“Bring The Soul Through!” “INSPIRITION” working with children Teresa Mccarthy Herron interviews me

I'm being interviewed (Parts one 1.34 and three beginning at 01.01.01) by Teresa Mccarthy Herron so you can see how I work with children. This is rarely ever seen because usually I can't film when I work with children. (Part two 33minutes 5 secs We're doing a little inspirational session with her son, and Teresa, who is a Somatics expert. That is, recovering hidden memory and releasing it (hidden emotional trauma), releasing it so that you are clear and free to move and breathe and receive much more of your spirit in your body. -Innovation, brilliance, activity, vitality, health that's what Somatics facilitates. We do very similar things, but just as we are unique humans, we do them in different ways. So we're going to have an adventure to day.
Teresa’s son Chris is nine years old, and he's offered to be a guinea pig for the day as he loves to explore different modalities of playing.

I have included the entire transcript if you are interested in working with me- or for your child. Modern prescriptions of ADHD etc using toxic medications to conditions child can be replaced by actually working with the Soul connection of the child, as I do here with my INSPIRITION methodology. Please feel free to contact me for an appointment: https://linktr.ee/drisabelaimee

We begin with a little catch-up chat:
“It is amazing to be honest how how we have been completely obliterated from social media. I I kind of almost have to just laugh about it, you know.
The thing I don't like about groups, it's hive-mind mentality. It still encourages authoritarianism, follow the authority. “What can we do?” It's like, well, hello, I want to encourage what you could do.”

“I’ve never really interviewed anyone before, but, you know, so I think we'll just start with, you know, tell me who who you are, what what you do and tell me a little bit about yourself.”
“Oh, I love that because that could go anywhere.
Let me let me try and put that into what I am doing now. It's funny. Everything about my work is literally there because I had to use those skills at some point to survive or thrive.
Oh, all the work I do with children to reconnect them to themselves to their imagination, to their souls, their creativity, that's because as a child I wasn't allowed to do that. So if I if I sang it would be like, “oh, can you lay the table?” or if I did something, I was interrupted. It was very extraordinary, but I was never allowed any place or space to be.
It always cut, truncated, broken, whatever. So, because of that, as I got older and became sovereign and went to university and studied and started to work out what I was going to do, I realized I wanted to overcome these limitations. I am a Sagitarian, I don't really like limitations I love expansion..
“Yes! it feels so good when you can do that! It’s just like, ‘

Ohhhh!’” We both laugh.

3.15 “So I probably studied the most general degree you can get, which was arts and science in equal mixed: landscape architecture. So that was interesting. That was because I love nature and the earth and system, natural systems biology geography, all of that I loved, and art and design, and then from there I had my children and kind of worked through doing design with children for play-grounds. Working with them so they would feel powerful, they would actually build the cobble path with me, plant the willow and we make a willow house, so it was all about again repairing what I had experienced but having great fun with children, in a work setting, and more and more and more I was moving into ‘ah, but really I love to sing, really I love to dance. Really I've got this expressive quality that was -again- truncated as a child. My singing took on a strong kind of alternative pathway, especially when I got divorced. Yeah, I became a pop singer.”
“Oh, okay. wow!”
“Well, it wasn’t really pop, but I started writing music and I worked with a producer in Berlin and then I played with a jazz band and became a singer. And the divorce happened (which was complete nightmare.) We won't go into that except that, that complete explosion and disintegration, -I wasn't allowed to my children because I had all the German legal system against me, I was the black sheep of the family with my expansive human soul technology, and so I had to…
“Human Soul… I'm going to get back to that.”
“Soul-technology yes. So I escaped to Britain, because I wasn't allowed to be with my own beloved children and I worked out what to do. So I built all of the things I had into something, started practicing with local children bringing this creativity through, then started working at a private school as a teacher :singing and acting. I was combining art drawing for personal expression, the awareness of what you love, your passions, activation of colour, -all of these elements for the child which would bring joy and vitality. I basically stayed in that school for about 17 years practicing and exploring all kinds of wonderful fun activations. I ended-up directing lots of plays at school and and working with lots of children's voices from all around the world. It was a delight, because as I repaired myself, I was able to be more creative and powerful for them, so that they wouldn't have the same problems, or ‘shut-down’ qualities that I had experienced.”
“Right…”
“And then I wrote -lots of books in that same vein of: ‘what will an ideal world look like if it was still expanded, if it hadn't been shut down, if souls were allowed full expression.’ I did a lot of research, you know into what was the best possible green things, (not the leftist agender ‘green’), but things that would actually genuinely be wonderful for the planet. And and then I got a lot of receiving directly from my soul and I wrote children's books and to this day they're only self-published because publishers still do not want us to have this holistic integrative experience.
So that's in the next two or three years, I’m going to republish those books.”
“Say that again, the publishers don’t want….”
“They don't want integration of human and nature.
If you look at the agendas of publishers, it's very much a separation, and very much a victim or a hero. You go allowed to be a superhero, but that's usually from external triggers that you become a superhero. There's lots and lots of books for children with that genre. But in terms of a child from within releasing through their full capacity this, ‘activating your human potential’, those books are not yet allowed to be published.”
“Ohhh!”
“Soul knowledge coming through a child, so that's interesting. And that's because obviously, those who think they've held the power, didn't want us to remember that we do have power if we connect into the big power source, you know.”
8.00“Yes! So, what did you find when you noticed these areas when you were younger, when you were growing up? What were the the feelings that…. -like, you felt like broken and limitations from?”
“There is one classic it’s: my mother did ask me questions. My father never, he asked me one question in my life, which is fascinating, just one. So my mother would ask questions and I would begin to answer, but it was like a guillotine. I was allowed to answer about half of my answer and then she would be somewhere else.

So I grew up into this young adult, with this kind of inner power (because I always allowed myself through me, I had kept that ability), but it was allowed through and then, ‘No!’, truncated , switched off. So it (my personal power), could never fully escape, be seen, heard, felt or influence,… bring through into the world. So that truncated communication was something that was so shocking for my soul, and therefore I turned that into one of my primary tools of empowerment for children.
-So that they were allowed to first recognize that they had ideas that were worthwhile,thoughts that were valuable, and then find lots of ways of it coming through and be expressed: seen, heard and felt.”
“Yeah…..So mostly you noticed, it sounds like the singing was your pathway? Singing, art, and nature was your pathway, or your passions in how you could express and expand.
9.54 Tell me, if you don't mind a little bit more about what you said, something about, ‘when I'm receiving my soul’. When was the first time you remember that feeling, that knowing- is it something that you see, hear, feel, or just know completely ? What is that for you?”
“I think I allowed this lifetime that I would never forget that.
So I came in as a baby with that intact, which which was somewhat annoying, I think, for people around me. So if there was a stranger coming to the house, (I had always had blue eyes, but, you know, as babies sometimes they look bigger because of the shape and the proportions), I would just stare at these people with my eyes, because I was looking at,’who are you’?
Who are you? The whole of you, ‘who are you?’
I didn't talk until I was three, because I did not like to be patronized to. -That ‘there's this silly little cute little baby who knows nothing’ and it was just like, ‘really, are you kidding?’.
So I kept my mouth shut until age three. I'd been practicing in my mind and then came up with perfect sentences. So I believe that I kept that knowing forever. So for me, what was it?
It was tuning in, -and out at the same time. Like, into a source of unique soul-individuality, my soul-imprint, and the ‘out’, in that I always knew that there was infinite beyond me, that I could connect to. So I think I just came in with that awareness.”
“Wow…”
‘It helped me survive with everything else.”
“Oh, wow, that's amazing. I love that.
So survive, -tell me some more about the ‘survive’, the path that you felt as though….. like any specific time-frame in your life that you noticed this that you had to overcome?”
12.06 “Yeah, okay, there's a there's a good moment where I I wrote a poem (because this was when I was starting to write songs). And um I was still in my marriage, although we had had a separation because there really was nothing going on between us, he was very, very shut down. And this poem was called ‘A Room Full of Ashes’, okay? (I will add the mp of a song sketch i made for this at the end.) It was quite long and I was starting to think about using it as a song, but it was because I woke up one morning and it literally felt like my bedroom, which was a square room, beautiful kind of pale lilac pink colour, it was gorgeous. It felt like the room was packed full of ash, and I could barely move or breathe of course, and that was like whoa, ‘this is the state I have allowed my life to be in!’.
It was….. I couldn't move, I couldn't breathe. Everything was just completely frozen.
I think that was the point where I stopped allowing the others to tell me what I had to do. And it was like, no, I am allowed to be disobedient to you if I'm being obedient to me. “
“Uh huh! Boundaries!”
“Yeah, I mean, it wasn't even just it was like I'm allowed to have a will.”
“That's right!”
“Yeah, I didn't allow myself that -and how old was I? That was my Saturn return, you know, I was 27. with that. Yep. Yeah, I turned it around from that point forward, really. Yeah, I’d been taught I wasn't allowed to have a will.”
13.45 “What were like the influences that you heard, what were influences that you noticed- ‘not allowed to have this will’?
“Most of it was subliminal, you know, and I think it's important to think about subliminal because we're starting to be aware of, you know, the MK ultra programming that we get through sound, through pop music lyrics, frequencies in music, um media, films. -The way we are programmed left right and center by architecture, et cetera. So that's the thing we're starting to wake up to as a humanity.

My childhood, it was that, um (chuckle) So my dad was catholic. Okay. He was raised catholic, and I think he was abused. He was a little altar-boy, you know, -it's the classic…. And when he got to 21, he met an interesting spiritual man and he decided to convert to Islam. So he left scary Catholicism and went to apparently wonderful enlightened Islam. However, even though it was taught as a very gentle version of Islam in our house, we didn't have to read the Koran, although I did read it. It always put women second place. It was just assumed in everything, everything, everything. And obedience and subservience. So it was just built into every little fibre. It wasn't no one ever said it. They would have been appalled if, if, if I'd labeled it. It was just in every moment of every action, every choice, every decision made them by them, was that the female was just under the male always, and always second best.
So it was an atmosphere-programming in which every single activity was aligned to that. So yeah, interesting isn't it what ideology can create on this subliminal level.“
“Yeah, right. Especially when (you know), you think you're moving from one one thing that's, (you know, um), you're getting away from and then you find, find something else and you're like, ‘oh, this is this is better’… And mm okay.”
“Frying pan in fire, yeah, jumping out of them, yeah!”
“Ahhhhhh….”
“I’m glad I had it though, you know, because it meant that I can help lots of other people who are entrapped in it, and don't know why they don't feel free.”
16.22“Yeah, yeah… So what would you tell someone if if they felt that feeling was like limited, like less, not in their full human potential in their power?”
“One thing that helped me, when I was working it all out by myself, (I didn't have money to… some people got lots of courses and do lots of developments with therapists). -This was just all me and my spirit. So I was working out things.
And one thing I did, which was fun, interesting and weird at the same time was I wrote myself a letter. What would I do if I were a man? And so I gave myself all these permissions and adventures and experiences and feelings and thoughts.
So I'm not saying to anyone, do that, but what I am saying is, ask yourself, what, who would I be? What would I look like? What would I do? If I were unlimited, if I were indeed a soul, rather than a human who is being influenced by many things.
So write yourself, or draw it ,or speak it, record it, -whatever it is, but a part of you will always know that information and it's really great to have it to look at.”
17.38“Do you do that with your students and the children that you with in in the schools:”
“Yeah, it's a good starting point, but I don't quite do it like that, but, if I have someone who says, ‘oh, I'm so, you know, I'm really shy, I can’t, I can't do anything’, or I'll have someone come in and they've just been given an ‘F’ on their maths paper and they think they're stupid. And it's like, wow, okay! So I play that ‘what if’, the ‘what if game’ and we look at who they actually are, as opposed to the label. But we never actually talk about the label because I don't want them to be holding on to that label.
We jumped pretty quickly into the idealized version, because, as you know, children are so much more bendy, flexible. There's a lot more hope and vitality in a child because they've had less compression, less time, less ideology packing onto the jump in onto them.”
“Yes!”
“So we jump into their idealised version of themselves, which is far truer, of course, to their real form, and then we will play. I use improvisation for that:
we might, turn into superheroes and we go on an adventure.
Or we might be someone who's very powerful and then we look at what power is.
I have little people sometimes, Teresa, I can't believe some of the stuff that's come through with those little ones: five year-olds or six-year-olds and they're putting their fellows in cages.
I won't go into too much depth because of who might be in the background here, (9 year old Christopher), but it's like they're bringing previous life memories in of either what they've done to others or what they suffered.
And so we'll allow, we'll build a story through improvisation to show this: the capture and the power and the cage and the victimization. And then I'll sort of stop it and we all get the solutions together and we build an alternative framework, a new story.
I do that a lot, because that way, they see and feel the consequence of what it is, is in their psyche. And then it's like and….. it could be this way. And how does that feel?”
19.58“Would you say it’s kind of like Karma you would say, or attach it to?”
“It could be sometimes, yeah.”
“When these children, -the five year olds even?”
“It is, I mean, when those stories started to come through…. I didn't work with little ones for a long time. my age group was usually seven, maybe, but usually eight to 13. That was my range. You know, you're much more reflective in that age. But then I started to get little groups from two and a half upwards, because they realized I was doing great stuff for the children. And you're much more playful and light with those small, small, small people. But age, age four, five, six, seven -there were stories coming through. Um, yeah. And and some of it I even reported to child protection Agencies.
Because some of that …..there was there was interesting information coming through.”
“So they were tapping into wisdom from this, or that you mentioned, a previous past life?”
“Yeah, I think some of it for some of them it was past life and there was one person, (you know, I can't tell you any names of course), but there was one where I think there was something going on.” “Interesting, yeah, yeah.”
“So, you know, it's um some, some, the tiny percentage of parents didn't like it when they found out about this game: ‘just playing, just drama, it was just drama!’ It um was actually revealing things that were going on, and of course, those ones took their child out of the group. But at least they were on the list to look after and to monitor. So yeah, it's very powerful.
But I mostly I feel that those kind of tools working with children, are about the current things of, self esteem, building that self-trust, how they relate to others, and some of the karmic past clearing as well. So mostly it was about who are you now, but sometimes it was about something come through that wanted to be seen, heard, felt and processed and let go of.”
22.20“Yeah. So if you… so with these children, are you seeing something? -Like when you are guiding or doing the work that you do with them? Are you seeing something specifically or do you just start with your practice and then it just comes through for them?”
“Yeah, it's mostly that. Remember what you said to me about (or I was maybe watching another interview you did separately, where you explain it can just be a little tweak on the face, a little question where you can see there's something being held? And so particularly if someone was…. I would encourage them to come forth with an idea.
And you could see, the change of the facial structure as an idea appeared, and then I would see generally that idea being thrown in the trash can by their own self esteem. -Like, ‘I can't possibly use that idea, it’s not worthy of Dr. Berkeley’s attention’.
(That's how I'm known as: Dr. Isabel Aimee on the internet but at school I used my other surname, Berkeley.) So they would be, ‘I had better not, I had better not say that’. And I would just be there to just say, ‘I just saw that idea’.
So what I was literally doing, was sitting there, in that knowing that they had an infinite soul behind them or within them. I was just literally holding an atmosphere, a vibrational atmosphere. And it would just pour through.
23.55 I had this little girl who wanted to sing. She wasn't really heard much at home, and she wasn't really heard much at school because she had her own unique take on music -amazing pitch. She would come into my lesson once we had started to work on her voice, and she would sing from the beginning to the end, a 40 minute opera! All poured from her soul, and I just sat there and enabled it, allowed it, so we had this big stage, and she, once we decided on what story she wanted to investigate, she'd just be up there and this would just pour out from her.”
“So she would sing, her story, but in an opera voice?”
“Yup”
“Oh my goodness!”
“I say opera because, if you put the right music to it could be musical theater. But I I use that term ‘opera’ in that there could be drama and shift and change and dynamics. And so she would literally (once she was sure of what she wanted to explore), open the door and then it would just pour through her.”
“Wow.
“And you know, I'd be sitting there with just like (and I sing this), ‘all the hair on my body standing on end!’”
25.20“Oh my goodness, now I want to try! Can you show me? -Like a like a few minutes?”
“Okay, let's see how we could do this: say you you're the child coming in. Okay, so, let's just see how I'm going to do this with you. ( We both laugh…)
Okay. ‘How are you feeling about the fires?’”
“Mmmmmm! I feel like there's a reason for the fires. I feel like in California, a lot of people are worried about the fires and are concerned. Some people are like, ‘oh, yes, all those millionaires, they deserve it, but I feel like there's a reason for the fires. For destruction to bring anew.”
“Okay, I love it. Now, if you and I been working with just singing, (which you and I have not yet done in our lives, we will at some point), then the next thing I would put to you is: can you just sing a little song to the world of what you would like them to know.”
“About the fires? (Teresa sings) ‘I would like you to know that it is important for the fires to burn down into the ashes, into the earth, for a new awakening.’ Oh my God, my face is so red and hot!”
“So’s mine so I'm glad that we both have got nice rosy faces. Do you see what I mean, though?
Just because (this is the hilarious thing and I love so much about voice and singing) your body has to concentrate on sound production. Because of that,… that beautiful mind that's infinite can just go, ‘oooh hey, the door is open.. and let's go through with the message!’.”
“Wow….”
“That's why it can be so powerful.”
“So it's like more focused when you bring in singing. Is that what you….?”(I nod)
27.33“Then, of course, the other thing, which is exciting about the sung note as opposed to the spoken note, is that each word has more reverberation. The sung note actually travels further and has more energy because, first of all you use far more musculature to create a sung note. And then it often is longer, not always, -it's usually longer than a spoken note. And you're using many more muscles and there's not just one tone. In a spoken note it's mostly on email tone with very little other frequencies. (the video cut off there as I got carried away…)
So when you speak, you've got your main frequency and a few other little frequencies coming out with each moment of sound, that it's much flatter, whereas if I ( and I transfer into sung recitative rather than spoken speech to demonstrate), ‘if I start to sing , what I'm saying’ OK, you can have ( and I sing three main notes from the last phrase I sung) ‘ha ha haaa’. Now, I don't know how much you can hear through the Internet (because it depends on the microphones and the zoom transfer), but each note of that has got a main note and then it's got lots of other little sub-frequencies, which float around it.
So you activate more in your mind and in the air. (Nice exclamatory noises from Teresa! :D )
So when you sing something, it's more powerful, and that's why the dark magicians used our pop music so cruelly against us. What I love so much is, that once you get the body concentrating…..”
“I’m Mind-blown!”
“…you concentrate on making a sound, and you’ve got all your concentration making the sound so that finally, your mind, your soul-mind, can say, ‘Whaaaa hooo, let's go for it!’. Because the concentration is on the creation of the sound, rather than the content.”
“Woooow!”
“That's why it's powerful, yeah. But you can do the same with the improvisation, and if you have a group of people… -let's just choose a character, randomly choose a character.”
“Woody Woodpecker.”
“Okay, okay, and I'm going to be um what am I gonna be? (Because I wanna go to see whether I can make that sound.) Okay, for some reason I'm going to be a bear, okay? And let's talk about…. the dangers of matches falling onto dry tinder, okay?”
“Yes.”
“Okay, yes, that's it. Five four, three, two one: ‘Grrrrrr!”
“Ha ha ha ha haaaaa!” ( We both chuckle- understandably!)
“Okay, now that's just two words, right?
Now, if we were on a stage together and there's two of us, we could start a story with that. We w’ould have moved. So as I started mine, I was seeing myself as a bear, my snout was down near that match and I was mushing it out with my paw, right? So I would have had activity with that too.
And it sounds like you were a little cheeky woodpecker coming in from the side, like, ‘what's going on here?’ Okay, that would have been the beginning?”
“Have you heard of Woody Woodpecker?”
“Oh, yes, I have. Yes, that was when I was small as well..
30.45 So, you can start a story of soul revelation, that simply. So we we could have taken that Woody woodpecker and done a five minutes or 10 minutes or 15 minutes session.
And I would have been that bear for as long as that child wanted to play, and then we would find…. Sometimes I would find: ‘let's just stop for a moment’ (and this is hilarious -you can do this with three year olds or, you know, 16 year olds) -we’re in the middle of being, ‘I’m a bear, you're a woodpecker’.
We're in conversation with our weird noises. And suddenly I'll just go, ‘oh, CUT!’, and then we’ll have a conversation like, ‘What do you think about this? Should we take…? Where do you want to take this?’ “

31.21“So do you sounds first - like the actual character sound first and then you go into talking about it?”
“Yeah, it would be as though we were in the flow of that story, -you were in your woodpecker sound I was in my bear sound and then suddenly I would do my official, ‘CUT!’ Now it's the teacher. And now we talk in normal language. And they instantly got it. I never had to explain that ever.
It was amazing. I would just say ‘Cut! Everyone just come over here for a moment, let's just talk about where we want this to go.’
And you know, a group of 12 children aged four have a lot of ideas, and so sometimes I had to have a notebook and we would then go through all those ideas. I would write them down and then we would sort of weave them into the story. If it's less (less children), of course, you could be much more spontaneous, but it was amazing to see what was processed through that.
I had things like…. you know, ‘teachers for children’, how they related to (certain) teachers: the authoritarianism of teachers, or the warmth. And the secrets that were revealed to me, they were sometimes a little damning, but it allowed them to express all their energy.
You know, you're a four year old coming into school, you’ve been at home with your mama who's listened to every word you said and suddenly you've got to do this weird thing that’s called, ‘behave’.” “Right.”
“It's powerful, but just complete fun.”
“Yes, it was fun just to be a different character even for one sound.”
“I didn't let you do very much, did I?!”
“It was hard to bring in that sound of a woody woodpecker. But yeah….
33.10 He's coming now!” (Christopher has arrived for his session :D )
“And I am actually dressed this time!“
“Ahh! wonderful. Hello. I can just see up to your nose in the camera. Do you think you could put it up higher?
(There is a monster noise coming from Christopher….)
“Oh, you’re the (monster?) Ah! You see, who are you Chris, I need to know who is that character?”
(Christopher says something quiet and runs off…)
“Is that…are you coming back to play with us? Did we only get the one second? It's maybe, because we weren't brave enough, -we did one second of the bear, one second of woody woodpecker, that was an interesting character…..( and the monster creeps in again and appear suddenly at the camera. We raise our arms in a monster greeting.) Just just tell me in normal words for a moment who you are.. ( He whispers something which I cannot hear…and runs off again).
Now, if I was with you, I'd probably just get down on the floor and start playing. This is the tricky thing of through the TV screen.” (Mom comes to the rescue:)
“What's the name though, besides for the emotion, do you have a name for it?”
“We can get to the name to the name later. Do you wanna come back on the screen so I can see you? (He shyly in monster-guise comes to the screen and bears a foot…)
Oooh! Oh my goodness. You look quite like a little…. no, you're not little. You're quite a big monster of some kind.
Is it a good day for you?”
“No!”
“No, well, you know, you're on film. That's tricky. Sometimes monsters lead very private life, don't they? What would you rather be doing right now? Crunching bones? ( He is communicating b=via thumbs up or down reaching his hands to screen height and keeping his face off-camera)
Popping M&M's? You probably don't even know what those…. ( a thumbs-up appears) Oh, you eat those terrible things. They're full of poison! No wonder you're a bit upset. Can I give you a watermelon instead? (We get a grunt and a thumbs-down. I grunt with him)An orange? (We get a neutral thumb.)
A little mouse? (Big grunt and a thumbs-down.) Oh dear, what is it you need?
Hmmmm It feels like someone has got into your cave and done something annoying. Is that right?
(Christopher rises up to the camera as aa monster, nodding his head and pointing at his mama.)
Her? Who is that down there? (Christopher proceeds to rough and tumble his Mama…)
A cheeky one. It's a cheeky one. (Louder growls and gruff shouts…)
Hey Chris, tell me quickly. done wrong. What has she done wrong?
(Chris again says something that I cannot pick up, but I understand the emotion behind it.)
No, okay. okay. What do you need to give her, what do we need to give her so that it's gonna work for you?
“What do you need to give me so it will work?”( Mom asks)
“…like a special.. “
“Come on over here!”(Chris wants himself and his Mum further for the camera.)
“Oh, you can see over here?”(Mom)
“I can see you. So does she need some magic? Does she need to some transformation?” (Referring to Mom)
“No!”
“Who can I be?”
“Er( in monster voice), you can be….”
“So I don't disturb you.”
“She could be a support system to you. Who's your best friend in the world monster? -You’ve got one, even if it's invisible. Can she be that one? Can she be that invisible best friend?”
“Well she’s not a boy.”
“Oh, she needs to be a boy. Do you think you could be a boy for this moment, Teresa?”
“Yes ( in a wonderful new boyish voice), I can be a boy!”
“So is she, is she smaller or bigger than you, Chris?” (He comes close to the camera to answer)
“Smaller.”
“And has she got the same interests as you? Does she actually like eating the same pies as you?”
“I hate pie!”
“Oh well, you know, your favourite food. -What's your favorite food?”
“Pizza and ice cream.”
“I love pizza and ice cream! It’s deliiiiicious!”
“She’s a very sweet friend isn't she, Chris? She's a really cute friend.” (He gets Mom to be his horse…) “Oh, she's not human. What kind of animal is she then?”
“A Horse!”
“Okay. “
“Neighgghghghghggh!”
So where are you going? Because I'd like to travel with you. Where are we going?”
“Uh, to California.”
“Oh, nice, warm. Have you got the snow where you are now? “
“Uhuh!”
“Yes, okay, so let's go to have you got the right kit on? Do you need to know how we how are we getting there? You're just gonna leap to California? She's a magical horse? How are you going to get there? Okay, shall I count her in? Five, four, three, two, one. Oh, you're right there! Oh, he ran there. He he ran.”
“He's all right over there.”
“Over there by the…. he is gonna come -probably in his, you know, T shirt and surfing kit, what do you do when you go to California? You have to be warm instantly, and ….oh my goodness! Oh my he is full of vitality and energy.”
“Swimsuits in California.” ( Ash he tackles Teresa…)
And Chris, who else is there? You must have some friends there. What are they? What friends do you have in California waiting for you? Is it …
:No-one!”
“Sorry?”
“No one!”
“What about the dolphins? Have you not met the dolphins in the sea yet?”
“I have.”
“Well, how about them? Could we invite them?”
“Am I turned into a dolphin now?”
“She has turned into a Dolphin…you can surf on the waves.”
“She’s a Dolphin animal!”
“Oh my goodness. Can you go out really deep so I can be a whale and come and meet you? Would you dare to ride out that far? To where the whales are? ( I turn in to a Whale)
Oh look,it's my friends, Chris! You came all the way to see me! Who's that you are on? Is that, is that one of my dolphin friends? (Chris fall off into he ocean.) Oh Oh, don't fall in. Don't fall in. It's a bit deep here. Can you swim?? “
“I died…”
“Now, I'll just bump you up to the surface. I've been noticing it's a bit. It's a bit warm here. They've been putting bits of ash in the water. It's ridiculous. So, what are you doing here?
Have you got too much energy? Have you got too much energy for that cold house you had to get into the sun? Okay. Well, I'm glad you came to see me. Do you want to go for a ride with with the whales? “Yyyyeah!”
“I’m riding with he whales, are you riding with the whales? Am I a whale now?” (Mom)
“Can we change her into a whale? Do you want a bigger animal to ride on? Your mum's very good at getting into different characters?”
“Am I the walrus at Seaworld?”
“He's just meditating on your back, you must be a whale because he’s on your long back just holding on I love this idea. Can I just put an air bubble around your head so we can go deep underwater?
Okay, whoa. Now we're gonna dive down. (Whispering) Oh my goodness look!
Wow. Who's there in the ocean?” (Chris comes to wave goodbye to me.)
“You’re not going to see me again!”
“You know, you don't need to show me, but one day, when you've drawn the picture of what you did with the whales, will you show it to me? (Christopher covers the camera with a blanket.)
Okay, cool. I thought that was nice. I'm gonna probably draw a picture of what I did with you and the Whales later on. Has your mother recovered because you you got her quite involved there, ( to Teresa) -your hair looks neat. How did you manage? (To Christopher how is now playing with his Mom off camera so that I cannot see him.) Oh, do you want to still be on?
“I can still see your feet.!”
“I am good well, what are you gonna tell me?”
“You sound like you're about to swim as fast as a whale there is that much power in you!”
“What is it you would like to do now?(Teresa sings the question.)
“Haaaaa! Hold on tight.”
“You’ve got to hold on tight!”
“Paddle back!”
“I’ve got to go fast!”
“There is an underwater city to your left, around that rock. If you turn around that rock, there is an enormous secret underground city. I haven’t shown it to anyone before you. You are the first human to see this.”
“It’s over here.”
“Oh there’s some……….”
“She said there is a big underwater world, to be explored.”
“I think I have to open your third eye you can see it, because no no humans have been allowed to see it before. So ready? I'm just gonna tap it three times. 1,2,3. Okay, now have a look, see if you can see the city.”
“I see it!”
“Whoa Wow! They might let you in, they might actually let you in if you ask, because they just know no human can see it!”
(As Teresa sings, Christopher enters the city…)”If you could go in, what would it look like inside of the under-water world? What would it look like? Please let us know what it looks like under the water.”
(Chris reappears form beneath his pet lizard’s blanket)
“You've done something no other human’s done. Are you coming back all the way to home now? It's always good to return. She's got a speedy button if you just whisper behind her ear, she can get home really fast.
Oh you’ve come, you’re back home! What are you gonna do with the rest of your day, Chris?”
“Play with friends if they are home.”
“Hmmm, maybe you’ll draw some pictures- do you draw things? Do you type things?”
(Christopher nods and mimics me.)
“Ah ha ha ha, I’d like to see the story you end up typing about.”
(Christopher gives a little ‘yap!’)
“Not now, not on the camera, of course. Just that if you decide to write something down, I'd love to see what it is. Do we need to go anywhere else? Because sometimes we have to travel other places for excitement and joy.”
(Christopher wants me to go….)
“Be careful, because when you go back to your room, you might find it's a different place. (Teresa and I whisper…)-It might be different world. There might be some other characters there? Sometimes they are there…”
“No!”
All right, that's fine, too. We can be business-like, yeah.
All right, shall we get your mommy back, put her business-like on the chair again?”
“No!”
“No? You're gonna keep her captured as a character? She’ll be a fairy-tale character forever-after now. Ah, well, we'd better ask her whether she wants that too. The game is always involving all people. Hallo Teresa, are you down there somewhere? Would you like to come back to being you, or are you happy to be the dolphin?”
“I really like being the dolphin sometimes, but I would like to come back to being Teresa also.”
( We get a loud dolphin-like noise from Christopher.)
“Don’t bother me again, or I'm not coming!”
“Am I bothering you?”
“You were bothering me when you said, ‘hey, come down here!’”
“I’m bothering you when I ask you to stop doing what you're doing?”
“Yeah!”
“Is that what I'm doing?”
“Yeah!”
“Please don’t push in to me.”
“Please!”
“Thank you.”
“Hrmmmmmm”
“I’m bothering you when I tell you to come on video?”
“That’s quite brave, I must say. I think I was quite scared the first time I came on video. So um you might you might want to watch it back later.”
“Oooh, you're going to see what ,kind of character you were on a movie screen, Christopher. Here he comes!”
(I chuckle as Christopher covers the screen.) “That’s the censoring machine. Christopher?
I really enjoyed playing with you and I know that it is a bit of a challenge -you don't know me at all and I'm just jumping into crazy worlds with you. But…… maybe, maybe you'll jump into your own crazy world later on today, once I've disappeared. Okay?”
( I get a smile and a thumbs-up.)
(Whispering.) “I love that, ok, I love that very much. thank you very much for playing with me.”
(Christopher shows me his Lizard house.)
“I’m so curious, is other animals in there?”
“And sometimes, when he gets food he’s like: ( and Christopher shows me the movement of the Lizard’s head.)
“Oh, really does he do that with his head? Is that when he's excited or when he's eating?”
“Yeah. Sometimes he does it but he’s not doing it now because….”
“Maybe you can tell him that the story about what you saw in the underwater world? He likes to hear your stories and your voices. Larry is a bearded dragon.”
“Oh wow.”
“And he ‘beards’ my Mom.” (Christopher begins to play with the camera and being near to it and me as Teresa speaks.)
“He does enjoy us being around and talking to him. It's really interesting: I mean, if we're not talking around him or moving around him, he's just kind of doesn't do much, but if we are moving around him and talking, he seems to me really interested. And his eyes go towards us and he's like:”
“Do you ever take him out as well Christopher? Does he come on your hand and play with you?”
“One time he pooped on me.”
“Really? Yeah, that's memorable. Yup. That’s the kind of stuff you would remember, isn't it?” ( And Christopher is now playing about ton the floor, sometimes looking at me.)
“But he seems very relaxed. He almost could be a character in the story: you could kind of think about, making stories about you and he. Because I love the fact that when you make a story, you can always make anyone talk. (Christopher has now found a red ball.) It could be a tree who talks or a ball. ( Im become the ball now.) ‘I don’t want to be thrown by Christopher, I don’t want to be thrown!’ -See, that's what the ball might say, possibly. Or it might be, ‘yes, throw me in the air but catch me because I don't like falling to the ground.’ (Christopher now goes off to throw the ball with all of his energy.)
Lots of power! You gotta get out soon, haven't you?”
“He loves having the anger character show up. It comes up quite a bit.”
“It's really good though, as a child isn’t it? Because if you don't understand anger and you've got to be a man, and suddenly you've got testosterone, it’s really hard, and they always shut them down. ( Addressing Christopher who has been listening the whole time.) So do you know what I used to do with my son when he was a bit younger? If he got really angry, I gave him a stick and I said, you can bash the ground or you can bash this great big old tree. It was like a big, big tree. Just don't hurt anyone else, and so he got very excited about that and then he would bash away.”
“Yeah. Yeah!”
“Yeah. Yeah. There is just so much energy, and that's the thing, isn't it? Most children are never allowed to have that amount of energy in their bodies. They're considered something strange.”
“Yes! Right. I encourage it. I tell him when we're in homeschooling, when I see the anger character coming out, I'm like, what does anger want to do right now? Let's have have an outlet for anger.
Last week he said, -what did you call the anger? What character did you call it?”
“The devil.”
Right. Like the pixar movie, ‘Inside-Out’ with the little characters -that's useful for the different characteristics. And it's so perfect that he is doing that because he doesn't know me, we're using him. -Tokenistically using this beautiful person to demonstrate something. And it is sort of his choice because he wants to please you. But it's also not. And so this is the difference being expressed. It's just perfect.
Right, shall we say goodbye now, Christopher? Are you gonna give me a last ( he waves vigorously at the screen), because I really enjoyed meeting you. You got so much power, I love how much power you've got in your body.”
“So powerful.”
“You are, you're really powerful. Have fun. I can't wait to see what you do with this story.
If you do anything with it. ( He responds by running up the stairs, and coming down again.) All right, you might not ever. And that's just about getting energy running through you at that fast rate. Do I get one last bid from you?
Okay.. So what I did for you, my dear Theresa friend is, I could…(We are interrupted by a cover being pulled down on the camera.) Is that all I'm allowed to see? Okay, all right. It is good thing I can feel and hear you.
So I like to see how powerful people are. Can I just ask you a question though? What are you gonna do with all that power in the world? Are you gonna build something? You're gonna smash something? Are you gonna travel somewhere. ( I bring my voice down quiet, as the ‘monster’ character listens and considers…) What are you gonna do with all that power? There is so much energy. You could do all kinds of stuff. It's like there's volcano, Ha.”
“Make the world a very,….. what?”
“It's like your body is enormous, like how I feel like: this huge person.”
“You can already see…me.” ( sadly indistinct.)
Do you know what I like being, -because I'm quite a smallish person, maybe about the same size as your mum: that I sneak around and people think that I'm just a little quiet person, but actually I'm much more powerful than that, and I am just bigger on the inside. It's kind of like you, -like really big on the inside.”
(I get an affirmative monster grunt for this.)
“You are.”
“Remember that.”.
“You're gonna make the world fair for everyone, you like fairness, don't you? You like everyone to have a fair chance to do things. You like justice?”
“Justice. -Sometimes you need to be angry for these things too. It's really important.
I have a friend who who's a man, and he has to teach people they're allowed to be angry about things. That's what he does.”
“Wow!”
“And he was very polite for years. He was so polite, and then he realized, no, I thought to show people they're allowed to be angry. And then he was like. ( And I give a roar ;) )
And then, yeah, that that worked too, because people have got to understand that too. Yeah, they're allowed to be fierce and ferocious.”
“Right! Because anger brings in a passion for your desires, right?”
“It makes space for all that innovation to come through, all those ideas, yes.
The amount of anger you have is the amount of energy you could channel.”
“Ooooh we’ve got energy in the anger. What are you going to do with that energy?”
“Is it coming out of your fingertips?” ( Then Teresa and I say the same thing at the same time!) If it came out of your fingertips, what would you change?”
“What kind of magical force would you have if you had the power to do what? -what would you do?
-with all that energy?”
“Uhhmmmmm”
“So when I walk around the countryside, my energy goes out from every part of me into all of the trees and it's like, it goes into the trees and it says, ‘hey trees, let's get this atmosphere bright and shiny!’ And that's what I do. That's how I play. That's just my personal way. So what would you do?”
“Mute you.”
“Mute me. Oh, that could be useful, because there's a lot of people who say a lot of nonsense. Mhm”.
“You could mute other things too? How about like voices? -other voices that you don't like to hear?” “That voice.”( Me)

“What else? Other voices ? Do you hear voices sometimes?”
“Or like loud traffic sounds. -I never liked that very much. I think traffic could be quieter.”
“Or a garage door opening?”
“hmmm!”
“The sound of the pencil…?”
“eeeeyah!”
“He does NOT like the sound of the pencil.”
“Have you ever heard that sound with the chalk, -the squeaky chalk on the chalkboard? That's ‘Ohhhh!’ So, if you could use your power to close down the sound, you could also use your power to make sound.”
“I don't want to.”
“There are sounds that you can't hear with human ears, but they do things. That's cool sound. Oh, like the whales, you know, they can hear things that we can't hear.”
“mmmmm! They make sounds that sometimes we can’t hear, right?”
“I can.”
“You can hear the whales?”
(affirmative growl.)
“Nice: the sonar through the sea.”
“What kind of sounds could you do to create a little bit of a mute?”
“Yes, if there is a sound you don’t like, if there's a sound you don't like, you come up with a sound like it's like ( I make an unpleasant sound) and you don't like that, so you could just go, ‘pooop!’ It could be that simple.”
“What do you like to do when you hear something that you don't like? You could just say, ‘eoufff! Turn it off!’.”
“Have you ever roared really loudly? You know, like really roared loudly. Do you think you could turn this video off by roaring really loudly? (Christopher shakes his head.) I’m not very good at roaring. I'm better at singing, so I would just go, like that, but that's a bit loud for my neighbours, you know, I probably blasted their microphones.”
“Oh. She's asking if you could roar really loud.”
“You know the monster who turned-up at the beginning? I bet he could make a really big sound. (Christopher beats his chest rhythmically)Well, that's a sound, that's a sound.”
(Teresa makes an excellent croack.)”You don’t like mine? Can you make one that's louder? Let's hear it.”
“I’m just not a very good ‘roarer’. I bet you can make a roaring sound. Well well I mean I don't even know what your monster sounds like. ‘Grrrr’ like that?”
“What does your monster sound like?”
“I’m gonna have to back-up for this.”
“Ok.”
“We need space.”
“Not YOU!”
“Well,, I might need space too, maybe.”
“Okay, go ahead..One, two, three:”
(Christopher makes a high Dsharp/Eflat ( 6th octave))
“That's quite a high pitch. That’s quite high-pitched. Can you go higher?”
“Can you go higher?” (It is actually the same note…)
Well, that's a little bit higher. That was quite high. That's quite high.
The's high now I can't make it -that sound, that's too high for me.”
“That's very high.”
“Did that -you've disappeared now? Did you sort of disappear with the sound? You did, …sometimes that happens.”
“Did you mute everything else?”
“You know what I like, if there's something I don't like, I can just make my own force-field around me and then it doesn't touch me. That's what you can do with your sounds.”
“Uch..”
“Yeah. Enough now, enough enough. Have you had enough? I think so, okay.”
“Wait, I ant to do something.”
“Yeah, are you going to do one last thing?” ( I get waved at through the camera cover…)
“Is it saying goodbye? Shall I, um, your mummy and I, mum, if you call her mum or mummy, I don't know…. “
“Mother.”
“No, you don't call me mother.”
“Maybe the monster calls you, ‘mother’. and I don't We've got six minutes left, your mother and I. Yeah. shall I say goodbye to you and thanks so much for playing! Bye!”
1.01.01“That was fun for him.. Oh my goodness.”
“He was a good sport. Because there's that fine line between tokenism: getting someone to do something because you want them to do it, and choosing. And he didn't have much choice, but then he was allowed to have some choice the more he realized it was safe. Yeah. that's been interesting experience for him. So he did really well because I, you know, I've never met him before. When I get people I have never met before, they're usually obviously -it's so bizarre for them because the world doesn't normally allow children to be free and open with with.. “
“strangers. Yeah, right!”
“Maybe a good thing sometimes. Yeah.”
“That's true.”
And because the strangers usually put them in a box, don't they? Like, ‘this is wrong’.”
“Yes, and I don't let them expand, right? Because in his voice was a sound that he wanted to bring through -was this high pitched sound and um we heard him. And even like his friends in the neighbourhood have this sound and we're like, ‘arghh stop!’. “
“Yeah! Those high pitched sounds, they travel so fast, the frequency just permeates most things because it's such a fast moving frequency. I always say that's why women have got higher hearing because they can hear their children when they're in distress quickly, whereas, you know, men have got a lower range of hearing, so it's important important. And those (sounds), they're never allowed to make those sounds, are they? You know, singing it's kept down at a low voice. That high thing, you stretch into your expanded state inside, you know in different territory.”
“Yeah, yeah! Absolutely. I know it feels like almost, when you're going there, it feels so, just almost, -a little uncomfortable. Like, ‘no, this isn’t, this isn't how (when you go into those higher ranges), this is not how most people like to hear things. When you're in a presentation, -a soothing voice is more usually characterized with like, you know, lower tones. -Even when, some men may enjoy the sound of a woman's voice when it's a lot more, soft and not necessarily high. but just a little more, you know, lower.”
01.03.47“Yeah, yeah. But you know, I write a lot about that. That is part of the singing course I just did, because, we're so conditioned into what we perceive as allowable and normal. And I think that's because of the architecture we live in. You know, we live in square boxes and they're hard and we don't live in round homes which move the sound in a completely different way.
And so, you know, if your child is making a, (I sing a B six) high sound, it does echo and reverberate and you want to suppress it. All of our pop music is usually is using two and a half octaves and that's it. Whereas really there are six octaves from male to female available in the voice, it is just those ends are never used -and it's like our souls.
We use a little middle central comfortable bit of our spirit in our bodies. The bit that can be controlled by the manipulative program, but all the other stuff, all the magic, all the extremis, all the unique individual stuff is hidden. We don't even… we usually never ever go there.
It's only those life and death situations that bring out, you know: women who lift up their cars to let their children come out after an accident. Suddenly these weird, weird qualities come that they're actually incredibly strong because they're using their spirit to bring that strength in or the heart can be broken many times and still love or, you know, there are so many extreme strengths that we never use. It’s the same with sound.
So it's really important to open it up and to have spaces that children could be completely expressive with their sounds. So yeah, I love to do that.”
amazing. Yeah.
01.05.35”Ah. How would you? So, expanding on this that you just saw, how would you, you know, inspire, inspire that more if you had a way to, - even like to guide me because I'm like not in to the the singing part or much into the acting part. Like, what would you do to um kind of cultivate that?”
“So, do you know what I would do: there are so many things you could do, infinite things. But I would run with it, so that (the high singing, the natural choir boy child’s voice) has appeared. And that's the result of his discomfort with this unfamiliar person, me, right?
And I could represent anyone. It could be general discomfort with other individuals. Um So okay: three ideas that came to my mind that I might prepare, if I was singing him next week, you know, that's my standard thing or hopefully I would see him tomorrow, (you know, in a better world).
I would come with, two glove puppets that I might have made out of paper or fabric and one would be somehow a link to his monster and another monster, and they could have conversations.
So that that's easy with with puppets.
I might encourage him to literally do things like you do with emotion: get paper and literally draw the feeling of the emotion of that monster. And we draw it until we get to the monster being calm and happy. So we might have like eight sheets of paper and just be choosing colour and movement, not a not a beautiful thing, just drawing the energy that like the you know, be that kind of thing to start with. um until we get to where the that monster is happy and then we can diagram in, all the lovely things that make that monster happy. So that's the sort of process.
So you could use, you know, dolls or puppets or whatever for the representation. The drawing is just that transience, moving the energy through the body physically.
If we were going outside, we could hunt for things.
The are two ways I would take it: make the monster bigger until he's fed up with it, and wants to find the opposite, the satisfaction, the peace-solution to it. And you can do that outside. I was working a lot in big theater with a big stage, so I could do a lot of big energy work in there.
But sometimes we’d go outside too. So, you know, if you make a monster really big outside, they're allowed to take a stick and bash the ground. They're allowed to throw things in the air and, you know, shred things.
You know, so you can do that, and then that energy, as you know, is expressed out of the body and then the calm comes back in. And then, of course, you know, the inner guidance, that alchemy of this discomforting emotion that caused me to choose a monster (is innerstood). ‘This woman made me feel uncomfortable, so I needed some kind of in-between character. And then until he realizes that he's powerful enough to confront this woman just as he is.
So you can make the monster bigger or you can let the monster slowly dispense his energy. So, you know, those are kind of three ways. And who knows -I’m always inventing spontaneously when you see how a person comes into the room with you. “
01.09.17“Would you say he was a little bit tricky to work with, or…?”
“No, no, he was just naturally, -as I would expect, shy. As he should be, as he should be, because, you know, who am I? He doesn’t know who I am from Adam, he just knows that I'm a friend of yours, but I've never been to your house, I speak funny, um you know, there's a lot of things that are different. And I really want every child to have that. They should. They should have that because in this crazy world they need protection. He needs to be able to know he's allowed to be a monster. I’d much rather that than just like, ‘yeah push-over, here I am yeah, tell me what to do’. That's important though, isn't it? Because that's not always valued.
01.10.05 Children need to be able to say no and say what they don't want. He was taking it out on you to start with and I would always soften that and we did, you know, managed to get you into that dolphin and the whale and then he was very happy with you. So whenever I see that you know, someone bashing someone else because of their own discomfort, then all gently find a way to pull away from that because it's not good for him, of course, to learn to bash someone else.
But absolutely important and necessary that he felt that needs to distance himself and say, who are you to do this with me? I don't know who you are. That's important.”
“Yeah. yeah. wow. very cool. I like it.”
“If we use trust: you know, if we did it, if we met tomorrow or next week, he could then trust me, and then you learn about that, that boundary situation. And that's when I would get all these, -you know, all the internal workings of the sweet children. They would tell me all their little secrets.
Not that I wanted to know them, but, you know, they were just come out. So….some of my staff friends would say, you, you're kind of healing more than during performing arts, aren't you? I think, yes, you've seen my secret! Yes, it is healing.”
“Wow. That's really interesting too. Wow, amazing.

Freedom and personal responsibility01.11.47 What else would you like to share Isabel? I love - this was very interesting. -Like your strategies, your your….that you learned and that you picked up and anything that you would, change?”
“I don't know about you, but when when I was first a mama, I wanted to give my child freedom because I knew I hadn't experienced that. And then it's that thing of, okay: I have to also honor myself and respect myself, and yet I want to give my child and children freedom.
I feel that a lot of um, let's look at, you know, like the liberalist movement in the United States and we have that here too, in places, you know, in Britain and it's worldwide. We want so much to give our children everything that sometimes we let them walk all over us.
And I see that in Germany: the parent is there to serve the child. They tend to have lots of one-child families and that the parents just do everything for the child, which is not good. And there's a sort of a fear of the child, and then a kind of a codependency builds up: I don't want you not to like me. I want you to be my friend. And I never want any parent to do that with a their child. I want them to give them freedom to be as expressive and full, just like, you know, being a monster, whatever… and hold that place of, ‘I love you, and you must also learn to respect me.’ “
01.13.33“Yes, absolutely. Yes. I've started actually that with him a little bit more with regards to, you know, how he is -you saw his energy!

I was like, okay, so if you like this rough-housing, you know, energy, remember, I'm I'm your mom and I I'll do this sensation (gentle stroking) for you. This is what I'm here for, and if you like something rougher, find your dad or your friends.”
“Yeah! And you can do that in a game, can't you?
It didn't really work with my ‘stop’ or something, because again, I'm through a computer screen. But it's that sort of (situation where) everyone's full in the game, ferocious whatever energy is there. And then it's just like, you have your normal voice: ‘darling, (whatever, you call your son in your sweet moments), we’ve just got to stop this, my shoulder is really hurting because of what you're doing. Can you be a monster that just looks after my shoulder as well? And then you go straight back into character.
And what children adore with that is because you're respecting them completely.
It's like, ‘I am allowed to be a monster with her, oh my God, of course I'm going to look after my mum's shoulder because I love her’.
-1.14.37 That dual respect thing: we are only starting to really understand what freedom means. So we have to do a bit of experimentation, but it's very important that, you know, we as adults make (it clear), You have to go back into being an adult for a moment: That hurts my knee. Can we can we work out a different way to do that? Or let me be your horse, but can we just put cushions under my knees or whatever it is you need, you know?
And that will always work, I've never seen a child that has fought me on any of that because it's like you respect me and my freedom.
Wow, I'm allowed to I'm allowed to do that, so you're letting me do that? Okay, cause, yes, how many cushions do you want, you know? And they're gonna get like five.
So it's that thing of freedom and personal expression. Of respect and authenticity. That's what brings you this beautiful kind of play and and enfolding.
My parents didn't understand that. So when I was like that with my children, they didn't understand what I was doing, um, and they tried to shut it down.
And yeah, and it