Monday, July 31, 2017

First Harvest

Tonight and tomorrow is the beginning of this year's First Harvest. May we all enjoy good health and having what we need! For the Wiki Quickies on how this is typically celebrated in Europe and North America, please refer to Lughnasadh and Lammas

Saturday, July 22, 2017

Our Birthday Season

Tonight marks the beginning of my Daughter's and my Birthday Season :D This weekend the Sun begins its Leo transit. The Dark > New Moon occurs in Leo at about 3:45 am our time tomorrow / Sunday morning. Mercury will enter the last fifth of it's transit through Leo. Plus, just like we got 2 Dark > New Moons in Taurus earlier this year, we will get a second Dark > New Moon in Leo at 3:30 pm our time on August 21st because the Sun will still be in Leo rather than having already entered Virgo. The Sun will complete its Leo transit on August 22nd and enter Virgo on the 23rd. This should make for a Grrrreat ;) period of revitalization and creative passion!

Friday, July 14, 2017

My Tisane and Tarot Card this morning reads: The Hierophant

My Tisane & Tarot Card this morning reads "The Hierophant: Faith in tradition and the old school. A justified and ancient source of power. Being supportive, sympathetic and loyal. Receiving instructions, learning, guidance or inspiration. The ability to hear a higher or inner voice. May also indicate a religious ritual, such as a marriage or an initiation."

July / New Cal O Bon

After having such interesting insights throughout July / New Cal Tanabata, I have decided to go ahead and celebrate July / New Cal O Bon during this weekend this year too. I will, of course, still celebrate August / Old Cal Tanabata and O Bon as well on my and my daughter's birthdays next month as usual. Here's the Wiki Quickie about O Bon

Thursday, July 13, 2017

General Update

General Update: 1. At this point we have officially begun mediation through the B3 against our previous landlords, which we anticipated. They have no legit case against us, so this issue will almost certainly be resolved during this stage rather than going into actual arbitration.; 2. Our internet service has been on and off on a regular basis throughout each day every day since the storms returned again. Weirdly enough, we have not been consistently losing service during either the rain or the calm bits. Whether or not we have service doesn't seem to actually be determined by any particular conditions save for the blatant big picture issues with local infrastructure in general. Fortunately we're still managing to deal with everything we absolutely need to online despite this ongoing inconvenience.; 3. For nearly one week now and counting I have been managing intense nerve pain in various parts of my body and/or ovarian cyst related pelvic pain almost nonstop, so I've gotten just about no exercise at all again. My ability to sleep has fluctuated quite a bit for weeks now (sometimes I sleep very well and other times I'm awake most of the night). My GI Tract has barely functioned at all on its own for about 3 weeks now / approximately since I quit drinking coffee in the morning regardless of drinking chamomile in the morning instead most of the time since, drinking lots of water throughout every day and eating plenty of fiber (both grain and veggie types) consistently, taking probiotics and a multivitamin, and proper sleep and/or exercise when those have worked out well. This is, of course, frustrating, but for the most part I've actually been handling it all fairly well, especially since last Friday evening when the pain hit hard and settled in to stay for who knows how long this time. Most of what I've been focusing my mind on and been dreaming about has been and continues to be very enjoyable, and I am very grateful for that, as I am also deeply grateful for my loved ones.

Tuesday, July 11, 2017

2 years and 2 days

As of today, my Daughter Katana and I have lived in the Greater New Orleans Area of Louisiana for 2 years and 2 days, having relocated from the San Francisco Bay Area of California.

'Combat Harmony' Notes from Dreamwork

Here's what I learned in the Dream I woke from this morning
(7/11/2017; ref. Neri Alchemical Hex Project) ...

Monday, July 10, 2017

Insights into Yama-no-Kami and Kodama-sama

Though I normally wait until August to celebrate according to the Old Calendar, this year I have ended up concluding the July / New Calendar Tanabata Matsuri with some Witching Hour revelations …
Empress Jingu [inspiration for the Onna-Bugeisha (Female Samurai) Legacy] and associated Himiko (the Shaman Queen) are traditionally depicted exactly how I envision Kariudo Yama-no-Kami. This includes use of both Pole Arm and Archery (a la Bendis > Dziewona and Artemis > Diana), as well as Lunar and Solar Balance and Elemental Powers.
Neri (“Beneficial Sound”, Japanese), the Ancestral Tree Root Goddess in the River Gorge I dreamed of and have worked with since, correlates with the Japanese Kodama, originally comparable with the Greek Dryad (before the the super cute bobble head type depiction in the modern film 'Princess Mononoke'), which is additionally associated with Yamabiko, when sounds make a delayed echoing effect in mountains and valleys. Kodama-sama are also associated with Hitodama, Yosei, and Yokai (especially Obake). Rather than the traditional Cleyera japonica or even my proposed Jomon Period staple acorn providing Evergreen Oak, the Sakaki (Sacred Evergreen Tree) associated with Kodama-sama is the Sugi (Cryptomeria) type of Cypress tree (also sacred to Artemis the Greek Goddess of the Hunt). Now I know why I felt compelled to place my locally found Cypress root driftwood in the Sakaki slot for my Portable Shinto Kamidana.

Thursday, July 6, 2017

Matsuri in July

I probably explain this every Summer lol I celebrate Tanabata on my Birthday and OBon on my Daughter Katana's Birthday in August according to the original traditional lunisolar calendar that predates Japan's adoption of the western calendar during the Meiji Period, which is what switched those festivals to July. Gion is an Old District of the beautiful City of Kyoto. famous for many delights ranging from ancient temples to the geisha legacy, and is celebrating its history this month. Please check out this great article at Green Shinto about that.

Sunday, July 2, 2017

Exercise Options and Coffee as Dessert Occasionally

A Couple Positive Updates and Thoughts ...
Exercise Options: At long last, conditions are now such with both the weather and my body that going for workout walks in the morning or evening is now an option again for awhile. I walked about four and a half miles yesterday morning (just above my minimum for a workout walk), and I'm grateful for that. The two workouts I posted yesterday morning prior to that walk are great as indoor options, although I've enjoyed dancing outdoors plenty in the past. I can also mix and match a little, such as enjoying a shorter 'warm up' walk, and then EITHER the abs - thigh - glut routine followed by yoga OR some belly dance and yoga. In the past I would have been able to enjoy a workout walk and both of the other two exercise options on most days no problem, but these days are a bit different, and I'm just glad I can be physically active to any degree on any of them. If there are days to come when I can enjoy all of all three, I assure you I will!
Coffee as Dessert Occasionally: Drinking a simple chamomile tisane every morning instead of coffee has gone fine the past few days. It was definitely the right choice right now. Over the past few days I have realized that I love my coffee best as either an iced mint mocha or a hot spicy mocha, which means I actually love coffee as a type of dessert. I can still enjoy coffee as a dessert occasionally, like any other sporadic treat. I just can't start every day with a mug of coffee at this point, and that's fine. That I'm not even missing.

Saturday, July 1, 2017

My Belly Dance Workout for Exercise, Physical Therapy, and Pleasure (Prop Work Not Included)

My Belly Dance Workout for Exercise, Physical Therapy, and Pleasure (Prop Work Not Included)
(©2017, 2013, 2009, 2005 Irina-Sofia Albamare All Rights Reserved.)

How to Breath
Rest your tongue against the roof of your mouth with teeth and lips closed and relaxed. Through the nostrils, inhale with inward bodily movement, and exhale with bodily outward movement.

Balanced Posture and Movement
Align the spine with the central axis of the body, letting the chin rest just barely below 'level' when still. Allow the pelvis to relax so that it can be directed by the abdomen Attune yourself to the sixteen directions (eight horizontal and eight vertical). Keep knees aligned with toes when bent. Use broad stances and rolling steps when moving about. Details on how to lead the flow of movement will be explained in each section of the dance moves.

Regarding Belly Dance Movement
To dance well, you must compose correct posture. Your movements should be relaxed and controlled with intention, neither rigid nor sloppy. Attune yourself to the rhythm and tempo of the music you are dancing to in order to time your movement. Attune yourself to the mood of the melody to translate into types of movement expression. Dance moves can be varied by performing them symmetrically, in alternation, spiraling, circling, moving front-to-back, side-to-side, thrusting or bouncing (a.k.a. 'beats'), rhythmic tempo variation, or isolation. Core dance moves can be alternated, combined simultaneously, and/or combined in sequence. These moves can be found in various dance traditions around the world, and have as many names as there are languages. Thus, the names for these moves in have been selected using descriptive words found in the predominant language among current students (in this case, American English and a little ballet-associated French), while including common Belly Dance lingo. Cultural origins, the animal kingdom, and features from the natural environment have all provided inspiration for Belly Dance moves. Commonly used Belly Dance lingo and names of moves reflect this. Use the psychological feeling and imagery that these terms evoke to enhance the expression of the dance moves they refer to.

Upper Body Moves
Head and Neck - gently syncopated head & neck movements, keeping chin level
sliding the head side-to-side ('Hindu Head')
front-to-back ('Chicken Head')
circling the head ('Voodoo Head')
tilting the head slightly with the chin level while at a ¾ turn
glancing back over-the-shoulder
Shoulders – relaxed, and keeping equal with upper back
rolls (alternating or solo)
sways (rocking front-to-back in alternation or solo)
thrusts (pushing forward in alternation or solo)
figure 8's (alternate looping side-to-side)
shoulder shimmies (rapid alternate thrusts)
Arms – The elbows lead arms and flow out through fingertips, wrists lead hands, and knuckles lead fingers. Reverse the flow by leading from fingertips on through the shoulder. Do not fold-in/collapse movements. While passing over the face briefly can be appealing, never block the face from view with a sustained move.
arms extended to each side with hands at hip, shoulder, or overhead levels
gracefully tracing random patterns in the air while keeping to the beat
undulation ('Snake Arms' or 'Cobra Arms', alternating or solo)
cascades ('Waterfall Arms', simultaneous or solo)
spiraling ascent or descent (alternating, simultaneous, or solo)
circles (alternating, simultaneous, or solo)
extending both to one side ('Hula Arms', upper arm fully extend and lower arm bent)
Ballet: demi, croisee, Arabesque, 'easy' brise, developpe / enveloppe
framing face (Egyptian, i.e. while doing 'Hindu Head')
Wrists, Hands, and Fingers
(ref. Tai Chi Chuan and Gung Fu) Pushing Palm, Standing Palm, and Bird Beak/Hook
flat palm bent down at wrist with fingers closed ('Snake Hand')
rounded palm bent up at wrist with splayed fingers ('Dragon Claws')
pageant wave (hand up, fingers together, twisting gently at the wrist)
bent at right angle at wrist with palm up or down (Egyptian or 'Cleopatra')
wrist circles, figure 8's, and croisee
hand undulations, frappe 'beats'
open (feminine) or closed (masculine) fingers
finger frappe 'beats, circles, wave, ripple, and pushes
The Butterfly: wrist croise with wrist circles and rippling fingers, can be done while switching wrists in a cascade
Ball Hands: gently opened mirrored hand movement as if holding or rolling an imaginary ball between them
An attitude of reaching far while keeping hands fluid, soft, and either flat or slightly raised, usually with fingers together
Snake Arms with Wrist Rolls
Hula Arms with Wrist Rolls
Swimming Arm Undulations
Alternating Palm Rolls Raised Overhead
Pulling Inward / Pushing Outward, and Gathering Arms
Sweeping 'Karate Chop'
Heaven – and – Earth one arm rounded and raised with palm up and other arm rounded and lowered with palm down
Crescent Arms both arms extended out to form a rounded crescent shape, fingers bent to complete it
Crossover Sweeps and Wipes, which may include a gentle thigh slap or swirling embellishments
Fanning Hands flat hands fanned downward by bending wrists, which is led by bending elbows
Alternate wrist - -over – wrist rolls while rising or falling; holding wrists together while reaching
Smack the Sky (fast) and Raise to the Sky (slow) one or both arms reaching with fists or palms
Energy Washing by raising arms overhead than gathering hands down to cascade over body
Using Mudras and/or other sign language/hand gestures

Exercise: Find Your Belly
Lay on your back, and relax. Take deep, full belly breaths. Massage your belly with a clockwise motion. Never massage your belly counterclockwise because it goes against the digestive flow, and can cause colon problems. Do rapid, tiny, belly contractions (Belly Flutters). While still on your back, move your sides and hips slightly to feel the abdominal connection.

Torso Moves
This is the emphasis of Belly Dance. Note the trilateral axis of the torso, composed of 1. ribcage 2. abdomen, & 3. pelvis. Keep the back relaxed and centered, while directing movements with the abdomen, rather than with the hips, feet, etc. The movement directed by the abdomen flows out through the lower limbs, which move in natural response to the abdominal catalyst.
Ribcage – movement directed by the upper abdomen
lift/drop (raise with top of abdomen, then gently release)
circles, semicircles, spirals (add lift), and figure 8's (alternate looping side-to-side)
slides (side-to-side) and thrusts (front-to-back)
Abdomen and Back – movement directed by the middle abdomen/waist
backbends (convex spine while leaning back) and back semicircle swing (concave spine while leaning back, swaying side-to-side with ribcage lifts for 'finishing' accents)
belly flutters (tiny rapid contractions)
belly rolls (vertical – drawn in with lift, then release while letting down, and horizontal/spiral – side-to-side while drawn in one way and pushing out the other)
alternating oblique slink (alternating up-slides)
side-to-side slides (from the waist up)
dipping forward and down, then rolling the spine (and thus torso) upright ('Snake Dance')
Pelvis and Hips – movement directed by the lower abdomen
lift (Egyptian, - motion flows out) and drop (Tunisian, - motion flows in)
thrusts (pushing forward in alternation or solo)
side-to-side slides (hips remain equal)
circles: full, half, and quarter; tiny rapid circles
sways (side-to-side slides with gently alternating lifts)
figure 8's (alternate looping side-to-side with gently alternating lifts)
rolls (solo or alternately rolling hips over front-to-back, called 'Maya')
hip shimmies (loose alternating thrusts)
Full Torso
full torso rolling undulation ('Camel', Arabic – lead with lower abdomen, inc. pelvis, then roll up the spine out through the nape of the neck)
full torso spiraling (as isolated segments in turn or in graduated alternation)
full torso vertical figure 8's ('Taxim', Turkish – horizontal belly roll with ribcage lifts and hip sways)
pushing the chest forward, chest bump / beat
bending forward (can include either circles or rolls),  bowing deeply, twisting
bending and slinking to each side-to-side

Exercise: Find Your Beat
Experiment with attuning yourself to quarter time rhythms at different tempos, using different parts of your body. For example, tap your feet, clap your hands, snap your fingers. Then, begin allowing your shoulders, abdomen, and hips respond to the beat in the same way.

Lower Body Moves
Legs, Feet, and Toes - When raising a leg, roll the foot up from heel to toe for fluid bounce up that reduces stress on the knee (for walks and raising the leg). When touching back down, roll the foot from toe to heel for a soft, balanced landing. When moving a raised leg, the knee leads, letting the motion flow out through the toe tips, ankles leading feet, and knuckles leading toes. The flow of motion is not reversed with the leg. Do not collapse moves.
Chinese Stances -
feet parallel and shoulder-breadth apart ('Basic Stance')
weight on back foot with other foot lightly stepped forward ('Tree Stance')
(ref. Tai Chi Chuan and Gung Fu) Bow-and-Arrow (forward lunge), Horse (squat with legs apart), Empty/Cat (one legged squat with other leg forward, forward foot resting weightlessly), Single Leg (with other leg raised and bent at knee), 40%-60% (reverse lunge), Twisted Horse (squat with lower legs crossed under knees), and Deep Side Lunge
Indian Stances -
basic Agratala 1 (support foot is flat on the floor, while forward foot has heel lifted and toes either flat on floor/ground or pointed), and Agratala 3 (reverse lunge / extend the back leg and lift heel of back foot, toes flat on the floor)
Compare Indian stances with Ballet positions... Agratala 1 with Ballet Positions (BP) 3 (& 4), Agratala 2 with BP 2, Agratala 3 with fencing lunge, Ancita with BP 4, Kuncita with BP 5, Nisanoru with BP 2 en plie, Samapada with BP '6', Tryasra with BP 1restes (pausing the raised leg in a stance – touch, but do not press foot against other leg)
plies (both knees bent outward, such as with Nisanoru), and courtseys (back/supporting leg bent while forward leg is extended and straight – a variation on Agratala 1)
gradual knee bend descent with legs close together (add hip lift/drop, sway, or roll to this)
steps (Note: Tap the heel or ball of the foot to the beat upon touchdown to add a Flamenco-like accent to a step): Agratala 1 (support foot is flat on the floor, while forward foot has heel lifted and toes either flat on floor/ground or pointed), Agratala 3 / reverse lunge (extend the back leg and lift heel of back foot, toes flat on the floor), front-to-back rock, switching front-to-back, and turning / pivot step
walks: tiny 'beat' steps, shuffle steps (more of a stroke than a strike of the foot against the floor/ground with each step), each step with hip lifts (Egyptian), with hip drops (Tunisian), or with hip rolls, Camel walk (step with 'Camel' torso undulation), shimmy walk (step with hip shimmy), weaving steps ('Grapevine', crossing over in front with Agratala 1, then Samapada, then crossing over in back with Agratala 3, and repeat), pas de cheval ('Horse', lifting the knee and slinking the lower leg forward with each step), pas de chat ('Cat', each step turned out and crossing over the other, toe-to-heel), sliding steps (step to the side, then slide the other foot along its ball to join the other at the ankle), side stepping, triangle stepping
For a Japanese attitude, emphasize broad horse stance, A – line stance, 4th Ballet position, deep side lunges, broad forward lunges, squatting with knees and ankles together, knee – dip mini – squat
Ballet: battements (straight leg raise and lower), developpes/enveloppes (segmented leg raise and lower), croisee (crossing over), ronds (drawing a semicircle or crescent with straight leg and pointed toe), and Arabesques (centered support leg, opposite arm and leg extension –  e.g. right leg back and left arm forward and up equal in opposition to the back leg – and other arm forward and level.
The standing Arabesque posture is the X of balance.)
turns: spinning/twirling (such as with arms extended and head tilted, using tiny steps to revolve), pirouette (lead with the pointed toes of raised bent leg e.g. if the right leg is raised, the direction of the turn is to the left), fouette (lead the the knee of raised bent leg, e.g. if the right leg is raised, the direction of the turn is to the right)

Exercise: Find Your B'n'B (Base and Bass)
Sit in the Lion asana, take deep fully belly breaths, and lower your voice. Do belly flutters and the 'Camel' torso undulation in this position. Then, sit on the floor/ground, rock back-and-forth and side-to-side, and roll over onto each hip, while taking deep full belly breaths and doing belly flutters. Recline on each side, with one or both legs extended outward, and do the same. This helps you ground your center and balance.

On the Floor ('Floorwork')
Position yourself raised up on your knees. This is the inverted Y of balance. Add any moves performed from the hips up. Do NOT use raised inverted Y position if knees are damaged in any way.
drop to one knee (palms touchdown flat on the floor/ground before knee gently touches down, while other leg bends, which can be extended, and lowered or raised from there) – make this look 'Egyptian' by lowering behind to heel with the underleg or 'Oriental' by rolling over onto the hip of the underleg, to both knees (spread apart), kneeling with back bend dipping and raising
other variations such as widely parted knees, one knee kneeling and one knee raised position, both knees kneeling with knees widely parted and heels together, or forward knee raised with hind knee kneeling
Seiza (formal Japanese sitting position) / Lion Yoga asana (shins flat on the floor, legs folded, sitting on heels, with torso erect), Beetle Yoga asana (shins flat on the floor, legs folded, sitting on heels, with torso stretched forward against thighs, and arms extended forward)
crawling: like a Lizard (with side-to-side and forward motion of shoulders), or like a Cat (with rolling front-to-back motion of the shoulders); Roll the spine upright when returning to inverted Y position.
Y-to/from-Z Transition: Going from Y to Z, extend palm to be flat on the floor/ground next to hip being gently rolled onto, while the opposite leg becomes extended. Going from Z to Y, tuck extended leg while rolling up off opposite hip and raising palm from the floor/ground.
Position yourself on one hip, with underleg tucked, and supporting forearm  and palm flat on the floor/ground (Egyptian or 'Cleopatra' Recline). This is the Z of balance. Add any moves done from the hips up, plus leg (from the knee down), ankle, and toe spiraling for extended raised leg)
upper leg lowered or raised with upper leg tucked and lower extended (reverse of 'Cleopatra', which sustains the Z of balance, but limits movement to the upper arm)
Position yourself on your coccyx (tailbone) while supporting with palms flat on the floor/ground. This forms a tetrahedron of support and balance.
with lower leg, ankle, and toe spiraling for extended raised leg(s)
both legs extended and raised in parted V-spread
crossover leg switch (with leg extended while raised to crossover one at a time)
Doing the splits (variations): back and front legs bent with knees turned out ('Flying'), back leg extended with front leg tucked under ('Stag'), back leg tucked under with front leg extended ('Hurdle'), back and front legs fully extended ('Scissors'), or both legs fully extended out to each side ('Straddle')
Lifts while laying supine: ribcage lift, pelvic lift, or Bridge position
Rolling (variations): flat with legs together, with arms pushing up torso at raised intervals ('Cobra Roll', named after the Cobra Yoga asana), or incorporating a variation of the splits with your legs

Exercise: Find Your Beauty
Nature makes us beautiful, so we don't have to settle for perfection. Facing a mirror (preferably full-length), consider all the things you like about yourself physically. Contemplate your favorite aspects of your personality, and the types of themes that you find interesting. Consider elements, flora, and fauna in Nature that you are drawn to. Think of your favorite Belly Dance moves, how these moves make you feel when you are performing them, and why you like them. Note the correlations that support complimentary balance between all these personal beauties.

My Lower Abdominal, Inner Thigh, and Glut Workout Followed by Supportive Hatha Yoga Asanas

My Lower Abdominal, Inner Thigh, and Glut Workout Followed by Supportive Hatha Yoga Asanas
(©2017 Irina-Sofia Albamare All Rights Reserved.)

Standing Twist:
Stand with feet hips width a part. Tighten abs and twist at the waist, first with arms raised, then with arms 'punching' to each alternating side, and then finally with arms 'pulling up' to each alternating side. Reverse order and repeat.

Standing Squat – Pump:
Stand with your feet hip width apart, pushing your hips back so that your weight goes down into your heels. Squat down and pump your pelvis with small up and down movements.

Standing Side Squat – Lunges:
Stand with your feet a little more than hip width apart and push your hips back so that your weight goes into your heels. Squat down while lunging to each side, bending one knee at a time as you twist at the waist in each opposite alternating direction.

'Donkey Kicks' / Alternating Back Leg Extensions:
Support yourself on the floor with your hands (or elbows) and knees. Raise one leg at a time to slowly extend into a back kick, then pull back in and repeat.

V Leg Lifts:
Lie on your back with your legs raised straight up to align your feet with your hips. Slowly lower out and raise in both legs at the same time.

Reverse Crunches:
Lie your back with your knees bent at 90 degrees. With your palms facing down, place your arms by your sides for support. With abs contracted and your back pressed into the floor, curl your knees towards your chest as your exhale, lifting your butt off  the floor. As you inhale, lower your legs until your feet almost touch the floor.

Roll Up:
Lie on your back with legs extended, knees together, feet flexed, arms overhead. Inhale. As you exhale, lift arms up and forward, and use your abs to slowly roll up to a sitting position. Squeezing abs again, slowly lower down to starting position.

Straight Leg Raise:
Lie on your back, place hands under your low back, and brace your core. Lift straight legs slowly off the ground, then slowly lower them back to the ground.

Pelvic Lifts:
Lie down with your arms at your sides and your knees bent. Place your feet hip width a part, flat on the floor. Squeeze your bottom and slowly lift it off the floor, then lower without touching the floor, and repeat.

Shavasana (Corpse Pose) with Nauli:
Lay on your back with limbs fully extended out flat on the floor in a relaxed stretch. Exhale and draw your abs completely in. Churn your abs in a clockwise circular motion. Stop, inhale and release. Repeat.

Basic Pranayama Practice: breathing through the nose, the abdomen expanding & contracting.

Supportive Hatha Yoga Asanas …

Mountain posture (Tadasana)
Tree posture (Vrksasana) with Namaste mudra (before heart) or Anjali mudra (overhead)
Camel / Standing Back Bend (Purva Pratana Sthiti)
Downward Dog (Adhomukha Svanasana)
Warrior (Virabhadrasana)
Pelvic Lift (Setu Bandhasana)
Rib Lift / Fish Pose (Matsyasana)
Cat (Biralasana)
Cobra (Bhujangasana)
Lion (Simhasana)
Staff (Dandasana)
Hurdle Stretch (Trianga Mukhaikapada Paschimottasana)
and with knee outward variation (Janu Sirasana)
Forward Bend with Legs Parallel (Paschimottanasana),
Forward Bend with Legs Spread Out (Upavista Konasana)
Cobbler (Baddha Konasana)
Cow Face (Gomu Khasana)
King Pigeon (Eka Pada Rajakapotasana)
Hero (Virasana)
Child (Balasana)
Seated Sage Twist (Marichyasana)
Plow (Halasana) and Deep Plow / Knees-to-Ears (Karnapidasana)
Supine Side Twist (Jathara Parivartanasana)
Supine Triple Diamond (Vajrasana)
Supine Knees-to-Chest
Corpse Posture (Shavasana)