The primary purpose of this study was to examine the strength of the relationship between childhood playfulness and adult playfulness. The relationship between adult playfulness and adult creativity was also examined along with the relationship between child playfulness and adult creativity. Exploratory interviews were conducted with a purposive sample of individuals to provide insight into subjects' perceptions of their own playfulness as well as life experiences they perceived to be related to stability or change in their own playfulness. Specifically, the researcher interviewed one subject in each of four categories: (1) low childhood playfulness scores but high adult playfulness scores (2) low childhood playfulness scores and low adult playfulness scores (3)high childhood playfulness scores but low adult playfulness scores and (4) high childhood playfulness scores and high adult playfulness scores. The Adult Behaviors Inventory (ABI) and the Student Self-Evaluation of Creativity (SSEC) were completed by 27 young adults from a pool of 103 subjects who had participated in a previous study in the period from 1985-1987, more than 15 years ago. The Adult Behaviors Inventory, an adaptation of the Child Behaviors Inventory (CBI) that was used to rate these subjects between 1985-1987, was completed by 31 mothers for a son or daughter. The total sample (n = 36) for this study consisted of 17 females (47.2%) and 19 males (52.8%). The mean age of the subjects was 20.32 at the time of the follow-up study. Participants were from well-educated middle class families, and 96.2% of the participants were enrolled in college or had completed a college degree. Pearson correlation coefficients computed to determine the strength of the relationships among variables of interest and they yielded these results: (a) Childhood playfulness during the preschool years as rated by mothers using the CBI was not significantly related to maternal ratings on the ABI, self-ratings on the ABI, or self-ratings on the SSEC. (b) Adult playfulness as self-reported by the same participants (now young adults) using the Adult Behaviors Inventory (ABI) was significantly related to maternal ratings on the ABI and self-ratings on the SSEC. Self-rated ABI scores were not significantly related to maternal or teachers' ratings on the CBI. (c) Adult creativity scores obtained from self-reports using the Students Self-Evaluation of Creativity Scale was not related to maternal or teachers' ratings on the CBI. Creativity scores on the SSEC were significantly related to both maternal and self-ratings on the ABI. (d) Adult playfulness as reported by each participant's mother was significantly related to self-ratings on the ABI and SSEC. Short structured interviews with a purposive sample of subjects representing low or high playfulness in childhood and adulthood indicated that the interviewees were able to accurately identify their own playfulness classification even though the survey questionnaire was designed so as not to make it obvious that playfulness was the focus of the study. Interview data pointed to possible links between life events and playfulness. / Master of Science

In this thesis, I undertake an investigation into the relationship between play, playfulness and law. Law relies on a certain form of play, rule-bound orderly play; this is demonstrated, for example, in the ceremony of the trial. Furthermore, underpinning every legal system, we find a different form of play: the spontaneous and disruptive performances of revolutionary violence which found every state. Play can be, in fact, an unpredictable force. Play can disrupt or derail the structured performances of law; play can deflect the violence of the state. I am interested in the dramatic possibilities of using subversive play, or playfulness, as a strategy for negotiating violence. This is, in many respects, a postmodernist work. I draw upon and use self-reflective narrative, conduct my investigation by way of case studies, seek to expose the relationships of power behind both text and performance, and deconstruct accepted understandings of terms like law and play. It is also an interdisciplinary work, in which I draw upon the ‘interdiscipline’ of performance studies. In integrating performance studies theory with law, and in considering law as yet another cultural performance, I have disregarded the artificial boundaries which positivist legal scholars seek to construct between law and (non)law. Positivists view law as a set of norms and rules; in law, the written text is sacrosanct. I have adopted the approach of performance studies theorists, who view all social and cultural activities as performance and regard culture as a verb rather than as a noun. Law might endure as text, but it is made as performance. My first set of case studies originate in the contemporary war on terror. Terrorism can itself be viewed as a performative phenomenon and form of (dark) play; it is also, clearly, about violence. I undertake a comparative critique of two different performative responses to the war on terror: namely, the terror trials and the theatre of dissent. I consider the interplay between the violence of terrorism and the violence of law in the terror trials. I also look at the extent to which the theatre of dissent ‘plays’ with different forms of violence in order to disrupt the authority of the state. The different functions and roles of these two forms of cultural performance become apparent in their engagement with violence and with the state, their portrayal of difference, their exposure to mediatisation, and their relationship with the ‘truth’.There is little playfulness in the play of the terror trials, or in the play of the theatre of dissent. I turn, therefore, to playfulness in law. I consider eruptions of playfulness in the courtroom. I also look at the transformation of law into play through the phenomenon of documentary theatre. I am intrigued by the subversive and playful possibilities in providing the text of law with a different performative force, and in uncoupling law from violence through re-performance as theatre. My final set of case studies originate in the playful performances of environmental protest. We find different forms of play characterising and underpinning the rationale for such performances. Play in its pre-rational guise is embraced as a strategy to capture the media’s attention and confound violence against nature. Play, in its ideological association with wilderness, appears in a more solemn guise. Using case studies drawn from the war on the environment, I investigate the relative efficacy and symbolic value of different forms of play, the pre-rational play of direct action and the rational play of legal performances, in countering violence against nature.

This narrative inquiry explores the curriculum making experiences and stories of three teachers - Claire, an early childhood educator, Rita, a middle years teacher, and Leah, a primary grades teacher - who taught students with a chronic illness. The research wonders of this thesis asked the following questions: what does it mean to engage in the curriculum around chronic illness? How do the teachers influence such a curriculum? What is the teacher's position within it? Do they experience a shift in knowledge, awareness, perception, or practice while engaged in this curriculum making? Derived from individual semi-structured interviews ranging from 25 minutes to one hour, a narrative account of each teacher is presented and inquired into within the three dimensional inquiry space, defined to include temporality, sociality, and place. The concept of a curriculum around chronic illness is presented. This curriculum focuses on the active construction of lives shaped by a chronic illness. In this research, the curriculum around chronic illness required the negotiation, and sometimes renegotiation, of liminal spaces. Liminality, found in the making of a curriculum around chronic illness, brought the teachers of this research to the peripheries of their students' worlds, where they learned, in time, to perceive their students and themselves wholly. The three teachers, through their unique positioning of their stories to live by, created new forward-looking stories (Nelson, 1999) that guided their teaching; stories marked by inclusion, community, loving perceptions, and care.

It is known that imagination causes creation. However, in an enterprise, creation may be achieved by the communication and sharing opinions among the members of the team. Working in the complicated working environment, it is the team rather than the individual that plays a vital role in the generation of the innovation. There is a lack in the academic area of the investigation the team work containing the process of the interaction within the group. Until 2001, Hoegl and Gemuenden brought a new concept called TeamWork Qauility (TWQ), which emphasizes that the quality of the interaction in the group determines whether the creation will succeed or not. Moreover, since the organizational innovative climate largely affects the team¡¦s innovation performance, playfulness in the working place is gradually being noticed. The research applied from Yu , Ping and Wu, Ji-Jing (2003) defines team playfulness climate as a kind of internal working environment which is formed by personal interaction and relation. With this open and joyful atmosphere, people can feel safe and joyful to explore anything related to their work. With this playful climate, people can be inspired and satisfied and bring more contribution to innovation performance. The subjects were consisted of groups of students from 19 colleges who took the course ¡§The Discovery and Application of Creativity¡¨ and joined the Creative Program Competition which was held by the Consulting Division in Ministry of Education. The evidence of this research is based on the questionnaires given out to these students. In this research, we have 688 valid questionnaires from 99 teams. The rate of the effective achievement is 69.30%. The reliability of TWQ and organizational playfulness climate are respectively 0.95 and 0.92. The data was analyzed by statistical methods of descriptive statistics, factor analysis, reliability analysis, correlation analysis and structural equation model. The major results of this study are as following: 1. Team playfulness climate partly influences team innovation performance. 2. TWQ has significant positive influence on team playfulness climate. 3. Team playfulness climate mediates the relationship between TQW and team innovation performance.

The main purpose of this study was to explore the relationships between demographic variables (gender, experience of teaching, and educational background), playfulness, motivation of teaching, happiness and creative teaching among junior high school teachers. The participants in this study included 320 junior high school teachers in Kaohsiung City. The employed instruments included the Inventory of Creative Teaching Behaviors, the Inventory of Teacher Playfulness, the Inventory of Teaching Motivation, and the Inventory of Happiness. The applied analysis methods were Descriptive Statistics, One-way Multivariate Analysis of Variance, Canonical Correlation, and Discriminant Analysis. The main findings of this study were as follows: 1. The male teachers in junior high schools outperformed the female teachers in creative teaching, and the major differences were found on the dimensions of ¡§Interactive discussion and upgrading of thinking¡¨ and ¡§independent learning and challenge providing¡¨. 2. The teachers¡¦ experience of teaching and educational background did not have effects on their creative teaching. 3. The teachers¡¦ playfulness had positive effects on their creative teaching; more specifically, their playfulness in ¡§active sharing and atmosphere construction¡¨, ¡§enjoyment of trying and satisfaction obtaining¡¨, and ¡§easiness and self-recognition¡¨ had strong correlations with their creative teaching in ¡§varied teaching and motivation stimulation¡¨. 4. The teachers¡¦ motivation of teaching had positive effects on their creative teaching; more specifically, their teaching motivation of ¡§enjoying creation and problem solving¡¨ had the highest correlation with their creative teaching in ¡§independent learning and challenge providing¡¨. 5. The teachers¡¦ happiness had positive effects on their creative teaching; more specifically, their happiness in ¡§work enthusiasm and self-transcendence¡¨, ¡§Caring and optimism¡¨, and ¡§recognition and hope toward the value of life¡¨ had strong correlations with their creative teaching in ¡§varied teaching and motivation stimulation¡¨ and ¡§independent learning and challenge providing¡¨. 6. The playfulness, motivation of teaching, and happiness could jointly predict the teachers¡¦ performance in creative teaching, and the motivation of teaching and playfulness were the most powerful predictors. Finally, some suggestions were proposed for educational institutions, teachers, and further studies.

In this thesis, I undertake an investigation into the relationship between play, playfulness and law. Law relies on a certain form of play, rule-bound orderly play; this is demonstrated, for example, in the ceremony of the trial. Furthermore, underpinning every legal system, we find a different form of play: the spontaneous and disruptive performances of revolutionary violence which found every state. Play can be, in fact, an unpredictable force. Play can disrupt or derail the structured performances of law; play can deflect the violence of the state. I am interested in the dramatic possibilities of using subversive play, or playfulness, as a strategy for negotiating violence. This is, in many respects, a postmodernist work. I draw upon and use self-reflective narrative, conduct my investigation by way of case studies, seek to expose the relationships of power behind both text and performance, and deconstruct accepted understandings of terms like law and play. It is also an interdisciplinary work, in which I draw upon the ‘interdiscipline’ of performance studies. In integrating performance studies theory with law, and in considering law as yet another cultural performance, I have disregarded the artificial boundaries which positivist legal scholars seek to construct between law and (non)law. Positivists view law as a set of norms and rules; in law, the written text is sacrosanct. I have adopted the approach of performance studies theorists, who view all social and cultural activities as performance and regard culture as a verb rather than as a noun. Law might endure as text, but it is made as performance. My first set of case studies originate in the contemporary war on terror. Terrorism can itself be viewed as a performative phenomenon and form of (dark) play; it is also, clearly, about violence. I undertake a comparative critique of two different performative responses to the war on terror: namely, the terror trials and the theatre of dissent. I consider the interplay between the violence of terrorism and the violence of law in the terror trials. I also look at the extent to which the theatre of dissent ‘plays’ with different forms of violence in order to disrupt the authority of the state. The different functions and roles of these two forms of cultural performance become apparent in their engagement with violence and with the state, their portrayal of difference, their exposure to mediatisation, and their relationship with the ‘truth’.There is little playfulness in the play of the terror trials, or in the play of the theatre of dissent. I turn, therefore, to playfulness in law. I consider eruptions of playfulness in the courtroom. I also look at the transformation of law into play through the phenomenon of documentary theatre. I am intrigued by the subversive and playful possibilities in providing the text of law with a different performative force, and in uncoupling law from violence through re-performance as theatre. My final set of case studies originate in the playful performances of environmental protest. We find different forms of play characterising and underpinning the rationale for such performances. Play in its pre-rational guise is embraced as a strategy to capture the media’s attention and confound violence against nature. Play, in its ideological association with wilderness, appears in a more solemn guise. Using case studies drawn from the war on the environment, I investigate the relative efficacy and symbolic value of different forms of play, the pre-rational play of direct action and the rational play of legal performances, in countering violence against nature.

In this thesis, I undertake an investigation into the relationship between play, playfulness and law. Law relies on a certain form of play, rule-bound orderly play; this is demonstrated, for example, in the ceremony of the trial. Furthermore, underpinning every legal system, we find a different form of play: the spontaneous and disruptive performances of revolutionary violence which found every state. Play can be, in fact, an unpredictable force. Play can disrupt or derail the structured performances of law; play can deflect the violence of the state. I am interested in the dramatic possibilities of using subversive play, or playfulness, as a strategy for negotiating violence. This is, in many respects, a postmodernist work. I draw upon and use self-reflective narrative, conduct my investigation by way of case studies, seek to expose the relationships of power behind both text and performance, and deconstruct accepted understandings of terms like law and play. It is also an interdisciplinary work, in which I draw upon the ‘interdiscipline’ of performance studies. In integrating performance studies theory with law, and in considering law as yet another cultural performance, I have disregarded the artificial boundaries which positivist legal scholars seek to construct between law and (non)law. Positivists view law as a set of norms and rules; in law, the written text is sacrosanct. I have adopted the approach of performance studies theorists, who view all social and cultural activities as performance and regard culture as a verb rather than as a noun. Law might endure as text, but it is made as performance. My first set of case studies originate in the contemporary war on terror. Terrorism can itself be viewed as a performative phenomenon and form of (dark) play; it is also, clearly, about violence. I undertake a comparative critique of two different performative responses to the war on terror: namely, the terror trials and the theatre of dissent. I consider the interplay between the violence of terrorism and the violence of law in the terror trials. I also look at the extent to which the theatre of dissent ‘plays’ with different forms of violence in order to disrupt the authority of the state. The different functions and roles of these two forms of cultural performance become apparent in their engagement with violence and with the state, their portrayal of difference, their exposure to mediatisation, and their relationship with the ‘truth’.There is little playfulness in the play of the terror trials, or in the play of the theatre of dissent. I turn, therefore, to playfulness in law. I consider eruptions of playfulness in the courtroom. I also look at the transformation of law into play through the phenomenon of documentary theatre. I am intrigued by the subversive and playful possibilities in providing the text of law with a different performative force, and in uncoupling law from violence through re-performance as theatre. My final set of case studies originate in the playful performances of environmental protest. We find different forms of play characterising and underpinning the rationale for such performances. Play in its pre-rational guise is embraced as a strategy to capture the media’s attention and confound violence against nature. Play, in its ideological association with wilderness, appears in a more solemn guise. Using case studies drawn from the war on the environment, I investigate the relative efficacy and symbolic value of different forms of play, the pre-rational play of direct action and the rational play of legal performances, in countering violence against nature.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-25T13:11:17Z No. of bitstreams: 1 Soares, Ilma.pdf: 1222867 bytes, checksum: 41cb961bcda1597431d3198fe6016199 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-17T14:41:59Z (GMT) No. of bitstreams: 1 Soares, Ilma.pdf: 1222867 bytes, checksum: 41cb961bcda1597431d3198fe6016199 (MD5) / Made available in DSpace on 2013-05-17T14:41:59Z (GMT). No. of bitstreams: 1 Soares, Ilma.pdf: 1222867 bytes, checksum: 41cb961bcda1597431d3198fe6016199 (MD5) Previous issue date: 2005 / Esse estudo analisa as crenças de quatro professoras das séries inicias do Ensino Fundamental público, do Município de Salvador-BA, no ano de 2004, sobre a ludicidade e as atividades lúdicas. Tem a pesquisa qualitativa como opção metodológica e a observação, a entrevista e a (auto)biografia como instrumentos investigativos. A questão básica que norteou esse trabalho foi: quais as crenças que os professores têm elaborado sobre a ludicidade e as manifestações lúdicas? Diante da compreensão de que as crenças compõem um sistema que se organiza de forma a sustentar e justificar as demais, tornou-se necessário, também, analisar algumas convicções sobre educação, escola, aluno e trabalho docente, de forma a compreender onde as convicções sobre ludicidade e atividades lúdicas se alicerçam. Ainda em relação às crenças, opta-se por utilizar os vocábulos convicções e ?certezas? com o mesmo sentido, diante do seu credo intenso, mesmo sem um conhecimento mais sistematizado do sujeito que crê. O conceito de ludicidade que permeia este trabalho baseia-se nos estudos de Cipriano Luckesi, que a entende como a vivência de uma experiência plena. Em relação às atividades lúdicas, buscou-se perceber com que perspectivas se encontravam presentes os jogos e brincadeiras no processo pedagógico. A partir da análise das convicções sistematizadas, conclui-se ser importante conhecer e efetivar um trabalho em relação às crenças das professoras, se quisermos que a dialogicidade, o prazer, a alegria, a inteireza, a espontaneidade, a formulação de vínculos significativos perpassem o processo educativo. Constata-se, ainda, que a incorporação do elemento lúdico na escola requer que se mexa em várias convicções sobre a função da escola, o papel exercido por professores/as e alunos, o que de alguma forma, justifica a resistência desses/as profissionais a um trabalho pautado na ludicidade. Diante dessa resistência, secundariza-se o papel da ludicidade e das atividades lúdicas e, quando esses aspectos se encontram presentes, trazem o caráter de reforço ou avaliação de conteúdos. O fato de a escola pesquisada ser voltada para a formação das crianças das camadas populares também é um aspecto que, a partir das convicções das professoras, limita ou inviabiliza a vivência lúdica nesse espaço educativo. No estudo das crenças de professores, esse trabalho contribui ao acrescentar três características relacionadas às convicções: a inter-relação dos aspectos pessoais e profissionais; o seu caráter de generalização e a sua influência na criação de estereótipos. / Salvador

Submitted by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2014-07-31T17:48:41Z No. of bitstreams: 1 Ana Paula Silva da Conceição.pdf: 1088889 bytes, checksum: 6fd4830717f37f23c873c7b0805bc0a9 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2014-07-31T17:49:20Z (GMT) No. of bitstreams: 1 Ana Paula Silva da Conceição.pdf: 1088889 bytes, checksum: 6fd4830717f37f23c873c7b0805bc0a9 (MD5) / Made available in DSpace on 2014-07-31T17:49:20Z (GMT). No. of bitstreams: 1 Ana Paula Silva da Conceição.pdf: 1088889 bytes, checksum: 6fd4830717f37f23c873c7b0805bc0a9 (MD5) / Os últimos anos têm sido marcado em nosso país, por uma vigorosa reflexão crítica sobre a construção de uma educação democrática, cujo currículo e cuja prática pedagógica levem em conta a heterogeneidade de culturas e classes sociais e promovam o desenvolvimento das crianças na plenitude das múltiplas expressões lúdicas. O presente estudo visa argumentar e compreender as proposições e os debates teóricos sobre a presença do lúdico no Currículo da Educação Infantil, além de elaborar indicativos pertinentes e relevantes sobre a vivência do lúdico na educação sistematizada das crianças. Nesse contexto, esta dissertação tem como principais bases teóricas os estudos de Huizinga (1993), Kramer (1989), Kshimoto (1994), Luckesi (2000), Macedo (2002), Morin (2000), Piaget (1990), Porto (2002), Vygotsky (1998), entre outros. A opção metodológica foi pela pesquisa bibliográfica, por ser um método que referencia pressupostos teóricos, bem como estabelece relações entre conceitos sistematizados, favorecendo o debate, a explicitação e a pertinência dos sistemas de idéias analisadas. O exercício metodológico ancorou-se numa hermenêutica semiológica dos textos trabalhados, sem com isso nos impedir de transcender às fontes de inspiração analítica. / ABSTRACT Recent years have been marked in our country by a vigorous critical reflection on the construction of a democratic education, whose curricula and teaching practice which takes into account the heterogeneity of cultures and social classes and promoting the development of children in the fullness of the multiple expressions playful. This study aims to argue and understand the propositions and the theoretical debates about the presence of play in the curriculum of early childhood education, and develop relevant and pertinent indications about the experience of play in the systematic education of children. In this context, this paper's main theoretical studies of Huizinga (1993), Kramer (1989), Kshimoto (1994), Luckesi (2000), Macedo (2002), Morin (2000), Piaget (1990), Porto ( 2002), Vygotsky (1998), among others. The method chosen was the literature search, it is a method that references theoretical as well as establishing systematic relations between concepts, encouraging discussion, explanation and relevance of systems of ideas discussed. The exercise methodology anchored in a semiological hermeneutics of the texts worked, without thereby prevent us to transcend the analytic sources of inspiration.

Submitted by Sylvia Regina de Oliveira Rodrigues (kindsylviar@gmail.com) on 2018-04-28T22:45:20Z No. of bitstreams: 1 rodrigues_sro_me_arafcl.pdf: 8047340 bytes, checksum: 8d01241704fc9e77eb65135f36f150f7 (MD5) / Approved for entry into archive by Milena Maria Rodrigues null (milena@fclar.unesp.br) on 2018-05-02T17:28:42Z (GMT) No. of bitstreams: 1 rodrigues_sro_me_arafcl.pdf: 8047340 bytes, checksum: 8d01241704fc9e77eb65135f36f150f7 (MD5) / Made available in DSpace on 2018-05-02T17:28:43Z (GMT). No. of bitstreams: 1 rodrigues_sro_me_arafcl.pdf: 8047340 bytes, checksum: 8d01241704fc9e77eb65135f36f150f7 (MD5) Previous issue date: 2018-02-28 / Quando pensarmos em sexualidade e gênero, precisamos saber como construir, reconstruir e desconstruir valores morais, sociais e culturais. Uma construção para adquirir novos conhecimentos seguida pela reconstrução, somando aprendizados e reformulando conceitos e desconstruindo pensamentos antigos e compreendendo o mesmo assunto numa nova ótica, de forma reflexiva, incorporando novas informações como aprendizado adquirido. As crianças relacionam-se mais com a mídia. Em algumas situações, retrata explicitamente conteúdos sobre sexualidade e gênero, de forma preconceituosa e distorcida. Pelos motivos acima abarcados e pelo fato de a escola e da família serem agentes de socialização exercendo importante papel na formação das crianças, é importante que os assuntos sexualidade e gênero sejam abordados de maneira planejada, respeitando as diferenças, não somente de um modo informativo nos processos de aquisição e trocas de experiências e aprendizados, mas de um modo compreensivo. O objetivo geral deste estudo foi elaborar uma proposta pedagógica de material lúdico para o desenvolvimento de ações educativas com crianças e adultos sobre os arranjos familiares. A metodologia envolve um estudo qualitativo de pesquisa bibliográfica das temáticas emergentes, com ênfase nos estudos sobre família e ludicidade e uma pesquisa empírica em desenvolvimento que envolve a elaboração de uma proposta pedagógica de materiais lúdicos. Destacamos que os valores culturais exercem forte influência sobre o modo de como as pessoas manifestam a sua sexualidade e se relacionam com o outro, na convivência interpessoal. A identidade pessoal é construída histórica e culturalmente nas relações de gênero. O uso do lúdico para o desenvolvimento de estratégias que facilitem a aprendizagem da criança e no tocante a pesquisa que possibilite a compreensão das diferentes constituições e arranjos familiares são defendidas como importantes para o desenvolvimento dos processos formativos da criança e do favorecimento das relações sociais. / When we think about sexuality and gender, we need to know how to construct, reconstruct and deconstruct moral, social, and cultural values. A construction to acquire new knowledge followed by reconstruction, adding learning and reformulating concepts and deconstructing old thoughts and understanding the same subject in a new way, in a reflexive way, incorporating new information as acquired learning. Children relate more to the media. In some situations, it explicitly portrays sexuality and gender content in a prejudiced and distorted way. For the above reasons and because the school and the family are agents of socialization playing an important role in the formation of children, it is important that the issues sexuality and gender are addressed in a planned way, respecting the differences, not only in an informative way in the processes of acquisition and exchange of experiences and learning, but in a comprehensive way. The general objective of this study was to elaborate a pedagogical proposal of play material for the development of educational actions with children and adults on family arrangements. The methodology involves a qualitative study of bibliographical research on emerging themes, with emphasis on studies on family and playfulness and an empirical research in development that involves the elaboration of a pedagogical proposal of playful materials. We emphasize that cultural values have a strong influence on how people manifest their sexuality and relate to each other in interpersonal coexistence. Personal identity is historically and culturally constructed in gender relations. The use of ludic to develop strategies that facilitate the learning of children and research that makes possible the understanding of different constitutions and family arrangements are defended as important for the development of the formative processes of the child and the favoring of social relations.