Terre des hommes is the leading Swissorganization for child relief. Founded in1960, Terre des hommes helps to build abetter future for disadvantaged childrenand their communities, with an innovativeapproach and practical, sustainable solu-tions. Active in 33 countries, Terre deshommes develops and implements fieldprojects to allow a better daily life for over1.4 million children and their close rela-tives, particularly in the domains of healthcare and protection. This engagement isfinanced by individual and institutional sup-port, of which 85% flows directly into theprograms of Terre des hommes.

Introduction

Structure of the manual andthe gamesMethod of ‘learning by doing’Benefits of the games for better child protectionGlobal skills developed through gamesCharacteristics and benefits of traditional games

Notes

Your turn to play!

Games from 4 years oldThe sun and the moon (MOL)The sleeping bear (ROM)The cat and the birds (ALB)The sharks’ island (INT)

Games from 6 years oldPicki Zali Bufta Rafta (MOL)Tiger, tiger, panther (MOL)Exchanging places (ALB)The postman (INT)The witches (INT)The little blind train (INT)

Games from 8 years oldFreeze/unfreeze (ALB)Touch the colour (ALB)The old blind lady (ROM)Where were you ? (MOL)

Three balls in the field (MOL)The dragon’s tail (ROM)

Games from 10 years oldThe countries (ROM)The castle / Scattering stones(ROM-ALB)The fox and the hens (INT)Five passes ball (INT)

Bibliographical references

I.

A.

B.C.

D.

E.

II.

1.2.3.4.

5.6.7.8.9.10.

11121314.

15.16.

17.18.

19.20.

III.

2

33

5

8

10

13

15

16182022

242729313437

40424548

5154

57

606366

68

1

2

The MOVE project1, implemented by Terredes hommes (Tdh) in Eastern Europe(Romania, Moldova and Albania) andfinanced by UEFA over a period of fouryears (mid-2008/mid-2012), has trainedmore than 1000 animators/teachers in themethodology “Movement, Games andSports”(MGS)2. This methodology avoidscompetition and exclusion, promotes morecooperation and integration in sports andgames, reinforces the resilience of vulnera-ble children and improves their psychoso-cial well-being in general; all this, thanks tothe development of their life skills (adapt-ability, cooperation, empathy, managingemotions, communication, responsibility,etc.). The people trained have hence al-lowed approximately 10'000 children tobenefit from specific activities with very en-couraging results, such as reduced aggres-sive behaviour, better relationships withtheir peers and with adults. Also, for themost vulnerable children, there was a clearimprovement in their so called ‘dysfunc-tional’ behaviour3.

The MOVE project has also proven in itsthree countries of intervention that theMGS methodology greatly contributes tochild protection in the following way:

By modifying the attitude of adults incharge of children for a larger participationof children as actors of their lives. By reinforcing the life skills of children to-wards greater self-esteem, resilience andself-protection.By participating in case managementthrough games and feedback in order tofacilitate the identification and protectionof children at risk.By reinforcing community involvement viathe participation of key community mem-bers in activities and training.By promoting the action of Terre deshommes in residential homes/prisonsthanks to a comprehensive and fun toolthat allows difficult topics to be dealt with.

With reference to this unique experience,we thought important to create a list of 15traditional games played in these threecountries of Eastern Europe in order topromote their culture and therefore allowa majority of people to benefit from these

resources. In order to obtain an updatedgame manual for child protection that is ac-cessible to everyone, we have added five‘international’ games - those most oftenplayed and appreciated in the first manualof 20 games ‘Laugh, run and move to developtogether: games with a psychosocial aim’ de-veloped par Terre des hommes in 20074.

The particular addition to this manual oftraditional games, compared to the firstmanual mentioned above, is found in thechapter ‘Links with child protection’ added toevery game. This chapter is to be used ifneeded as a tool for child protection byasking children questions about factors ofself-protection. This makes this manual animportant element of the Tdh child protec-tion projects.

3

A. Structure of the manual and the games

This manual contains 15 traditional gamesfrom Eastern Europe (Romania, Moldovaand Albania) and five ‘international’ gameswith strong psychosocial and protectionelements, which combine mainly creativity,imagination and strategy. They are aimed atchildren from 4 to 14 years old and classi-fied by age group: from 4 years-old, from6 years-old, from 8 years-old and from 10years-old, ranging from the simplest to themost complex. Every game contains thefollowing information:

The country of origin of the game, even ifwe often find similarities with other knowngames, since one of the characteristics of tra-ditional games is their relative universality.A small summary of the goals of the game.The age group, only as an indication, sinceevery game is adaptable.The abilities developed at a mental, emo-tional and physical level.The materials when some are required, butmost of the time these games are simpleand do not necessitate specific materials.The detailed organisation and rules.

Advice for running the game and possiblevariations.Questions for running the feedback at theend of the game.Links with child protection for discussion ifdesired.

The methodology of learning by doing isnecessary, if one wishes to reap the bene-fits of developing life skills for the childrenand of better childhood protection in gen-eral.

B. Method of ‘learning by doing’5

«Tell me and I will forget; show me and per-haps I will remember; involve me and I willunderstand.»

This Chinese proverb highlights the maindifference between the traditional way ofteaching, based on imparting information,and the empirical way which allows theparticipants to work out the theory frompractical experience. It is not learning in anacademic sense but rather a process oftransformation that is aimed at. It is aboutbringing changes in attitudes and abilities to

enable children to experience and developtheir own resources.

To reach a certain number of changes inattitude, we use a specific methodologywhich is inspired by the theory of ‘experi-ential learning'’. We have simplified theconcept developed by Kolb in the followingdiagram:

1st practical experiencepractice

Pause: feedback analysis, synthesis

2nd active experience application

4

Active participation of children is essentialin this learning method. Everything comesfrom them and goes back to them, thanksto the mediation of the animator. The men-tal, physical and emotional involvement, thethinking and discussions after the experi-ence, all mean the child is fully prepared fornew discoveries and new behaviours.

Animators have a choice of using thismethod with children or not. They canorganize the game in a spontaneous way,drawing on its fun and recreational aspects.But they can also decide to emphasizeprecise abilities so as to develop life skillsfor the children. In this case, they will runthe activity in three stages to promotelong-term learning and changes in behav-iour.

1. First practical experience (practice): aftergetting instructions (short and clear), thechildren discover and experience a newgame.

2. Pause for discussion and feedback (analy-sis of what has happened and synthesis ofimprovements to be made): after sometime, the animator stops the game, gets the

children together and asks them if therewere any difficulties (of understanding,technical, relational) or suggestions etc. andhow it could be improved. There is an ex-change of impressions and feelings, precisesuggestions for improvement; the animatorfocuses the children's attention on one ortwo important points (according to thepsychosocial objectives set, for examplepersonal responsibility, improved commu-nication, and so on).

3. Second active experience (applicationand improvement): the children experiencethe game a second time, more consciously,as their attention has been drawn to someimportant elements. True learning takesplace at this precise moment and the qual-ity of the game or activity improves. Verbal-izing the experience brings the rationalpart (head) into the kinaesthetic (body)and emotional (heart) experience, enablinga conscious improvement of actions andbehaviours.

This cycle can be repeated as often aswished, with several pauses for feedback,until the animator sees that the objectivesare achieved and that the desired behav-

iours are reached. The repetition of thesame game will not seem boring for chil-dren, as it is one of the principles of learn-ing, as long as the goals to be reached areprecise and the game suited to their level.

Note of caution: this method requires thatthe animator does not play with thechildren, but remains outside the game,to maintain a certain distance and observethe game's progress and the children'sbehaviours. This is necessary to be ableto give relevant and targeted feedback.Playing together with the children hasthe advantage of creating other ties withthe group. However, emotions can blockthe objectivity and impartial observationrequired to properly accompany thechildren in acquiring new skills and reflexesfor self-protection.

5

C. Benefits of the games for better childprotection

Child protection at Terre des hommesThe two areas of expertise of Terre deshommes Foundation are Health and Pro-tection. Tdh has been working since 2000on the development and reinforcement ofchild protection systems in the countrieswhere it is actively present. As describedin the thematic policy on Protection Sys-tems, the aim of this work is “to guarantee,globally and structurally, the existence and thequality of the services aimed at protecting therights and the well-being of all children on thescale of a given territory. The main idea is to op-timize resource management, to increase thenumber of children benefiting from their rights,to provide them with better opportunities, toavoid all discrimination and to support the com-mitment and collaboration of all the actors con-cerned on the scale of a state or of a territorialentity. The communities and the families arealso taken care of in order to participate as keyactors in the area of child protection”6. As we demonstrate below, play should beconsidered as a fundamental activity, beingan integral part of any child protection sys-tems.

Self-protection and resilience thanks togames7

The benefits of the games for better childprotection have been largely demon-strated, and especially in a recent study onthe children's right to play, whether in a sit-uation of development or of crisis. Playingis a mechanism of survival and protection,because while children play they createtheir own well-being, according to Brad-shaw et al. 2007. Indeed, through playing,children externalise their impulsions andinner world in a safe environment thathelps them to reconstruct themselves anddevelop their resilience.Thanks to new situations ‘beyond the realworld’, specific to games, the children areforced to adapt and adopt original behav-iour because ‘everything is possible’. “Thisexternal behaviour is matched with an inter-nal connection process; a novelty of wiringpotential in brain circuits (Gordon et al. 2003;van Praag et al. 2005).” (…) Play supportsnovel neural connections and changes the ar-chitectural structure of brain regions throughits own value and fabulations (pleasurableand ‘as if’ behavior); ‘the brain not only shapesplay … play also shapes the brain’ (Pellis andPellis 2009:94).”

These different elements as well as manag-ing one's emotions, managing stress, bond-ing, creativity, learning, etc. put playing in adirect relation with the brain's systems ofadaptability. But the most important aremainly pleasure and joy in play: “Feelings ofjoy and pleasure are associated with moreflexible and open responses to situations andwith effective problem-solving, self-control,forward-looking thinking and caution indangerous situations (Isen and Reeve 2006).”(…) Research suggests that experience ofpleasurable situations may have benefits fordealing with stress and negative experiences(Silk et al. 2007, Cohn and Frederickson2009).”Bonding reveals itself to be another pri-mordial factor while playing, becausefriendship and positive relations betweenpeers have protective effects, according toAbou-ezzedine et al.’s 2007. “Play becomesan important medium for establishing peerfriendships, learning about social dynamicsand the rules of engagement (Fantuzzo et al.2004, Panskepp 2007).”

Self-protection thanks to sharing and dis-cussions8

Playing being a privileged language of chil-dren, it allows them to externalise theiremotions and constitutes an ideal meansfor initiating discussions focused on themesthat can be sometimes sensitive. Everygame brings about a particular situationthat is possible to link to subjects of childprotection. It is up to the animator to eval-uate the need or not to approach certainsubjects with the children, and to choosethe appropriate moment. Suggestions aremade in this manual, at the end of everygame in the part ‘Links with child protection’,for dealing with topics such as personalsafety or strategies and behaviour that eval-uate and manage personal risks, also calledself-protective behaviour. The followingthemes can therefore be approached withthe children thanks to questions suggesteddirectly after the game. Integrating thesetopics is fundamental to child protectionand goes beyond practical and basic infor-mation such as health, hygiene or nutrition.

Identity: Do all children know their fullname, the name and address of theirparents or the people responsible for

them? Where is all the information thatcould help identify or reunify the chil-dren if they were lost, separated, traded,if they became refugees or caught up inan emergency situation? What are theelements that make them feel good, thatmake them feel ‘at home’, even if theyare not (e.g. refugees, displaced, mi-grants, etc.)? Etc.

Physical contact/psychological injuries:Are there physical contacts that are notappropriate? How to make the differ-ence between ‘good’ and ‘bad’ touch9?What can they do when someonetouches them and they do not wantthem to? What is a psychological injury?What can they do when they do notfeel good inside? What to do when theysee someone feeling bad? Etc.

Choices/responsibilities: How to makethe right choices? What circumstancescould lead them to make a choice thatcould put them in danger? What couldthey do differently? How to take theright decisions? How to be responsible?How does it feel to be responsible? Arethere situations where they should not

be held responsible? (e.g. looking afteryounger brothers and sisters)? What canthey do in these situations? Etc.

Trust: How to decide whom they cantrust? Are there any people that theyshould not trust? Who are the peoplein their lives they can rely on or towhom they can speak to if there is aproblem (parent, teacher, educator, etc.)?Who should they not trust? Whenshould they follow others or obey anddo what they are told? On the contrary,are there situations when it is not wiseto follow someone or obey? When canthey put themselves in danger by copy-ing someone? Etc.

Safety/mutual help: What to do to bein security and help others? What canthey say if they notice something that isnot right for themselves or for others?Is it better sometimes not to get in-volved in situations that concern others,for instance when their own security isat risk? Who are the people they can callfor help in case of danger? What canthey do to help each other and colla-borate to stay safe? Etc.

6

7

It is important to remember the essentialrole of the animator who is expected tofacilitate these discussions and who needsto possess the personal and social skills10

necessary to adequately manage groupsof vulnerable children. Here are somerecommendations taken from the Albaniandocument Enhancing Child Protectionthrough Activities and Games:

It is important for the animator to remember that the links with child protectionshould not be systematically mentioned in every activity! Children should not be-come scared or too cautious, but we also need to make sure that child protectiondoes not become a topic evoked only in therapy situations or enclosed areas. Childprotection should be part of everyday life without forgetting that the main purposeof the games is not protection but pleasure in playing and the natural developmentof life skills that result from it.

It is not necessary or even possible for the animator to have the ‘right answer’ foreverything! The questions suggested help explore certain themes with the childrenbut answers to each one of them are not necessarily obtained. The important thingis to ask what children are thinking and why, since it helps them develop their in-quisitiveness, important for analysing all sorts of situations. What is said by the chil-dren can provide precious information on what they go through and to what theycan be exposed. But it is also necessary, depending on the situation, to send clearmessages like their right to say ‘no’ and to be protected!

The animator must be receptive to ‘alarm signals’ which may indicate a real problem;for example, a child who is too aggressive, who touches other children in a ‘sexual’manner11, or on the contrary who is very reserved; there may also be signs of mis-treatment like bruises or injuries etc.

8

D. Global skills developed through games12

As described above,playing is fundamentalto stay healthy, as well asfor well-being, develop-ment and child protec-tion. Certain immediatebenefits that are alreadyrecognised are, the fact

of “providing important physical exercise thatdevelops endurance, control of body move-ment and perceptual-motor integration; test-ing aspects of the environment to deducetheir value; establishing social roles and al-liances that may contribute to current survival;enhancing psychological and physiologicalwell-being and resilience (Burghard 2005).”

Beyond the topics exposed in the study onthe children's right to play, playing allowschildren to develop a certain number of lifeskills for better protecting themselves:better self-confidence and self-knowledgehelps them assert themselves, be moreresponsible, make choices, make decisions,evaluate when people are safe or not, etc.13

“Playing with others requires constant main-tenance, reading and differentiating the inten-tions of others and adjusting behaviours inresponse. It is evident that these interrelatedcomponents enhance children’s repertoire ofsocial, emotional and cognitive abilities (Pellisand Pellis 2009)”.

Playing therefore allow general skills (men-tal, emotional and physical) to be devel-oped which helps to acquire or modifycertain attitudes and behaviours in orderto improve the capacity of long termresilience: self-esteem, self-confidence, feel-ing of security, cohesion in a group, etc. Wetalk about the three H’s (Head, Heart,Hands).

I THINK

Mental abilities1. Self-knowledge: knowing oneself, whatone likes or dislikes, ones’ values, strengths,resources, weaknesses, etc.2. Concentration, observation, learning:integrating new knowledge, understandinginstructions, paying attention, not dividingone’s attention, perceiving what’s going onaround, applying what has been learned,etc.3. Analysis, strategic thinking: reasoning ina logical way, questioning things, thinkingbefore acting, finding solutions and strategicways to act, etc.4. Creative thinking, imagination: beinginventive, having ideas, entering an imagi-nary world, etc.

9

I AM (with myself and others)

Emotional abilities5. Trust: feeling good with oneself, taking ini-tiatives, daring to do things with others,counting on others, etc.6. Respect, empathy: guaranteeing one'sown and other's security, and physical andpsychological well-being; not being brutalor violent verbally or physically towardsoneself and others; avoiding judgement,putting oneself in the shoes of another, etc.7. Communication, expression of emotions:expressing oneself in front of others, sayingthings in a constructive way, expressing one’sfeelings, managing sadness or anger whendifficult situations arise, sharing other peo-ple's joy, etc. 8. Managing problems and conflicts: being a‘good loser’, knowing how to talk ratherthan shout or hit others, looking for solu-tions together, etc.9. Cooperation: taking action, playing, cre-ating together, including everybody, showingsolidarity, helping others, negotiating, mak-ing group decisions, etc.

10. Responsibility, fair-play: taking responsi-bility, being disciplined, committing oneself,being accountable, respecting rules, notcheating, being honest, etc.11. Adaptation, flexibility: being receptive,curious, not being stuck with an idea or anaction, adapting to what is new, etc.

I DO

Physical and manual abilities12. Speed, strength, resistance, endurance,flexibility: running fast, carrying heavy loads,keeping stamina going over shorter andlonger periods, having a flexible body, etc.13. Coordination, agility, precision: havingwell-coordinated body movements, aloneor with someone else, being able to adaptwith one’s body to an environment and thechallenges it offers, being precise in one’sgestures, developing fine motor skills, etc.14. Reaction, rhythm, balance: respondingimmediately to a stimuli/situation, usingone's body to follow a tempo that is givenby an external rhythm, keeping a stable po-sition while staying still or moving, etc.15. Body awareness: knowing one’s body,its possibilities and weaknesses and feelinggood with it, knowing how to moveharmoniously when needed, feeling re-laxed, letting go, etc.

10

E. Characteristics and benefits of tradi-tional games 14

Traditional games belong to what we callthe traditional popular culture. PierreParlebas, professor in Sports Sociology inParis, emphasizes children’s educationalinterest especially through their importantuse of imagination: “children play, run, catch,imprison, set free, execute, resuscitate…nu-merous situations which produce symbolicactions”. The characteristics describedabove offer many possibilities, either re-garding group structures, roles to imper-sonate or goals to achieve, and allow thedevelopment of new skills:

Imagination plays a fundamental part inthese games. The symbolic implication ismuch more important than in a collec-tive sport and allows children to betterunderstand themselves and developtheir creative thinking.Very often it is not two teams that op-pose each other, but three even four, es-tablishing dynamics that are no longerthose of opposition but of seeminglycontradictory choices15. This type ofgame promotes collective strategies that

allow a certain form of creativity andnot only force children to make individ-ual choices but also to concentrate andbe attentive.Most often, these games are playedwithout materials, nor a ball, which al-lows the players to place all their atten-tion on observation and interpersonalrelations.These games encourage everyone'sparticipation, allowing each one to getinvolved, to succeed and to assume arole leading to self-appreciation vis-à-visthe group.

Through their cultural links, the traditionalgames also have an impact in reinforcingidentity, a factor of resilience.They activelyparticipate in the children's well-being bymaking them feel they belong to a group, acommunity and a collective history. This iseven more important when working withdisplaced children, migrants or refugees forexample. We notice that traditional games havemany advantages, and symbolism is strong.Nonetheless, and for psychosocial andprotection purposes, the symbolism of war,

of violence and of exclusion which is oftenpresent, will be minimised because it goesagainst any messages of cooperation, mu-tual help and integration that we want totransmit in our child protection projects. Itis therefore necessary to make some ad-justments in order to reap the most bene-fits. The adapted version of a traditionalgame must preserve as much as possibleits cultural roots and its basic background.The story, however, is modified when nec-essary, in order to create new dynamicsthat take into account certain importantaspects of psychosocial activities, like aban-doning all forms of exclusion and individ-ualism and promoting cooperation (mutualhelp, group actions) and participation (chil-dren are in action as often as possible). Allthese changes have been suggested by an-imators from Eastern Europe themselves,integrating the psychosocial principleswhich they have discovered during theMOVE project.

For example, in the Romanian game nr.17"The countries", the basis of the traditionalgame is to conquer countries by touchinga rival. The goal is to obtain the most terri-tories, in a war-like way. The Romanian an-

11

imators have therefore suggested to mod-ify this game by introducing passes to otherplayers with the aim of establishing alliancesbetween countries, and to better under-stand certain characteristics of each coun-try. This means common points betweenallied countries can be found, thus workingon getting to know others, developing non-judgement, non-discrimination, etc.

Here is another complete example of amodified traditional game:

Hop scotch16

This traditional game, known all around theworld, consists of going from the Earth tothe Sky as quickly as possible by throwinga stone in a square and hopping on one orboth feet. There is no competition in thisgame, but rather an individualistic versionin which each one completes their round,with emphasis on the ability to aim for asquare with a stone and to hop, balancedon one foot without falling over. Those whodo not succeed must go back to the startand pass their turn, or depending on theversion, they may be eliminated.

The game, once it is adapted in itspsychosocial version, does not involveelimination and individualism and focusesmostly on cooperation, respect for others,strategic planning, fair-play, coordinationand agility in pairs. Here is the story that allows setting theseobjectives: the chief/mayor/leader of twocommunities asks the inhabitants for help,because all the mail, including a very impor-tant package, has been exchanged that day.They need therefore to get organised toget the mail and the package back from theother community. To achieve this, they needto cross the meadows by staying on themarked paths. They will meet the other in-habitants on the same paths, themselves insearch of their own mail. They are not al-lowed to be on the same squares with theother inhabitants at the same time, buthave the right to pass each other onlywhen the path is wider (double squares).The goal is that the two communities re-

cuperate the mail that belongs to them.The game is finished once one entire teamhas returned to its village with all the mail(one per member of each community).RulesOnce a first pair (two members of thesame community) has reached a doublesquare, a second pair can start, etc.It is important that the inhabitants coordi-nate so they do not walk on the samesquares.They can choose to move on one foot(traditional hopscotch) or on two feet.If one of the two players places a foot out-side a square, the pair must automaticallystart from the beginning.

For this ‘psychosocial’ version a secondHopscotch is drawn opposite the first one.Every team starts on the opposite side, butthis time advancing from one end to theother still using a stone.

12

The mail can be represented by any objector even by real letters or packages (differ-entiated by a colour or else), placed oneither side, positioned at the end of eachhopscotch that will have to be picked up(two per pair of players) before returningto their respective community.It is important that the rule of crossing isrespected, because the teams have the ten-dency to focus only on the goal and therace, forgetting the basic rules. The anima-tor must observe if and how the pairs an-ticipate the moves of the other team inorder to avoid finding themselves on thesingle squares at the same time. It is impor-tant to encourage the pairs to admit theirmistakes if they find themselves on thesame square with another pair and makesure that they return on their own to thestart. If such is not the case, the game mustbe stopped, the basic rules repeated, andpossible strategies discussed.

At the end of the game, the following ques-tions may be asked with the aim to makeeveryone think about their own behaviourand about possible links with child protec-tion:

How did it go regarding strategy, coor-dination, cooperation and fair-play?Were the rules respected or not (notcrossing the lines with their feet, not to befound on the same squares with the otherplayers, etc.)? If not, for what reason?What was the easiest and quickest strat-egy of cooperation (bring the mail tothe other team at the junction of thetwo hopscotch drawings, and thereforeavoid difficult crossings)? Why didn’t youthink of it? Could you have thought of itand thus cooperate with more effi-ciency? Are there any more possible variations?Which ones? Can we imagine a differentstory, on the same principle?Have you learnt anything new? If yeswhat?Can you find links between this gameand your daily life? Which ones?Is there mutual help in your own com-munity? Who are the trustworthy peo-ple, or on the contrary the people youshould not trust?Are there some things you would notdare to do on your own, but only withsomeone else? For example? For whichreason?

Do you know your own address andthat of your friends to the point of beingable to bring them their mail? Which arethe other important addresses?Etc.

We wish you a lot of fun, many discoveries, learning

and discussions with these games!And enjoy going back to childhood!

13

1. For more information on the MOVEproject, see www.tdh-childprotection.org/projects/move

2. The MGS methodology uses ‘learning bydoing’, which puts child participation at theheart of the learning process and involves thechild globally at a mental, emotional andphysical level. Its all-inclusive approach com-prises lots of occasions for feedback (verbal-isation) that require an active and consciouscommitment by the child. See video 5’:www.tdh.ch/en/documents/bouncing-back-thanks-to-games. This methodology is at thecentre of the Manual of psychosocial skills,Tdh, 2011: www.tdh.ch/en/documents/manual-of-psychosocial-skills.

3. For more information on the impact ofthe MGS methodology on children, ask forthe results of the research-action conductedthroughout the duration of the MOVEproject, more specifically with the Strengthsand Difficulties Questionnaire (SDQ).

4. Manual Laugh, run, move to better developtogether : games with a psychosocial aim,Tdh, 2007. It contains 20 games as well asinformation regarding the place of play ina child's world, the skills required for theanimators, etc. www.tdh.ch/en/documents/laugh-run-and-move-to-develop-together-games-with-a-psychosocial-aim.

5. Chapter B ‘Method of learning by doing’is taken from the Manual of psychosocialskills, Tdh, 2011, pp.5-6.

6. Enhancing child protection systems, the-matic policy, Tdh, 2011, p.3.

7. The paragraph on ‘Self-protection andresilience thanks to games’ is taken andadapted from the study of Stuart Lesterand Wendy Russell, Children’s right to play :an examination of the importance of play inthe lives of children worldwide, Bernard vanLeer Foundation, UK, 2010, pp. 7-26.

8.The paragraph on ‘Self-protection thanksto sharing and discussions’ is taken andadapted from the document EnhancingChild Protection through Activities and Games:Tips, Ideas and Reminders for the SummerCamps, Tdh Albania and Stephanie Delaney,2011.

9. ‘Good touch’ avoids all intimate parts(covered by the swimming costume gen-erally), and does not cause distress, on thecontrary; ‘bad touch’ makes children veryuncomfortable, they avoid it and they wantto keep it a secret.

10. See list of skills for social workers andanimators in the Manual of psychosocialskills, Tdh, 2011, p.9.

11. We mean by this touching one's inti-mate parts, being physically too close, hav-ing insistent body contact, etc.

14

12. Chapter D. ‘Global skills developedthrough games’ is taken and adapted fromthe Manual of psychosocial skills, Tdh, 2011.www.tdh.ch/en/documents/manual-of-psychosocial-skills.

13. The quotes in chapter D. ‘Global skillsdeveloped through games’ are drawn fromthe study of Stuart Lester and WendyRussell, Children’s right to play: an examina-tion of the importance of play in the livesof children worldwide. Bernard van LeerFoundation, UK, 2010, pp. 7-26.

14. Chapter E. ‘Characteristics and benefitsof traditional games’ is taken and adaptedfrom Pierre Parlebas, “Jeu sportif, rêve etfantaisie, Revue Esprit no 5, pp.784-803,Ed. du seuil, Paris, 1975.

15. The example of the game “Hen, Fox,Viper” on p. 185 of the Manual of psychoso-cial skills demonstrates a structure of aparadoxical game, since capturing (hunting)can provoke ideas of mutual help (e.g. theFoxes eat the Hens, but they may help theVipers; the Hens peck at the Vipers, butthey may help the Foxes; the Vipers bite theFoxes, but they may help the Hens). Theplayers realise that once they have made aprisoner they are deprived of a participantthat has the power to protect them; theyneed therefore to make choices.

16. The game "Hopscotch" is taken andadapted from the Manual of psychosocialskills, Tdh, 2011, p. 139.

15

MoldovaA simple, fun game that allows young onesto develop their capacity for concentrationand their mobility by moving around in diffe-rent ways. The idea of imitating good and bad

attitudes can be dealt with in relation to childprotection.

4-8 yrs

16

Abilities

On a mental level, the children work ontheir ability to concentrate and observe,and develop their creative thinking in theirchoice of how to move around.On an emotional level, the children de-velop fair-play and a sense of responsibility.On a physical level, they work on move-ment coordination and the capacity toreact.

Organisation

The children move around freely in a bigenough play area which is marked out bythe animator. The animator and the childrenplay out different ways of moving around.Then the game can start. The owl – who isthe animator at the start, then the childrentake turns – is the time keeper. When hesays ‘sun’, the children need to copy theway the owl moves around (feet together,

17

by little jumps, imitating an animal, etc.).When he says ‘moon’, the players need totake up the night position previously de-cided and demonstrated (crouched downwith their head in, lying flat on their tum-mies, etc.). An observer is chosen at the be-ginning of the game to help the owl findwhich player is the last to take up the rele-vant position. This child then becomes theobserver and the observer becomes theowl. And the game continues like this untilall the children have had a chance to playthe role of the owl.Rules:The roles are switched as follows: a player→ the observer→ the owl→ aplayer.The players must move around in the waythe owl decides.It is strongly recommended to find a newway to move every time a different childplays the owl. Use of imagination is necessary!

Advice

It is important that the owl gives eachplayer a chance to practise the movementsbut not for too long, to avoid it becomingtoo easy.The animator must make sure all the play-

ers get a chance to play the role of the owl,even if it is during a different play session.If the animator realizes that some childrendo it on purpose being the last in order tobecome the owl, then he can change therule and it is the first player taking up therelevant position who becomes the ob-server and then the owl. The animator can also decide to tell a storywhere the words ‘sun’ and ‘moon’ appearfrequently.To make the game more cooperative, theplayers can be put into pairs (holdinghands, arms, etc.), which increases theirconfidence in each other and the need toconsult with each other and to coordinatethe movements.To vary the game, the night position(moon) can also be changed by the groupand related to the way that is chosen formoving around.For bigger children, the owl can be calledsomething else, the words can be changedand the movements made more compli-cated.

Feedback

How did you feel the game went? What

was easy or difficult for you? For what rea-son?What role did you prefer? For what rea-son?Which movements did you prefer? Forwhat reason?Have you learned anything new? If yes,what?What other variations of the game can youthink of?Can you find any links between the gameand your daily life? Which ones?Etc.

Links with child protection

The game requires the children to followcertain rules, and in any case, the naturaltendency for a child is to copy or to imitateeach other. It is then possible to explorewhat it means to follow what their friendsdo, when is it a good idea, when is it a badidea, how do they feel or what could theydo if they think what their friend is doing(or would like them to do as well) is not agood idea? Based on the ideas from thegroup, the discussion can be directed to-wards topics such as security, wise choicesor not, etc.

RomaniaA short, calm game that allows the childrento get to know each other better and to buildconfidence in a group through physical

contact. The notion of ‘good’ or ‘bad’ touchcan be approached in relation to child pro-tection.

4-8 yrs

18

Abilities

On a mental level, concentration is impor-tant as well as observation skills.On an emotional level, children developconfidence and respect for others.On a physical level, nothing in particular ex-cept, that physical contact is of paramountimportance.

Organisation

The children sit in a circle. The child thatvolunteers to be the ‘sleeping bear’ isbrought to the centre of the circle, eyesclosed, and is turned several times on him-self before sitting down. The others sing:“The bear sleeps and dreams that his socksare dancing… What should we give him toeat? Sweet milk or something else?” (Otherwords can be invented). At that moment,the bear approaches the children, still withhis eyes closed and touches one of them

to try to recognise them by their height,their hair, their clothes, etc. The animatormust make sure that any contact is respect-ful. If the bear succeeds, the child who isrecognised takes the place in the middle ofthe circle. Once his eyes closed, the otherchildren change places quickly. If the beardoes not guess correctly after the secondtry, the others can help by giving cluesabout the person (for example, they havebrown hair, they like football, they have twosisters, etc.) The game continues like thisuntil each child has had a chance to be thebear.RulesThe bear must have their eyes closed dur-ing all of the guessing part of the game.The child who is picked by the bear mustnot speak or laugh so as not to give anyclues (requires a certain amount of con-centration).

Advice

The bear must use tact when touching theplayers and the other children must notpush him or try to disturb him.It could be useful to have a headband orscarf to use with the younger children, to

help them respect the rule that they shouldnot look.The children can form a circle, either sitting,standing, on chairs or any other appro-priate position.It is recommended to change the wordsused during the game, to adapt them tothe context and experiences of the group.

Feedback

How did you feel the game went? Whatwas easy or difficult for you? For what rea-son?How did you feel when the bear touchedyou? For what reason?To guess who you were, did the bear touchyou in an appropriate manner, respectfully?How?What helps the most when trying torecognise someone?What role did you prefer? For what reason?Have you learned anything new? If yes,what?What other variations of the game can youthink of?Can you find any links between the gameand your daily life? Which ones?Etc.

Links with child protection

This game allows the players to explorethe notion of touching, or that of invadingsomeone’s personal space. Who to contactor what to do if someone invades theirpersonal space without their agreement?What kind of physical contact can makethem feel uneasy, hurt or be invasive?(physical violence, being violent or hitting,or being touched on the intimate parts ofthe body without giving permission).

19

AlbaniaThis classic game of tag, works the children’simagination around birds. It develops cooper-ation and confidence between the children.

The notion of safe or dangerous places canbe dealt with in relation to child protection.

4-10 yrs

20

Abilities

On a mental level, strategic thinking, as wellas observation, are worked on.On an emotional level, the children de-velop cooperation, respect and confidence.On a physical level, speed, ability to reactand agility are important.

Materials: little seeds (stones, little balls, bitsof cloth or leaves, etc.); a hoop; cones orother objects to mark out the triangles(nests).

Organisation

The animator defines the play area basedon the number of players (between 10 and16) and marks out three zones in the formof a triangle to represent the birds’ nests.The seeds are scattered on the ground tofeed the birds (one seed per bird). The chil-dren first name different types of birds(sparrows, pigeons, seagulls, eagles, etc.) and

21

imitate their cries and the way they move.The cat can also be imitated by the playersin different situations (asleep, hungry,scared, aggressive, etc.).The group is divided into three families ofbirds that start the game in their nests; theiraim is to each collect a seed and bring itback to the nest. A player takes on the roleof the cat with the aim to catch the birds,put them in the cage that has been desig-nated in the middle of the area, and stopthe other birds from freeing them. Thegame starts when the animator calls a fam-ily of birds, the crows for example, to leavetheir nest to collect their seeds. If the catcatches a crow, they put the bird into thecage. The captured crow can be freed byany other bird, even from another family,and brought back to their nest, held bytheir ‘foot’. When each crow has managedto bring back a seed, they return to theirnest. Then another cat is chosen and an-other family of birds is called, and so on,until all the seeds have been collected.RulesThe cat cannot go into the nests, but hecan move freely all around them.The birds are obliged to leave their nestswhen they are called and cannot return

until they have collected a seed.

Advice

With regard to touching/catching, the ani-mator must remain attentive and ensuregestures are made with respect, to avoidany aggressiveness.To make the game more dynamic, the ani-mator may decide to call several bird fam-ilies at once.It is also possible to add another cat to cre-ate synergies and different action strategies(either two cats moving on their own or apair that hold hands).Depending on demand or the situation, theanimals can be changed (antelopes and alion, etc.)

Feedback

How did you feel the game went? What waseasy or difficult for you? For what reason?What were the strategies used in yourgroup?Did certain rules simplify or actually com-plicate the game? Which ones and for whatreason?Have you learned anything new? If yes,what?

What other variations of the game can youthink of?Can you find any links between this gameand your daily life? What are they?Etc.

Links with child protection

This metaphoric bird game allows one todiscover what ‘leaving the nest to explore’means and how to protect oneself fromdangers. What are the elements that helpthe children decide if a particular action issafe or not? For example, following whatthe teachers or parents say to do or not todo, following an unknown person? Etc. Thenotion of a nest allows them to deal withthe idea of leaving home (leaving the nest)or what they should do to be sure that theyare safe; for example knowing where theyare going exactly or making sure that some-one (an adult) knows where they are going,etc.

InternationalThis short game focuses on the use of imagina-tion and is as applicable to little ones as to theolder age group. While having fun, the childrenwork on strategic thinking and cooperation,through physical contact. The most important

aspect of the game is to have an altruistic goalrather than an individual one. The notion of se-curity, safe/unsafe places, reliable/unreliable peo-ple can be dealt with in relation to childprotection. 4-10 yrs

22

Abilities

On a mental level, the children develop ob-servation skills and strategic thinking.On an emotional level, the children de-velop cooperation strategies, as well as re-spect for each other and confidencethrough physical contact.On a physical level, the players can rein-force their balance or their strength de-pending on which strategy they choose.

Materials: small mat or any other objectthat can vary in size (ropes, plastic sheet,etc.).

Organisation

The game is played by six to ten playersmaximum. If the group is too big, it just needsto be divided up so that two groups or morecan play at the same time. Each group hastheir own island. The animator tells a story:

23

the children are at the sea, they swim andplay in the water (run using swimmingstrokes). When the sharks (imaginary) arrive,the lifeguard (played by the animator) givesa signal (clapping hands, whistling, etc.) andeveryone must seek refuge on the island(small mat) without their feet in the water.Then when the danger has past, the lifeguardgives the signal twice and the children can re-turn to the water. But the tide comes in andthe island starts to disappear underwater lit-tle by little (the animator folds the mat sothat the surface area becomes smaller andsmaller). When the lifeguard gives the signalagain, the children must try once again toreach the island without anyone being left inthe sea. If one or several children are left inthe water (a foot over the edge of the mat)and are eaten by the sharks, the whole groupneeds to do a forfeit: for example sing a song,run round the play area three times, make ahuman pyramid, etc. The children must find away to cooperate (they can talk) and suc-ceed in all finding a space on the mat.

Advice

The level of difficulty depends on the num-ber of players and the surface area of the

mat. It is up to the animator to manage andevaluate the abilities of the players. The animator must be clear and strict withthe instructions: not a single part of the bodymust be over the edge of the mat or touchthe floor; this is what makes the game fun.It is interesting to see what strategies de-velop. The tendency is often to think of one-self only (e.g. some children sit on the matwithout thinking of the others). Individualisticbehaviour can be a topic for discussion.It is important to repeat the instruction andto encourage the children to discussamongst themselves to find creative strate-gies (e.g. holding each other’s’ elbows; balanc-ing on the inside foot, the outside foot lifted;or making a human pyramid, or other forms).The players must agree to touch each otherand accept to be touched. Respect for eachother and confidence are important notionsthat the animator should remind the childrenof.

Feedback

How did you feel the game went? What waseasy or difficult for you? For what reason?Was it difficult to be in physical contact withothers? For what reason?

What attitude did the children in your grouphave? Ready to help each other? Only look-ing out for themselves?Did anyone refuse to cooperate? For whatreason?What did you think about the group forfeits?What positive or negative impacts or resultscould these have?Have you learned anything new? If yes, what?What other variations of the game can youthink of?Can you find any links between this gameand your daily life? What are they?Etc.

Links with child protection

This metaphoric game creates the opportu-nity to discuss who the ‘sharks’ are, the dan-gerous people in real life. Who are the‘lifeguards’? Where are the ’islands’ (safeplaces) or other places where children canfeel protected? How can the children helpeach other in order to be safe?It is also possible to discuss the other ‘dan-gers of the sea’, for example the places orsituations where the children can be moreor less at risk (e.g. in the street, going awaywithout being accompanied, being a victimof domestic violence, etc.).

MoldovaThis short game can be played either in alively way to create tempo and a good feelingwithin the group, or in a calm way so that thechildren can relax, in pairs, through playfulmassages that help develop relationships and

trust in others. The notion of ‘good’ or ‘bad’touch can be approached in relation to childprotection.

6-10 yrs

24

Abilities

On a mental level, concentration and let-ting go are worked on, as well as the mem-ory for names linked with gestures.On an emotional level, the children de-velop communication skills, trust and re-spect for others.On a physical level, speed and ability toreact are developed in the lively versionand sensitivity of touch in the calm version.

Materials: one chair per child.

Organisation of the fast version

All the children are seated on chairs placedin a circle, right next to each other andturned outwards (like in the game of Musicalchairs). The animator explains the four handpositions to massage their neighbour’s back: Picki: ends of both index fingers like rain-drops.

25

Zali: two hands using the side of the hand(where little finger is), fingers straight andstuck together.Bufta: two hands with the side of the hand(where the little finger is), fists closed.Rafta: fingers spread and half-folded like arake.Everybody tries each massage position sev-eral times to make sure they have under-stood how to do them and havememorised their names. Then the gamestarts. The animator says one of the fournames and the group repeats it out loud –Picki, Picki, Picki… while doing the relevantmassage to their neighbour ; very quicklythe animator says another name, Bufta,Bufta, Bufta… and the players adapt theirmassage accordingly; etc. Nobody moves,they only work with gestures and theirvoices. When the animator says all fournames, the players must change places andtherefore change partners. And so it con-tinues until everyone has been paired upwith each player and all the massage move-ments have been used.RulesIt is forbidden to change places with theirneighbour; the change must take place in aparticular direction (which may be modi-

fied based on an additional instruction ifwished, and to make the game more diffi-cult).Physical contact must be made respectfully,despite the inevitable excitement createdby the game.

Organisation of the calm version

The same gestures are used, but the chil-dren are seated on the ground or on achair, in twos, one with the head droppedforward on the chest and back turned to-wards the other child. The one who is be-hind says Picki-Zali-Bufta-Rafta? and placestheir hands on the other child’s back in oneof the four positions. The child with theback turned must then take a guess andgive the name of the gesture used. If theanswer is correct, a 10-15 seconds massageis given with the relevant hand position. Ifthe answer is not correct, there are twoother tries. If the third guess is not correct,the masseur chooses another massage ges-ture. Then the roles are reversed.

Advice

It is possible to find other names, relevantto the context and the wishes of the chil-dren, as well as new massage gestures. For the fast version, once the animatorhas given the right pace to the activity, it isrecommended that a chair be removedand the role of the animator given to achild standing up who must find a chairwhen everyone changes places. The personwho is left without a chair becomes the an-imator.For the calm version, the animator mustmake sure the children are aware that it isimportant to speak up if the way they aretouched feels uncomfortable; it is impor-tant to emphasize that it is an activity forrelaxation and this must be respected.It is recommended to change partners toincrease the number of contacts and thetrust built between the children.It is also possible to leave the choice ofmassage to the person who is going to re-ceive it.For the younger ones, the animator can fa-cilitate the game by indicating the gesturesto follow, without the guessing part.For the bigger ones, it is possible to suggest

26

a series of gestures to help train theirmemory and coordination skills.

Feedback

How was this activity for you? Pleasant, un-pleasant, funny, etc. ? Can you explain ?What was your favourite role? Giving themassage or receiving it? For what reason?Did you feel at ease, reassured? Did youfeel respected? If not, for what reason?Did you learn anything new? If yes, what?What other variations of the game can youthink of?Can you find any links between the gameand your daily life? Which ones?Etc.

Links with child protection

This game allows the players to explorethe notion of touching, or that of invadingsomeone’s personal space. Who to contactor what to do if someone invades theirpersonal space without their agreement?What kind of physical contact can makethem feel uneasy, hurt or be invasive?(Physical violence, being violent or hitting,or being touched on the intimate parts of

the body without giving permission, i.e.those parts normally covered by the topand bottom of a swimming costume). Thenthe discussion can continue along the linesof who to contact or who to ask for helpif someone happened to touch them in away that disturbed them, etc.

27

MoldovaThis lively game integrates the notion of phys-ical contact in a fun way and can be used asa way to greet each other at the start of a

session. The notion of ‘good’ and ‘bad’ friendscan be dealt with in relation to child protec-tion.

6-12 yrsAbilities

On a mental level, observation, concentra-tion and memory are important in orderto not touch the same panther twice andtherefore allow everyone to participate.Creative thinking and imagination are de-veloped when unusual ways of greetingeach other are pursued.On an emotional level, the children de-velop trust in others through respectfulphysical contact, as well as cooperation be-tween all.On a physical level, ability to react andspeed are worked on

Organisation

The players are sitting or standing in a bigcircle with a good distance between eachof them (at arm’s length). A volunteer runsaround the outside of the circle and onthe way must touch two players on the

shoulder, calling them ‘tiger’; but the lattermust not move. The third player touched iscalled ‘panther’ who must then run in theopposite direction to the player who hastouched him. When they meet, they muststop to greet each other (tapping eachother in the hand, hugging, etc.), then runtowards the free space left by the ‘panther’.The last player to reach the free space be-comes the runner. The game finishes whenall the children have had a chance to runat least once.RulesThe players must stop to greet each otherand must not do it while still moving or justslowing down. It is a real encounter and agreeting, even if the race continues imme-diately afterwards. The animator must keepreminding the players of this rule until it istruly respected.It is the ‘panther’ who chooses the greetingand the other player simply responds.Each round the greeting must be different.The same player cannot run twice.

Advice

The animator must make sure that theplayers are out of harm’s way, because ifthe players run or greet each other in adangerous or brusque manner, a rule mustbe added about walking fast or some otherway of getting around (frog-like, on allfours, feet together, etc.).The animator must make sure that childrentake note of who has already had a chanceto run or not. All the players must taketheir turn at running, to encourage every-one’s participation and cooperation withinthe group.It is possible to imagine all different ways ofmoving around, of greeting each other, ofwaiting in the circle, etc. The names of the animals can also bechanged, depending on the theme of thesession or the age of the children.

Feedback

How do you feel the game went? Was iteasy, boring, fun, etc.? For what reason?What do you think of the physical contactwith your playmates?Was it easy or difficult to find ways to greetthe others? For what reason?

Did you look out for your playmates? Dideveryone get a chance to run? If not, forwhat reason?Did you learn anything new? If yes, what?What other variations of the game can youthink of?Can you find any links between this gameand your daily life? Which ones?Etc.

Links with child protection

This game of greetings to make friends canbe used to explore different situations orpeople with whom they should not be-come friends or with whom they shouldkeep a distance. Note, it is important notto scare the children or tell them not totalk to strangers – because in certain situ-ations (for instance when they are lost), itis a good thing to ask someone for help.But the message should be that the chil-dren should not leave with anyone they donot know.

28

29

AlbaniaThis game can be played at a fast or slowpace, but with a lot of trust and collaboration.It allows the players to work on their re-sponse levels and sense of direction in a fun

way. The feeling of belonging to a group, goodor bad, can be dealt with in relation to childprotection.

6-12 yrsAbilities

On a mental level, observation and strate-gic thinking are brought to the fore.On an emotional level, the children de-velop collaboration.On a physical level, sense of direction andresponse levels are developed.

Organisation

Three or four children join hands and formcircles. The animator chooses four names,says them out loud, and then whispers, ineach child’s ear, a different name fromwithin the same category (e.g. geometricshapes: triangle, circle, square, rectangle; oranimals, flowers, fruits, etc.); they keep theirname secret. Two children stay separatefrom the groups and move around the playarea; they know the four names and decidebetween themselves which one they willcall out. Each child with this name runs out

of their circle and finds a place in anothercircle. At the same time, the children out-side the circles run to find a free place in acircle, where two children are not holdinghands. Those who manage to join a circletake the name that was called out. The twochildren who do not find a place then de-cide between themselves what new nameto call out. RulesOnce a child has left a circle, the two neigh-bours must leave their hands free for a newchild to join the circle.

Advice

The animator reminds everyone that thenewly arrived children should join thecircles calmly and that the groups welcomethem by taking their hand in a friendly way.It is possible to call two names at once ifthe group is large, which increases the par-ticipatory dynamics and creates more of afun excitement.It is important to allow time for the chil-dren outside the circles to define theirstrategy if need be.In a reduced space, the way the childrenmove around can be adapted: walking in-

stead of running, hopping, etc. It is recom-mended in any case to explore differentways of getting around (side-stepping, feettogether, etc.).

Feedback

How do you feel the game went ? Was iteasy, difficult, etc. ? Did you feel at ease? Forwhat reason?What strategies were used?What does it mean to you, being part of agroup? How was it joining the group, thenleaving? Was there a group where you feltbetter or worse than in another? For whatreason?What other variations of the game can youthink of?Did you learn anything new? If yes, what?Can you make any links between this gameand your daily life? Which ones?Etc.

Links with child protection

This game allows the players to explorethe notion of belonging to a group andwhich are the ‘good’ groups or which arethe groups to avoid (e.g. those that are

looking for trouble or have a bad influ-ence). What drives children to befriendsomeone, to join a particular group ratherthan another? Etc.

30

31

InternationalAn ideal game for a group just getting ac-quainted or for a group that wants to get toknow each other more and in a lively and fun

way. The notion of information can be usefulto identify children at risk, in relation to childprotection.

6-14 yrsAbilities

On a mental level, the emphasis is on cre-ative thinking (finding good ideas aboutwhat sort of ‘post’ to deliver), as well asconcentration (listening) and memoryabout what has already been said. On an emotional level, the gamedevelops communication skills, respect(non-violence) and fair-play.On a physical level, the players work ontheir capacity to react, their speed in run-ning and their nimbleness.

Materials: if the game is played indoors, achair per child; if it is played outside, a hoopper child, or chalk to draw circles, or ropes.

Organisation

The players are seated on chairs in a bigcircle (or standing in a hoop, in a circledrawn with chalk, etc.). One player, the

postman, is standing in the centre. He saysout loud: “The post has arrived…” Theother players ask: “For whom?” The post-man answers: “For all those who…” andmakes something up: “… those who havea brother, those who have travelled to acertain place, those who are near-sighted,those who are wearing green, etc. “Thoseconcerned by the ‘post’ must get up andchange places as quickly as possible. Duringthis time, the postman tries to find a place.Whoever is left without a chair becomesthe postman and brings the next post, for«all those who…”.RulesIt is forbidden to change chairs with theirneighbour.The children must run when changingplaces (speed – ability to react).It is not allowed to stay seated if the ‘post’concerns them (fair-play).A letter cannot be delivered twice (con-centration and creative thinking).

Advice

The first time, the animator can play thepart of the postman so that the childrenunderstand how the game works. The postshould be adapted to the age of the chil-dren. It can be focused on superficial crite-ria such as physical appearance for the littleones, or more personal criteria, such as be-liefs, personality, tastes, etc. for the biggerones.The animator must insist on the pace ofthe game and on respecting the rules. Hewill ensure that the postmen are not al-ways the same (an extra rule can be intro-duced: being a postman not more thanthree times for example), and that eachchild is the postman at least once.The animator must remind the players ofthe security elements: they have a tendencyto be very enthusiastic and to rush to thechairs without watching out for others(risking jostles and falls).To make the game more difficult, the play-ers can be standing (or crouched down) intheir hoop, backs to the centre, etc. whichrequires more concentration and speed ofreaction.

Feedback

How do you feel the game went? Wasit easy, difficult, fun, etc.? Did you feel atease? For what reason?Did you learn anything new about one ofyour playmates? What?Did you like being the postman? For whatreason?Was it difficult to find ideas for the post?Were you bothered by certain questions?For what reason?How did you feel being honest and reveal-ing certain things about yourself?What other variations of the game can youthink of?Did you learn anything new? If yes, what?Can you make any links between this gameand your daily life? Which ones?Etc.

32

33

Links with child protection

This knowledge and information game canallow the animator to quiz the children onwhat they should be aware of if they getlost for instance, or if they find themselvesin a difficult situation (address, full names oftheir parents, telephone number or contactperson, etc.). It is also possible to broachwhat is public information and what is pri-vate, what information can be shared ornot (for example, the letter includes a pub-lic address, but what about the informationcontained within, it is private, etc.). The no-tion of truth, what to say, when to say it, towhom, or not, why, is an important themealso in the context of child protection.

InternationalAn ideal game to warm up progressively andin a fun way. It is a special type of chase, insilence, that uses walking instead of runningand introduces physical contact. Several no-tions linked with child protection can be dealt

with, in particular the question of touching,personal limits, the people who are threaten-ing or those who are protective, or even thefeeling of helplessness.

6-12 yrs

34

Abilities

On a mental level, the capacity of observa-tion and concentration are developed inspotting the witches; strategic thinking is re-quired amongst the witches to work to-gether to bewitch all the villagers, as wellas amongst villagers to develop a plan toprotect and free the others.On an emotional level, this short game isvery complete. The quality of physical con-tact elicits trust and respect for others; fair-play and a sense of responsibility are veryimportant when abiding by the rules.The fact of having to free fellow citizensdevelops empathy and cooperation.On a physical level, everything is walked ata fast pace, and avoiding the witches re-quires an ability to react quickly, coordina-tion and nimbleness.

35

Organisation

This game requires a relatively large space,marked out and recognised by the players.The game begins with the players (mini-mum eight) standing in a circle, the witchesand the villagers. The witches’ goal is to be-witch all the villagers by simply touchingthem. The bewitched villagers must thenfreeze. The villagers’ aim is to keep awayfrom the witches and to free the be-witched victims by putting their armsaround them (‘hug’). The game stops whenall the villagers are bewitched. Before start-ing, the group has their eyes closed in thecircle and the animator designates thewitches (one for every five or so players)by touching them discretely on the back.Everyone opens their eyes and the gamecan start at a fast walking pace, but withoutrunning.RulesPlayers are not allowed to run or speak;everyone walks in silence.Anyone who starts running or who goesbeyond the boundary of the play area be-witches themselves automatically.

Advice

The animator must ensure the players re-spect the game’s environment, the bound-aries and the rules: no running, no speaking.Children have a tendency to accuse othersof running or speaking, rather than focusingon their own fair-play during the game. Theanimator is there to remind them that theymust each take responsibility for abiding bythe rules. For example: the child who istouched must stop, the ones who go outof the play area or who start running mustbewitch themselves immediately and stopwhere they are without anyone having totell them to do so. It is not easy for children not to run, butthe animator must insist on it for this givesthe game a different dimension comparedto the usual chasing games. The fact of hav-ing to walk allows more time to observeand develop group strategies (witches orvillagers), by communicating in a non-verbalway. It can be useful to pause the gamesometimes in order to ask the childrenwhat strategies they are using, if they areplaying as individuals (not being touched)or as a group (freeing their playmates). In-sist that cooperation is paramount for thegame to work well.

Note: physical contact might seem difficultfor certain children (putting your armsaround someone is not always easy, espe-cially for pre-adolescents). It is thereforepossible to ask the children to find anothercreative way of freeing the victims (goingunder their legs, or something else). But theidea of a hug helps build links and trust. Thefreed victims can also thank the child whohas hugged them (by a nod of the head,thumbs up, a simple thank you, etc.).

Feedback

How do you feel the game went? Was iteasy, difficult, fun, etc.? Did you feel at ease?For what reason?How did it feel not to run nor speak? Canyou explain?Was it easy to be fair all the time? If not,for what reason ?What were the strategies amongst thewitches, amongst the villagers?How did it feel to put your arms aroundyour playmates to free them? Is this physicalcontact pleasant or unpleasant? For whatreason?Did you choose the people you wanted tofree? For what reason?

36

What other variations of the game can youthink of?Did you learn anything new? If yes, what?Can you find links between this game andyour daily life? Which ones?

Links with child protection

This game requires physical contact whichmay allow the animator to notice the chil-dren who are too open to such contact orthose who are bothered by it. He can alsoask if there is a reason for such behaviour.The question of acceptable and unaccept-able touching and personal limits can bedealt with.This game can also provide the opportu-nity to talk about situations when the chil-dren felt impotent or ‘bewitched’, withoutknowing what to do. The animator can per-haps explore what the child could havedone at that time, whom he could haveasked for support.Use of the witch character means the ani-mator can talk about the ‘bad people’ toavoid in real life; and the villagers who freeeach other can be linked to the protectorsin the real world: in concrete terms, whocan they turn to if they need protection?

37

InternationalThis short non-verbal game develops a num-ber of traits. It is ideal to start or finish an ac-tivity calmly, for re-centring a group that isdispersed. The concepts of following, obeying

or taking their own responsibilities can bedealt with in relation to child protection.

6-12 yrsAbilities

On a mental level, the children developconcentration and observation skills, as wellas letting go.On an emotional level, the children de-velop both trust and non-verbal communi-cation. The players who have their eyesclosed must trust the players who havetheir eyes open and who are responsiblefor the group. Personal responsibility andfair-play are also important for thosewhose eyes are closed (they should notopen them), as well as the respect forothers through the sense of touch.On a physical level, nothing in particular, butorientation in space is important, becausethe game is played blind.

Materials: a few scarves to cover the eyes(not compulsory).

Organisation

The players place themselves one behindthe other in groups of four or five and holdon to each other’s shoulders. The lastchild, the engine, keeps the eyes open; theothers, the carriages, have their eyes closed(or otherwise wear a headband/scarf ontheir eyes). The last player must drive thetrain by giving non-verbal signals throughtouching: to move forward, pressing thehands simultaneously on the shoulders ofthe player in front, who passes on the mes-sage received, until the first one receives itand starts forward; to go to the right, press-ing the right shoulder ; to go left, the leftshoulder; to stop, lifting both hands off theshoulders (no contact). The aim of thegame is to walk in the designated areawithout the trains colliding. RulesThe carriages are not allowed to opentheir eyes.

Advice

It is useless, even counter-productive tostart immediately with a train of more thanfour children (especially avoid to take thewhole group at once), because this makesit too difficult and unlikely that the playerslearn anything. The animator must there-fore separate the group into several littletrains for the most optimal experience.Later on, and if the children have really un-derstood the principle of the game and feelconfident, it is possible to add carriages tothe trains.The animator must insist on the level ofconcentration, precision of messages andoften also on gentleness in any contact. Tocompensate for having no sight, the ten-dency is to touch roughly. Note: the pres-sure should not be continuous, but themessage should pass as quickly and clearlyas possible from the last player to the firstone, who is the one who activates themovement. The difficulty can be in the delaybetween the order being given and themovement taking place. The tendency is toreceive the message, understand it andobey even before passing it on. Often, the first time, the trains deliberately

collide with each other, when in fact theaim is to avoid one another. It is good toremind everyone that it is a game wherethey learn to trust (the carriages) and be-come trustworthy (the engine). Insist onthe need to anticipate changes in direction(the engine). The roles are very different(middle, front and back), which is why it isimportant that the roles are changed sothat everyone has a chance to try each po-sition.To make the game more difficult, it is pos-sible to place obstacles that each train mustgo around without touching. The game canalso be played by trotting around, or bymaking the trains longer, with more players.

Feedback

How do you feel the game went? Was iteasy, difficult, fun, etc.? Did you feel at ease?For what reason?What was your favourite role? Engine orcarriage? And the easiest position (middle,front, etc.)? For what reason ?Did you feel confident with your eyesclosed?Are there some ‘engines’ that are more se-cure than others? Can you explain?

38

39

What was the strategy for avoiding othertrains?Did you learn anything new? If yes, what?What other variations of the game can youthink of?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

This game works on the fact of seeing ornot seeing, following or not following, trust-ing or not, which can arouse fears or resist-ance. Certain people do not like takingorders. Are there times in life when it isgood, when it is important to do whatsomeone else tells us? What is it like obey-ing parents, adults?This game is also about responsibility, beinga leader. Are there times when the childrenhave too much responsibility (e.g. lookingafter younger children in the family)? Or ishaving responsibilities a good thing? Howdoes this happen? What do they feel ? Ex-ploring the two poles, between taking re-sponsibilities, deciding and following,obeying allows the children to understandthat sometimes they have to do what they

are told for security reasons or for theirown good, even if they would rather dosomething else.

AlbaniaThis game is very useful for generating agood feeling in the group. It develops bothcreative thinking and imagination throughbody language, as well as self-confidence and

respect for others. Being ‘frozen’ can be asso-ciated with situations of helplessness or vul-nerability linked to child protection.

8-12 yrs

40

Abilities

On a mental level, concentration is neededto keep a straight face (not laugh or move),as well as creative thinking and imaginationin finding new expressions.On an emotional level, self-confidence isdeveloped by the child who ‘plays the idiot’to entertain the others; respect and non-judgement are fundamental for the others.On a physical level, balance, coordinationand precision when making passes are de-veloped, as well as use of body language tomake the others laugh

Materials: one or two balls.

Organisation

It is interesting to start this game by bring-ing an imaginary ball ‘to life’. The childrenform a circle and each one in their ownway brings the ball to life (by pretending to

41

hold it against their chest, by blowing on it,etc.). Then they give it carefully to theirneighbour who takes it and passes it onround the whole circle. Then a real ball ap-pears that the children throw around. Atfirst they stay in the circle and do notmove. Next, they walk in the circle and theball is no longer thrown to the neighbourbut as fast as possible to anyone in thegroup. When the ball falls, everyone freezesin whatever position they are in. The onewho dropped the ball, and who frozeeveryone, becomes a flame that tries tounfreeze the others by gesticulating, makingnoises, making faces or laughing, but with-out touching them. The first child whomoves or who makes a sound (laughter,speech) becomes another flame that helpsto unfreeze the rest of the group; and so itgoes on until there is only one frozenplayer left. Then passes with a new ‘magicball’ start again.RulesIt is forbidden to touch (physical contact)when unfreezing a person.

Advice

It is recommended to do another exercisein preparation for this game, because thegroup should feel well and comfortable inexpressing themselves (e.g. Names andGestures from the first games manual).It is possible to add another ball to makethe game more difficult and offer morepossibilities for unfreezing. In this case, thefirst ball falling freezes everyone, and theother ball automatically stops being passedaround.The way the children move around or howthe ball is thrown can change to make thegame more interesting (running, back-wards, side-stepping, feet together, changingdirection, ball over the head, ball betweenthe legs, etc.).The object that represents the ‘ball of life’can change, for example a frisbee, a basket-ball, a tennis ball, etc. to vary a bit and makethe game more difficult.

Feedback

How did you feel during this activity ? Wasit easy, difficult, fun, etc. ? Did you feel atease, uneasy? For what reason?How did you feel in the role of the person

who had to make the others laugh? Forwhat reason?What was the atmosphere like during thegame (making fun or respectful)? For whatreason?What were the strategies used?Did you learn anything new? If yes, what?What other variations of the game can youthink of?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

It is recommended to avoid associating thetheme of freezing/unfreezing with that ofabuse, because it is too delicate to handlein such a context. A therapeutic groupwould be more appropriate. We can talkhere about situations where the childrenhave felt helpless, vulnerable and depend-ent on others to regain their ‘life’. What didthey feel when they did not know what todo and who to turn to, which solutions didthey find, was there anyone to help them?Etc.

AlbaniaThis dynamic, fast pace game is useful forworking on sense of responsibility, fair-playand cooperation, while developing responseand concentration. The notion of security

(places and people) can be dealt with in re-lation to child protection.

8-12 yrs

42

Abilities

On a mental level, the children work onobservation and concentration skills whenremembering the players who have beencalled.On an emotional level, the children de-velop fair-play, a sense of responsibility andcooperation.On a physical level, responsiveness is im-portant as well as speed.

Materials: three different coloured ribbonsor pieces of material; a ball.

Organisation

Three different coloured ribbons or mate-rial are hung up somewhere in the playarea, for example on a barrier, a chair, abush or anywhere that is within the chil-dren’s reach. The play area, in the shape ofa triangle, is defined by the ribbons with a

43

different colour at each point. The size ofthe triangle depends on the size of thegroup. The participants stand in the middleof the area and one player is designated tothrow the ball as high as possible abovehimself, while calling out a colour and a firstname. The player who is called must catchthe ball as quickly as possible and say ‘stop’.Simultaneously the other players run totouch the related colour, in order to be safefrom being touched by the player with theball. These players hold hands, forming littlechains of three players, like bunches ofgrapes (the first one touches the colour,the second holds the free hand and thethird the second one’s hand). When theyhear ‘stop’, they must stop immediatelywhere they are and the player with the balltries to touch a player who is not in contactwith the coloured material or the hand ofanother player. If he manages, he keeps theball and can again call out a colour and aname. If he is not successful, there is a sec-ond try. If he misses again, all the players re-turn to the centre and the player he wastrying to touch takes his place and throwsthe ball into the air.

RulesThe ball must be thrown up high and rightabove the head of the player.The colour is called out first, with a clearvoice, and then the name of the person.The player with the ball cannot movearound with it.The same player cannot be called twice.The same player cannot call more thantwice in a row a colour and a name, evenif he manages to touch a player a thirdtime.The chains of players cannot be longerthan three people.

Advice

The animator must make sure that all thechildren are called at least once. He musttherefore remind the children to concen-trate so that they can remember who hasbeen called and who has not.If the game is too easy or in fact too diffi-cult, the coloured ribbons can be movedfurther apart or closer together.To create more teamwork, the players canbe asked to run in pairs, holding hands. Inthis case, the chains comprise a maximumof four participants.

When the players know the rules well, theribbons can be removed and any colourfound on the children’s clothes or in thesurrounding area can be called out. This re-quires more concentration and allowsmore variety in the safe havens.Another variation could be that if thenamed player catches the ball in the air(without it falling) he can, instead of sayingstop, immediately call out another colourand another name, which adds another dy-namics to the game.

Feedback

How did you feel during this activity? Wasit easy, difficult, fun, etc.? Did you feel atease, uneasy? For what reason?How did you feel when your name wascalled out? For what reason?How did you feel when you were in thechain near the nominated colour? Explain.Can you think of other rules that wouldbuild more cooperation and strategies intothe game? Which ones?Did you learn anything new? If yes, what?What other variations of the game can youthink of?

Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

Since this game allows the players to ex-plore the idea of safe places, it is possibleto talk about safety in general, what makesthem feel safe or not, how do they know ifa place or a person is safe, etc. It is also pos-sible to mention various situations whenthe children are safe or not (going toschool alone, playing with fire, following aperson they do not know, etc.).

44

45

RomaniaThis calm game focuses on the use of imagi-nation and cooperation. A number of notionslinked to child protection can be dealt with,particularly fears, the secure base or trust-

worthy people, obstacles or dangers, maybeeven the idea of ‘home’ for migrant, displacedor refugee children.

8-12 yrsAbilities

On a mental level, the children learn to findcreative strategies to guide the old blindlady.On an emotional level, the childrendevelop communication skills, cooperation,personal responsibility and respect forothers.On a physical level, the children practisetheir sense of orientation and experimentwith physical contact during the guessingpart.

Materials: natural items (leaves, sticks, flowers,stones, etc.) ; scarves to cover the eyes ; chairsfor the children-obstacles; table or other largeobject for the house.

Organisation

At the beginning, the children listen to thestory of `Baba Oarba', an old blind woman

who lives in a small house in the forest.During the day she manages to gather herfood in the forest, because she is not totallyblind, but in the evening she has troublefinding her way home. She needs some-body to help her return to the house byavoiding the obstacles in the forest (fallentrees, animals, strong wind, etc.). She needsto find trustworthy friends to guide her, likethe fireflies with their small lights.During the introduction, Baba Oarba mustfind and recognize her friends. A volunteer(Baba Oarba) goes into the centre of thecircle blindfolded and all the other childrenwalk slowly in the play area. Baba Oarbaapproaches somebody to guess who it isby touching the head and shoulders (notthe body) and says the first name. Duringthis guessing part everyone stops andwatches. If she cannot guess, the other chil-dren can help her by giving clues, but with-out ever saying the child’s first name. Oncethe child is recognized he becomes BabaOarba, is blindfolded and must find anotherfriend. And so it goes on until each childhas had a turn at being blindfolded and get-ting a feeling for what it is like not to beable to see.For the main part of the game, the children

are divided into groups of three: BabaOarba, a firefly and an obstacle from theforest. To make these groups, one ideawould be to scatter a certain number ofnatural elements (leaves, sticks, flowers,stones, etc.) on the ground, correspondingto the number of groups which the anima-tor wishes to create. Then each groupplaces themselves at a good distance fromthe house (table or another large object)which is in the centre of the circle. BabaOarba’s aim is to return safely to the housewithout running up against any obstacles,and with only the firefly’s voice to guide her(no touching). The obstacle (the child onthe chair) moves just in front of her tomake the task more difficult. Depending onthe space available, there can be fixedobstacles like hoops, empty chairs, stones,etc. Once Baba Oarba gets home, thegroup changes roles. The game finisheswhen each child has had a chance to try allthree roles.RulesThe obstacle is a child sitting on a chair,who moves around by holding on to thechair which cannot be put right in front ofBaba Oarba so as not to hurt her; the chairmust be at least a meter ahead of her.

The firefly does not have the right to touchBaba Oarba.

Advice

At the beginning of the game, the childrencan also be sitting down while Baba Oarbaguesses (to have less agitation and morecontrol to start with). But each time BabaOarba changes and is blindfolded, the chil-dren must change places so as not to makethe guessing part too easy.An alternative for guiding without speaking(right, left, stop, etc.) could be to associate asound with each order; or if we want towork on non-verbal communication, it ispossible to guide by touching: the left shoul-der, right shoulder, on the head to stop, etc.to develop the sense of touch. To focus more on the imaginative side of thestory, the obstacles can imitate the dangerwhich they represent, for example, instead ofsitting down on the chair, they can imitate atree, and if Baba Oarba wants to be able tomove forward, she must guess what it is, etc.If the time available is short, the first guessingpart can be curtailed and the teams can bechosen more quickly: four or five Baba Oarba(if there are 12-15 children) are blindfolded

46

47

and the other children walk in a circle. EachBaba Oarba chooses a friend firefly by guess-ing who they are, and the remaining childrenbecome the obstacles and each join a pairof children. Thus the groups are made.If a child cannot play for some reason, hecould be given the role of ‘cuckoo' whichsings ‘cuckoo' to start the game and eachtime a Baba Oarba arrives at the house, forexample.

Feedback

How did you feel during this activity? Wasit easy, difficult, fun, etc.? Did you feel atease, uneasy? For what reason?What was the most difficult role ? For whatreason?What strategy did you use to get to thehouse the fastest?What did you need to reach the goal?What abilities did you use?What other variations of the game can youthink of?Did you learn anything new? If yes, what?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

Several notions can be dealt with in rela-tion to child protection. The use of a scarfand the fact of being blind provide the op-portunity to talk about fear of the dark andother fears. What to do when they areafraid, who to turn to? The firefly, represent-ing a kind of secure base, makes it possibleto discuss which persons they trust, or mis-trust, for which reason, what makes themat ease or not? The obstacles can representsomething or somebody who misleads orwho prevents them from doing something,people they should mistrust. The ‘house’makes it possible to talk about the conceptof safety, how to find their way home, andwhat resources they can rely on, where arethe dangers? In the case of migrant, dis-placed or refugee children, what makethem feel ‘at home', where is ‘home' foreach of them? Etc.

MoldovaThis very dynamic game is interesting to workon body language in a fun and/or theatricalway. It can be an introduction for working ona particular theme. The concept of emotions

(anger, fear) or situations that need to be felt,listened to, or recognized are all important inrelation to child protection.

8-12 yrs

48

Abilities

On a mental level, the children work onobservation skills, as well as creative think-ing and imagination. Their analytical capabil-ity is also developed to be able to guessthe impersonations. On an emotional level, the children de-velop their self-confidence when trying toimitate the gestures. They work on negoti-ation and decision-making skills whenchoosing what they will impersonate,as well as cooperation when workingtogether. On a physical level, responsiveness andspeed are important, as well as ease of in-dividual or group body language.

Materials: ropes or something similar tomark out the one meter central zone;cones or stones to mark the outsideboundary of the play area.

49

Organisation

Two teams of six to ten players stand oneither side of the fairly large, delineatedplay area, separated by a one meter widezone in the middle. Each team can decideon a group name, for example the CreativeOnes and the Crazy Ones. The CreativeOnes mime and the Crazy Ones guess. Theteams gather at opposite ends of the area.The Creative Ones decide amongst them-selves to choose an activity (e.g. playingfootball), an animal (e.g. duck) or a profes-sion (e.g. hairdresser) to act out. Once theyare ready they come to the central zone.The Crazy Ones also approach and say:“Where were you?” The Creative Ones an-swer “We will not say where we were butwe will show you what we saw!” and theythen begin the impersonation. Either eachmember of the group mimes in their ownway, or they work in small groups. Whenthe Crazy Ones manage to guess themime, they say it out loud. If they are right,the Creative Ones run and take refuge be-hind their home base at the end of thearea, before the Crazy Ones catch them.The players caught become members ofthe other team. Then, the teams change

roles, and the game continues as long asthe players wish. At the end of the game,the team with the most players can forexample do a sketch selected by the otherteam (2-3 min of preparation), thus conti-nuing to work on their body language andcreativity.RulesEach team must line up along the centralzone to do the mimes.Those who are guessing are not allowed tocross the central zone line before findingthe right answer.The players touched within the boundariesof the play area join the other team.The line at the far end of the area indicatesthe ‘home base’ for those being chased.

Advice

It is important to point out the safetymeasures and need for respect during thechase and when touching the other chil-dren.The animator must ensure everyone in thegroup has a chance to decide what activityto imitate. He must make sure the leader-ship role passes around and should facili-tate communication within the group.

The animator can decide to limit the dura-tion of the game, limit the number ofchases and/or the number of mimes thatare identified.The size of the play area can be adaptedto make the game more or less difficultfrom a physical point of view (length of therace).The animator can let the children mimeindividually initially, but thereafter, theplayers should be encouraged to worktogether to develop cooperation, as wellas self-confidence and trust.A specific theme can be dealt with duringthis game (the sea, the family, my environ-ment, etc.) to focus the group and reach aspecific objective. This can be useful for aparticular feedback session, for instance.More complex impersonations can be con-sidered for older children (specific event,short piece of history, etc.).At the end, the group can decide on atheme to create a mini-play for example.

Feedback

How did you feel during this activity? Wasit easy, difficult, fun, etc. ? Did you feel atease, uneasy? For what reason?

How were the impersonations chosen?Was it easy or difficult to find ideas?Was there a leader in the group or waseveryone able to put forward their ideas?What was participation like within thegroup?How did it feel having to change teamsonce you were caught? Can you explain?What other variations of the game can youthink of?Did you learn anything new? If so, what?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

The theme of impersonation is central. Thediscussion can be directed towards whichbehaviour can be imitated or on the con-trary should be avoided. When is it goodor when is it bad to imitate somebody? Theanimator can also suggest a particulartheme such as positive behaviours to imi-tate, or on the contrary acting out a dan-gerous situation (e.g. getting into a car withsomebody that they do not know, playingwith fire, etc.) and the other children mustguess what is happening and discuss what

could take place instead. The notion of par-ticular signs or emotions to look out forcan be discussed like how can anger berecognized, fear, etc.? This provides the op-portunity to explore how the children feeland show (or hide) their own feelings andemotions. Listening to their emotions canactually protect them, for example feelingscared and paying attention to the emotioncan protect them from a danger. Whatshould they do then, how should theyreact?

50

51

MoldovaThis ball game is a simple and fun introduc-tion to volleyball and a game which trains thebasic moves of the well-known ball games:moving around, catching and throwing a ball.But the central themes are more particularly

communication and cooperation, as well asreflexes. The notions of opponents (enemy)and partners (friends) can be dealt with inrelation to child protection.

8-14 yrsAbilities

On a mental level, the players must usestrategic thinking to prevent the three ballsfrom getting into their area.On an emotional level, the childrendevelop observation and communicationskills plus teamwork.On a physical level, various skills areworked on, such as reflexes, orientation,moving around, throwing and catching balls.

Materials: a net or a rope; three volleyballs(or foam balls, depending on the age andthe level of the children).

Organisation

The group is divided into two equal teams(three to five maximum per team), standingon each side of the play area which is di-vided in two by a net (rope, volleyball net,etc.). At the start, one team has two balls

and the other one ball. The aim of thegame is that the three balls end up on theopposite team’s side. For this to happen,they must pass the ball to one or two play-ers on their team before throwing it overthe net to the opposite team – and all thisas quickly as possible. Each team tries itsbest to prevent all three balls ending up ontheir side of the net. The game begins witha first pass over to the opposite team, fromthe far end of the play area, by the teamwith the two balls (start). When the threeballs end up on one side, the game stops,and the team without any balls scores apoint. The match continues with two ballsto the team which scored and only one forthe other team.RulesInitially, the balls can touch the ground (re-bound) but must be picked up as fast aspossible and thrown into the other team’sterritory.Players must pass the ball once or twiceamongst themselves before passing it againto the other team (see volleyball rule).

Advice

It is useful to test the game and its rules be-fore really beginning to score points, and tospecify that it is not a matter of making vol-leyball passes at this stage, but simply catch-ing the ball and throwing it again. If the number of children exceeds ten, it ishighly recommended to make three orfour teams and create two play areas, orthe teams rotate in one area, rather thanadd players in the two main teams. It ismuch better for the quality of participation,the children’s learning and enjoyment!Feedback during the activity should be di-rected towards communication within eachteam and best practice in catching andthrowing the ball. It is possible to vary the types of balls (bas-ketball, tennis, balloons, foam balls, largeballs, etc.) in order to develop the players’dexterity and ability to adapt. If the players are beginners, the ‘freeze’ rulecan be added, i.e. if a ball touches theground it must ‘freeze’ for three seconds,which gives time to be more strategic andpay attention to the two other balls.Additional balls can also be added depend-ing on the age and the level of the players.

For bigger children, ‘direct’ passes, withoutbounces, should gradually be introduced,then volleyball passes.

Feedback

How was the game for you? Easy, difficult,fun, annoying? For what reason?Which strategies were used in your team?Did you play individually or more ingroups? How?Did certain rules simplify or on the con-trary complicate the game? Which and forwhat reason?Did you learn anything new? If so, what? What other variations of the game can youthink of?Can you find links between this game andyour daily life? Which ones?Etc.

52

53

Links with child protection

The notion of a team is central to thisgame with what that involves in terms ofcompetition and cooperation; what makesa person an adversary or a partner, andwith which criteria can they be recognized?How can they increase the number of theirfriends and avoid their enemies? The topicsof discrimination, exclusion, or ways to in-crease teamwork can be dealt with. Arethere situations where the children can col-laborate to protect each other? Etc.

RomaniaBall game rich in imagination where huntersmust eliminate a dragon. Cooperation as wellas the speed of reaction and of throws arecentral. The concepts of physical or emotionalinjury, intentional or not, and physical safety

can be dealt with in relation to child protec-tion.

Abilities

On a mental level, concentration and obser-vation of the movements of the ball, as wellas strategic skills are developed.On an emotional level, this game works onthe cooperation between hunters (not tokeep the ball only to themselves), as well asrespect and mutual confidence between themembers of the dragon.On a physical level, the dragon develops re-sistance, because its members must move ex-tremely quickly and sometimes for a relativelylong period. Quick reactions are of primaryimportance. The hunters work on the preci-sion of the passes and their shots.

Materials: one or two balls.

Organisation

This game is played with at least ten chil-dren in two teams: the dragon-children and

8-14 yrs

54

55

hunters-children. The group stands in a cir-cle and three to six children (depending onthe size of the group, but around 1/3 of thetotal), volunteer to play the role of thedragon. They line up, one behind another,holding each other by the shoulders orwaist. The first one represents the dragon'shead, the others the body and tail. Theirgoal is to avoid being hit by the ball. Thedragon's head is the only one who can usetheir hands to stop the ball and send itback to the hunters. The other children arein a circle around the dragon and representthe hunters; their goal is to eliminate thedragon by touching its tail. Once touched,the child representing the tail becomes ahunter. And so on until the whole of thedragon has been touched. The game endswhen only the dragon's head is left in thecentre. In order to be more efficient, thehunters pass the ball quickly to be in a bet-ter position to aim for the dragon's tail.RulesThe dragon-children’s heads should neverbe aimed at, only hits below the shoulderscount.The hunters can only aim and touch thedragon's tail.The dragon-children should never let go of

each other's grip, they must hold on totheir playmates at all times.Only the dragon's head can catch the balland throw it back.

Advice

Start with a warm-up that will prepare theplayers for the different situations, catchingthe ball, passing and/or aiming at a target,staying together in a group and movingquickly. Little games with this purpose canbe put into practice (e.g. The Snake bitingits tail from the previous games manual).If the group is big (more than 12 players),it is recommended to start the game intwo separate groups - less hunters andsmall dragons - to allow a gradual progres-sion and better participation, shorter dis-tances and quicker rotation between thedifferent roles.It is important to encourage hunters to de-velop an efficient strategy for passing theball that includes everybody and not onlythe best players.The eliminated dragon-children becomehunters so that they participate in thegame all the time. A possible variant could

be to move the tail child, once hit, to theplace of the dragon's head. Once everyplayer has taken the role of the head, an-other dragon may replace them. Or evenanother variation where instead of becom-ing hunters, the dragon-children who havebeen hit, become the guardian angels ofthe dragon, and they must distract thehunters by intercepting the ball (this how-ever needs a bigger space), etc.If the dragon is really difficult to eliminate,a second ball can be introduced to makethe game easier for the hunters.It is possible to invent a whole context forthis dragon-hunt to give an entertainingand psychosocial dimension to the game: astory (tale) will help the children forget thephysical aspects.For more experienced players, the circle ofhunters can side-step in one direction andthen the other, in order to destabilize thedragon and make passing the ball more dif-ficult.To make it more complex, the distancescan be extended (larger circle), a longerdragon can be introduced, etc. The diame-ter of the circle may vary, and also the dis-tance between hunters, their position(sitting, crouched down) or using the

56

wrong hand (for the older children). Thesize of the ball may also vary (tennis-ball,volley-ball, etc.)

Feedback

How did you feel the game went? Easy, dif-ficult, fun, boring? For what reason?Which role did you prefer? Dragon orhunters? For what reason?Which were the strategies employed inyour group?Did you play more as an individual orrather collectively? How?Did certain rules simplify or on the con-trary complicate the game? Which onesand for what reason?What other variations of the game can youthink of?Did you learn anything new? If so, what?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

Through the elimination of the dragon, thisgame deals with the notion of hunter ver-sus hunted and therefore the conse-quences of violence on others. Injury canbe physical or emotional and violence maytake different forms such as harassment,extortion, discrimination or abuse of theweak. Who does this, what does it meanand how to react to it? It is also an oppor-tunity to help children understand that theycan hurt someone psychologically, even un-intentionally, and show them what to do tocorrect it. It is also about exploring, throughthe role of the dragon, the resources thatcan be put in place and used against aggres-sion. The question of physical safety canalso be dealt with.

57

RomaniaThe theme of countries and their character-istics, the intercultural aspects, the concept ofnon-discrimination and integration, collabora-tion, the race and the throws, all this makes

this game very complete. The concepts ofcountry, of home can be dealt with in relationto child protection.

10-14 yrsAbilities

On a mental level, observation skills, con-centration and strategic thinking areworked on.On an emotional level, the children de-velop cooperation, communication skillsand respect for others.On a physical level, responsiveness andspeed are important, as well as coordina-tion and agility (races in twos).

Materials: a ball; a hoop per child (or chalk,ropes or sticky tape).

Organisation

The play area must be large, ideally outside,with a circle - metaphorically the ‘world’ -composed of several ‘countries’ repre-sented by a section of the large circle (if itis drawn with chalk) or by several hoopsside by side (one per player). In the centre

of the circle there is another hoop (or achalk circle). The number of players canvary but there need to be at least ten chil-dren. At the beginning of the game, eachchild inside their own hoop, takes turns atnaming the country they have chosen,while thinking of two typical characteristicsof that country. The aim of the game is todiscover the countries of the world bybuilding alliances between them. The game starts when the animatorthrows the ball high into the air by callingthe name of a country. The representativeof that country catches the ball as quicklyas possible, runs into the central hoop andshouts ‘stop’. Simultaneously and as soon asthe ball has been thrown, the other ‘coun-tries’ run out of the large circle as fast andas far as possible. When they hear the‘stop’, they must stop immediately wherethey are. The child with the ball in the cen-tre then looks around, names a countrywith which he would like to make an al-liance and throws the ball to that person.From this moment on, the two countriesform an alliance and function as only onecountry (they occupy only one hoop, runhand in hand, etc.). Everyone returns totheir own hoop, and the two representa-

tives of the ‘new country’ share their twocharacteristics, then come to an agreementon one common point and invent a newcountry name. The game continues with the ‘new country’throwing the ball in the air and choosinganother country, and so on, until the num-ber of countries has diminished by at leasthalf, or even until all the countries becameone!RulesThe ball must be thrown in the air, veryhigh, and not very far.The player who has the ball is not allowedto move with it.

Advice

If the group is large and for more cooper-ation, it is recommended to begin the gamewith two representatives of each countryin the same hoop and who run holdinghands.Children should pay attention when allcountries are named at the beginning, forthey will have to remember them duringthe game.The time for exchange of information(country characteristics) and choice of a

new name should not take too much time.The animator guarantees the rhythm anddynamics of the game.To make the game more ‘cognitive’, theanimator can add a session of informationexchange on each country chosen beforebeginning the game itself. It is also possibleto focus the discussions on a particularaspect (food, language, local customs, etc.).

Feedback

How did you feel this game went? Easy, dif-ficult, fun, annoying? For what reason?How did you feel about choosing a countryname and its characteristics? For what rea-son? How did you feel about making an allianceand ‘giving up’ the name of your country tofind a new one?Did certain rules simplify or on the con-trary complicate the game? Which and forwhat reason? What other variations of the game can youthink of?Did you learn anything new? If so, what? Can you find links between this game andyour daily life? Which ones? Etc.

58

59

Links with child protection

The notions of country, ‘home’, identity, arecentral in this game. This allows the childrento explore the concepts of nationality,immigration, cultural belonging. What canthey do in order to not lose their identityif leaving their country? What can they door can others do to stay safe, even whenthey no longer have their own ’home’?What can they do to welcome others?What can they learn from associating withanother culture? What does a noveltyrepresent? Are there things they can imple-ment to protect themselves when else-where? Are places known to themalways safe? What makes a safe place? (e.g.trustworthy adults who take care of them,etc.).

Romania/AlbaniaThis game based on an imaginary castleunder attack requires the players to be skilfuland use good team strategies in their respec-tive roles. The notion of physical or emotional

wounds and care can be dealt with in relationto child protection.

10-14 yrs

60

Abilities

On a mental level, strategic thinking is im-portant to be able to defend and/or re-build the destroyed castle.On an emotional level, the children de-velop a sense of responsibility, fair-play andteamwork. On a physical level, responsiveness andspeed are worked on, as well as being ableto aim well.

Materials: two balls; seven-eight stones, ifoutside, or other objects that can be piledup.

Organisation

The group is divided into two equal teamsfrom six to ten players, for example thePrinces and the Knights. The team of thePrinces builds a castle by piling up approx-imately seven-eight stones. The team of the

61

Knights must try to destroy the structure;they have two balls at their disposal, to bethrown from a distance of approximatelyfive to ten meters depending on the ageand the level of the players. The players, po-sitioned in two columns, try one after theother to knock the castle down. When atleast three stones have fallen, the castle isthen considered destroyed. The Princesscatter the remaining stones within closerange (1,5 meters), and the game really be-gins. It is the Knights turn to try to rebuildtheir own castle without being hit by thePrinces who try to stop them by hittingthem with the two balls. If a player istouched, they must stop short in the‘wounded’ position. The Knights have thepossibility of ‘healing themselves’ followinga pre-defined way (e.g. hugging, shakinghands, going between the legs, etc.) so thatthe player can join in the action again. Thegame stops when the castle is rebuilt or ifall the Knights are ‘wounded’. Then theroles are reversed. RulesIt is forbidden to move with the ball.Each player can only pick up and place onestone at a time.A Knight touched by the ball must stop

short and drop the stones he has in thehand; he cannot quickly go and put thestone on the building.

Advice

It is useful to try the game and its rules be-fore really beginning.This set of rules makes the teams to thinkabout the most appropriate strategies todefend or attack the castle. Feedbacks dur-ing the activity should help to find the mostuseful strategies as well as the best waysto organise themselves for rebuilding thecastle or defending it.To encourage more collaboration, and de-pending on the age of the players, at leastthree Princes must pass the ball amongthem before being allowed to throw theball at a Knight. It is advisable to mark out a defined area,which, if not respected, brings about an au-tomatic ‘wound’ to the players concerned.It is possible to add a ‘prison’ where theplayers go if they are hit by the ball, whichrequires the players to think of strategiesto free the prisoner, far from the castlebeing rebuilt (new use of the space).If a game finishes too quickly with two balls,

it can be started again with only one. To make the game more difficult, it is pos-sible to enlarge the play area, to get the at-tackers to hit the ball with their foot ratherthan the hand, etc.It is of course possible to find other namesfor the teams and thus change the imagi-nary world of the game.

Feedback

How did you feel the game went? Whatwas easy or difficult? For what reason?What abilities did you develop? How?Which strategies were used in your team?What did it feel like being Princes orKnights? For what reason? What do theyrepresent to you?Did certain rules simplify or on the con-trary complicate the game? Which and forwhat reason?Did you learn anything new? If so, what? What other variations of the game can youthink of?Can you find links between this game andyour daily life? Which ones?Etc.

Links with child protection

This game makes use of the metaphor ofthe war of clans and the fact of beingwounded and being healed. It is possible toexplore what people (adults and children)do when they hurt somebody? Is that al-ways done on purpose? Which kinds ofwounds can be inflicted or can a personhave (physical, emotional)? How can awounded person be helped in one way oranother? (e.g. by listening, comforting, takingthem to the doctor, the psychologist, etc.).What can we do to help ourselves whenwe are hurt? Which kinds of emotionalwounds can children inflict on each other?(e.g. not to be friends with, excludingsomeone from a game, making fun ofsomebody, insulting, etc.).

62

63

InternationalShort game to warm up in a very lively andfun way. The children learn how to observe,react and coordinate their team movementsin a strategic way. The notions of detectinggood or bad intentions, as well as collabora-

tion as a strategy for protection can be dealtwith in relation to child protection.

10-14 yrsAbilities

On a mental level, the children learnobservation concentration and strategicthinking in taking action collectively.On an emotional level, the children de-velop communication and cooperation, be-cause acting individually would lead themto failure.On a physical level, good reflexes and ori-entation are necessary.

Materials: A chair or a hoop per child.

Organisation

The chairs are spread randomly around thespace and all the child-hens are seated,except for one child who has volunteeredto play the fox. Only one chair is empty. Thefox looks with envy at this big family ofhens and he would like, not to eat them,but belong to their group and become

64

their friend so as not to be alone anymore.The hens are, of course, very afraid of thefox and want to prevent him at all costsfrom sitting down on the empty chair. Thefox moves forward by taking tiny steps to-wards the empty chair ; the hens mustmove about by changing chairs so that thefox cannot sit down. The game finisheswhen the fox manages to sit down on theempty chair.RulesThe fox cannot take large strides, and def-initely not run. He must walk like an ant (i.e.one foot immediately in front of the other,both feet touching).No physical contact is allowed.

Advice

To introduce the game, it is possible to sug-gest a short activity: the children movearound freely in the space between thechairs; when the animator shouts ‘fox', eachone runs to sit down; when the animatorsays ‘hens', the children move by imitatingthe hens (movement and sounds). Whenthe animator says ‘old sick fox', the childrenwalk slowly towards a chair. The various in-structions are repeated three-four times

until the children are familiar with slow orfast movements, and sitting down.It is interesting to note the panic amongstthe hens when the fox approaches; the lackof communication, dialogue and strategyare obvious. However they just need to un-derstand the ’main tip': that the empty chairshould always be as far as possible from thefox. Therefore the hens must anticipate thefox’s movements and organise themselves,rather than react at the last moment.Once the group is familiar with the way thegame is played, the fox can walk at a nor-mal pace to encourage better coordinationamongst the hens.If the animator reckons it takes too muchtime for the fox to find a place, anotherchild can take on the role of the fox.If the group is very large, two or even threefoxes can be chosen. It is important that amaximum number of children try out therole of the fox.The main point is to see if a group finds thesimplest solution, i.e. allowing the fox to sitdown after ascertaining that his intentionsare to be friendly! If the group insists onescaping the fox, it is possible to calmeveryone down by getting the children tosit in a tight circle. The animator gets them

to imagine that the hens decided to befriends with the fox because it is a coldwinter and he assures them that he hasenough to eat at home, but that he feelscold and lonely. Each hen imagines that hecould be in the fox’s shoes, needing heatand friends (concept of empathy). Thechildren rub each other's shoulders, imagi-ning that it is the fox, while imitating thenoise hens make.

Feedback

How did you feel the game went? Was iteasy, difficult, fun, etc.? For what reason?How does the fox feel when he is not ac-cepted amongst the hens? How do thehens feel?How do you go about accepting some-body who is different?Which was the best strategy? For whichreason?Did you learn anything new? If yes, what?What other variations of the game can youthink of?Can you find links between this game andyour daily life? Which ones?Etc.

65

Links with child protection

The central themes of this game are differ-ences, a sense of belonging, prejudices, dis-crimination, or the preys and the predators,enemies and friends. In this case the fox hasgood intentions, but how do you knowthat? Why judge people on appearances orwhat you think you know about them?What are the consequences of prejudices,discrimination, exclusion and how to avoidthem? But in other circumstances, how canyou recognize the real ‘foxes' in life andknow their real intentions? Are there situ-ations where children think they can trustsomebody but they are mistaken? How tobehave if they are not sure of a person’sintentions, who to go to, how to protectthemselves? How to not remain alone indangerous situations, but stay together tobetter protect themselves and the others?The notion of vulnerability can also be dis-cussed. Who in the end feels most vulner-able or exposed, the fox or the hens, andwhy? The hens are supposed to be afraidof the fox because it usually represents athreat, but the fact that the hens are ingroup makes the fox more inoffensive andthus more vulnerable.

InternationalA simple game that aims to work on thebasic skills of well-known games such as bas-ketball, football, handball, etc.: passing the

ball, attack, defence. The principles of oppo-nents (enemies) and partners (friends) canbe dealt with in relation to child protection.

10-14 yrs

66

Abilities

On a mental level, observation and strate-gic thinking are worked on for scoringpoints more quickly.On an emotional level, children developcommunication skills, cooperation andrespect for others.On a physical level, endurance, speed,orientation, precision and coordination aredeveloped.

Materials: a ball; shirts of different coloursfor each team.

Organisation

The group is divided into two teams offour to six players maximum. The goal ofeach team is to score points by passing theball five times in a row without it falling onthe ground or being intercepted by theother team. The passes must take place be-

67

tween several players. If the ball falls, thenumber of passes goes back to zero andthe ball is given to the other team. If teamA intercepts the ball, the scoring starts forteam A. If there are three teams, the thirdteam waits for their turn and replaces thewinning team. If there are four teams, twoplay areas are needed and the teams swapover afterwards.RulesNo walking or running with the ball.No touching or hitting the other players:no physical contact.No passing the ball back to the player thatthey received it from.

Advice

The animator starts as the referee at thebeginning, then passes this role on to theplayers who should be able to refereethemselves. Personal responsibility and thenotion of ‘fair-play’ are thus developed.It is important that the animator correctthe basic moves for passes, defence, attack,etc. and insist on good communication be-tween the players (e.g. call the players byname before passing the ball, etc.). The animator must also encourage the

teams to establish their defence strategyand use of space.To make the game more difficult, the playarea can be extended or the number ofpasses necessary to score a point in-creased.To improve cooperation between players,other rules can be added (e.g. a point is notvalid (or counts double), unless all the play-ers of the team have touched the ball; orthe players are paired up (by the waist, theankles or knees depending on preferenceand safety) and play normally but in pairs.

Feedback

How did you feel the game went? Easy, dif-ficult, fun, boring, etc.? For what reason?What was your strategy for scoring and forpreventing the other team from markingpoints? Were the rules respected by all? If not, forwhat reason?Which other rules can be added to in-crease cooperation?Do you find refereeing yourselves difficult?For what reason?Did you learn anything new? If so, what? What other variations of the game can you

think of?Can you find links between this game andyour daily life? Which ones? Etc.

Links with child protection

It can be suggested that when a teamscores a point, the other team can equalthe score by correctly answering a questionrelevant to child protection or to children’srights in general. These questions can be-come more and more difficult and includeuseful information. The notion of team iscentral to this game including competitionand cooperation; what makes the otherperson an opponent or a partner, how canthey be recognised, are there any situationsin which the children can collaborate to bebetter protected? Etc.

68

Terre des hommes, FENEYROL Olivier,Enhancing child protection systems, thematic policy, 2011, www.tdh.ch/en/documents/thematic-policy-enhancing-child-protection-systems

Terre des hommes, MEUWLY Michèle,Manual of psychosocial skills, 2011, www.tdh.ch/en/documents/manual-of-psychosocial-skills

Terre des hommes Albania, DELANEYStephanie, Enhancing Child Protectionthrough Activities and Games: Tips, Ideas andReminders for the Summer Camps, 2011

LESTER Stuart, RUSSELL Wendy, Children’s right to play: an examination of theimportance of play in the lives of childrenworldwide, Bernard van Leer Foundation, UK, 2010

Terre des hommes, MEUWLY Michèle,HEINIGER Jean-Pierre, Laugh, run and move to develop together :games with a psychosocial aim, 2007,www.tdh.ch/en/documents/laugh-run-and-move-to-develop-together-games-with-a-psychosocial-aim

BOURRASSA Bruno, SERRE Fernand,ROSS Denis, Apprendre de son expérience, Presses de l’Université du Québec, 2003

PARELBAS Pierre, “Jeu sportif, rêve et fantaisie”, Revue Esprit no 5, pp.784-803, Ed. du seuil, Paris, 1975

IMPRESSUM

AUTHORS:

MOVE Albania: Anila Bitraku, BesjanaBraja, Daniela Deliallisi, Etmond Disho,Sajmir Kazanxhiu, Alketa Lasku, AidaPambuku, Etion Parruca, Anisa Shpati,Gerta Xega

MOVE Moldova: Mihai Balan, Irina Bodrug,Livia Cater, Irina Chilari, Liliani Cialic, LiliaDunai, Vladislav Oleatovschi, Daria Ursu,Dina Sestacov, Angela Taga

MOVE Romania: Claudia Dinca, MihaiEnache, Jean-Baptiste Odobestianu, NeliSerban, Cristina Vladescu

EDITING AND COORDINATION: Michèle Meuwly, Gaël Rennesson

REVISION: Maria Bray, Audrey Bollier, Stephanie Delaney, Sabine Rakotomalala

TRANSLATION FR-ENG : Caroline Caravella

LAYOUT AND ART WORK: Pascal Fessler

PRINTING: Stämpfli Publications SA, Berne

VERSIONS: Manual available in French and English.

Thank you very much to the UEFA for their contribution !

© 2012 Terre des hommes – child reliefAll rights reserved. Use or reproduction,in part or whole, is welcome if the sourceis clearly indicated.

TDH HEADQUARTERSAvenue de Montchoisi 15, 1006 Lausanne, SwitzerlandTel. + 41 58 611 06 66 Fax. +41 58 611 06 77info@tdh.chwww.tdh.ch