“Just as Mūla Bandha, Uḍḍīyāna Bandha,
Jālandhara Bandha and Jivha Bandha
are very important for Prāṇāyāma,
Mano Bandha is very important for Dhyānam.
Mano Bandha is Dhāraṇā.”
– T Krishnamacharya on Yoga Sūtra Chapter Three verse 1

“Deśa – Place
Bandha – Fixing
Who is going to decide the place,
and who is going to say go there?
Or something else is telling the
mind to go there and stay there?”
– TKV Desikachar on Yoga Sūtra Chapter Three verse 1

“Dhāraṇā has three distinct, cyclical phases,
from a placing of awareness on the focus,
to an awareness of observation wandering,
to a re-placing of awareness on the focus.”
– Paul Harvey on Yoga Sūtra Chapter Three verse 1

“To hold the Citta for connective moments is Dhāraṇā.
To be held by the Citta for connective moments is Dhyānam”
– Paul Harvey on Yoga Sūtra Chapter Three verses 1-2

“To practice Dhyāna
there are two questions
we need to ask,
Can I hold an object?
Can I sustain that hold?”
– TKV Desikachar on Yoga Sūtra Chapter Three verse 2

“Uḍḍīyāna Bandha is a pre-requisite for
the other two Bandha, Jālandhara and Mūla.
From the practice of Uḍḍīyāna Bandha
the Nāḍī and Cakra become purified and strengthened.”
– From T Krishnamacharya’s composition,
the Yoga Rahasya Chapter One verse 67

“As Uḍḍīyāna Bandha is done on holding the breath after exhalation,
one of the most important requirements
is that we are able to do a long holding of the breath
without sacrificing the quality of the inhalation and exhalation.
If this is not possible we should forget about Bandha for the time being.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“We must begin to do these Bandha in some
simple postures so our bodies can get used to them.
The easiest posture is to lie flat on the back.
We call this Taḍāka Mudrā when we
do Uḍḍīyana Bandha in this position,”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“The best Āsana for doing Bandha are inverted, lying flat, or sitting with the back straight.
A classic posture is Mahā Mudrā, which is in fact, Mahā Mudrā only if the Bandha are used.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 200

“We should anticipate a great reduction in our ability to do
long breathing and holding the breath once we introduce the Bandha.
There is quite a lot of effort involved in doing them.
If a person can do 10.10.20.10, I have found
that with Bandha the breath is reduced to 6.6.12.6,”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 200

“Another simple posture is Adho Mukha Śvan Āsana.
the next step is to try them in some sitting postures such as Mahā Mudrā.
These Bandha can also be done in the headstand.
It is easy to do Bandha in this position because the lifting,
Uḍḍīyana Bandha, and holding up, Mūla Bandha,
of Apāna to the flame is almost automatic
because now the Apāna is above the flame.
If we can do the three Bandha in these postures,
we are ready to introduce them in our Prāṇāyāma.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“Through Yoga reverse Tamas – Śīrṣāsana, Uḍḍīyāna Bandha.
Both practices carry risks.
Breathing can be chosen for the less adept.”
– TKV Desikachar 1980

“Then he has certain ideas also about Kuṇḍalinī.
The force is Prāṇa,
the force called Śakti or Kuṇḍalinī is indeed Prāṇa.
The only means that can have any effect is the use of Prāṇāyāma,
with emphasis on exhalation and the Bandha,
aided by devotional chantings.
And the evolution of Kuṇḍalinī is very much linked to the person’s state of mind and Vairāgya.”
– TKV Desikachar Switzerland 1981.

“One of the most complicated aspects of Yoga practice is the Bandha. He has been able to link correctly various ideas on the Bandha that appear in different texts, and is able to say that certain Bandha can only be done in certain parts of the Prāṇāyāma.
I may also say, that nobody is clearer about the Mūla Bandha than Krishnamacharya.”
– TKV Desikachar Switzerland 1981.

“The breath becomes very short using Bandha.
It is necessary to have a very long exhale
before it is possible to work with them effectively.”
– From study notes with TKV Desikachar England 1992

“Since Dhyāna cannot occur without an object of concentration,
there must be an area (Deśa) where you fix your mind.
So, first you have to fix or bind (Bandha) your mind on a particular place (Deśa), a chosen object; this is known as (Deśa Bandha as in YS C3 v1).
And second, the mind should establish a relationship with this object which should last, at least, for a moment.”
– TKV Desikachar Madras December 19th 1988

“The journey towards Uḍḍīyana Bandha
begins with the learning of the
process of active exhalation.”
– 108 Mudrā Practice Pointers

“Tri Bandha Sādhana – Jālandhara, Uḍḍīyāna and Mūla,
starts from the top down rather than the bottom up,
in both senses.”
– 108 Mudrā Practice Pointers

“Whatever the effect Bāhya Kumbhaka has, it is
extended by the use of Uḍḍīyāna and Mūla Bandha.
However the total length of the breath is reduced.
Bandha substantially reduces the lengths
of the Pūraka, the Recaka and the Kumbhaka.
Which and by how much depends on the individual.”
– 108 Mudrā Practice Pointers

“To experience the intention behind
the Bandha, the body must be prepared.
For example if the pulse remains increased
after their use, it is an indicator that we are not ready.
If excessive tension is felt in the areas where they are used,
then an indicator that we are not ready for Bandha in Mahāmudrā.”
– 108 Mudrā Practice Pointers

“Which Āsana support the
principle of Mūla Bandha?
To stop the Mūla dropping,
as in Paścimatāna drawing
the Mūla towards Maṇipūra.”
– 108 Mudrā Practice Pointers

“Jālandhara Bandha needs to be in place before
interacting with the breath and the spine
through mid-range movement.”
– 108 Mudrā Practice Pointers

“When working with the inhale in Mahāmudrā try
to create an effect of upward movement in the spine,
as if within Bhujaṅgāsana inhaling from the top down,
whilst arching the spine upwards through the inhale.
So straightening the spine lifting the chest upwards,
whilst keeping the Jālandhara Bandha locked down.”
– 108 Mudrā Practice Pointers

“Allow time for the Uḍḍīyana Bandha.
Don’t hurry the act of lifting otherwise
the quality of the Uḍḍīyana will suffer.
Keep the shoulders down and relaxed.
Keep the arms straight with active hands.”
– 108 Mudrā Practice Pointers

“When intending to use  Uḍḍīyana Bandha don’t
hold the stomach area tensely just after inhaling,
or if using Antar Kumbhaka, just before exhaling.
In choosing working ratios concentrate on those
emphasising the exhale and the Bāhya Kumbhaka.”
– 108 Mudrā Practice Pointers

“Jālandhara Bandha needs to be re-applied
every time during the Bāhya Kumbhaka,
prior to the Pūraka re-inforcing the lock.”
– 108 Mudrā Practice Pointers

“Teaching Bandha starts the day we teach the exhalation.
1. Introduce the exhalation.
2. Extend the exhalation.
3. Attention on Lower Abdomen during exhalation.
4. Deepen attention on Lower Abdomen during exhalation.
5. Further intensification on the Bāhya Kumbhaka.
6. Introduce Uḍḍīyana Bandha by moving Navel Backwards
and Upwards, towards the point between the shoulder blades.
7. Retain the Mūla Bandha during the inhalation, by holding
the lower abdomen as you release the diaphragm.”
– 108 Mudrā Practice Pointers

“In Learning the Tri Bandha we engage with certain potential contraindications:
1. The Tri Bandha reduce the length and subtlety of the breath.
2. The accumulative effect when repeated should be more intense,
but often the opposite is what can actually happen.
3. In the beginning the use of the Tri Bandha can disturb the system and
create tendencies, such as for the practitioner to lose their temper.
4. The continued use of the Tri Bandha can easily
raise tensions in the neck and shoulders.
5. If the abdomen appears to be retracted strongly, but the breath
is getting shorter the practitioner is probably cheating.”
– 108 Mudrā Practice Pointers

“In Practicing the Tri Bandha we engage with Haṭha teachings:
In that, the inhale takes the Agni towards the Mūlādhāra.
This effect on Agni increases with the Antar Kumbhaka,
as the Antar Kumbhaka helps to intensify the fire.
Following this process in bringing the Agni down,
the exhale takes the Mūlādhāra towards the Agni.
Thus the exhale draws the Apāna towards the Agni,
plus adding Uḍḍīyana Bandha holds the Apāna up.
This is the link with the effect on the Kuṇḍalinī,
though in terms of practice, very hard to get.
Here also, the coming down period is important.
For example, do not eat just after, though you feel hungry.
Uḍḍīyana Bandha is a heating process and Madhura Rasa,
such as sweet rice cooked with milk is initially recommended.”
– 108 Mudrā Practice Pointers

“One primary prerequisite to initiation into a Tri Bandha Sādhana
was an ability in Prāṇāyāma within a Vinyāsa Krama around
Nāḍī Śodhana where the crown was 12 breaths at 12.12.12.12.
Thus, before being taught Uḍḍīyana Bandha,
an essential precursor to Mūla Bandha,
there needed to be competence in sustaining Prāṇāyāma,
within a Vinyāsa Krama leading to a crown ratio of 1.1.1.1.
with the Pūraka, Antar Kumbhaka, Recaka and Bāhya Kumbhaka
each set at 12 seconds in a crown of 12.12.12.12. for 12 breaths.
Thus, a Vinyāsa Krama peak of almost 10 minutes sustaining the crown
ratio within a Prāṇāyāma practice, with the entire practice itself totalling
over 20 minutes, all performed with one technique, Nāḍī Śodhana.
This technique alone is already in itself demanding to sustain with
an inaudible softness, as if pouring oil slowly and smoothly amidst
an almost undetectable deftness of finger movement on the nostrils.
A further example of how there needs to be an effortless skill in working
with the Kumbhaka and how our fluency with all four components of the
breath sets a practice direction and evolution in that, amongst other goals,
it determines our readiness to incorporate the Tri Bandha into our Sādhana.”
– 108 Mudrā Practice Pointers

Plan a practice to stay 12 breaths each side in Mahāmudrā with
Uḍḍīyāna Bandha, choosing and justifying the ratio used within it.
To Download or View this Question as a PDF Study Sheet

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• Prāṇāyāma & Bandha Practice Techniques Glossary
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