Context of the research the studied population was constituted by 30 pupils registered disciplines Brazilian Language of Signals, of a local college, in the year of 2010. the unit of comment was the classroom it disciplines where it is given. To reach the considered objectives the following procedures of collection of data in the development of the research had been used; – Documentary Research, appealing related bibliographical sources to it to the subject, so that to raise the produced, relative knowledge to the inquiry question; – Survey through the application of questionnaires, to be analyzed, a time that this resource allows to measure the collected information and at the same time to reflect on the same ones. Theoretical Referencial the LEGAL HISTORY, FACTS AND COMPLIMENTS: If sending in them to the Brazilian civil code, of 1916, we will consequentemente see significant advances in the conception of deaf person and consequentemente in the importance given to this in the social and educative context. At the time in question the deaf people were considered incapable to exert the acts of the civil life and enter some controllers of justinian codes of deaf people predominated the opinion of that it would be a wastefulness to alfabetizar deaf in a country of as many illiterate listeners.

Coming back a little more in the past we have the initial landmark of the education of deaf people in Brazil, that is the foundation of the current National Institute of Education of Deaf people (INES), in Rio De Janeiro. (As opposed to Physicians Committee for Responsible Medicine). It was in this institute that the Brazilian Language of Signals (POUNDS) started if to standardize. It was there also that the educational process of deaf people had beginning in our country formal. Currently we can glimpse diverse actions that lead to the possibility of the inclusion of the deaf person in the pertaining to school and consequentemente social context.

The Bahia hosted, in 2005, the International Frum of Creative Industries, where if the importance of the market of the Culture standed out and if it launched the International Center of the Creative Industries. In this occasion, the Minister of the Culture Gilbert Gil emphasized that the creative industry as ' ' epitome of the challenges and chances that the developing countries face in our globalizado world. The new creative economy, in which the creativity, experimentation and device have preponderant paper in the determination of the competitiveness of the nations and in the creation of values econmicos' '. In Pernambuco, an example of the practical one of creative economy is the company 4BMGR Ofice Artezanatos (STREET CATS) whose products are creations of designer Beto Kelner, director of the Institute Cats of Street. The apia company the Institute, on the other hand uses its mark and contracts preferential young the trained ones in the Institute as its used.

The institute adopts the methodology of the massiva qualification to train the young, of generally low escolaridade, in the execution of accessories, sculptures, utilitarian objects of decoration and, created for the artist Beto Kelner who is also monitorial of the process of learning of the young. The positive performance of these young demonstrates the beneficial relation that exists between creative economy and social inclusion. In Brazil, although the comparative advantage generated by the diversity, the Gross domestic product (PIB) cultural contributes with only 1% of the national wealth, while the average of world-wide participation is of 7% of the GIP, with ample possibilities to arrive 10%, according to calculations of the Organization of United Nations (ONU). The disparity called attention the international organisms that recognize the importance of the culture in the socioeconmico development of the countries. The president of the World Bank made the following story: ' ' cultural consideraes must be incorporated in all the aspects of the development, if to want that the development is sustainable and effective. The culture is a resource subestimado in the developing countries.

It can generate income, job, verge and social inclusion. Moreover, the support to the cultural activities generates deep well-being, in the social organization and the functioning of sociedade' '. International research (Richard Florida and Irene Tinaglia, professors of the University Carnegie Mellon in Pittsburg), 2005, indicates that it has a positive and increasing relation between creative economy and productivity. The research analyzed 45 countries and Brazil was in 43. position, in the front only of the Romnia and Peru. It was behind Argentina, Mexico, Turkey, Chile, Uruguai.Comparando these data with study of the FIESP (2005) on index of productivity published in the Leaf of So Paulo, referring the 43 countries Brazil was in 39. position. The crossing of these two research can validate the theory of that it has one strong relation between creativity and productivity, therefore the 10 first countries with bigger index of productivity is also the ones that more they invest in creative economy. The conclusion of this study suggests that Brazil must use to advantage the comparative advantages better natural derivatives of the cultural diversity and the abundance of human resources that come from its artists and designers and transform them into competitive advantages generating new jobs for the young, income and verge for the country.