This dissertational work seeks to relate the study of language, curriculum and difference, in the field of post-critical theory in education, educational processes outlined in "Project languages" in a Unit of Early Childhood Education in the city of Belém-PA. The study aims to investigate how the teaching of languages has been produced in this Early Childhood Education Unit, with the cut out the analysis of the dimensions of language as a difference vector in the school curriculum. The text has as authors of the Philosophy of Language interlocutors Thought Difference and Theorizing Curriculum Post-Critical, seeking to realize childhood as a puzzle and play in the creation process, instigated by art and musicality, the thinking curriculum in order its "danceable dimension." Thus, we dialogue with GADAMER (2000), in order to make considerations about the language and the question of the game; LARROSA (2000, 2004) and SKLIAR (2014), about the babélicas and disobedient languages; BRITO (2003), about the importance of languages as art of expression in the educational process; SILVA (2001 and 2010), CORAZZA (2001 and 2002), COSTA (2011 and 2013), through discussions about the curriculum in a view of the difference in the post-critical field, and also LINS and GIL (2008) on the becoming-child, language and childhood. The field research executed in this education unit happened during the school year 2015 and had the support of the Post-Critical Methodologies in Education (MEYER and PARADISE, 2012). In the meantime it have been made collaborative educational activities with the teachers of UEI in dialogue with the coordination of space, observation times and photographic records, curriculum document analysis and educational activities in order to carry out an everyday study in this school institution (CERTEAU , 2014). The research analyzes they enter the fields of language, curriculum and difference, showing how the language projects are pepped in the researched educational space, since they differ in relation to other early childhood education spaces not only for its "pilot project" with regard to the dimensions of art and languages that make up its curriculum setting, but above all because they risk disobey the formal laws of education in the pursuit of enhancing childhood, their languages and their arts to learn the difference - a lightness that invites the curriculum to score small dance steps, risking to think an teaching that depart differences and trials in their art inventions.
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