logo
Falkirk cemetery memorial marks almost 1500 people given 'paupers' burial'

Falkirk cemetery memorial marks almost 1500 people given 'paupers' burial'

Daily Record10-06-2025
MP Euan Stainbank and Strathcarron singers were among those who attended the ceremony
A service to remember nearly 1500 children and adults buried in what was once called a 'paupers' grave' was held on Saturday in Larbert cemetery.
A small crowd braved torrential rain to attend the service which was organised in a personal capacity by Falkirk councillor Billy Buchanan, who had been shocked to discover so many people buried in the site with nothing to mark their graves.

Falkirk MP Euan Stainbank helped to unveil a large panel with information about the large grassy area, beside a simple Celtic cross to remember the 1466 children and adults buried there because they did not have the means to pay for a burial.

Those interred on the common ground between 1902 and 1980, include a substantial number of children and adults who passed away while resident at either the Royal Scottish National Hospital (RSNH) or Bellsdyke, the hospital for mentally ill people.
Where residents from RSNH and Bellsdyke were buried before 1902 is not recorded.
Joining Mr Stainbank in unveiling the board was Dave McQueen, who Baillie Buchanan thanked for being "a wonderful benefactor".

Mr McQueen, along with piper Kevin McLean, formed "a coalition group" with Baillie Buchanan to pledge that those buried in the common ground there would be "forgotten no more".

Baillie Buchanan said: "We have done a wonderful thing today in remember 1466 individuals that have been lying in this area here."

The Strathcarron Singers performed three hymns, including Abide With Me, while piper Kevin McLean led a short procession to the memorial then played a lament before a two-minute silence.
Prayers were led by the Reverend Andrew Moore, who also gave a blessing and flowers were placed beside the Celtic Cross.

Baillie Buchanan particularly thanked Ian Edwards of Falkirk Council who researched the details of the common ground, including the names of those interred.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

The endless variety of England's folk traditions
The endless variety of England's folk traditions

New Statesman​

timea day ago

  • New Statesman​

The endless variety of England's folk traditions

Photo by Tom Jamieson / New York Times / Redux / eyevine Perhaps there are two kinds of people in the world. There are the collectors, the enthusiasts, who want to keep, save and preserve: 'Nequid pereat,' they might say, 'Let nothing perish.' Then there are the others, already on the phone to the skip-hire company. Lally MacBeth is firmly of the former persuasion. If you're of the latter, The Lost Folk might make you hyperventilate, so crammed is it with places, practices and stuff. The word 'save' appears many times. So indeed does the word 'skip', as in 'saved from a skip'. But persist, because you might see the culture of the UK in an unexpected light. MacBeth says 'Britain', but even in her introduction she apologises for the lack of coverage of the devolved nations; her book stays close to her home in south-west England. It's forgivable: we only have one lifetime and it would take several more to extend her project into the Celtic countries. Generation succeeds generation, and what she wants to save is their multifarious folk productions, old and new. Of folk, MacBeth gives a definition that widens as we go: she means the unofficial, hand-made and localised, the private collections and archives, the pageants and dances, the costumes and cakes. If not physically saved, then everything must at least be documented, and the means of recording archived too. She writes: 'We must use all means of recording to build a full picture of the customs, traditions, people and places of Britain, and we must work to preserve all methods of documentation.' This picture is not just of the past, not only tradition or lore, but of now and the future because 'folk' is happening, arising and emerging everywhere. In MacBeth's mind, her own predecessors now need saving. 'The Lost People' she calls them, meaning the early folklorists and folk collectors. Many have fallen from view, especially the women. Cecil Sharp, active at the turn of the 20th century, remains well known as the 'collector of folk song and reinventor of Morris dancing'. But despite being 'tireless', Sharp managed, in McBeth's opinion, to 'write women and people of colour out of his work… creating a folk that suited him: sanitised, classist, racist and very, very male'. To counteract that, MacBeth introduces us to an alternative roster of folk-collectors, often female. From Victorian days into the mid-20th century, there were women who travelled about gathering recipes, stories, costumes, tools and 'country ways' just as these were dying out, and whose notebooks and collections were often dispersed or destroyed when they died. It sounds harmless but collecting was not without tensions: it could get competitive and, as MacBeth again notes, classist, with one social class (usually the upper-middle) making judgements about what was worth saving from among the productions of the lower orders. The invention of recording equipment was revolutionary, with people's voices and dialects also able to be saved, as well as their tales and tools. There was, for example, Dorothy Hartley, born in 1893 in Yorkshire. Hartley cycled around collecting and interviewing and sketching. Thanks to her we know how to thatch a haystack, or bake bread in a brick oven. Others collected objects. Eva and Edward Pinto of Middlesex favoured 'wooden bygones': butter pats, mangles, hand-made boxes, toy animals and the like. They created a collection which soon outgrew their house, spilling into sheds and chalets and mocked up shops, which the public could view. Yet others were more nautically minded. In Gravesend, in a building fitted out like a ship, Sydney 'Long John Silver' Cumbers amassed a huge number of ships' figureheads. Cumbers sported an eyepatch, cigarette holder and yachting cap when he showed visitors around. MacBeth's embrace even includes 'living' collections – or what photos and notes now remain. Upon retiring in the 1940s, the Welsh miner David Davis turned his hand to topiary, creating in his garden a 'mystical paradise' of tableaux, mostly biblical: there were bushes cut to look like angels, and a hedge shaped like the Last Supper. Many came to see it. One might ask: was it art? To which the author would reply – it was certainly folk. 'If it's by the people, for the people, it is 'folk'.' Therefore, she welcomes the local parades and festivities up and down the land as folk. Hastings has an annual Jack in the Green festival as part of May Day, with Morris dancers, giants, milkmaids and choirs. There is Lewes's famous effigy burning. Penzance now has its mid-winter Moltol. Since 2017, Toxteth has held its own Day of the Dead, no less folk for being a modern introduction, and hardly traditional. Indeed, when it comes to tradition, there existed what MacBeth calls 'uncomfortable folk practice'. In Morris dancing, once the preserve of men, gender roles are now being contested. Molly dancing used to refer to men dressed as women, but today there are women's teams (or 'sides') of Molly dancers. In Bristol, the term has been reclaimed by a group called Molly No Mates, a 'queer drag Molly dancing team'. Some traditional Morris dances involved blackface, but in 2020, the Joint Morris Organisation agreed to ban the practice. 'It was a monumental moment in the history of Morris dancing,' says MacBeth. Subscribe to The New Statesman today from only £8.99 per month Subscribe Pageants and galas are one thing, but what astonishes is the folk-stuff: the gloves and garlands, horse brasses and love spoons, pub signs and special cakes, the button badges, corn dollies, and 'obby 'osses. And it is everywhere, especially in pubs – and also in churches, where there are church kneelers, a special passion of MacBeth's. These are women's work, often embroidered to depict local scenes or stories. But the question keeps arising: if all must be saved – or at the very least recorded – what should be done with it? And where should it be kept? And who decides what goes where? 'Where people collect together of their own volition, there is folk, and it is not for collectors to judge the ways in which this happens or how the objects are made.' When decisions are made – when official museum curators judge that something should be brought in from the wild – it can be political. Take Sydney Cumbers' collection of figureheads: in 1953, he donated them to the Cutty Sark, where they are now displayed. MacBeth believes the fact that his collection was accepted 'was due in no small part to his… standing as a white male'. In contrast, there have been several efforts to establish an official museum of Romany culture, assembled from private collections, but all have floundered. The book itself is a veritable trove. There is no index. Perhaps appropriately, one has to rummage. MacBeth herself spends a lot of time in junk shops, on Ebay, or in county archives, searching for photos and newspaper reports, noting and saving. Folk, she says, is what gives us a sense of place and belonging. Perhaps she's right about that – and perhaps folk is what will save us from the samey-ness of our high streets, the soullessness of our new-build housing estates. It might be a council-sponsored pirate parade, or even – ye gods – a knitted post-box topper. If it's a real, of-the-people creation or event, she says, it's worth recording, worth getting involved. We just have to alert ourselves to its existence. And cancel the skip. Kathleen Jamie's books include 'Cairn' (Sort of Books) The Lost Folk: From the Forgotten Past to the Emerging Future of Folk Lally MacBeth Faber & Faber, 352pp, £20 Purchasing a book may earn the NS a commission from who support independent bookshops [See also: Jacinda Ardern's unexamined life] Related

Inclusive play centre for disabled children opens in Glasgow
Inclusive play centre for disabled children opens in Glasgow

Glasgow Times

time3 days ago

  • Glasgow Times

Inclusive play centre for disabled children opens in Glasgow

Scottish charity The Yard, which has supported more than 3,000 children and families since 1986, has expanded its model to the city. The charity has taken over the lease of the Linn Park Adventure Playground site on Netherlee Road. The site opened on June 28. Catriona Lowe (Image: Supplied) The newly renovated centre will include a 5,000-square-metre outdoor play area for children and young people, from birth to 18 years old, with disabilities and additional needs. The Yard will welcome the whole family to allow children to thrive, while parents and carers can connect with others in similar situations. Read more: Dominic Calvert-Lewin mooted for Celtic transfer but one key concern raised 'Do not travel' warning issued for Glasgow-bound trains this morning The charity has revamped the building to meet the needs of its service users, with plans to further improve the outdoor garden and play areas. Improvements include full rewiring, a new heating system, upgraded kitchen and toilet facilities, and a new office space. Celine Sinclair, chief executive officer of The Yard, said: "At The Yard, we're inclusive by design. "We never ask for a formal diagnosis. "Too often that's just another barrier for families already facing challenges. "Our doors are open to any child or young person who would benefit from an inclusive, safe place to play, express themselves and grow in confidence. "We're equally here for their families, offering connection, friendship and a shared understanding." Catriona Lowe, a Glasgow-based mum, said: "We are so excited that The Yard is coming to Glasgow. " I travel through to Edinburgh when we can as it's one of my son's favourite places and a fab day out as a family." Families can access The Yard Glasgow through the £8 per month membership scheme, which includes unlimited access to all The Yard centres in Scotland. A membership assistance programme is also available for families who need financial support.

Festival to showcase country's best and oldest fishing boats
Festival to showcase country's best and oldest fishing boats

STV News

time6 days ago

  • STV News

Festival to showcase country's best and oldest fishing boats

Sailing ships from a time gone by, the 32nd Portsoy Traditional Boat festival is set to showcase some of the country's best and oldest fishing boats. It's one of Scotland's largest maritime festivals and gets underway in the Aberdeenshire village this weekend. One of the oldest vessels in attendance is the fishing boat the Isabella Fortuna. It's skipper Malcom Bremner said: 'She was built in Arbroath in 1890 and at that time she was the largest fishing vessel in the East coast of Scotland. STV News Isabella Fortuna: One of the oldest vessels in attendance. ''I'm interested in looking after old boats but also more importantly passing on traditional skills like engineering, woodwork, carpentry, even rope work, sails. 'It's all traditional industries that used to be the normal over 135 years ago.'' More than two dozen are due to arrive across the weekend for visitors to see… some more than a hundred years old. And as time marches on – keeping traditional skills going and the historic boats afloat is becoming a challenge. David Urquhart is the festival's Chairman: ''It is very important, because there is less boats coming to the festival. I've been doing this for over 30 years and some of the skippers then were 80 years old back then and sadly they're no longer with us. ''But it's important to see the boats as they come in like 'Isabella' and get the youngsters down onto 'Isabella' to see what fishing was like 50/60 years ago.' But there are those working to preserve skills from times gone by. Traditional wood workers have come from Norway to pass on their skills and to bring new ones back from Scotland. Tove Hjellnes, Norwegian Coastal Federation explained: ''We are neighbours, we are part of the same history, same tradition. Especially the boats are the same, the same way you build boats in Scotland and in Norway or Scandinavia. ''Since we are living on the coast along the water, we should know how to make boats and how to repair boats and to use boats because it connects us as people, I think.'' And what would a festival be without music? A live soundtrack will accompany the weekend which kicks off with the Scottish Folk Band Manran. Aidan Moodie, Mànran Guitarist: 'You've got Marcus and me from Orkney, everybody from the west coast and Ryan from Ireland. We try and showcase a lot of the different Celtic music cultures in what we do, even though now a days we've got a bit of pop and rock in it. It's great to be here. We're hoping to sail away in a dinghy boat by tonight.' As time marches on, organisers say the festival is becoming even more important in keeping Scotland's maritime heritage alive. Get all the latest news from around the country Follow STV News Scan the QR code on your mobile device for all the latest news from around the country

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store