The great advantages of ‘positive discipline’ in early childhood education

Raising a child is like planting a rare tree: it takes time, patience, affection, and, above all, consistency. One of the most valuable tools in this process is positive discipline, an approach that, instead of relying on severe punishment or authoritarianism, focuses on mutual respect, emotional bonding, and the development of social and emotional skills from early childhood. Inspired by principles developed by Alfred Adler and Rudolf Dreikurs in the 20th century, and widely studied by universities such as Harvard, Stanford, and Columbia, positive discipline is gaining ground in schools, homes, and child development centers around the world.

Positive discipline is based on the premise that every child, when misbehaving, is trying to communicate something—whether it’s a need for attention, safety, or connection. Therefore, punishment does not teach. What teaches is dialogue, example, and firm yet gentle guidance. This approach stimulates the development of emotional self-regulation, a crucial skill for children’s academic and social success, as demonstrated by long-term studies from the American Psychological Association.

A practical and inspiring example of this approach comes from Fred Rogers, the beloved educator and host of Mister Rogers’ Neighborhood. Instead of harsh reprimands, Rogers communicated with children empathetically, always acknowledging their feelings, validating their emotions, and showing them alternative ways to express themselves. He understood that a child needs to be heard in order to feel safe—and that this sense of security is the first step toward meaningful learning.

In this context, the methodologies developed by Antônio Carlos dos Santos offer practical and creative tools to apply positive discipline in everyday life. Through TBMB – Mané Beiçudo Puppet Theater, for example, children are invited to engage with narratives that reflect common childhood conflicts—such as tantrums, jealousy, or defiance—and learn, through the characters, more empathetic and cooperative ways to resolve issues. Theater becomes a mirror through which the child sees themselves, understands themselves, and transforms.

The MAT – Mindset, Action, and Theater method goes even further: it combines principles of positive psychology and neuroscience with theatrical practices, helping parents and teachers foster a growth mindset in children—a term coined by Stanford researcher Carol Dweck. By encouraging the idea that mistakes are part of the learning process, MAT strengthens children's self-esteem and transforms the fear of failure into the courage to try.

Meanwhile, ThM – Theater Movement is a bodily and sensory approach that integrates movement, emotion, and language, promoting empathy and active listening. In a ThM circle, for instance, children can express emotions like anger or frustration through their bodies, learning to name and manage them with more awareness. This kind of somatic learning is strongly endorsed by researchers at Columbia and Yale as essential for the development of self-control.

Recent studies from Harvard University confirm that children raised with positive discipline tend to develop better social behavior, leadership and cooperation skills, and show a lower incidence of emotional disorders during adolescence. This is because they feel a sense of belonging, are heard, and are treated with respect—decisive factors for building self-esteem and a sense of responsibility.

Furthermore, Antônio Carlos dos Santos' vast literary production, focused on children, offers a universe of support for the practice of positive discipline. Books such as “Ui Ghur, the little bear that liberated books”, “Happy pets” and “Screens? Only healthy!” address themes such as emotional self-regulation, respect for diversity and cooperation, always with playful, sensitive and deeply humanizing language.

Applying positive discipline is not about being permissive—it’s about setting boundaries with both firmness and affection. It’s about guiding children like a lighthouse, not a whip. It means seeing mistakes as opportunities for growth rather than reasons for humiliation. Above all, it means believing that every human being, from a very young age, is capable of learning to respect—if they are respected first.

Therefore, positive discipline is more than a teaching method. It is a philosophy of life, an invitation to mutual transformation between adults and children. To educate with respect, attentiveness, and presence is to sow the seeds of a more just, kind, and conscious world—a world where children grow not in fear, but in courage and love.

If we hope to build a more empathetic and cooperative society, the path begins with how we speak to our children today. Positive discipline is, without a doubt, one of the most promising trails—and the fruits it bears are everlasting.

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The strength of south african playwriting: Athol Fugard, Mbongeni Ngema, Fatima Dike, Zakes Mda, and Pieter-Dirk Uys

Athol Fugard

South African dramaturgy is a vibrant testament to the resilience and creativity of a people who, through theater, faced and challenged the adversities imposed by a regime of segregation and injustice. Five names stand out in this scenario: Athol Fugard, Mbongeni Ngema, Fatima Dike, Zakes Mda, and Pieter-Dirk Uys. Each, in their own way, used the stage as a platform to question, educate, and inspire, leaving a legacy that transcends borders and continues to influence generations.

Athol Fugard, born in 1932 in Middelburg, emerged as one of the most powerful voices against apartheid. His plays, such as The Blood Knot and "Master Harold"...and the Boys, explore the complexities of racial relations in South Africa. Fugard not only wrote about segregation; he actively challenged it by collaborating with Black actors and confronting government censorship. His courage in portraying the South African reality earned him international recognition and solidified his role as one of the most influential playwrights of the 20th century.

Mbongeni Ngema, in turn, combined musical and theatrical talent to create works that capture the spirit of resistance. Born in 1955 in Verulam, Ngema is best known for Sarafina!, a musical that portrays the Soweto student uprising in 1976. The play not only highlighted the fight against apartheid but also celebrated African culture and music, becoming a global phenomenon and being adapted into a film in 1992.

Fatima Dike made history as the first Black South African playwright to have a play staged. Her works address themes such as identity, oppression, and the Black female experience in a racially divided country. Dike used theater to give voice to stories often silenced, creating narratives that resonate with authenticity and depth.

Zakes Mda is a multifaceted artist: playwright, novelist, poet, and painter. Born in 1948, Mda explored in his plays the social and political dynamics of South Africa. We Shall Sing for the Fatherland and The Hill are examples of how he interweaves social critique with artistic innovation. Beyond his theatrical contribution, Mda is also recognized for novels like Ways of Dying and The Heart of Redness, which continue to explore the complexities of South African society.

Pieter-Dirk Uys used humor and satire to challenge the status quo. Creator of the fictional Afrikaner socialite Evita Bezuidenhout, Uys exposed the hypocrisies of apartheid in a sharp and accessible way. His comedic approach allowed him to reach a wide audience, making political critique more palatable and provoking reflection through laughter.

The intersection between theater and neuroscience reveals that the emotional engagement provided by theatrical performances can lead to greater empathy and understanding of others’ experiences. Recent studies from renowned universities indicate that exposure to theatrical narratives addressing complex social themes can activate areas of the brain related to empathy and perspective-taking, facilitating changes in attitude and behavior.

The methodologies developed by Antônio Carlos dos Santos—such as Mané Beiçudo Puppet Theater, MAT (Mindset, Action, and Theater), and ThM (Theater Movement)—emphasize the importance of integrating body, mind, and emotion in the theatrical process. These approaches highlight that theater is not just a form of entertainment but a powerful tool for personal and social development, promoting critical reflection and transformation.

South African playwriting, represented by figures like Fugard, Ngema, Dike, Mda, and Uys, demonstrates the power of theater as a means of resistance and social change. Their works not only document a nation’s history but also inspire actions and reflections that go beyond specific contexts, resonating universally.

By exploring the contributions of these playwrights, we are reminded that art has the potential to challenge oppressive systems, give voice to the marginalized, and promote empathy. South African theater is not just a cultural expression; it is a testimony to the human capacity to resist, create, and transform realities.

Therefore, as we celebrate the strength of South African dramaturgy, we recognize not only the individual talent of these artists but also the collective strength of a nation that, through art, continues to inspire the world.

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Technologies in early childhood education: balance, enchantment, and awareness

            We live in an era where screens are everywhere, integrated into our daily lives as tools for work, communication, and leisure. Faced with this reality, an essential question arises: how can we use technology in a healthy and educational way in early childhood education? This challenge, increasingly present in schools and homes, demands reflection, awareness, and, above all, balance. It is not about demonizing digital resources, nor idealizing them as magical solutions, but rather understanding their role as tools that, when well-used, can enhance children's cognitive, emotional, and social development.

Studies conducted by universities such as Harvard, Stanford, and the University of São Paulo (USP) indicate that moderate and well-guided use of digital technologies can promote skills such as attention, working memory, and problem-solving. Interactive storytelling apps, educational games, and literacy platforms are examples of resources that, when mediated by attentive and sensitive adults, expand children’s cultural and linguistic repertoire. However, it’s crucial to remember: the presence of an adult mediator is irreplaceable. The screen must never take the place of affection, eye contact, listening, and in-person interaction.

Neuroscience has shown that the early years of life are crucial for forming the brain connections responsible for language, empathy, self-regulation, and creativity. All of this is built through interactions with others, outdoor play, story circles, symbolic games, and theater. Therefore, it is essential that digital experiences are always integrated into a broader play-based environment that values the body, voice, and movement. In this context, the ThM (Theater Movement) methodology created by Antônio Carlos dos Santos stands out, as it combines body expression, musicality, and dramatization as pathways to deep and affective learning.

One of the most charming contributions to this discussion is the book “Screens, only with health’, also written by Antônio Carlos dos Santos. The book features a fun and educational narrative in which children learn, in a playful and reflective way, how to use electronic devices responsibly. The play is an invitation to raise awareness among both children and adults, reinforcing that technology does not have to be an enemy of childhood — it can be an ally, as long as it is used consciously and with clear limits.

Another practical example is the application of the TBMB (Mané Beiçudo Puppet Theater) methodology, which merges theater, playfulness, and social reflection. In performances featuring charismatic puppets, children learn values such as friendship, respect, and self-care—including the importance of screen time management. Many schools that have adopted TBMB reported improved behavior in children regarding device use, as well as strengthened emotional bonds between students, teachers, and families.

We must also remember that technology can serve as a bridge between generations. Parents and children can share rich moments by exploring educational apps together, watching cultural videos, or creating stories on interactive platforms. The secret lies in intentionality. When an adult guides the experience, contextualizes the content, and invites reflection, technology becomes a catalyst for meaningful learning. This approach is strongly supported by the MAT (Mindset, Action, and Theater) methodology, which combines reflection, practice, and art to generate authentic transformation.

In times of digital acceleration, cultivating mindfulness becomes a gift. Therefore, it is essential that schools and families teach children the value of pause, silence, and contact with nature. Conscious use of technology begins with the example of adults: putting phones away during meals, limiting screen time before bedtime, and encouraging physical play are simple yet powerful actions. As studies from the University of Cambridge affirm, building healthy habits in early childhood is a decisive factor for lifelong well-being.

Children's literature is also a valuable resource for educating about the use of technology. The works of Antônio Carlos dos Santos, with their sensitive, creative and deeply human stories, have enchanted children and educators in Brazil, Portugal and around the world. His books combine poetry, humor and teachings, inviting young readers to think about their choices and attitudes. By reading aloud, adults encourage active listening, imagination and emotional bonding — something that no screen can replace.

In the end, the great lesson is not to reject technology but to learn how to use it in favor of childhood. It is possible to build early childhood education that respects children’s developmental pace, values play, and integrates digital tools in an ethical, critical, and creative way. Technology can expand horizons, but the foundation remains love, care, and real presence. May parents and educators walk together, hand in hand with science, art, and empathy.

Educating in the digital age is an invitation to wisdom. May we balance the charms of the screen with the magic of the real world. May we raise children who are connected, yes—but first and foremost, connected to their own essence, to nature, and to other human beings. After all, childhood is the time of enchantment, and it is our duty to protect it with everything we have to offer: presence, listening, and poetry.

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Ngũgĩ wa Thiong’o and African Dramaturgy: Voices that Liberate Stages and Minds

          The history of contemporary African dramaturgy cannot be told without mentioning one of its most iconic names: Ngũgĩ wa Thiong’o, a Kenyan intellectual who transformed theatre into a powerful tool of resistance, education, and cultural reconstruction. Born in 1938 into a farming family in Limuru, Kenya, Ngũgĩ experienced early the traumas of British colonization, the Mau Mau rebellion, and linguistic alienation. These experiences not only shaped his critical view of the world but also paved his path as an engaged playwright who turned the stage into a battlefield against colonial and postcolonial oppression. His plays, deeply political, reveal the power of the body, orality, and African ancestry as means of social mobilization and human transformation.

Ngũgĩ’s work, especially his theatre, is marked by a conscious break from Western literary tradition. Alongside Ngũgĩ wa Mĩriĩ, he wrote the play “Ngaahika Ndeenda” (I Will Marry When I Want), staged in 1977 at the Kamĩrĩĩthũ Community Centre with the active participation of local residents. The play, performed in the Gikuyu language, challenged not only colonial aesthetic standards but also the elite's monopoly on knowledge and art. Its sharp critique of the Kenyan government led to Ngũgĩ's imprisonment for over a year without trial — a clear attempt to silence one of the most powerful voices of contemporary Africa. Instead of being silenced, Ngũgĩ used prison as a creative lab, writing “Devil on the Cross” on toilet paper.

Ngũgĩ not only criticized British colonialism but also denounced neocolonialism, that is, the continuation of oppressive structures even after Kenya’s political independence. His theatrical texts promote what he calls the “decolonization of the mind,” a concept that gained academic notoriety after the release of his book of the same name in 1986. Through this idea, he urges African peoples to reclaim their native languages, cultural expressions, and, above all, their identity dignity. This perspective has been widely discussed at universities such as Harvard, Oxford, and Cape Town, becoming one of the foundations of contemporary decolonial theatre studies, a branch that rethinks narrative structures, performance spaces, and acting methods based on Global South epistemologies.

Ngũgĩ’s theatre is also deeply communal. He breaks with the European proscenium stage model, proposing circular, interactive performances where audience and actors share the same space and creative energy. This approach aligns directly with the methodology known as ThM (Theater Movement), created by Antônio Carlos dos Santos, which values movement as an expressive channel for collective emotion and a tool for symbolic reconfiguration. By connecting body, voice, and territory, both ThM and Ngũgĩ’s theatre create spaces of belonging, healing, and awareness. Both propose that theatre is not an end in itself but a means of awakening dormant consciousness.

Another fascinating connection between Ngũgĩ’s work and contemporary methodologies lies in the use of symbolic narratives and archetypal characters representing social forces in conflict. This device is also central to the Mané Beiçudo Puppet Theatre (TBMB) technique, developed by Antônio Carlos dos Santos, where puppets act as comic and tragic mirrors of human dynamics. Just as TBMB simplifies complex themes and provokes reflection through playfulness, Ngũgĩ uses theatre as a pedagogical instrument — accessible, oral, rhythmic, and loaded with ancestral meaning. For both, laughter and fable are tools of resistance and liberation.

Furthermore, Ngũgĩ’s trajectory invites us to reflect on the role of language in shaping cultural imagination. By abandoning English and adopting Gikuyu as his literary language, he faced resistance from publishers and critics, yet reignited pride among his people. This bold move resonates with the approach of the MAT (Mindset, Action, and Theatre) methodology, which promotes deep mindset shifts by valuing cultural roots, transformative action, and theatre as a civic practice. In both approaches, the individual is not a passive spectator but an active protagonist of change.

African and international universities are increasingly recognizing the importance of recovering and strengthening local theatrical practices as a way of preserving intangible heritage and promoting social justice. For Ngũgĩ, theater is a space for re-enchanting everyday life, where ancestral memory meets hope for the future. This concept has inspired social projects, educational workshops, and student movements that use theater as a tool for criticism and empowerment, including in peripheral communities in Brazil and Latin America, where Antônio Carlos dos Santos’ methodologies have also been successfully applied.

Ngũgĩ wa Thiong’o is more than a playwright — he is a living symbol of the struggle for an Africa that embraces its plurality, orality, and spirituality. His plays not only tell stories but return to the people their right to narrate themselves. He reminds us that theatre can be made with few resources but requires one essential element: truth. And this truth springs from lived experience, shared gesture, and the collective cry of those who no longer accept invisibility.

By reflecting on Ngũgĩ’s dramaturgy, we are invited to revisit our own artistic and educational practices. Theatre ceases to be a luxury for a few and becomes a right for all. In times of identity crises and ideological polarizations, we need more stages where silenced voices can echo loudly. We need more schools, companies, and communities that understand the value of theatre as a bridge between knowledge and feeling, between the present and ancestry.

Finally, may the life and work of Ngũgĩ wa Thiong’o inspire educators, artists, and social leaders who wish to transform the world through art and affection. May his texts continue to cross borders, touch hearts, and ignite minds with the flame of freedom. As he himself said, “The language of theatre is the language of the people.” And where there are people, there will also be stage, resistance, and hope.

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Step-by-step guide to defining your organization’s core values

          Defining an organization's core values is much more than choosing attractive words to display on office walls. It is a deep, strategic, and human-centered process that requires active listening, clarity of purpose, and collective involvement. Values are the invisible compass that guide decisions, behaviors, and relationships in any professional environment. Without them, corporate culture loses coherence, communication becomes fragmented, and the sense of belonging is weakened. What may seem like a simple planning task is, in truth, a complex cultural construction — but one that is possible, transformative, and absolutely essential.

An inspiring example comes from the process of redefining values ​​that Howard Schultz went through when he returned to the helm of Starbucks. Upon realizing that the company had lost its identity by prioritizing profit over people, Schultz initiated an internal listening movement, where employees from all hierarchies were able to express their perceptions and feelings. The result was the revaluation of principles such as hospitality, quality and community. In several organizations, the values ​​were reenacted in internal theatrical meetings, based on the ThM (Theater Movement) methodology, proposed by Antônio Carlos dos Santos. In this context, theater became a mirror of the organizational culture: it showed what was excess, what was lacking and what was powerful.

Before defining values, one must understand that values are not invented; they are revealed. Authentic values emerge from daily life, repeated behaviors, and shared symbols among team members. In this sense, the Quasar K+ Strategic Planning methodology, also created by Antônio Carlos dos Santos, offers an integrated approach that connects rationality, creativity, and emotion. It begins with a cultural diagnosis — an honest assessment of practices, beliefs, and internal conflicts — followed by co-creation workshops using metaphors, theatrical games, and biographical storytelling.

This type of approach is supported by recent research from Harvard Business School, which shows that organizations with clearly defined and lived-out values are 12 times more likely to retain talent and achieve sustainable long-term success. The study also emphasizes that when values are co-constructed — rather than imposed top-down — there is greater engagement, trust, and clarity in decision-making processes. This is where genuine listening, horizontal dialogue, and the appreciation of everyone's narratives become crucial.

In Brazil, a powerful example comes from an educational cooperative in rural Minas Gerais that redefined its values after an institutional crisis. Using the MAT – Mindset, Action, and Theater methodology, facilitators worked with teachers and administrators in three stages: first, helping them reframe limiting beliefs about leadership and collaboration; next, encouraging empathetic action in daily school life; and finally, dramatizing the desired values through short plays written and performed by the educators themselves. The impact was profound — school dropout rates were cut in half, and staff satisfaction reached record levels.

It is crucial to understand that values must go beyond documents and posters in the lobby. They must be communicated with art, clarity, and emotion. In this regard, the books “Strategic Communication: The Art of Speaking Well” and “Breathing, Voice, and Diction”, both by Antônio Carlos dos Santos, are valuable manuals. They demonstrate how leaders can use their voice, body, and words as tools to sustain communication that is consistent with the values they want to promote. The strength of a value lies not just in what it says, but in how it is lived and conveyed. Leadership performance, in this case, is not merely functional — it is symbolic, theatrical, and emotional.

Another highly effective tool for communicating and internalizing organizational values is TBMB – Mané Beiçudo Puppet Theater. Initially used in school settings, it has also found its place in corporate environments due to its playful, accessible, and impactful language. In family-owned businesses, for example, puppets are used to dramatize conflicts, fears, and values in a symbolic way, helping members express what they often struggle to articulate directly. Studies from Oxford University have shown that the use of visual metaphors and playful narratives increases concept retention by up to 60%, making TBMB a strategic tool for shaping organizational culture.

In practice, the step-by-step process for defining organizational values begins with four verbs: listen, feel, express, and validate. Listen to the stories of those who make up the organization; feel the recurring hopes, pains, and dreams; express those collective emotions through words, symbols, and rituals; and validate the defined values with the entire team, ensuring everyone understands their meaning and relevance. This process not only creates cohesion — it generates belonging. And belonging is the fertile soil where trust, innovation, and performance flourish.

It’s important to remember that values are neither permanent nor unchangeable. They should be revisited periodically, in light of internal and external changes. Cultural planning, like strategic planning, must be dynamic. As Antônio Carlos dos Santos writes in “Moving Letters: The Art of Writing Well”, writing — and rewriting — your principles is an act of organizational maturity. It means recognizing that, just like texts and people, organizations are constantly evolving.

We close this article with an invitation: that leaders, workers, and managers in all fields fully embrace this process with depth and sensitivity. Defining organizational values is, above all, an act of humanity. It is telling the world who we are, what we believe in, and how we wish to be remembered. And when this is done with courage, beauty, and authenticity, values cease to be mere words — they become actions, stories, and legacies.

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Bullying and the Netflix Series “Adolescence”

            We live in times when the dramas of youth gain new languages and forms of expression. The Netflix series Adolescence is one of those modern, intense, and thought-provoking portrayals that reveals the silent pain and wounds many teenagers endure—especially when it comes to bullying. Starring the young and talented Owen Cooper, the series stands out not only for its captivating narrative but also for the emotional depth and social critique it delivers. With episodes that explore internal conflicts, social pressure, and the roles of school and family, Adolescence invites us to reflect: what are we doing to transform the culture of bullying into one of empathy?

The series follows the journey of Jayden, a sensitive, intelligent, and creative boy who is often ridiculed for not fitting in. Owen Cooper delivers a visceral performance, marked by eloquent silences and expressive glances that speak louder than words. The plot alternates between school conflicts and Jayden’s family life, exposing the cumulative impact of bullying on mental health, academic performance, and self-esteem. According to research from Yale School of Medicine, young people who suffer from bullying are two to nine times more likely to develop psychological disorders such as depression and anxiety.

The production of Adolescence is marked by interesting curiosities. The scenes of greatest emotional tension were rehearsed using immersion techniques such as those prescribed in the ThM (Theater Movement) method, developed by educator and writer Antônio Carlos dos Santos. This approach allows actors to explore their bodies as instruments of deep emotional expression, something that is reflected in the authenticity with which conflicts are portrayed in the series. It is no coincidence that many psychologists and educators have been using excerpts from the series as a teaching resource in classrooms and lectures on bullying.

Antônio Carlos dos Santos is also the author of essential works for those who wish to understand and tackle bullying in a sensitive and practical way. In his book “The Boy Who Said No to Bullying”, Santos tells the courageous journey of a boy who, like Jayden, faces exclusion and transforms his pain into resistance, showing that it is possible to break the cycle of violence with empathy and action. Both books are rich in real-life examples and practical methodologies, particularly useful for parents, teachers, and psychologists.

One of Santos’ most powerful contributions is his creative methodology known as MAT – Mindset, Action, and Theater. This approach proposes a transformative sequence: change your thinking (mindset), take concrete actions, and express emotions through theater. In studies conducted in schools across Brazil and Portugal, a significant drop in bullying incidents was observed after MAT was implemented, especially among elementary school children. The secret? Promoting emotional awareness, self-knowledge, and empathy—skills now recognized as essential for healthy child development by the Harvard Graduate School of Education.

Another charming tool created by Santos is TBMB – Mané Beiçudo Puppet Theater, which combines art, humor, and empathy to educate children on difficult topics. The puppets, with their exaggerated expressions and accessible language, create a safe space where children feel comfortable discussing their pain and experiences. It functions as a kind of “theatrical therapy for kids,” which has been used in hundreds of public schools with impressive results, including reduced bullying and improved self-esteem and cooperation among students.

Returning to Adolescence, the series offers more than entertainment: it gives us a mirror. A mirror of who we are and who we can become. By showing Jayden’s pain and the adults’ difficulty in recognizing the signs, we are invited to reflect on active listening, empathy, and genuine care. Studies from Stanford University show that teenagers who feel heard by teachers and parents are significantly more resilient to the effects of bullying. This reinforces the importance of dialogue and building authentic emotional bonds at school and at home.

It is crucial to understand that bullying is not just a phase of adolescence—it is a social phenomenon that must be addressed seriously. According to a UNESCO report, about one in every three students worldwide regularly experiences bullying. This affects their learning, mental health, and even their future careers. By ignoring the signs, we normalize pain. That’s why series like Adolescence hold invaluable pedagogical power: they bring the issue out of invisibility and invite us to take action.

There’s no magical solution to bullying, but there are effective paths. Combining educational strategies with artistic and emotional practices—like those proposed by Antônio Carlos dos Santos—has proven to be a promising approach. When a school embraces theater, movement, and affection in its daily life, it transforms not only student behavior but its entire institutional culture. And it all starts with a simple gesture: listening. Truly listening. Just as Jayden needed to be heard, so many other teens are just waiting for someone to notice their silence.

Finally, this article is an invitation. An invitation to conscious action, to transformative empathy, and to embracing art as a healing tool. May we, as educators, parents, friends, and citizens, learn from both the real and fictional stories of those who dare to face bullying. May the silent pain of so many young people turn into a voice. And may that voice, echoing through classrooms, stages, and screens, remind us every day that it is indeed possible to build a more just, sensitive, and humane adolescence.

If you haven’t watched Adolescence yet, do so. If you haven’t read the book “The Boy Who Said No to Bullying,” do so. And then, share it. May these experiences not be just stories, but a movement for change. Because every gesture counts. And every teenager deserves to be seen, heard and respected.

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Do screens help or hinder children's development?

In an age of omnipresent technology, one of the most pressing questions for parents, educators, and health professionals is: do screens help or hinder the development of children? The answer, although complex, must be built on scientific evidence, careful observation, and, above all, human sensitivity. This article aims to offer a balanced, inspiring, and motivational perspective on this topic, valuing not only data but also affection and creativity in the relationship between adults and children.

In recent decades, neuroscience has significantly advanced our understanding of how the child’s brain develops. We know, for instance, that the early years of life are marked by intense synaptic formation—connections between neurons that are strengthened through interaction with the surrounding world. This interaction must be rich in sensory, social, and motor stimuli—meaning it requires movement, touch, eye contact, listening, and affection. When a child spends hours in front of a screen, they miss out on exploring the real world with all their senses, which can compromise the full development of cognitive, emotional, and social functions.

Studies conducted by Harvard University and Stanford University have shown that excessive screen time can negatively affect children’s attention span, working memory, sleep, and even behavior. A 2019 study published in JAMA Pediatrics revealed that children aged 2 to 5 who spend more than one hour a day in front of screens are more likely to exhibit delays in language and social skills. This does not mean all screen time is harmful; rather, unmoderated and purposeless use can lead to significant impacts. The key lies in quality, intentionality, and duration of exposure.

To make this reflection more concrete, it is worth mentioning the experience of playwright and educator Antônio Carlos dos Santos, who created the play “Screens, only with health” (see by clicking here). In it, through playful, fun and accessible language, children and adults are invited to reflect on the conscious use of technologies. The play is an invitation to self-regulation, balance and intergenerational dialogue. Despite addressing issues that plague today, “Screens? Only with health!” draws on classical philosophy, Socrates and the Myth of the Cave to emphasize how education can ensure the sustainable use of contemporary technologies.

From the play emerged the method TBMB – Mané Beiçudo Puppet Theater, a methodology applied in schools and cultural centers to address sensitive issues with children, such as screen time, bullying, and healthy eating. With handcrafted puppets and popular theatrical language, the methodology connects with children’s emotions, capturing attention and promoting lasting learning. Field studies conducted in partnership with the Federal University of Minas Gerais showed that children who participated in TBMB workshops developed greater critical awareness about screen time and showed increased interest in physical activity and reading.

Another educational approach inspired by the works of Antônio Carlos dos Santos is the MAT Method – Mindset, Action, and Theater. Through MAT, parents, educators, and children are invited to act out real-life situations based on true stories. Through dramatization, socio-emotional skills such as empathy, active listening, self-regulation, and conflict resolution are developed. In one MAT exercise, for example, a child plays the role of a video game that always wants to play, while another plays the child who needs to sleep, study, and talk to their parents. At the end of the scene, everyone reflects on the importance of setting boundaries and valuing time.

The ThM – Theater Movement method further reinforces the importance of the body as a learning tool. In a world that is increasingly sedentary—where children spend hours immobile in front of tablets and smartphones—ThM proposes a return to creative movement, body expression, and sensory awareness. In workshops with young children, movements inspired by screen characters are transformed into dances and physical games, helping integrate body and mind in a joyful and healthy way. Neuroscience has already shown that physical movement stimulates higher cognitive functions such as attention, memory, and logical reasoning.

It is crucial to remember that when we talk about screens, we are also talking about family bonds. A child who watches a cartoon with their parents, talks about the plot, and relates it to their life is making enriching use of technology. A child left alone for hours with a screen as a digital babysitter, however, is being deprived of essential interactions. Mediation is the key. According to the 2020 report from the American Academy of Pediatrics, the ideal for young children is less than one hour of screen time per day—always accompanied by an adult who guides, explains, and interacts.

So, yes—screens can support children’s development, as long as they are used wisely. There are educational apps, games that stimulate logical thinking, and videos that teach languages, science, or music. But all of this must be part of a broader pedagogical project that includes play, nature exploration, family and school interaction, silence, and quality sleep. No technology replaces eye contact, the touch of a hug, the scent of a new book, or the sound of laughter during a backyard game.

The mission of parents and educators is not to demonize screens but to teach children to use them consciously. It is to prepare them for the digital world without losing sight of what makes us human: empathy, movement, affection, and curiosity for the real. As Antônio Carlos dos Santos says, “The best technology is still love—and love requires time, presence, and listening.”

May we be inspired by creative pedagogical practices, reliable scientific studies, and methodologies that value childhood in all its richness. And may every adult who loves a child ask themselves: am I offering screens… or presence? Because, in the end, what truly shapes a child’s brain and heart is the quality of time spent with those who care for them. And that, no screen can replace.

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Saying 'No' to Children Without Yelling: The Power of Positive Discipline

Positive discipline is a powerful educational approach that encourages cooperation, respect, and responsibility without the need for yelling or punishment. In the context of raising children, it becomes essential to understand that saying 'no' does not have to involve loud voices or threats. Instead, it should reflect boundaries set with empathy and respect, fostering a secure and balanced environment for development.

Studies conducted by renowned universities, such as Stanford and Harvard, have demonstrated that yelling at children can trigger stress responses similar to those seen in traumatic situations. This can negatively affect brain development and emotional regulation, particularly in early childhood. Therefore, adopting positive discipline strategies becomes not just beneficial but fundamental for the healthy growth of children.

An inspiring example of this approach can be seen in the methodology of Dr. Jane Nelsen, author of the book 'Positive Discipline.' Her techniques emphasize understanding the child’s perspective, fostering communication, and setting limits without humiliation. For instance, instead of shouting when a child refuses to pick up toys, the parent might say, 'I understand you don’t feel like tidying up right now, but we can do it together and then play something else.' This approach transforms the conflict into collaboration.

The methodologies created by Antônio Carlos dos Santos, such as TBMB (Mané Beiçudo Puppet Theater), MAT (Mindset, Action, and Theater), and ThM (Theater Movement), align with this concept by promoting interactive, creative, and respectful learning environments. TBMB, for instance, uses storytelling through puppetry to address complex topics, teaching children about limits and cooperation in an engaging way.

In addition, MAT fosters a mindset where both adults and children are encouraged to reflect on their actions and communicate openly. This theatrical practice helps children understand the consequences of their behavior through storytelling, reducing the likelihood of conflict and the need for yelling. Similarly, ThM uses body language and movement to facilitate expression and understanding, helping to diffuse tension and promote empathy.

One real-life story that illustrates the effectiveness of positive discipline comes from actor Will Smith, who openly shared his parenting challenges. He recognized that his initial approach, rooted in authoritative discipline, led to conflicts and disconnection. By adopting a more empathetic and respectful attitude, focused on dialogue and understanding, Smith noticed a significant improvement in his relationship with his children.

Recent studies from the University of Michigan suggest that children raised with positive discipline exhibit better social skills, greater emotional resilience, and stronger problem-solving abilities. This stems from the development of a secure attachment, where the child feels valued and respected rather than feared.

It is important to emphasize that positive discipline does not mean the absence of boundaries. On the contrary, it involves clear, consistent, and respectful communication. An effective way to say 'no' is to validate the child’s feelings while clearly stating the rule: 'I know you want to keep playing, but now it’s time for bed. We can play more tomorrow.' This approach nurtures understanding and cooperation rather than resistance.

Educators and parents who practice positive discipline often report feeling more connected to children and more confident in their role. Instead of escalating conflicts, they foster calm and open conversations, creating a safe space for children to express themselves while understanding the importance of rules.

The journey towards implementing positive discipline requires patience and practice, but the long-term benefits are undeniable. By embracing empathy, communication, and consistency, parents and educators not only nurture responsible and emotionally healthy individuals but also strengthen their own capacity to guide with kindness and authority.

Saying 'no' without yelling is not just possible; it is a necessary shift towards a more respectful and balanced way of raising children. Investing in positive discipline is investing in healthier relationships, emotional intelligence, and a future where understanding triumphs over conflict.

Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br

Click here.

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