7. Ancillary Bandha Practice Techniques

Jālandhara Bandha
– Spine held Erect
– Chin Drawn Down and In on Bāhya Kumbhaka
by extending the back of the neck
– Pūraka intensifies the Bandha

“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 commentary on Yoga Sūtra Chapter Three verse 1

“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

– Bhāvana for moving into Sālambana Bhujaṅgāsana
“1. Keeping the chin in Jālandhara Bandha till the effect is felt
in the lower back will support extending the upper back.
2. Keeping the abdomen firm as you inhale will help to concentrate
the breath into the Prāṇa Sthāna, as well as minimising the
effect of the downward pressure on the Apāna Sthāna.”
– 108 Postural Practice Pointers

– Bhāvana on the relationship between the Viśuddhi Sthāna and Jālandhara Bandha…
“A common escape when using Dvi Pāda Pīṭham is the neck arching rather than lengthening, resulting in the lifting of the head as if to compensate for the increased sense of the neck compressing.
Hence a key Bhāvana here is the deepening of the Jālandhara Bandha whilst working with the potential dissipation that can arise through the simultaneous lifting of the arms.
This escape is something that is also further exaggerated when raising the arms at the same time as lifting the hips, due to the increasingly upward force from the hips pushing down onto the shoulders, also increasingly unstable due to the lifting of the arms.
We can explore this escape by holding a Bhāvana on the relationship between the Viśuddhi Sthāna and Jālandhara Bandha through choosing an alternative Vinyāsa Krama in Dvi Pāda Pīṭham. One suggestion here is to investigate the interaction between the arms and trunk via the breath as shown in the illustration above.
The intention here is to maintain a gradual lengthening in the neck whilst resisting the tendency for the shoulders to as if skateboard on the scapula and increase the distance between the head and the feet. Here also an active role for the arms and shoulders is suggested at all points especially when they are not being lifted.
Perhaps experiment with repeating this alternate suggestion for a  Vinyāsa Krama in Dvi Pāda Pīṭham some 6 times whilst maintaining a breath pattern of around 4 breaths per minute. The entire sequence taking some six minutes to explore.”
– 108 Postural 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

“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

“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

“Holding Mūla Bandha places a strain on the neck,
so check the neck first by using Jālandhara Bandha.
Also, Uḍḍīyana Bandha and Mūla Bandha are seen
to be not so effective without Jālandhara Bandha.”
– 108 Mudrā Practice Pointers

“The practice of Jālandhara Bandha requires the practitioner
to keep the spine straight, the head will be slightly forward.
So draw the head back as well, as it tends to come forward,
ie the centre of gravity in the head moves forward of the body.
If set right you will feel a little contraction in the abdomen.
So, align the spine up, draw the head and neck back, and tilt
the chin in, though not to the throat, the chest or to the heart.”
– 108 Mudrā Practice Pointers

Links to Related Posts:

• Prāṇāyāma & Bandha Practice Techniques Glossary
  – Grouped into Primary, Secondary & Ancillary Techniques
• 108 Prāṇāyāma Practice Pointers
• 108 Mudrā Practice Pointers
• Āsana & Mudrā Practice Techniques Glossary
  – Grouped into Standing, Kneeling, Lying,
  Inverted, Backbend, Seated & Sitting
• A series on Āsana Part One – Moving into our Bodies with Samasthiti
• cYs Practitioner Training Programme Retreat Extract 2 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 3 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 4 – Self Planning & Self Practice
• Religiousness in Yoga Study Guide: The Concept, Preparation and Techniques of Bandha
• Studying, Practicing and Learning the Tri Bandha involves Theory, Techniques and Cautions…
• Viniyoga Vignette 1 – Antar and Bāhya Kumbhaka in Āsana
• Viniyoga Vignette 2 – Combining techniques in Prāṇāyāma
• Viniyoga Vignette 2 Commentary on – Combining techniques in Prāṇāyāma
• Viniyoga Vignette 3 – Śītalī and Anuloma Ujjāyī Prāṇāyāma within Āsana
• Viniyoga Vignette 4 – Combining Prāṇāyāma within Āsana
• Viniyoga Vignette 5 – Introducing Uḍḍīyana Bandha within an Āsana practice