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Did you read the thought-provoking opinion piece by evolutionary anthropologist, Dorsa Amir, in the Washington Post?  You should read the whole thing and see what you think!  Clickbait title aside, it presents a powerful premise, even if the writer does not quite follow through on her conclusions.  In case you don’t feel like reading it (or if the WaPo paywall is knocking you around), here is a crude summary:  one of the unique features of human culture is children’s culture which, across time, and throughout all different nations, has provided a sort of society-within-a-society where playing at being adult teaches the critical aspects of social interaction and creative problem solving to the next generation.  By pushing children immediately into the great adult hierarchical game of constant adversarial competition (by means of overscheduling, too much busywork/schoolwork, constant supervision, curtailing free play, and so forth and so on) contemporary society is denying children a chance to get good at the truly important things: curiosity, creativity, and interpersonal relationships.


As ever, I find humans less different from other animals than the anthropocentric author seems to be willing to recognize (has she never watched kittens play…to say nothing of juvenile spider monkeys or baby elephants?), but let us leave that aside and address to her social thesis. I am not sure that 21st century adults’ overprotective urges to give their kids any advantage in our workaholic, winner-take-all culture is the real problem.  I think the workaholic, winner-take-all society itself is the problem.  It is not that kids play too little in our over-teched world.  It is that adults play too little. Plus we do it wrong.

Let me explain with an anecdote before expanding my critique. I have some friends who are super-successful Park Slope parents.  They are raising their children with every advantage (and every overscheduled, over-tutored, overworked, over-fretted-upon stereotype of Amir’s piece).  The children however, are not mindless little perfectionist zombies.  They are brilliant wonderful kids. My buddy heard his 5-year-old daughter talking with great animation to someone behind closed-doors, and, upon bursting in, he discovered she had snatched a tablet and launched an internet chat show of her own.  “These kids are already broadcasting!” he told me with a confounded look.

Just as the Thule kids of Amir’s essay built miniature hunter-gatherer storehouses, the Park Slope children were assembling miniature media empires.  The ancient analogous relationship was still perfectly intact.  It’s just that the adults are no longer stalking javelinas or building granaries, we are staring at damned screens (argh, I am doing it right now, after doing it all day at work! So are you!) [as an aside, I was shocked to find “Thule” showing up again in an essay about hunter-gatherer childhood culture…what is up with that confounding name?]


American society features a well-known need to be continuously productive (this is the famous “Protestant-work-ethic”…though New York has taught me that our newest citizens from West Africa or East Asia have a very homologous sort of code).  Technology and the shifting nature of work have somehow brought that tendency even further into our lives.  When my mother was baking a pie or feeding the geese, I could grasp those activities and join her or make my own games about animal husbandry or baking mastery.  Yet when modern parents are on their smartphones responding to late night emails from the boss about PR or legal questions, the script is harder to follow for children.  The kids do get onto the devices and there are plenty of games and social and other diversions to be had there.  I am no technophobe: I think the next generation’s technological savvy will serve us well, yet things online are crafted like fishing lines or beartraps to capture our attention for the purposes of others.  Free unstructured play in the real world transcends such things. To see people engaged together in such play is to see their faces alive with thought and delight.


When I ran a toy company, my business partner and I did not know very many children.  In order to test our creative animal-themed toys out, we showed them to adults.  The poor people looked deeply flustered at being asked to “play” again and they stared at the toys like dogs who had been whipped.  Only gradually would they pick up the colorful pieces and try to recapture the magic of childhood.  However, then a lovely thing would happen.  They would be captivated by the delight of making things for the sheer joy of it. They would get all wound up in toys and in explaining their creations. Unexpected people came up with all sorts of great ideas. Children know that play is the magic elixir for bonding and brainstorming. Adults have forgotten this or only rediscover it in attenuated form with team-building exercises or obsessive-compulsive video games.

Watching people go bowling or play with Legos or play with children makes you immediately recognize that watching Netflix or “liking” things on social media is not playing.


How do we create a world of meaningful creative play for adults?  That sounds like a crazy/frivolous question compared to queries such as how we confront 21st century business monopolies or solve political paralysis or make people interested in the beautiful yet complicated inquiries of science.  But I feel like the answers might actually be related.

We modern adults need to work harder at playing.  Only then will we capture the true benefits of all of our frenetic toil.  Let’s learn from the kids instead of breaking their spirits early on with too much of our gray work world.

Rubber Duck Kaohsiung (Florentijn Hofman, 2013 18 x 15 x 16 meters Inflatable, pontoon and generator)

Rubber Duck Kaohsiung (Florentijn Hofman, 2013
18 x 15 x 16 meters,  Inflatable, pontoon and generator)

I’m sorry to post two duck posts in a row, but events in the art world (and beyond) necessitate such a step.  On September 27th (2013), Pittsburgh , PA became the first U.S. city to host Dutch artist Florentijn Hofman’s giant floating rubber duck statue.  Actually the rubber duck now in Pittsburgh is only one of several giant ducks designed by Hofman for his worldwide show “Spreading Joy Around the World,” which launched in his native Amsterdam.  The largest of the ducks, which measured 26×20×32 metres (85×66×105 ft) and weighed over 600 kg (1,300 lb) was launched in Saint Nazaire in Western France.

Rubber Duck Kaohsiung (Florentijn Hofman,  2013 26 x 20 x 32 meters Inflatable, pontoon and generators)

Rubber Duck “Kaohsiung” (Florentijn Hofman, 2013
26 x 20 x 32 meters, Inflatable, pontoon and generators)

Hofman’s statues are meant to be fun and playful.  His website describes the purpose of the giant duck project simply, “The Rubber Duck knows no frontiers, it doesn’t discriminate people and doesn’t have a political connotation. The friendly, floating Rubber Duck has healing properties: it can relieve mondial tensions as well as define them.”

Feestaardvarken (Florentijn Hofman, 2013, Metal, concrete and coating)

Feestaardvarken (Florentijn Hofman, 2013, Metal, concrete and coating)

A list of his sculptural projects reveals that he has the generous and delighted soul of a toymaker.  A few example are instructive:  he erected a large plywood statue of a discarded plush rabbit named “Sunbathing Hare” in St. Petersburg, a concrete “party aardvark” in Arnhem (Holland), 2 immense slugs made of discarded shopping bags in France (they are crawling up a hill towards a towering gothic church and their inevitable death), and many other playful animal theme pieces.

Slow Slugs (Florentijn Hofman, 2012, Metal, football nets, and 40.000 plastic bags)

Slow Slugs (Florentijn Hofman, 2012, Metal, football nets, and 40.000 plastic bags)

Not only do Hofman’s works address fundamental Ferrebeekeeper themes like mollusks, art, mammals, and waterfowl, his work hints at the global nature of trade, and human cultural taste in our times. With his industrially crafted giant sculptures and his emphasis on ports around the world, Hofman’s huge toys speak directly to humankind’s delight with inexpensive mass-market products.  The art also provokes a frisson of horror at the oppressive gigantism of even our most frivolous pursuits).


Ye Olde Ferrebeekeeper Archives

June 2023