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The production of Never Alone (a recent video game incorporating Inupiaq narrative traditions and aesthetics) is one example of how indigenous peoples use digital technologies to spark young people’s interest in their own knowledge. Using comparative material from game players in Siberia and Alaska, this article explores interfaces between the knowledge needed to play such games and that required for hunting in real time. Combining attention to decolonizing education and new museology strategies, the authors suggest that the pedagogical impact of such games is strengthened when combined with face-to-face interactions with local knowledge holders. This, in turn, suggests the importance of recognizing the work of the museum as its capacity to animate knowledge, not simply to store it.
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