is one of the greatest debating universities in the world. I had the great good fortune to win the British and Irish national competition with my dear friend, the late Charles Kennedy. And so the combination of being able to analyse and then being able to present came together hand in glove.
05:26 Cristina: Thank you. Would you recommend students to study philosophy today? Thinking of all you’ve said before.
05:34 Clark: Yeah. Cristina, I think it is just like mathematics, it is just a fundamental wiring of the human brain. Thinking back in my undergraduate career I knew some lawyers, I knew some scientists who’d do a philosophy course as well as a science. And I think it helps you broader the manner of thinking. And today we’re in a world where clarity of thought, you know LinkedIn, Facebook, there’s just a lot of noise out there. So I think even more than ever we really need to have the internal mechanisms inside our own minds to be able to strip away the noise and see what’s important in life. Philosophy gives that. It’s a building block for law, for jurisprudence. It’s a building block for economics, Adam Smith was a professor of moral philosophy and he invented economics. Philosophy is right at the bedrock of all human endeavour.
06:31 Cristina: It can lead in a sense to different careers, you don’t actually need to be a philosopher if you’ve studied philosophy.
06:39 Clark: That’s a very good point, I don’t know how many paid philosophers there are in England. I’ve got a feeling there’s not too many in the Times 100 rich list. But as you say it’s like linguistic skills, I think it’s part of the hard-wiring of the brain, so it adapts the way that your mind works and then, like I did in banking, you adapted to your professional needs and that helps you understand people, processes, businesses, it helps you to understand the world in a different way.
07:12 Cristina: Something that is quite special to your profile is your passion for Robert Burns. You have written several books on the subject and you gave numerous addresses on Burns Night. Can you tell us a little bit of how that interest developed?
07:31 Clark: Of course, Cristina. I born and brought up in the town of Ayr in the South West coast of Scotland where Burns was born. In fact, Robert Burns spent two weeks attending my high school, Ayr Academy, which is the oldest continuously teaching school in Scotland, it was founded in 1233. So the school was very traditional and one of the things you can imagine was round about Burns Night. So every single pupil had to learn a Burns poem or a song, and recite it or sing it. And the rules were: it should be a whole poem, if it was less than 30 lines, or you could use 30 lines from a bigger poem. Me being the apprentice philosopher I worked out very quickly that Burns wrote some four-line poems so that met the rules. The rector, the head teacher wasn’t very happy that somebody so obviously … being lazy to put it bluntly. And so for the school’s Burns supper when I was 15 he said ‘You’re going to do the address to the Haggis’. I’m going to make you learn that poem and perform it in front of the school. The next year I did the ‘Toast to Lassies’, the next year I did the ‘Immortal memory’ and in my last year I did the ‘Toast to the School’. So every year since I was 15 I’ve spoken in from one to 12 Burns supper a year and through that I’ve met many different people all modes and manners of men and women in 17 different countries, 40 cities. The Sidney Opera House was one venue I performed in. But everywhere I’ve gone people enjoy the party that is Robert Burns, the poetry, the emotion, the story that brings – again, I use philosophy to bring out themes in Robert Burns. Not just telling a story but trying to link it into what we’re feeling today. So that has been a real living part, a great honour. I worked with the Centre for Robert Burns Studies at the University of Glasgow. And in fact I did a part-time PhD on the history of the Burns supper under Professor Carruthers so it has been one of the very big strands in my life, still is.
09:43 Cristina: How has this intersected with your professional career?
09:48 Clark: That’s a great question. It really, really has. It came to a head when I was working in New York City for the Royal Bank of Scotland. RBS bought National Westminster Bank, a very big English bank, and there was a big question, how do we tell people about the Royal Bank of Scotland? Now nowadays we know that the Royal Bank of Scotland got into a lot of trouble, then it was a very different bank. And so what we resolved in doing was a Burns supper in Houston, Texas, and a St Andrews’ Night dinner in honour of Robert Burns in New York in November. And I became the RBS cultural ambassador, as well as doing my day job, and it was great fun, it was really a chance to say, this is what Scotland is about. And when you start peeling away – that was really where my interest in the history of the Burns supper came – because as early as 1812 there was a Burns supper in Baltimore, Maryland. By 1820 New Jersey and New York were having Burns suppers, Philadelphia and Boston close behind. So wherever people had an interest in humanity they found an interest in Burns’ poetry right from the time of his early death. And it’s just a great joy to feel that it wasn’t just me standing up in speaking, I’m just part of a 200 and odd-year tradition that many people, 9 million people as Murray Pittock’s research assesses, 9 million people every January celebrate Robert Burns and I’m one of them. And that says pretty good philosophy to me.
11:24 Cristina: It’s wonderful. Moving to Scotland I’ve discovered Burns night and this tradition, I read a little bit about it and realised just how much it means for people to celebrate it, in Scotland, but as you mentioned outside of Scotland also, it’s one of those traditions that brings people together all across the world on that particular day. Could you tell us a bit more about this recent Robert Burns project that you were involved in?
11:53 Clark: The Centre for Robert Burns Studies decided to map global Burns suppers, a very interesting project. Paul Malgrati was the guy doing the heavy lifting and we launched that this January. So now people can click on the map and find out if there’s a Burns supper near them, we hope to keep adding to that and turn it into a sort of living database. So very exciting. It comes back very much to what you were saying that Burns is Scottish but he’s not exclusive, he chimes the thoughts and hopes of men and women, boys and girls all over the world. And that’s why it’s not just expats who support him, but if you go to India or South Africa, to Brazil you’ll find local celebrations about Robert Burns, possibly with some Scottish people who are tagging along, you know that Scottish people like turning up for a party and a drink. But oftentimes it’s the local inhabitants who are celebrating Burns as much as us.
12:54 Cristina: That’s wonderful. Thank you very much for sharing all of these with us, it’s been a very interesting discussion.
13:00 Clark: Cristina, thank you for inviting me and good luck with the rest of the podcasts. Thank you very much.
SAHA/SGSAH Keynote Lecture | Julia Corbett – 10 November 2021, 4-5 pm
This online keynote lecture, hosted by the Scottish Arts and Humanities Association (SAHA) and the Scottish Graduate School of Arts and Humanities, will be delivered by Julia Corbett (University of Utah) who will be discussing the importance of the arts and humanities in communicating and addressing the climate crisis.
In Julia’s words:
“The climate emergency is a crisis of culture, not science or solutions. Separating from fossil fuel culture requires navigating and reimagining the transition to a new energy culture. The arts and humanities are well-suited to engaging emotions, storytelling, and recognizing interdependency with the world. A framework for arts and humanities research and action is presented.”
Julia’s talk will be followed by a Q&A chaired by Dr Michelle Bastian, Senior Lecturer in Environmental Humanities at the Edinburgh College of Art.
The lecture is part of SGSAH’s ongoing GREEN/GRADUATE initiative that includes a series of events timed to coincide with COP26 in Glasgow.
The keynote lecture will be hosted via Zoom. Joining details will be emailed to registrants prior to the event.
Julia Corbett is a Professor Emerita in the Department of Communication and Environmental Humanities at the University of Utah, now living in Corvallis, Oregon. She writes about human relationships with the living world, exploring the profound influence of human culture on our deep interdependencies with Others. She has authored four books, including Communicating the Climate Crisis: New Directions for Facing What Lies Ahead (Lexington Books, 2021), and Out of the Woods: Seeing Nature in the Everyday (University of Nevada Press, 2018).
Register for the event here: https://www.eventbrite.com/e/sahasgsah-keynote-lecture-julia-corbett-tickets-191571845547
SAHA has contributed to the Scottish Parliament Constitution, Europe, External Affairs and Culture Committee’s consultation on funding for culture closed on the 8th of September 2021. Read the contribution here.
SAHA’s First Post-doctoral Fellow
Dr Timothy Riding (primarily based at the University of York) will join The Institute for Advanced Studies in the Humanities (IASH) at the University of Edinburgh, as a Scottish Arts and Humanities Alliance (SAHA) Postdoctoral Fellow in November 2021. Dr Riding’s project will contribute to the institute’s project on decolonising education. It will aim to inform and improve teaching on colonialism in the Scottish secondary education curriculum, in particular the presentation of the Darien colonial scheme of the late 1690s.
More information on the project to follow when Dr Riding is in post, his profile is available here: https://www.iash.ed.ac.uk/profile/dr-timothy-riding.
Launch Webinar Programme
The aim of the Scottish Arts and Humanities Alliance is to highlight the creative, social and economic value of arts and humanities as we tackle the challenges of our times. Innovative and imaginative solutions to real-world challenges will necessarily involve the input of arts and humanities scholars and practitioners. In the SAHA Launch Webinar Programme, November-December 2020, three areas were chosen in which to underline our contribution to discussions of current social importance.
The first webinar, on Monday 30 November 2020, was on the Arts and Humanities and Covid-19. Chaired by Dame Seona Reid DBE FRSE, it features contributions by Dr Katherine Champion, Senior Lecturer in Media and Communication at the University of Stirling; Samuel K. Cohn Jr, Professor of Medieval History at the University of Glasgow, fellow of the Royal Society of Edinburgh, and honorary fellow of the Institute for Advanced Studies in the Humanities (IASH) at the University of Edinburgh; Dr Azadeh Emadi, a researcher and video maker at the University of Glasgow; Caron Gentry, Professor in the School of International Relations at St Andrews; Nicolas Le Bigre, Teaching Fellow and archivist at the University of Aberdeen’s Elphinstone Institute; and Katey Warran an AHRC-funded PhD student at the University of Edinburgh.
The second webinar, on Monday 7 December 2020, was a discussion of The Arts and Humanities and the Environment. Professor Claire Squires, Director of the Scottish Graduate School of the Arts and Humanities (SGSAH), chaired the session and the contributors are John Burnside, writer and professor of Creative Writing at the University of St Andrews; Dr Dominic Hinde, Lecturer in Digital Media and Communications, Queen Margaret University; Hannah Imlach, SGSAH PhD Researcher in collaboration with RSPB Loch Lomond at the University of Edinburgh and Prof. Máiréad Nic Craith, Chair of Cultural Heritage & Anthropological Studies, Heriot-Watt University.
The third webinar, on Monday 14 December 2020, focused on the Arts and Humanities and Education Policy. The Chairperson, Professor David Stevenson, Queen Margaret University, discusses the arts and humanities perspective with Dr Gemma Robinson, Senior Lecturer in English Studies, University of Stirling; Dr Robert Munro, Lecturer in film and media at QMU; Dauvit Boun, Professor of Scottish History at the University of Glasgow and Tawona Sithole, artist in residence and research associate in the School of Education at the University of Glasgow.