هل يمكننا اعتبار “اللعب” ديناً؟ بلووي تعتقد ذلك بالتأكيد.

Most of us are used to thinking of “religion” in terms of a belief in God or gods. Perhaps the big hitters of world belief systems come to mind – Judaism, Christianity, Islam, Hinduism, Sikhism, Buddhism or, in Australia, the Dreamtime.

But philosophers of religion and human belief systems tend to make it a bit more complicated for us. They like to expand what we think of as religious belief.

One philosopher, William James, defined religion as “the belief that there is an unseen order, and that our supreme good lies in harmoniously adjusting ourselves [to it]”.

When we think of religion this way, we can conceive of a lot more “unseen orders” or religions in the world than just the big, organised religions and belief in supernatural phenomena.

For example, most of us believe in the unseen order of “queuing” and believe that our greater good comes from harmoniously adjusting ourselves to its rules. These might include “first come, first serve,” “no cuts,” “join at the end,” “leaving the queue forfeits your place” and more.

Other unseen orders we interact with daily might include “manners”, “tall-poppy-ism,” or even “civil law”. James helps us understand how these beliefs function cognitively and emotionally, and how they affect our behaviour just like a traditional religion.

In Bluey, one of the most interesting religions is “Play”.

Play, religion and Bluey

Play functions as a unifying unseen order all the characters align themselves to throughout the show.

The cast whole-heartedly believe in this unseen order of Play, with rules which ought to be harmoniously followed in order to reach the supreme good. This unifying belief centres the characters on the good of bonding, love and fun.

The pursuit of these ideals is rewarded both within the show by the characters and metatextually as the “gods” of the show (Joe Brumm and the other writers) bend the world towards them.

So, what are the central beliefs of the religion of Play in Bluey? My research found four key rules which the characters consistently adjust themselves to.

1. Don’t interrupt or stop. No one in the show ever willingly interrupts or stops mid-game, best illustrated by the episode Stumpfest.

2. Follow the agreed rules. Rules and “playing properly” are very important to the characters, most aptly illustrated by the episodes Shadowlands and Library.

3. Be enthusiastic. There are no half-measures or dissent allowed, illustrated by Octopus and Whale Watching.

4. Games should have happy endings, because the real world often doesn’t. This is the theme of the 2024 special The Sign.

‘Contextualising’ religions

The religion of Play is not without difficulties. The show spends a surprising amount of time questioning and exploring these rules, especially when they harm or hinder rather than help the characters seek good.

This is parallel to the process of “contextualising” real-life organised religions. Contextualising is when the practices or beliefs of religions are explored and changed over time to better suit the time and place the religion finds itself in and allow more people to comfortably and positively engage with the greater good of the religion.

For example, many houses of worship have adjusted standing and kneeling practices for prayer to accommodate folks with physical disabilities and an ageing population. Likewise, many religious services that were once performed in ceremonial languages (like Latin, Sanskrit or Classical Arabic) are now done in the contemporary language of the community.

Bluey can offer us some lessons in contextualising our own religions, beliefs or non-religion.

In the episode Shop we see worrying too much about how the unseen order works (the rules of a game) can stop you from engaging in the unseen order (having fun). Engaging is far more important than rules.

Episodes Charades and Helicopter teach inclusion and flexibility in play. Modifying the rules is acceptable so that more people can join in.

In Copycat we see the benefit of stories and playing out games with sad or unexpected endings. Different practices can illuminate more depth or diversity.

In Driving, Chilli interrupts to understand the game better, and can then better align her enthusiasm to the game. Some rules are less important than others – breaking a minor rule might be necessary to follow a more important rule.

And in Pass the Parcel, a parent changes the practice of the game, back to how he played as a child with only one prize rather than a prize in every layer. This change to the unseen order is at first taken with great difficulty by the children and parents alike, but in the end is appreciated: the reward is greater than the growing pains.

Adjustment and contextualisation can be hard, but also rewarding.

What we can learn about practicing religion

The rules of the belief system are only a means to an end. The rules are a way of aligning oneself with the unseen order for the greater good. The rules are not the greater good in and of themselves.

Bluey teaches us three important lessons about practicing religion through its depiction of the religion of play:

participation in the unseen order is more important than the specific rules

extreme and rigid adherence to the rules can be harmful to those around us and ourselves

there is more than one way to practice an unseen order without giving up the supreme good that we all seek.

There is more than one way to play a game, just as there is more than one way to practice a religion.

Sarah Lawson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.