7. Ancillary Bandha Practice Techniques

Mūla Bandha
– After Uḍḍīyana Bandha on the Bāhya Kumbhaka
– Lower Abdomen held in during the Pūraka

Links to Related Resources & Longer Articles:

• 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
• Compendium of Quotes from TKV Desikachar on the Yoga of T Krishnamacharya……
• Religiousness in Yoga Study Guide: The Concept, Preparation and Techniques of Bandha
• Studying, Practicing and Learning the Tri Bandha involves Theory, Techniques and Cautions…
• The Viniyoga of Inversion as an Āsana or as a Mudrā……
• 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

Collated Related Short Posts & Quotes:

“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

“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

“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.

“Backbends disturb the length and quality of the exhale,
in that they impact the Apāna and push the Mūla downwards.
Thus we need to consider an appropriate Pratikriyā Āsana
to compensate for this disturbance to the Apāna Sthāna.
Hence Pratikriyā such as Apānāsana to restore the Apāna.”
– 108 Postural 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

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

“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

“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

“With regard to the breath, inhale pushes down,
exhale brings up, Bāhya Kumbhaka tightens.
Then total effect should be in the Apāna area,
therefore exhale and Bāhya Kumbhaka important.
With regard to directional breathing,
if no Mūla Bandha then exhale can start from the navel.
If Mūla Bandha held then exhale from the navel is not possible.”
– 108 Mudrā Practice Pointers

“So Uḍḍīyana Bandha is the technique
for introducing Mūla Bandha.
Uḍḍīyana Bandha elevates Mūla Cakra,
having elevated it, you tie it
and each time it wants to slide
back down, you bring it back up.
Therefore opposite to techniques such as
Bhujaṅgāsana, which is counter to the principle
of Uḍḍīyāna and pushes the Mūla Cakra down.”
– 108 Mudrā Practice Pointers

“According to such as the Gheraṇḍa Saṃhitā,
Aśvinī Mudrā and Mūla Bandha are seen as very
different forms in terms of definition and application.
Regarding application, only Aśvinī Mudrā is focussed around
the repeated contraction of the anal sphincter muscles.
Whereas, Mūla Bandha is a single sustained contraction.
It also appears that there are differing certainties within
the modern use, definition and application of the two terms,
with a single contraction variant of Aśvinī Mudrā often being
passed off in ‘Krishnamacharya’ terminology, as if Mūla Bandha.
For example, Mūla Bandha being described as somethng you
take all the time whether sitting, talking, walking, or eating.
This would not be possible given T Krishnamacharya’s view of
what is Mūla Bandha and its relationship to Uḍḍīyana Bandha.
Comparing Mūla Bandha to Aśvinī Mudrā:
Aśvinī Mudrā can be an outcome of an effective Mūla Bandha.
If Mūla Bandha is good then Aśvinī Mudrā can follow automatically.
But not the other way round, as Aśvinī Mudrā is only
a localised contraction of the anal sphincters.
Also, Mūla Bandha is considered as complete,
whether or not Aśvinī Mudrā is there.
Also, the use of Aśvinī Mudrā can produce gas and
too much use can affect the peristaltic reflex.
Plus avoid in certain conditions such as haemorrhoids.
Āsana can be used for the same effect on these organs.
A direct Aśvinī Mudrā pushes the stomach forward,
so its contraindicated for Mūla Bandha.
Thus, Krishnamacharya’s view of what is Aśvinī Mudrā and what is
Mūla Bandha differed, both in terms of definition, technique, and
application, as well as regarding the student starting prerequisites,
Vinyāsa Krama and links to other layers of their Yoga Sādhana.”
– 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