The work of artistic-social intervention with its moments of shared experience, the "shared story" and informal conversations were the antecedents of "Children's Games." We see the game as a strategy for creating personal and physical closeness, a playful manner of entering into contact with the participants and, as well, a good pretext for surpassing the conventional limits regarding affection and contact with prisoners (one of the principle objectives of "La Lleca" in general). The fact of creating in the CERESOVA prison a "horizontal" space (although only momentary) where persons are treated like humans (once again) as regards their cognitive, affective and intellectual capacities. This project has been one of our best actions, placing into practice strategies that create an environment of trust and self-acceptance amongst the participants.

From the first session, we were interested in creating with our guys a series of photographs. The images reveal the contrasts of the prison, beginning with its colors. The green grass, the white prison-fence, the beige clothing of the prisoners and our brightly colored clothing make an attractive combination. This type of image, unlike ethnographic or anthropologic photography (in which the investigator draws attention to aspects of representation and cultural interpretation/analysis), for us, forms a record of a close and intense relation of events produced inside the CERESOVA prison. When we saw the first photographs from "Children's Games," they immediately caught our attention because mixed with the colors were the reactions of the participants and us--it appeared like any other place except for a penitentiary. The images are a record of a time in which, without realizing it, we were creating strong communicative links, trust and friendship within a group of people. With "Children's Games," we jumped the fence that separates the street ("la lleca" as the prisoners call it) from the prison. The participants always note that when they are playing with us, they forget where they are. It is with "children's games" that we construct a very particular atmosphere, one of "convivencia." It could be because the differences between the participants and us disappear when we have this type of spontaneous contact. We hug when we play with teams or when our side wins a point. We physically interact, as well, to encourage active participation in the game, etc.

We play a variety of games: spin-the-bottle, charades, hangman, etc. In spin-the-bottle, we become closer with the other (especially in the case of Lorena). The questions that are asked respond to our curiosity about rather personal issues. We laugh and joke about our personal histories, but, as well, we take up themes from the group discussions or from one-on-one conversations (as in the case of "shared stories"). Spin-the-bottle allows us to approach in certain moments of reflection the theme of sexuality in a more comfortable manner.