What are the techniques to unite prana and apana?

In the rich yogic literature extending over at least one thousand years two techniques for uniting prana and apana stand out. These are the vase breath and the bandha traya or three bandhas. These two will be briefly described below. A few things are important to note first. These descriptions are only detailed enough so that the techniques can be unambiguously identified. They are not instructions for practice. As will be discussed later there are inherent dangers in awakening the kundalini and there are also dangers in mis-practicing techniques which aim at awakening kundalini. Anyone who wishes to awaken kundalini should find a qualified teacher. The descriptions below are only to give the seeker a little orientation as to the nature of the path.

The vase breath (Sanskrit: kumbhaka, Tibetan: rlung bumpa can) is a technique in which the the apana wind is first drawn up from the perineum region to a point about two inches below the navel. The apana wind is drawn up using a technique called mula-bandha or literally ``root-lock.'' There are a variety of descriptions of this technique. The prana wind is then inspired and drawn down to the the same area as well. The student then swallows and then slightly tenses the navel region to create the pot-like posture from which the technique draws its name. In the yogic literature it is often noted that one should never use much force in retaining the breath and should only gradually increase the duration of retention. To gain success in the vase breath it is valuable, if not essential, to become very familiar with the prana and apana winds or energies. If the nature of these do not become very clear then this technique will only be another mechanical exercise. If one does gain facility and moving these energies then without a doubt kundalini can be awakened from her long slumber.

Another fundamental technique for uniting prana and apana is through the application of bandha traya or three bandhas or locks. The first lock applied is the mula-bandha used to drive upward the apana wind as described above. The second lock is uddiyana. Some writers give the etymology of this term as ``flying up.'' It is not fully clear but the name of this may be derived from the ancient land of Odiyan which was a haven for Buddhist and Hindu Tantrics. In uddiyana bandha the breath is expelled and the abdomen is brought backward. In this way the energies in the navel area are drawn in and up. Photographs often show yogins who appear to have squashed their entire abdominal region. This is not necessary. The goal is simply to subtly draw the winds together. The third of lock is Jalandhara bandha. The name of this lock may come from an Indian Mahasiddha who was revered by both Hindu Yogins and Buddhist Tantrics or alternatively from the city, associated with kundalini yogic practiced, that is located at the border of the Punjab. In Jalandhara bandha the head is brought back a bit and then the chin is brought down on the chest. This lock keeps the prana locked below the throat.

In summary, the goal of the vase breath pranayama and the bandha traya is the same: the uniting of the prana and apana. In the vase breath exercise this is done by using phases of inspiration and retention and adding muscular control to cup the winds in a vase or pot below the navel. In bandha traya this is accomplished by phases of expiration and retention and adding muscular control to force the winds together in the abdominal region. Intuitively there also seems to be something of a vacuum effect in bandha traya which is aiming to create a vacuum in which a suction force will be used to arouse the kundalini.

Some will be drawn to try to practice these techniques but I believe that to do so the guidance of a teacher is necessary. If a teacher is unavailable one might simply try to become more aware of the prana and apana winds. To become aware of the prana wind just pay attention to the inspiration phase of an ordinary breath. The Tibetan word for prana translates as ``life-holding wind.'' Try to become sensitive to the life sustaining properties of this wind. Sensitivity to the apana wind can be developed by paying attention to the muscles and their sensations during evacuation. If you were raised in Western culture this itself may prove plenty of challenge!

To unite rajas and retas inside the body requires causing the winds or energies to enter the central channel. Ultimately this achieves the same end as the process of uniting prana and apana but the emphasis is a little different. To cause the winds to enter the central channel there are a continuum of approaches ranging from very gentle to very forceful.

In the very gentle approaches one attempts to bring the winds into the central channel by imagination or concentration alone. One visualizes an image, such as a deity or a seed-syllable in the central channel and lets mind become absorbed in that. It is a common tenet of yogic lore that where the mind goes the winds will follow. So if the mind can be kept steadily focussed on inside of the central channel then the winds will enter there. When the winds enter there the knots holding the rajas and retas loosen and the two are allowed to flow together. It is worth noting that it was Gopi Krishna's practice of a very simliar method that led to his tremendous difficulties with kundalini. So even very gentle methods can lead to imbalances. In the more forceful practices the visualizations described above are complemented by breathing practices such as the vase-breath practice described earlier.

If upon reading these descriptions one would like to try to practice them then a teacher is necessary. If one lacks a teacher but has a surplus of curiousity one might simply try to become familiar with the central channel. Take an ordinary breath. How does the spine feel when inhaling? How does the spine feel upon exhaling? Success in these yogic practices will require a great sensitivity to the central channel and much of this sensitivity can be obtained by simply improving one's awareness of that area.