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The Game and the Museums

For a few years, when I had the time and availability to observe what the museums in Lisbon were producing that were relevant, I visited an exhibition organized by the Sports Museum, curated by its Director Pedro Cardoso Pereira, where he proposed an exhibition based on this approach. of the “GAME in Sport”
It was then an experimental narrative, on a topic that, as we all know, is of great social relevance. The game is present in the daily lives of all ages, from the youngest to the oldest, from schools to leisure, exalted as a virtue or punished as a vice.
As we all know, in our decaying museums, which are serious institutions, play is absent, and therefore museums are not places to play.
But, let us imagine thinking of the Museum as a game space. Like a canvas where, for a defined time, and in a certain space, a story is created: A place where a special activity is practiced
The game is a representation of social life limited in space and time. It is processed according to previously defined rules. It has real and imaginary norms. Cheating is not allowed, nor is it allowed to change the rules halfway through.
The Game is a representation of Freedom!
Does a reflection on the place of the Game in Museums make sense?
I have stayed with the subject under my eye and have been working on the issue. But as with everything else, nothing better than practicing:
Saturday, November 13: Family Games Afternoon –
15:00 – 18:00 Anagrama – Av. Berlin 35 C Lisbon
Education and Diversity Museum

“The limitation in space is even more blatant than the limitation in time. Every game is processed and exists within a previously delimited field, in a material or imaginary, deliberate or spontaneous way. Just as there is no formal difference between the game and the cult, so the ‘sacred place’ cannot be formally distinguished from the game’s terrain. The arena, the game table, the magic circle, the temple, the stage, the screen, the tennis court, the court, etc., all have the form and function of playing grounds, that is, forbidden, isolated places. , closed, sacred, within which certain rules are respected. All of them are temporary worlds within the habitual world, dedicated to the practice of a special activity (Jhoan Huizing, Homo Ludens, 2014, p. 13).

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The Game and the Museums


Gameling and Museums

Saturday, November 13: Family Games Afternoon –
15:00 – 18:00 Anagrama – Av. Berlin 35 C Lisbon
Education and Diversity Museum

For a few years, when I had the time and availability to observe what the museums in Lisbon were producing that were relevant, I visited an exhibition organized by the Sports Museum, curated by its Director Pedro Cardoso Pereira, where he proposed an exhibition based on this approach. of the “GAME in Sport”

It was then an experimental narrative, on a topic that, as we all know, is of great social relevance. The game is present in the daily lives of all ages, from the youngest to the oldest, from schools to leisure, exalted as a virtue or punished as a vice.

As we all know, in our decaying museums, which are serious institutions, play is absent, and therefore museums are not places to play. But, let us imagine thinking of the Museum as a game space. Like a canvas where, for a defined time, and in a certain space, a story is created: A place where a special activity is practiced.

The game is a representation of social life limited in space and time. It is processed according to previously defined rules. It has real and imaginary norms. Cheating is not allowed, nor is it allowed to change the rules halfway through.

The Game is a representation of Freedom!

Does a reflection on the place of the Game in Museums make sense?

I have stayed with the subject under my eye and have been working on the issue. But as with everything, nothing better than practicing:

The limitation in space is even more blatant than the limitation in time. Every game is processed and exists within a previously delimited field, in a material or imaginary, deliberate or spontaneous way. Just as there is no formal difference between the game and the cult, so the ‘sacred place’ cannot be formally distinguished from the game’s terrain. The arena, the game table, the magic circle, the temple, the stage, the screen, the tennis court, the court, etc., all have the form and function of playing grounds, that is, forbidden, isolated places. , closed, sacred, within which certain rules are respected. All of them are temporary worlds within the habitual world, dedicated to the practice of a special activity (Jhoan Huizing, Homo Ludens, 2014, p. 13).

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Acknowledgment Notes for the APOM Award (Lectures Category) 2021

• Hon. Mr. Direct from the Maritime Museum Comodoro Favinha
• Hon. Mr. President of APOM Dr. João Neto
• Messrs. Armed Forces Officers
• Dear Members of the Social Bodies of the Portuguese Association of Museology
• Dear Colleagues and friends of museums
I am naturally recognized with the distinction now conferred on me which greatly honors me. However, I would like to highlight what the award seeks to distinguish, more than I have done and have been doing. The award seeks to show the relevance of our cultural space in the world and the bridges and encounters of our culture in Portuguese and the vitality of its communities.
If I managed to contribute to that, as this award distinguishes, I am very satisfied. But we all know that this goal is never completely completed and there will be a lot to do with the contribution of all of us, the museological community.
It is a pity that, contrary to what was announced, we did not have the presence of the S. President of the Republic at this ceremony. We all understand that maybe that was what he wanted, but the imperatives of his presidential mission compel other devotions, which are more priority at this time. But I know that Nosso Professor Marcelo is a fan of our museums.
I know this not only from observing his actions, but from having shared some of his schools as a child. I know that by the hand of her (our) teacher from the primary school, Berta Ávila de Melo, she visited the Museu das Janelas Verdes, where the first educational services were emerging. By the hand of João Couto and Madalena Cabral, with the support of the recently created APOM, the educational function in museums was discussed. I well remember the fascination of entering that museum space and exploring its “treasures”.
I also know that our President, when he was a student at the Liceu Pedro Nunes, admired the Physics Museum, animated with affection by Rómulo de Carvalho. Generations of students dreamed of “The Philosopher’s Stone” by our poet António Gedeão, which showed how the balloons that children dropped rose until they turned into stars.
All this to draw your attention, once again to the importance of museums as spaces for meeting and living. After this pandemic, more than ever, we need to turn our museums into living spaces.
As Rabelais said, humanity has to rethink its relationship with happiness. We cannot remain stuck in the past and anxious about the future. We have to live in the present time and take advantage of our resources to bring laughter and joy into museums.
How can we do this?
With our educational tools. With our ability to bring museums to life and make them meeting spaces
That’s what we can do in our diversity culture space.
This is the message I leave you and I thank you, once again, for your attention.

Pedro Pereira Leite (Education and Diversity Museum) October 29, 2021