Can you remember Super Ted, the Smurfs or Sylvanian Families? Or what about Strawberry Shortcake, or Sooty, Sweep and Sue? These are just a few of the characters on show at the Museum of Childhood in Bethnal Green.

Having recently reopened to the public after major refurbishment, the museum can boast a wealth of objects exploring the history of youth, from the humble ball to the iconic 1960’s Space Hopper.

But far from just mementos of popular toys from the past, many the objects on display have travelled vast distances, and offer a fascinating insight into diverse childhoods and family life.

The oldest - and barest- toy in the entire collection is an Egyptian paddle doll dating from 1300BC. Spoon-like in its appearance, it is hard to imagine how a child could have enjoyed playing with such an object; no doubt it would be quickly disregarded today.

Julie Begum, Gallery Coordinator at the museum, says that there has been a significant shift in children’s’ needs and attitudes towards playing.

“Toys, clothing and childhood objects are thought of as more disposable now than they were in the past. This is largely due to how objects are manufactured and the materials that they are made from,” she explains.

“But a major change in modern family life is the influence children now have as consumers and how the household income is spent,” she adds.

Perhaps the reason the paddle doll has survived for so long is because it was never actually used at all - in Victorian times, this was certainly the case. Several of the clockwork toys on show, including some charming French-made monkey musicians, were actually made for adults to impress and entertain their friends. Children were forbidden to touch them and instead had to view them from afar.

This was also the case with two magnificent models of 18th century Chinese rock gardens, a gift for the wife of Napoleon Bonaparte from Chia Ch’ing, the Emperor of China. Flowers, trees, animals, people, small boats and even an aviary have been exquisitely carved from ivory, wood and mother of pearl.

But however bizarre the concept of ornamental toys may seem, happily there were plenty of the ordinary kind as well.

The museum’s extensive puppet collection looks worn from being used to entertain and amuse children. While the British celebrate Punch and Judy, in 14th century Burma, they used simply constructed wooden marionettes depicting animals such as horses, elephants and birds to tell children about the story of Buddha or the creation of the world. This method of storytelling was also evident in 19th century China, where demons, spirits, royalty and ordinary people were represented through the use of puppets. Another charming piece is a bright orange tiger with a nodding head- the Western equivalent of the popular nodding dog perhaps? These toys in particular highlight the links between Western and Eastern childhoods.

Some play items also reflect political perspectives, such as 19th century author Florence Upton’s creation, the Golliwog.

In Upton’s book, The Adventures of two Dutch Dolls and a Golliwogg (1895), the Golliwog, famed for his jet-black skin, wild hair and bright clothing, is described as a horrid sight, the blackest gnome. Deemed innocent enough at the time, the rag doll character was many children’s first introduction to black people, but caused outrage and offence during the 1970’s and 80’s when anti-Black racism was rife.

A pair of rabbit-skin covered dancing bears wearing muzzles highlights another taboo. This cruel form of entertainment was, and in some countries such as India, still is popular with adults, but the idea of transferring these views to a child through a toy shows how blasé people’s attitudes may have been towards this issue in the past. Certainly the use of animal fur in children’s possessions would also be condemned today.

Although some people have argued that such items should be banned, Julie stands by the museum’s decision to house controversial objects.

“Florence Upton’s Golly doll is the only object that has provoked debate so far. As a museum, we think it is more responsible to present different views of an issue and encourage visitors to make up their own minds about it, rather than hide parts of our past away and pretend the issues don’t exist,” she says.

In addition to the many toys and games in residence, the museum is also hosting a World in the East End (WitEE) exhibition, which explores childhood in Tower Hamlets, Hackney and Newham - three of the most culturally diverse areas in Britain.

These three London boroughs have been a sanctuary for all manner of nationalities - Chinese sailors, South African exiles, Spanish Jews, Romany Gypsies, Cypriot Turks, refugees from Kosovo, Afghanistan, Iraq, Hong Kong, Vietnam, Nigeria, and even Huguenots – French protestants who fled their homeland in 1680 to avoid persecution.

The show aims to explore the lives of different families and communities who call the East End their home, and has been compiled from recorded interviews, written testimonies and objects from families revealing their triumphs and difficulties when trying to establish a sense of identity.

“There are more differences between different generations in some families than Western & Eastern upbringings. I would have a more similar upbringing to another East Ender than to another Bengali from Bangladesh - and I was raised by Bangladeshi parents” says Julie Begum.

Also work a look is Happy Birthday Miffy, which celebrates the work of iconic Dutch illustrator Dick Bruna. Running until March 2007, the exhibition incorporates silk screen prints, books, photographs, posters and original designs, as well as puppet show and dress up Miffy activities - just two of the many opportunities for interactive play at the museum.

More than just a trip down memory lane, the museum is an education in childhood, a wonderful opportunity to celebrate youth in all its forms, learn and have fun.