Edited by Frank R. Shaw, FSA Scot, Greater Atlanta, GA, USA
Email: jurascot@earthlink.net
One of the most exciting teaching events
ever to occur in association with Robert Burns recently took place at
the University of Glasgow’s Centre for Robert Burns Studies. This is our
third article on the project and shows the importance of such an
undertaking. Dr. Ronnie Young agreed to write an article about his
efforts, and we are happy to provide it to you, our readers. There is
something magical about the number 7,500 but it became more so when that
number actually signed up for the Burns course. My undergraduate school,
Furman University, has 2,800 students and has been in the business of
educating our young adults since 1826. Within only a few weeks of online
notice, the university leaders organizing the course revealed not only
the power of the internet but the power of Robert Burns in the world
today.
As mentioned above, there are two articles on Robert Burns Lives!
explaining this phenomenon for those who might have missed them. You can
find these in Chapters 229 (“A Free Online Course on Burns”) and 233, an
article written by Professor Gerard Carruthers entitled “The Centre for
Robert Burns Studies” which is a follow-up to the first article. I
cannot begin to thank the staff at the Burns Centre enough for all the
hard work they have put in bringing Robert Burns to the people around
the globe who signed up for the course. What fun! (FRS: 6.8.16)
Teaching Robert Burns Online
Ronnie Young BA (Hons), MA, PhD. Glasgow University

Ronnie Young, University of Glasgow, with
his favourite Burns mug
The first online course dedicated to the
study of Robert Burns was launched this year, on January 25 2016, the
anniversary of the bard’s birth. The course ‘Robert Burns: Poems, Songs
and Legacy’ attracted over 7,500 learners worldwide, ranging from
long-time Burns fans to those who were relatively new to the poet. Over
the course of three weeks, learners were introduced to key aspects of
the life, work, and posthumous reputation of Burns, investigating Burns
as patriot, lover, and man of the people, as poet and songwriter, and as
international celebrity and ‘icon’.
This course represents a new development in the teaching of Burns,
hitherto confined as that teaching was to the lecture hall and classroom
(when taught at all). Online distance learning has made considerable
progress in recent years, and this decade in particular has seen the
rise of the ‘Massive Open Online Course’, or ‘MOOC’ for short. As the
name suggests, this type of course is open to a large number of learners
(think in the thousands rather than the tens). In a typical MOOC,
content is free and learning self-directed. The large numbers of
learners involved renders traditional forms of learning such as graded
assessment and contact between teacher and student impractical, but it
gives educators the opportunity to engage with a vast number of learners
online, conversing with them via online discussion and comments threads.
‘Robert Burns: Poems, Songs and Legacy’ was launched by the University
of Glasgow, home to the Centre for Robert Burns Studies, on Futurelearn,
one of the leading MOOC-providers. Scottish Literature staff with the
Centre for Robert Burns Studies, including director Professor Gerard
Carruthers and Lecturer in Burns Studies Dr Pauline Mackay, were
responsible for developing the course along with colleague Dr Catriona
Macdonald from Scottish History and myself.
In simple terms, the MOOC format allowed us to take themes in current
Burns scholarship and distil that information to a general audience.
Rather than present another ‘version’ of Burns, we instead started by
asking learners to think about the various ways in which Burns himself
can be viewed (perhaps best summarised by Edwin Muir in his assertion
that Burns is ‘to the respectable, a decent man; to the Rabelaisian,
bawdy; to the sentimentalist, sentimental; to the socialist, a
revolutionary; to the nationalist, a patriot; to the religious, pious’).
By looking at different aspects of Burns (as patriot, lover,
‘socialist’, songwriter, and so forth) in relation to key poems (‘Scots
Wha Hae’, ‘Ae Fond Kiss’, ‘A Man’s a Man’, and ‘The Vision’, for
example), we showed that one can help illuminate the other.
Beyond such approaches, the course looked again at some old favourites,
sometimes from angles that learners might find surprising. Although ‘To
a Mouse’, for instance, can be read as Burns’s act of sympathy with
animal creation, it is as much about men as about mice, concerned as it
is with the very real threat of dispossession for the eighteenth-century
farmer. Of course, most learners already know the song ‘Auld Lang Syne’.
But how many knew that Burns had updated an older lyric for the modern
age of travel and diaspora and that older versions existed by such
earlier poets as Allan Ramsay? Or that the tune for ‘Auld Lang Syne’
with which we are so familiar is only one possible melody and that the
tune chosen by editor George Thomson also became the Korean national
anthem for a time and a graduation song in Japan? We also introduced
learners to the international dimensions of ‘Auld Lang Syne’ and an
association with New Year driven not by Scottish Hogmanay but by
American popular culture: a signature piece in the Guy Lombardo
Orchestra’s New Year repertoire giving rise to a succession of festive
cover versions by artists as diverse as Duke Ellington, Frank Sinatra,
the Beach Boys, and Mariah Carey.
That said, what is perhaps ‘new’ about taking Burns online is the kind
of content one can use to teach the bard. Alongside traditional
articles, the MOOC platform enables teaching using a wide range of
media. Learners can watch short videos of mini-lectures (a short example
of Gerry Carruthers talking about Burns’s worldwide appeal can be viewed
on YouTube <https://www.youtube.com/watch?v=949Dm27WekM
). The course also uses audio as a learning tool, offering audio
readings of every poem featured on the course as well as musical
examples at key points. We also took advantage of external services such
as YouTube and Spotify to compile a ‘playlist’ of Burns’s songs,
allowing the learner to listen to different songs by Burns in sometimes
very different styles, from the traditional to the contemporary. This
serves to make a basic point: that many of the works of Burns - a
consummate songwriter from his first lyric to his later work with
editors James Johnson and George Thomson - were written to be sung,
something which may not be apparent to the initiate when first
encountering the lyrics on the printed page.
The advent of the digital image and digitisation also allows us to
examine the artefacts related to Burns from manuscripts to material
culture. In one exercise from the MOOC, learners try their hand at
transcribing a digitised version of the handwritten manuscript of ‘The
Vision’ sent by Burns to Mrs Alexander Stewart of Stair (now held by the
Robert Burns Birthplace Museum, Alloway). When looking at the posthumous
reputation of Burns, one of the best ways to illustrate his remarkable
celebrity is by looking at ‘material culture’, or the manifold objects
produced to commemorate and celebrate the poet, from Mauchline Ware
through to statues and monuments across the globe.
The ability to re-purpose existing material and make it part of the
learning experience shows that teaching Burns online becomes as much a
process of ‘curating’ as creating content. Of course, Burns has long had
a significant online presence through sites such as Robert Burns Lives,
the Robert Burns World Federation, and Robert Burns Country. Teaching
Burns online allowed us to direct learners to some of the excellent
resources that already exist online, from the BBC’s extensive collection
of poems and songs through to the many versions of Burns’s work hosted
on YouTube.
To the creation and curation of content, I would just add one important
- and perhaps surprising - element in our approach to teaching Burns
online, what we might call ‘crowdsourcing’. By ‘crowdsourcing’ here I
mean the process by which one ‘sources’ content from a large group, in
our case asking the thousands of learners who take the course to
contribute to the learning material with their own examples. It may seem
like a somewhat odd approach as it effectively asks the student to make
part of their own lessons, but we found that one of the best ways to
discuss Burns reputation and legacy was to simply ask people for their
input. After all, here we had an international community of like-minded
Burns enthusiasts, a number of whom were very knowledgeable indeed: what
better a resource to draw from? Accordingly, for the first run of the
course, we asked learners to describe Burns in one word and to post
their result on AnswerGarden
https://answergarden.ch/view/243394. The range of answers shows that
while ‘Scottish’, ‘Bard’, ‘Poet’, ‘Genius’, and other common epithets
ranked high, there are myriad other ways in which the poet is viewed by
readers. We later asked learners to trace Burns’s international spread
by finding something related to the commemoration of Burns in their part
of the world, from Burns Suppers through to Statues, and then posting a
photo with description on our Padlet wall https://www.padlet.com/Burns_MOOC/n99jz4ydw90u
and pinning the location on our interactive map
https://www.zeemaps.com/map?group=1756623. As can be seen from the
links, the results are inspiring and do much to illustrate the global
spread of the Ayrshire Bard.
With ‘Robert Burns: Poems, Songs and Legacy’, we already got the online
teaching of Burns off to a good healthy start. As mentioned earlier,
nearly 8000 people signed up for the first run of the course in January,
and this number looks set to rise as the MOOC is repeated twice a year,
with the next run
https://www.futurelearn.com/courses/robert-burns/2
starting this summer, 18 July 2016. This will be followed by our next
venture into online learning, an extended ten-week course
http://tinyurl.com/hhxegt6,
complete with credit from the University of Glasgow, that aims to build
upon the success of the MOOC by offering, for a relatively small fee, a
select group of students expert tuition on Burns along with access to
many of the University’s services. |