The aim of this dissertation was to research the narratives, practices and interactions of children and adults at a Jewish school in Rio de Janeiro, in Yiddish language, literature and music workshops. The central questions relate to the practices and interactions (languages, stories, songs, games) between children and teachers, in the sense of listening, getting to know and analysing what the children say about the Yiddish workshops and what the children show in their activities. The methodological strategies were: observation of the Yiddish workshops in seven classes from the third to the fifth year of primary school at the school. Field notebooks, audio recordings and transcriptions of the recorded field material were used. The dissertation is organised into four chapters. The second chapter discusses four authors: Hobsbawm, Bauman, Benjamin and Adorno. Contexts and concepts for a basic theoretical understanding of the Holocaust and barbarism are presented. The third chapter deals with the origin and history of the Yiddish language and culture. This chapter discusses the question of State and language, and how Jewish migration to Brazil took place. The next chapter presents the Viver com Yiddish workshops and the entry into the field, its history, structure and routine. In the fifth chapter, the narratives from the observations, analyses and reflections on the children s interactions and productions in the workshops are revealed. Based on these methodological strategies and the contributions of the authors, the research sought to understand how the workshops realise in practice what they propose as an alternative form of resistance. In the final considerations, it was emphasised that the activities proposed by the workshops are intense acts of resistance, so studying Yiddish goes in the opposite direction to the historical and cultural erasure of the language. The key results were the affective and engaging dynamics of the workshops, the critical appropriation of language, literature and history by the children. The use of music as a cultural and emotional link was observed, as well as the awareness of memory, identity and resistance, and the understanding of the transnational nature of Yiddish.