Pharoah’s Initiation – Child’s Play

 

Regular flights to Dublin offered creative play opportunities for young children in Ireland whose parents were concerned because of  their child’s communication or behaviour problems. Parents were supported by energy alignment sessions .  On this occasion, a follow up appointment had been booked for Finbar, a little boy I had met on a previous visit.  Children use their play to heal and to gain an understanding of  the thoughts, feelings and images associated with imprinted memory of a  highly charged experience from their current life or perhaps a memory of a past life that has  suddenly surfaced.   Creative play helps the child to find resolution and to make sense of what they are experiencing.

I had hired a room in a hotel in Clonakilty, a few miles from Skibbereen, where Finbar and I had met for the first time.  The room in Donovan’s Hotel was bigger and gave us more scope for creative play. Finbar‘s father, an artist, brought him along to our session. His father looked pale and exhausted because he and his wife had been disturbed by Finbar’s nightmares for the past two weeks, although Finbar couldn’t remember what his dreams were about. If nightmares are not resolved, they can cause fears, insomnia and other problems sometimes lasting into adulthood.

In preparation for our play session I had arranged lengths of gold, silver and rainbow coloured material over a long trestle table at the far end of the room, which fell in colourful pools on the floor.

As soon as his father left the room, Finbar rushed over to the gold material and tried to scoop it up and drape it around his shoulders but there was far too much of it and he complained that it was ‘too heavy’. He excitedly told me that he wanted to  dress up as ‘Lord Pharaoh’ in Egypt because he had seen a programme about Egypt on the television.  Wasting no time, he chose some orange material for an egyptian skirt and found a large piece of red felt for a cloak.  He requested a gold crown but he was satisfied with a length of gold mesh, which I wove around his head like a cap.

After dragging a wooden chair into the centre of the room to be his throne, he created a grid like pattern of material on the floor in indigo, emerald, royal blue, orange and pink which gave the appearance of a large colourful chequer board at the foot of the throne. I told Finbar that in ancient times, the Egyptians used healing sounds in their daily worship and taught him two more chakra tones, the throat tone /OO/to empower his voice and /RA/, the tone that the Egyptians used in praise of their sun god.  We made these tones together and included the sacral orange Tone, /O/ which Finbar had learnt in his previous session .

Creating a pyramid was next on the list and more chairs were required.  Finbar pushed four chairs together back to back, with another chair facing outwards at each corner.  Gold material was draped over the chairs and material in rainbow colours filled in the gaps.  His pyramid looked  very impressive.    He then covered his throne with turquoise chiffon and  arranged pale brown material on the floor to represent sand.  The scene was set and Finbar announced that he was going to crawl through the secret passage under the pyramid to get to the ‘eye of the fire’ which he said was in the centre.  Before he set off, he looked at his creation with a critical eye and proceeded to open up the spaces under the chairs believing the passage was too narrow for him to crawl through.

 To prove he was worthy of being the pharoah, his first test , he said, was to make his way through the tunnels without touching the sides . I watched as he carefully manoevered his way slowly under the chairs until he reached the centre and then he slowly and painstakingly wriggled his way out, by a different route.  Initiation accomplished, he returned to his throne acknowledging the imaginary crowds who were hailing him as king.   He then told me in a very serious and matter of fact voice that if he had failed to crawl through the passage way successfully,  someone else would be made pharoah instead of him.

His next task was to journey to a volcano that spewed molten larva. In preparation, he created the volcano in a corner of the room using orange chiffon to depict the larva and hid under the table, which he said was a cave and would protect him from the heat.  Declaring that blue water would cool the larva, he proceeded to overlay the orange molten larva with blue and then pink silk to dampen the flames.

Truly empowered, he returned to his throne triumphant and smiling, gesturing a hand towards his imaginary subjects, who, he said, were calling out ‘RA’, as he passed.  For his third and final initiation he had to find a shorter route through the pyramid and he accomplished this by making a left turn down an orange tunnel once he had reached the centre.  Our play session was over and Finbar derobed  excitedly telling me about the picture he was going to draw when he got home.

His father was delighted when he saw the pyramid that his son had created and offered to buy him a picture book of Egypt to strengthen his connection to that time.  Before leaving, he mentioned Halloween which would occur the following weekend.  This gave me the opportunity to suggest  that Finbar dress up in a positive costume as a force for good rather than a frightening costume, which would fuel his nightmares and any anxiety.

When I eventually returned to England, I sent Finbar a picture of Archangel Michael,  a symbol of protection and strength in times of distress and suggested that Finbar and his father make the ‘RA’ Tone together. The Bach flower remedy Aspen  would help to alleviate any fears of the unknown .  No further sessions were booked and his parents wrote to tell me that there were no more nightmares.

More play stories from Ireland :  Finbar the Dragon Slayer

                     A Child Remembers a Past Life as Red Beard – the Pirate