7. Ancillary Bandha Practice Techniques

Uḍḍīyana Bandha
– After Recaka on Bāhya Kumbhaka
– Abdomen drawn back towards the spine and
as a consequence moved upwards

“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

“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

“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

“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

“Mūla Bandha is that part of Uḍḍīyana Bandha that you do not release.”
– 108 Mudrā Practice Pointers

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

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

“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

“Lying Āsana such as Taḍāka Mudrā can be
initially used for Uḍḍīyana Bandha as less
strain on the legs and better for observation.”
– 108 Mudrā Practice Pointers

“Hands shouldn’t be used in Uḍḍīyana Bandha,
the effect should come from the exhale which
starts in the navel, as if pulling up a piece of string.
It must be pulled up and brought closer to the Maṇipūra.
If this is done properly, then very little to be done afterwards.
Exhale is followed by a small jerk as Uḍḍīyāna pulls the Mūla up.”
– 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

“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

– Āsana and Mudrā Planning Questions
“Design an Āsana and Mudrā practice to
– stay 12 breaths each side in Mahā Mudrā with Uḍḍīyāna Bandha.
Choosing and justifying the ratio used within it.”
To Download or View this Question as a PDF Study Sheet
– Yoga Practice Planning and Theory Questions – Collected & Collated

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
• 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……
• Vinyāsa Krama for the Catur Bandha in Mahā Mudrā for an advanced Āsana student……
• 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