Ludic Heritage: Supplementary School Plays, Museum Collaborations, and the Futurity of Histories in Migration

O. Orbach
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Abstract

Abstract:This article introduces the term "ludic heritage" to describe how people relocate histories in migration through play. In a collaboration between the Museum of London, an Albanian supplementary school, and the researcher, play became a point of intersection between adults' and children's worlds, the museum and minority communities, and imagination, memory, and reality. UK supplementary schools set up by migrant communities teach children their cultural heritages not taught in mainstream schools or represented at the museum. Despite an estimation of 3,000-5,000 supplementary schools in London alone, they exist on the periphery of public life. In school plays performed in museum festivals children embodied the past whilst improvising cultural representations on stage, redirecting the future of heritage in migration. Framing time as technique (Bear 2016) and as an embodied mental capacity (Da Silva Sinha 2019), I observe how people construct the temporalities they inhabit through a praxis (Munn 1992) in which play—as an adaptable and malleable form of cultural heritage—reconfigures cultural identities and mobilizes a new community in diaspora. I draw attention to how different partners approached play, as research method, embodied memory, pedagogy, or museum engagement or through transient cultural artifacts that open temporal possibilities.
Ludic遗产:补充学校戏剧、博物馆合作和移民历史的未来性
摘要:本文引入“荒唐遗产”一词来描述人们如何通过游戏迁移历史。在阿尔巴尼亚补充学校伦敦博物馆和研究人员的合作中,游戏成为成人和儿童世界、博物馆和少数民族社区以及想象力、记忆和现实之间的交叉点。由移民社区设立的英国补充学校向孩子们传授他们的文化遗产,而这些遗产既没有在主流学校教授,也没有在博物馆展出。尽管仅在伦敦就估计有3000-5000所补充学校,但它们仍处于公共生活的边缘。在博物馆节上表演的学校戏剧中,孩子们在舞台上即兴表演文化表现的同时,也体现了过去,在移民中改变了遗产的未来。将时间视为一种技术(Bear 2016)和一种具体的心理能力(Da Silva Sinha 2019),我观察到人们如何通过实践(Munn 1992)来构建他们所居住的时间,在实践中,游戏作为一种适应性强、可塑性强的文化遗产形式,重新塑造文化身份,并动员散居国外的新社区。我提请注意不同的合作伙伴是如何看待游戏的,将其作为研究方法、具体的记忆、教育学或博物馆参与,或者通过打开时间可能性的短暂文化文物。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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