YOGA TECHNIQUES AND TRAINING EXAMINATION

1. YOGA TECHNIQUES AND TRAINING
Exam Paper 1
1. Write Asana Laboratory observation for
Uttanasana, Paschimottanasana and Chakrasana
or urdhva dhanurasana
Follow the below general principles for all asana
laboratory observations.
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2. ➢Support and honor the participant, yourself
and everyone in the class. Do not compromise
safety.
➢Prepare the participant by explaining the asana,
what she / he will be doing and that they can
come out any time. If any specific issues
(like tight hips) are to be highlighted, explain that
also.
➢ Practice to comment in a sensitive manner.
There is no ideal “pose” as everybody’s body is
different, honor that.
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➢Once the participant has come into the asana,
take a minute to observe and don't rush into
pointing out what is incorrect. Include
encouragement, point out where alignment is
right, or see improvements.
➢Start with observing the most “at risk” areas of
the asana.
➢Keep the lab interactive, asking the model
questions about how they are feeling, asking
other students etc.
Uttanasana

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I. Breath & General vibe
(1)How comfortable the model feels, how they
are breathing etc. Observe and ask questions. If
they look uncomfortable, not steady - explore
reasons why. Typically, not proper grounding
causes people to feel unsteady.
II. Grounding, Feet & Ankles
(1)Are the feet rooted down? Are toes spread
wide to give stability? Is the big toe rooted (not
raised up)?
(2)Is the weight spread evenly across four
corners of feet?

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(3)Is pada bandha activated?
(4)Are feet together? In traditional hatha feet
are together. Practices like Vinyasa allow the feet
to be apart to help with balance. Suggest
modifications like keeping feet apart if needed.
III. Knees, Legs
(1)Are Knees straight? If the model has lower
back pain, knees can be bent especially in
Ashtanga and Vinyasa. Teach modification.
(2) Are the kneecaps lifted and thighs engaged?
III. Pelvis, Spine, Back
1. Is the model folding from the hips?

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2. Is the upper back straight (no rounding in the
upper back)? If upper back is rounded, have the
model lengthen the spine and straighten the upper
back. Guide the model to take ardha uttanasana to
lengthen spine and fold down without bending the
upper back.
3. Are the hips and knees in line?
V. Rib cage, Chest
1. Is the chest resting or close to the thighs? If
not, can the participant go deeper? Tight
hamstrings may be limiting to go deeper. Guide the
model to bend knees slightly to get chest down to

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thighs and then slowly straighten the knees to get a
deeper hamstring stretch.
VI. Shoulders, arms, hands and fingers,
1. Are the shoulders, arms relaxed?
2. Are the fingers in line with the toes or heel? If
the participant is not able, demonstrate use of a
block for modification and hands/fingers can be on
block
VII. Neck, head
1. Is the neck relaxed and lengthened towards
feet?
2. Is the head relaxed and heavy?

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VIII. Where is the model’s energy?
1. Is the model in “sthira sukha asana” - calm and
comfortable? Guide through deep breathing to
relax and fold down further.
Paschimottanasana
I. Breath & General vibe
(1)How comfortable the model feels, how they
are breathing etc. If they look uncomfortable, not
steady - explore reasons why.
II. Feet & Ankles
(1)Are feet together?

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(2)Are toes pointing up? No need to flex feet but
feet should be active.
III. Knees, Legs
(1)Are the legs straight? Are the legs engaged?
(2)Are there knees bent? Depending on body
structure, some bodies will have a slight arch
behind the knee while some will be able to place flat
without any space. To prevent hyperextension and
to accommodate different body types, it is okay to
have a slight bent knee, but it should not be raised.
For knee issues, a rolled up blanket under the

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knees as a prop may provide comfort and prevent
injury.
(3) Are thighs engaged and slight inward
rotation?
IV.Pelvis, Spine, Back
1. Is the folding / hinging forward from the hips? If
having trouble, can use a bolster to elevate the hips
to allow the pelvis to tilt and elongate the spine.
2. Is the spine long and straight?
3. Are both buttocks on the ground?
4. Is the navel drawn in and towards the spine?
5. Is the back straight (no rounding in the back)?

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V. Rib cage, Chest
1. Is the chest close / reaching towards the
thighs?
VI. Shoulders, arms, hands and fingers,
1. Are the fingers or palms reaching the feet,
toes or ankle? Tight hamstrings may limit flexibility.
Guide the model to use straps as prop to wrap
around feet. This will help stretch the back without
rounding and get more extension to the back.
VII. Neck, Head
1. Is the neck relaxed?
2. Is the crown of head reaching towards toes?

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VIII. Where is the model’s energy?
1. Is the model in “sthira sukha asana” - calm and
comfortable? Guide through deep breathing to
relax and fold further keeping alignment.
Chakrasana
I. Breath & General vibe
(1)How comfortable the model feels, how they
are breathing etc. Observe and ask questions. If
they look uncomfortable, not steady - explore
reasons why. Typically, not proper grounding

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causes people to feel unsteady. Is the model
properly grounded with both feet on ground?
II. Grounding, Feet & Ankles
(1)Are the feet rooted down? Are toes spread
wide to give stability?
(2)Are the feet foot width apart? This gives
stability.
(3)Is the weight spread evenly across four
corners of feet?
III. Knees, Legs
(1)Are hamstrings engaged

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(2)Are thighs engaged, rotated inwards and
parallel?
(3) Are the knees hip width apart? Can place
a block between knees and guide model to squeeze
the block to keep knees aligned.
IV.Pelvis, Spine, Back
1. Is the core engaged to protect the lower back?
2. Are the hips lifted and relaxed?
V. Rib cage, Chest
1. Is the chest open and pulling upwards? This
asana is a deep backbend. VI. Shoulders, arms,
hands and fingers,

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1. Are elbows in line with shoulders?
2. Are the palms on the ground, palms down?
3. Are the fingers pointing towards the feet?
4. Are the palms below the shoulder, shoulder
width apart? If shoulders are tight, can move them
slightly apart. If tight shoulders or armpits, can
demonstrate doing Chakrasana against the wall.
This variation allows to gradually work on building
the flexibility needed to reach Wheel Pose.
5. Are the arms slightly externally rotated? If
arms are splaying out, a strap can be used to

16. stabilize. Chakarasana is an advanced asana and
should not be pushed.
VII. Neck, head
1. Is the neck relaxed?
2. Is the head relaxed and hanging without
straining the neck?
VIII. Where is the model’s energy?
1. Is the model in “sthira sukha asana” - calm and
comfortable? Guide through deep breathing to
further relax in the back bend.
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2.Write an essay for 500 words about Basic
Elements of Asana Practice, by utilizing your hatha
yoga practice experience.
Asana practice is integral to Yoga. Often called
an asana sequence, it consists of moving through a
series of asanas. The pace, style and sequencing
can vary widely with the style of yoga. The basic
elements of asana practice include:
● Alignment: Alignment refers to being in a proper
position. Anatomy and biomechanics of each

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asana gives its alignment principles which tells
how best to align. With proper alignment, one
can be in “sthira sukha asana” - in comfort and
ease as mentioned by Sage Patanjali. Proper
alignment will give maximum benefits and reduce
injury. Yoga teachers provide verbal instructions
and physical cues to help students achieve and
maintain proper alignment.
● Foundation and stability: Each asana has a
different foundation that allows students to
explore and learn grounding actions. Good
grounding makes an asana more comfortable.

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● Breathing: Proper breathing is an important part
of asana practice as it links the body and the
mind. Students may be asked to breathe in a
particular way to maximize the benefit - example
ujjai breath, rhythmic breathing, basthrika etc.
Proper breathing maximizes the benefit of the
asana and makes it comfortable to go deeper
into the asana - for example, one can go deeper
into twist by inhaling on lengthening and exhaling
while twisting. Deep breathing also calms the
mind.

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● Transitions: Asana practice involves
transitioning in and out of asanas. In
transitioning in, it is important to establish initial
foundation with the proper alignment and facilitate
stable, safe and comfortable transition
movements. Once in asana, breathing should be
continuously focused to refine and deepen
exploration of the asana. Transitioning out
should be done mindfully and safely.
● Developing Strength and Flexibility: Asana
practice helps build strength through holding,
balancing asanas, surya namaskar etc.. They

21. also increase flexibility and range of motion in the
body.
● Increasing awareness: Asana practice helps
develop our awareness of both our body and
mind as one stays focused on their body
movements and breathing. The linking of
movement to breathing seems to impart special
benefits in improving mood, relieving stress and
improving mental health.
Thus a well-rounded asana practice promotes
physical and mental health.
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3.Write an essay for 500 words about, by retrieving
your experience, Write about, General Principles in
Giving Physical Cues and Adjustments.
Alignment principles are rooted in the functional
anatomy and biomechanics of each asana. Thus, a
working understanding of human anatomy and
kinesiology is necessary. Keep the following
general principles in mind when giving physical
cues and adjustments:
➢Ask for permission before touching for
adjustment: Before giving any physical

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adjustment, it is important to ask the student’s
permission. This shows respect and makes the
students feel safe.
➢Respect boundaries: Only provide adjustments
that are appropriate and necessary. Avoid giving
adjustments that are too forceful or that make
the student feel uncomfortable.
➢Be mindful of the student’s body: Pay attention
to the student’s body and any injuries or
limitations they may have. Adjustments should
never cause pain or discomfort and should be
done with sensitivity and care.

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➢Use clear and concise language: Use clear and
concise language that the student can easily
understand. Avoid using jargon or complex
instructions that may confuse the student. If a
certain area is being stretched, remind the
student so they can pay attention to the part and
be aware.
➢Don't give too many cues as it might be
overwhelming. Tell students the important ones,
so they can focus. In advanced classes where
the students are familiar with the basic
foundation, a teacher may provide more cues for

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refinement. Tailor your verbal cues for the class
level.
➢ Demonstrate the adjustment: If helpful, first
demonstrate the adjustment on yourself or on
another student.
➢ Focus on the Base and build up. Focus on
grounding cues first, and align each cue as you
move up. For example, for standing asanas,
start with the legs, alignment of legs, knees, then
spine, pelvis and finish with proper alignment of
neck and the gaze. This ensures students are
stable.

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➢Understand anatomy and guide the student to
align the body properly so that the right muscles
can activate and the right connective tissue can
stretch.
➢ Provide feedback and encouragement:
Provide feedback and encouragement to the
student. Acknowledge good asanas, good effort
and when a student is doing well. Provide
corrective comments in a positive and
constructive way.
➢Remind students to not overdo or
overcompensate as it can cause injury.

27. 4.Write an essay for 500 words about, by retrieving
your experience; write about, how not to touch in
asana Adjustments.
1. Never touch without express permission to
touch. Honor the students' wishes.
2. Never touch or assist if you do not know the
principles of alignment for the asana. Yoga
teachers should know where to place pressure etc..
Keep in mind the Patanjali principle of “satya”, what
you know and do not know.
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3. Never touch or assist when you are not ready,
stable or prepared. First, the teacher must position
themselves in a correct, stable position before
assisting.
4. Never be aggressive or push too hard or
cause pain. Touch should be gentle and
comfortable for the student. Keep in mind the
Patanjali principle of “ahimsa” which is the most
important concept about hand assists which should
not hurt the student.
5. Never touch inappropriately. Be careful where
you touch.

29. 6. Never use techniques that hurt. For example,
use palms, not fingers which can feel like poking.
7. Never compromise on the safety of the
student. Keep checking in with the student if the
pressure is ok etc..
8. The teacher must also be aware of their
intention behind the physical touch. Keep in mind
the principle of “brahmacharya”.
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5. Write an essay for 500 words about, Importance
of Modifications, Variations, and the Use of Props in
asana practice.
Modifications and variations are important in
yoga practice because every single body is
different. B.K.S. Iyengar invented ways to use
props to support the body in yoga poses to help
people who were having difficulty doing asanas the
traditional way. This was a major innovation in
Yoga and made Yoga accessible to a wider swath of
people. It also helped reduce injuries and helped
in healing. Props and modification are particularly

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useful to people suffering from muscle stiffness,
injuries, or have some structural issues that make
certain asanas difficult. It also made the practice of
Yoga more welcoming and its benefits could be
enjoyed by all.
Blocks, straps, blankets, bolsters are some
common props used in Yoga. Some practices
include chairs, benches, walls and other supporting
structures. While Iyengar Yoga uses props
extensively, in modern practice, most studios and
classes offer props in all kinds of classes like Yin,
Vinyasa, Ashtanga etc.. The students and teachers

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have become creative with experimentation and
trying out to find out what works for each body.
Below are some examples of popular modifications
using props on widely used asanas with figures:
(1) Utthita Trikonasana using block as prop -
helps to safely extend the hands and bring the
floor to the hand, so practitioner can focus on
the hip alignment and twist.
(2) Passhimotanasan using strap as prop -
Extends arms to grasp feet and helps
practitioner stretch the back safely protecting
lower back, hamstrings

33. (3)Savasana using chair - protects the spine
for people with spine issues
(4) Folded blanket under knees - protects
knees for people with injured or sensitive
knees
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34. Thus, modifications, variations and props are
invaluable tools to make yoga accessible, safe,
minimize injuries and an integral part in healing and
yoga therapy.
6. Write an essay for 500 words about, Pacing and
Holding duration in standing, sitting, supine and in
inversion pose.
Pacing and holding are integral parts of yoga
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practice. Pacing and holding varies depending on
style of Yoga and level of class.
Pacing: Pacing is the speed with which the
practitioner moves through the asanas. In a fast
paced class like Vinyasa, the pace is usually quick
and practitioners move through the asanas fast.
Good verbal cues are very important in fast paced
class. Teachers should practice giving brief
effective cues linking breath to the movement. In a
slower paced class like Hatha, the students may
hold the asanas for a longer time before moving to
the next asana. This will give more opportunity to

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refine the posture, go deeper into asana, hands-on
assist etc. Dynamic practices like Ashtanga,
Vinyasa will have a faster pace and create active
energy are thus suited for a morning practice.
Restorative practices like Yin will move at a slow
pace and be relaxing and ideal for evening.
Holding: Holding is the length of time an asana
is held. In fast moving styles like Ashtanga or
Vinyasa, each asana is held for a short period of
time, usually a few breaths. In Iyengar or Yin Yoga,
each asana is held for a longer time giving the
practitioner time to explore, deepen and release

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tightness and tension from deeper layers of
connective tissue and muscle. The importance of
proper alignment is underscored in practices where
the asana is held for longer duration. Teacher
should look for signs that a student is pushing too
hard by observing signs of discomfort or improper
breathing and encourage students to come out or
modify.
Yoga teachers should give proper verbal cues
depending on pace and holding duration. The
pacing and holding should not distract students from
developing their awareness of the body and asanas.

38. Thus, even in a fast moving class, the pace should
not be so rushed that students are rushing from
asana to asana. By paying attention and creating
appropriate pace and holding duration, yoga
practice can be safe and beneficial.
7. Write an essay for 500 words about, How to
refine asana in while holding final pose.
Once we come into our final pose for an asana,
we can take some time to refine our pose. This is
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an important benefit especially in traditional Hatha
yoga as the practice gives an opportunity to refine
our alignments and deepen the pose. The below
explains how to refine a pose using Uttanasana as
an example. Uttanasana or Standing forward fold is
one of the most practiced asanas which is a
beginner asana and an integral part of Surya
Namaskars. It stretches the spine, opens hips and
hamstrings.
Refining in final pose
1. Have a good understanding of alignment of
the asana as it helps guide the refinements.

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2. Pay attention to the student - make note of
any misalignments, general comfort level, breath
etc.
3. Make sure practitioner’s grounding or
foundation is stable. First make sure of your
grounding and stability in the final asana. Start with
alignment corrections in grounding because this
provides stability. In Uttanasana, feet should be
firmly planted on the ground. In some styles like
Vinyasa, feet can be a little apart to be stable. Pay
attention to your feet and press your big toe to the
ground if lifted.

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3. Work from the foundation up. Once grounding
is stable, focus on major alignment points first. For
example in Uttanasana, focus on lengthening the
spine and deepening hamstring stretch.
Uttanasana - Lengthen your spine. To
refine your pose, focus on lengthening your spine
by making sure that you are bending from the
pelvis and hip and not from the back. If your
upper back is rounded, straighten it. Straighten
your back with an ardha uttanasana if needed
and then go down to uttanasana. Press your
heels down firmly into the floor and maintain the

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length of your spine from the crown of your head
to your tailbone. Engage and tighten core
muscles to bend deeper while keeping stable.
Uttanasana - Explore Deepening your
hamstring stretch. Pay attention to your knees.
If you have no lower back issues, keep your
knees straight, lift your kneecaps, engage thighs
to open your hamstrings and deepen the stretch.
If you have lower back issues, bend your knees
to reach further down and slowly straighten your
knees to get a deeper hamstring stretch.

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Continue your refinements. Once major
alignment points are corrected, explore going
deeper, staying a bit longer if comfortable. In
Uttanasana, let your neck relax and your head
hang freely. Gaze between your brows.
6.Use clear language while giving alignment
cues. Will minimize confusion.
7.Use hands-on adjustments, modifications,
props as needed. Encourage students to use
props like straps, blocks to refine asanas. With
students permission, give proper handson
adjustments.

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7.Honor safe biomechanics and safety while
refining. As students explore going deeper and
refining, guide gently, never compromising on
safety. Encourage students to come out when
they don't feel safe or stable. Encourage them to
go back if they want. For example in a balancing
pose, it is normal for students to sway and lose
balance. Teach them to come down safely.
8. Pay attention to breathing. Proper breathing
will help deepen a pose. In Uttanasana, exhaling
while folding down will deepen the forward fold.
Similarly, in a twist, inhale and lengthen, exhale

45. and twist. Ask students to follow proper
breathing as they refine.
8. Write an essay for 500 words about, How to
Transitioning in and out, standing, sitting, supine
and in inversion pose.
Transitions are an important part of yoga
practice.
Transitioning into a pose: When transitioning
into a pose, begin your instruction by preparing the
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student by explaining the asana’s initial step along
with the name of the asana transitioning into. Focus
on the foundation of the asana, what is most
connected to the floor and most immediately
relevant to the spine and high risk areas like the
knee. From the foundation explain other elements
of the pose guiding the class step by step into it.
Speak with clarity, be patient, give enough time and
encourage students to be mindful .
Proper transitioning out is an important step as
more students are injured coming out than
transitioning in or holding. First, the teacher has to

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understand what is at highest risk in the transitional
movement and give instructions to address that. In
most asanas, this will start with bringing awareness
to the foundation of the asana - typically, grounded
legs and feet in a standing asana - and moving in a
specific line which when activated will not put
pressure on vulnerable joints like the knees and
back.
Transitions depend on the type of yoga style.
Below are some examples of transitions in standing,
sitting, supine and inverted asanas.

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Standing asanas: In traditional Hatha Yoga,
transitioning is usually from Tadasana. In Vinyasa,
Flow, Ashtanga, transition usually is from
Downward Dog or from another standing asana.
E.g., In traditional Hatha, one transitions from
Tadasana to Virabhadrasana 2 by taking a big step
back, turning the back foot to 90 degrees,
establishing the leg foundation, then raising arms to
side, finally turning head.In transitioning out,
remind students to keep their balance, bring hands
down, and bring feet together paying attention to not
twist their knee or back. In Vinyasa, one can go

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from Downward Dog to Virabhadrasana 1 by
bringing one leg forward between palms, lifting torso
up, aligning legs and aligning hands and turning
head last.
Seated asanas: In traditional Hatha Yoga,
transitioning is usually from Dandasana. In
Vinyasa, Flow, transition can be from any seated
asana.
E.g., In traditional Hatha, one transitions from
Dandasana to Janu sirasasana by bending one leg,
taking the bent knee foot to the thigh of the other
leg. Establish a stable foundation with legs on the

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ground and then fold forward with head last. In
transitioning out, safely lift head, hands and then
move bent leg forward to Dandasana.
Supine asanas: E.g., Jathara Parivartanasana.
For supine asanas, transition into a pose by starting
with lying flat on the back of the floor. Next stretch
both arms, then raise legs and move them to one
side. In transitioning out, go in reverse order,
bringing legs back and down, then arms to side and
rest on floor.