The Global Game: Commodifying the Playground at the End of the Empire

Abstract

Postmodernity has seen the space of children’s play increasingly locked into local and global economies. This essay argues that the new Margaret Mahy Family Playground built in Christchurch, New Zealand after a series of destructive earthquakes has not only become an expensive market-driven commodity, but has also been expected to mediate between a virtually empty inner city and its anticipated recovery. While the original design by children sought to incorporate aspects of Mahy’s legacy, the eventual shape of the playground resembled other playgrounds elsewhere. Various interventions are examined which sought to minimize this ubiquitous quality, including the role played by local Maori tribe, Ngāi Tahu.

• Children’s playgrounds
• commodification
• Mahy
• Margaret
• Ngāi Tahu
• urban design

Notes

1 These words from Baxter’s poem have recently been inscribed on the path bordering the playground.

2 In a recent address to Te Putahi, a group of artists involved in the city’s rebuilding, prominent local artist/sculptor Julia Morison argued:

If we had put a group of artists in the role of Artistic Leadership, partnered them with engineers and relevant technical expertise, we would not have a good playground, we would have a brilliant playground – a playground [with a broader demographic] that has been designed by the artists of Christchurch uniquely for Christchurch. (Delivered at XCHC, Wilson’s Road, Christchurch, 17 June 2016)

3 PlayRope, the winning contractor for the Mahy Playground, has constructed several playgrounds in Australia, including Toowoomba and Priestdale, two areas located close to or within the larger Brisbane area that look suspiciously like ‘our’ playground.