Yoga Teacher Training Exam

1. Speak from your body to their body
2. Speak to what you see
3. Teach from point to point

4. All of the above

1. When they walk into the door of the studio - a smile, a hello, and hopefully talking to them by name.
2. During the class - leading a class that meets the students where they are is an acknowledgement that you see them. Additionally and more concretely, one could affirm each students effort at some point in the class.
3. After class - show gratiude for sharing practice and say goodbye.

1. Knowing/choosing a sequence of poses that makes sense for the body
2. Giving good cues that describe precisely how to get into the intended pose
3. Ability to observe student in their pose and providing concrete verbal corrections
4. Knowledge of pose modifications that help students find the variation that works best for them.
5. Knowledge of anatomy as it relates to yoga
6. Knowledge of breathing techniques that can help students become more present
7. Knowledge of common misalignments
8. Ability to speak to spirit as it relates to a yoga class to help inspire students.
9. Knowledge of and ability to provide physical adjustments
10. Knowledge of how to use props to assist students in pose

Soft skills are skills that are not specific to teaching an asana class (often interpersonal skills).

Punctuality - showing up on time to teach the class

Adaptability - being able to handle things outside of control and still give a yoga class that lands

Kindness - treating all students with kindness so that they feel safe and comfortable in class. Welcoming attitidue, every student feels seen.

Empathy - ability to understand those who show up to your class

Curiosity - there is no one right way with lots of things related to yoga because each person is unique. It takes curiousity to help students find their own way.

1. Learn by hearing science/anatomy behind the poses (common for the "intellectual" student type).
2. Learn by descriptions of what they should be feeling
3. Learn best by seeing what a pose looks like (by observing nearby students or a demoing teacher)

Use words that motivate and uplift without bringing down - e.g. "energize" back leg is better than "straighten" as straigthening may not be possible for student

Be concise - using too many words can be confusing/hard to follow

Word choice and framing things as inquiries can encourage mindfulness – "what sensations are you feeling"

Good word choice creates inclusive space for all students in the room.

The poses chosen and the pace of the class (time holding poses) can shift the energy.

Word choice can also shift the energy.

Changing one's own energy can also shift the energy in the class.

False

Before the class, the teacher may ask if there are any injuries or other things to know about. At the beginning of class (and with reminders throughout the practice), a teacher can give permission to all students to listen to their bodies and skipl, modify a pose, or do a different pose as neeed.

Through the class, the teacher can offer up common modifications in a general way. The teacher can also share targeted modifications for students who the teacher believes would be most benefitted by the modification (b/c the teacher is aware of the injury). Modifications may mean variations of a pose (e.g. taking chaturanga from the knees) or mean using props to assist with the pose (e.g. wrist wedges in table top/downward facing dog). Modifications could also mean a different pose but with similar qualities (e.g offering reclined pigeon in place of half-pigeon or fire-log pose)

****Disclaimer: I don't remember this term – I am simply regurgitating some internet articles I just read to answer

Muscular Energy is the second of 5 universal principles of alignment outlined by Anusara yoga. It is that which firms the muscles at work so that they draw close to the bone with a feeling of strength, support and assurance. Examples of speaking to muscular energy - "hug navel to midline", "draw ribcage inward", "engage your quads".

• Letting the knee fall inward in standing poses wher knee is bent is parallel to the foot
• Letting the back foot open up past parallel to the back edge of the mat in warrior 2
• Hyperextending the knee in the various standing poses
• Rounding back in forward folds
• Lifting/scrunching the shoulders in poses where arms are lifted.

It's depends on the pose being cued and the student. Some rules of thumb:

• External rotation for arms is usually the default for many standing poses.
• In backbends, internal rotation helps to avoid compressing the spine.
• In symmetrical folds, internal rotation of the thighs usually provides more space to hinge at the pelvis

1. Encourage/give permission to set up close to the door, permission to open it, walk out etc
2. Give them permission to take whatever variations they need
3. Give some rough guidelines on things to avoid/be careful with – no deep twists, no abs, no inversions

A demo is physically showing a pose (as opposed to just verbally explaining it). The teacher could do the demo or could rely on a student to demo the pose.

Demoing can be effective when there are newer students in a class. Demos can also be useful when teaching a pose that is not that commonly practiced.

When the teacher demos, the teacher should be careful of not being warm and hurting themselves. When pointing to another student to demo, the teacher should be confident that the student is comfortable being singled out like that.

A bad intention for using demos is when the teacher is showing off or trying to prove that they have a strong physical practice (aka an ego-driven intention)

A great class is one where:

• sequencing makes sense with appropriate timing for each part of sequence
• unique/adapted to the class that shows up that day
• inclusive - everyone feels welcom
• helps students find what they need (like joy in their practice #Missy) - as a teacher you're facilitating student's own journey

A great teacher:

• is authentic
• is present - able to observe the energy of the class
• teaches from the heart
• feels like a peer to students and does not present themselves as being on a "pedestal" or in some higher position.

It means acting and speaking exactly in line with who you are - not acting according to some image you or society has created, being impeccable with your word.

Being who you are allows students to be themselves too.

Presencing poses are useful for going from out to in, tapping into breath, and bringing awareness to body. In JIP, the Integration series contains a lot of presencing poses (child's pose, downward dog, ragdoll, samasthiti). At any point throughout the class, if the class needs it - a teacher may cue a presencing pose.

In JIP, Awakening is the series that lies between Integration and Vitality. It includes a set of Sun Salutation A's followed by a set of Sun Salutation B's

It's importance lies in that it allows the students to:

• start to move
• build heat
• continue (like Integration) with getting out of head/the outside world and into one's body
• get in sync with breath and the community of other students

1. 3-legged dog
2. Flip dog
3. Crescent lunge
4. Revolved crescent lunge
5. Warrior II
6. Side Angle
7. Twisted lunge

Equanimity is a calm state of mind that means that you do not become angry or upset, especially in difficult situations (citation)

The Equanimity series is made up of standing balancing poses – eagle, stand leg raise, airplane, half moon, dancer, and tree.

Maintaining solid breath and a focused dristhi are important elements to remaining balanced and relaxed through these balancing postures.

False

True

Grounding is about building stability and feeling a connection with the earth. The Grounding series juxtaposes nicely with the prior Equanimity/balance series where it's difficult to feel stable and grounded while balancing on a single leg.

• locust
• bow
• camel
• bridge/wheel
• supta badha konasana
• happy baby

False

Not every class should have advanced options because it's not guaranteed every class will have students that advanced options are appropriate for (e.g. teaching a class only for people who are completely new to yoga).

In a class where some students would benefit from an advanced option, the teacher can offer up an advanced option as a variation to a pose that is accessible to everyone. For example, after cueing chair pose with a prayer twist for everyone, the teacher may say "if it's in your practice and it serves you today, this is a good opportunity to take side crow".

Good sequencing can provide balance to a class

• balancing poses with counterposes
• intensity/pase with reasonable opportunity to rest

Offering up variations/modifications that gives students permission to find their own balance.

Words and explicitly talking about balance in class - talking about sukha stira asana naturally fits in here too.

False

Ligaments connect bones to bones (creating a joint); they allow and restrict directions movement can happen at joint. Tendons attach muscles to bones allowing muscles to contract and move bones in response to signals from nervous system.

1. Forward (flexion)
2. Backward (extension)
3. Side to side towards midline (adduction)
4. Side to side away from midline (abduction)
5. (bonus 🤓) Internal rotation
6. (bonus 🤓) External rotation

The femur may commonly be referred to as the thigh bone. It sits between and forms the hip joint (head of femur meeting acetabulum of the pelvis) and the knee joint (bottom of femur meets tibia and patella).

In the context of muscles, the agonist is the muscle that is shortening/contracting while the antagonist is the muscle that is lengthening/relaxing.

The hamstrings are the group of muscles located on the backside of the thigh. They attach two the pelvis and to the tibia meaning they have key functions in movement at the hip and knee joint. They allow for extension at the hip joint and for flexion at the knee joint.

Any pose that results in the opposite movement that the hamstrings allow – i.e. any pose where you're extending at the knee joint (working toward a straight leg) and flexing at the hip joint.

Example poses:

• Forward folds (seated and standing, wide-legged)
• Downard facing dog
• Pyramid
• Standing split
• Half splits (ardha hanumanasana)

3 arches:

• medial longitudinal
• lateral longitudinal
• transverse arch

True (when standing)

True

Flexing your foot so that your foot moves toward your shin.

Dorsiflexion is what a lot of teachers mean when they "flex" your foot. In contrast, plantarflexion is what a lot of teacher means when they "point" your foot

1. Side-to-side movement inwards - Inversion
2. Side-to-side movement outwards - Eversion
3. Flexing foot - Dorsiflexion,
4. Extending foot - Plantar Flexion

Head of the femur meeting the pelvis (at the acetabulum)

The ilium, ischium, and pubic bone come together (fused) to form each side of the pelvis. Each side comes together in the front at the pubic symphysis and in the back at the sacrum (usually considered part of the spine).

True

Anterior tilt of the pelvis is when the top of the pelvis tilts fowards which creates an accentuated lumbar curve. Posterior tilt of the pelvis is when the top of the pelvis tilts backwards which flattens the lumbar curve

True

False

The clavicle attaches to the sternum

1. Trapezius
2. Rhomboids

Supraspinatus Infraspinatus Teres minor Subscapularis

Cervical - 7 Thoracic - 12 Lumbar - 5

Protect the spinal cord and allow for movement of the head (forward/back, side-to-side, rotation) while also providing head stability by connecting it to the rest of the spine.

Protect spinal cord, provide stability for other connecting parts of the skeleton (ribs, rest of spine), and provide an attachment point for muscles to help other parts of the body move.

Protects spinal cord, supports upper body and provides attachment point for muscles that help move the body.

24 ribs (12 on each side)

Forward

1. External oblique
2. Internal oblique
3. Transverus abdominus
4. Rectus abdominus

1. Feet (foundation) - about hip width, front foot flat and pointing straight ahread, on the ball of the back foot (e.g. heal lifted to be over the toes),
2. Legs - Front knee bent, stacked over front ankle, engaged back leg (working towards being mostly straight)
3. Hips - square facing the front of the room

• Feet at hip width distance
• Back foot at 45 degree angle to front of mat (can be adjusted some based on person's body to make squaring hips easier)
• Back leg rotate inward
• Cue bringing hands to hips to check in on hips being square

It's person dependent - lower as far body allows with out sacrificing alignment and no further than 90 degree (at the elbow).

Press into both feet, drop head, open chest, let lifted arm fall open

When holding a pose for any length of time, one should breath and experience both inhales and exhales. Inhales and exhales during a pose can be leveraged to allow the body to lengthen and deepen/soften (respectively).

Depending on the pose (and the pose that came before), it can be more natural/intuitive to enter the pose on an inhale; and sometimes it can be more intuitive to enter on an exhale.

Often exhales make sense for entering into twists and folds. Whereas inhales make sense for entering poses where the body is expanding/opening up.

• Come down to back knee
• Can open up the arms
• Can queue an open arm twist
• Can bind hands through legs

• Inner thighs
• Side body
• Shoulder

Putting weight into heels, dropping hips, lifting heart and arms, and broadening shoulders

• Have student stand on blocks
• Put some sort of landing pad in front of them like a bolster
• Give option of baby crow
• Suggest trying to lifting just one foot at a time for now

1. Energize the lifted foot (flex or point)
2. Press the palms down (as if somebody is pressing up - which is a nice assist to sometimes give)
3. Up-dog quality back

(Getting into half moon facing left side of the room from crescent lunge right foot forward)

• Bend into and shift weight to right leg.
• Drop right hand down to block or mat.
• Lift your left leg to be parallel to the floor as you open up to the left side, lifting left hand t oceiling.
• Gaze to floor or top hand
• Flex your back foot

From half-moon, chapasana is where you bend your knee towards chest, grab hold of foot and kick into hand to open back up to side of the room.

1. Spread your fingers wide gripping the mat and press firmly into palms
2. Engage core for stability and keep body aligned over shoulders
3. Drishti on a spot between hands

By strict JIP, locust precedes bridge. This doesn't seem strictly necessary but it does seem to make sense to have locust come first

****Disclaimer, I'm not sure about this answer

Belly down backbends require resisting gravity to open up more so range is more limited and coming out of these poses feels safer. Whereas belly up backbends, gravity/body promotes more opening and coming out of the pose is usually more precarious. Doing belly-down helps prepare/warm-up body for the more intense belly-up poses.

1. Place block under sacrum for a more restorative pose
2. Interlace fingers and walk shoulders in for a bind
3. If it's in their practice and serves, suggest wheel.

1. Feet parallel to edges of the mat, knees over ankles
2. Rotate thighs inward
3. Let head hang heavy

False

True

1. Half pigeon
2. Dragon
3. Supta-baddha konasana

False

When given consent by student to adjust physically and when adjustment helps them get into better alignment, helps them get deeper into a pose, or touch has a welcomed energetic quality.

False

False

"Every" is an absolute; there could be some classes where it does not make sense to have at least 3 minutes AND there maybe some teachers who chose not to spend that time. Although, I personally plan to leave at least 3 minutes for savasana and seated meditation at the end of class.

Meditation and pranayama are 2 of the 8 limbs of Yoga according to Patanjali.

Both meditation and pranayama help calm the mind and help the mind see more clearly. With such a mind, it is easier to see the interconnectedness of things; and also see things that are blocking one's path to self realiziation.

1. Ujjayi (breath in and out of nose while constricting throat) - calming
2. Kapalabhati (forceful exhale through nose, passive inhale) - energizing
3. Alternate Nostril breathing - calming
4. Box breathing (inhale for 4, hold for 4, exhale for 4, hold for 4, repeat - calming

My meditation practice has helped me have:

• new insights about myself and the world
• gratitude for things in my life
• feelings of bliss
• calm moments

Walking meditation Meditation in a comfortable seat that starts with a pranayama technique (ujjayi) and then letting the pranayama technique fade to a non-controlled breath

Yes - contrary to classic image I have of somebody meditating, meditation can be practiced in many forms. Depending on the person and day, an asana practice can feel like one big moving meditation. Not to mention, you could always place time at the end of class to meditate (more explicitly/classically).

1. Easy seat (sukhasana)
2. Hero's pose (with blocks - ** my usual favorite)

Samskaras are habits – they can either be good or bad. Bad/negative samskaras result in harmful patterns that can get in the way of seeing the world clearly and growth. Discovering these negative samskaras and replacing them with positive ones leads to growth.

1. Sukha - steadiness and alertness
2. Sthira - comfort and ease

Ahimsa - dynamic peacefulness Satya - impeccable with word Asteya - nonstealing Brahmacharya - care with our creative and sexual energy Aparigraha - nonattachment

Tapas - discipline that arises from our own inner seeking Svadhyaya - self study Ishvara pranidhana - devotion to divine presence Saucha - purity of body, mind, and speech Santosha - inner contentment

A guide of 8 inter-related components that help a person move toward self-realization/freedom

1. Yama - attitudes towards world around us
2. Niyama - lifestyle practices for the self
3. Asana - postures
4. Pranayama - breath control
5. Pratyahara - withdrawal from the senses
6. Dharana - concentration
7. Dhyana - meditation
8. Samadhi - oneness with everything

Literal meaning - "incorrect comprehensions". Put another way it's our misunderstandings of reality and of our true nature; these misunderstandings are the cause to suffering.

In my life, examples where I notice it showing up:

• with my sense of self/ego – taking actions only for myself and not taking a different action that embraces the interconnectedness of everything
• fear - I am sometimes not a "yes" for things that would be good for me because of fear.

Qualities of the mind:

1. Tamas - laziness and indifference
2. Rajas - passion, action and desire
3. Sattva - absence of tamas and rajas - clarity

The chakras are energy centers in the body.

1. Root Chakra (Muladhara): Located at the base of the spine, it is associated with grounding, stability, and survival. Color: Red; Element: Earth; Seed Mantra: LAM.
2. Sacral Chakra (Svadhisthana): Located just below the navel, it is associated with creativity, sexuality, and emotional balance. Color: Orange; Element: Water; Seed Mantra: VAM.
3. Solar Plexus Chakra (Manipura): Located around the navel area, it is associated with personal power, self-esteem, and confidence. Color: Yellow; Element: Fire; Seed Mantra: RAM.
4. Heart Chakra (Anahata): Located at the center of the chest, it is associated with love, compassion, and emotional healing. Color: Green; Element: Air; Seed Mantra: YAM.
5. Throat Chakra (Vishuddha): Located at the throat, it is associated with communication, self-expression, and truth. Color: Blue; Element: Ether; Seed Mantra: HAM.
6. Third Eye Chakra (Ajna): Located at the space between the eyebrows, it is associated with intuition, insight, and imagination. Color: Indigo; Element: Light; Seed Mantra: OM.
7. Crown Chakra (Sahasrara): Located at the top of the head, it is associated with spiritual enlightenment, divine wisdom, and cosmic consciousness. Color: Violet or White; Element: Thought; Seed Mantra: Silence or AH.

In a class you could

• cue certain poses that target certain chakras, for example - you could choose backbends/heart openers to target the heart chakra.
• at the beginning of the class you could suggest students set an intention on a specific chakra

1. Be impeccable with your word
2. Don't take anything personally
3. Don't make assumptions
4. Always do your best

1. Speaking things that are true, kind, and necessary to others and myself (via thoughts). Acknowledgment of the power that words may have (i.e. "casting spells")
2. I cannot control things people say or think about me. If I'm acting according to my values and follow the other agreements then I can remain immune to what other things or say.
3. Seek to clarify and understand rather than guessing/assuming. Be aware of times when I'm making up some story in mind based on limited facts.
4. Detachment from the result, makes it easier to ignore things outside of control; and easier to enjoy the process

1. Throughout the class, this agreeement is essential because words are largely the main way for teacher to communicate to students. Important to realize that words can be "spells" on students that create limiting beliefs about themselves and their practice.
2. Avoiding taking things personally when teaching (e.g. a student leaving class early) in order keep a clear, present mind.
3. Best not to assume things about students - e.g. that they have the same body as you, "don't asume they know right from left" - Mina (this landed with me as it really made me understand that I should assume nothing). A common assumption I'm prone to making (especially as a new teacher) – people are paying attention to my mistakes. That's a good one to let go of.
4. If you're doing your best, then there's less space for self judgement.

All of the agreements are good topics when talking to spirit/trying to inspire.

The empowerment work has helped me become more self-compassionate (including less self-judgement), more confident in myself, and striving to share my authentic self with the world around me.

Related to this, is trying to give up the image I've created for myself (that's been heavily influenced by society). Instead of acting in line with how I believe this ideal image should act (which is so much more complex), I just act how I want to act – and have much more confidence in that action.

I would engage with the world around me with much less anxiety, with more confidence, and also a clearer mind for showing love and gratitude for that around me.