The art of Retention (Kumbaka)

• Kumbha means a pot which can be full or empty. Kumbhaka is of two typwe. It is either (a) a pause between an in and an out breath or (b) between an out and an in breath. It is the art of retaining the breath in a state of suspense.

• It also means the withdrawal of the intellect from the organs of perception and action, to focus on the seat of the atma, of consciousness. Kumbhaka keeps the sadhaka silent at the physical, moral, mental and spiritual levels.

• Retention of breath in kumbhaka should not be misinterpreted as re-tension of the brain, the nerves and the body to hold the breath. Re-tensioning leads to hyper-tension. Kumbhaka has to be done with the brain relaxed so as to re-vitalise the nervous system.

• When the breath is stilled in kumbaka, the senses are stilled and the mind becomes silent. Breath is the bridge between the body, the senses and the mind.

• Kumbhaka are performed in two ways: sahita and kevala. When the breath is held intentionally and deliberately, this is sahita. Sahita kumbhaka is the pause in breathing (a) after full inhalation before commencing exhalation, or (b) after complete exhalation prior to starting inhalation. Kevala means 'by silent' or 'absolute'. Kevala kumbhaka is the pause in breathing unaccompanied by puraka or rechakal, as when an artists is totally absorbed in his art or a devotee is breathless with adoration. This state is often preceded by body tremors and fear like that of a man on the point of being overwhelmed by the unexpected. Patience and perseverance will overcome this feeling. Kevala kumbhaka is instinctive and intuitive. In this state one is state one is completely absorbed in the object of one's devotion and isolated from the world, experiencing a feeling of joy and peace which passes understanding. One is in tune with the infinite.

• Antara kumbhaka is the holding of the lord in the form of cosmic or universal energy, which is merged into the individual energy. It is a state wherein the lord is united with the individual soul.

• Bahya kumbaka is the state in which the yogi surrenders his very self, in the form of his breath, to the lord and merges with the universal breath. It is the noblest form of surrender, as the yogi's identity is to merged with the lord.

• In the Bhagavad Gita krsna explains to Arjuna the different and of sacrifices and of yogis. Kumbhaka pranayama is one of these yajnas and has three categories: inhalation – retention, exhalation – retention and absolute retention. The yogi's body is the sacrificial altar, the in – flow of breath is the moment when the oblation of puraka is consumed in the fire of rechaka, and the oblation and the flame become one. The yogi acquires the knowledge of how to control dis breathing. The upper part of the thorax is the abode of the inflowing breath, and the lower part of the outgoing breath. When the two unite in the intake of breath, this is the state of puraka kumbhaka. When apana comes in contact with the prana and flows out in exhalation, the empty state is the rechaka kumbhaka. Absorbing this knowledge by experience, the yogi makes pranayama vidya a part of his wisdom, to which he finally offers his knowledge, his wisdom, his very life breath and his 'self' as oblation. This is the state of kevala kumbhaka, or obsolute surrender, in which the yogi is absorbed in adoration of the lord.

• As a mother protects her child from every catastrophe, consciousness protects the body and breath. The spine and torso are active and dynamic like a child and the chitta is alert and protective like a mother.

• In kumbhaka the vibration in the body is like that of a locomotive stationary under steam, its driver alert and ready to start, but relaxed. Similarly, the prana vibrates in the torso, but the chitta is kept relaxed and ready to let go or let in the breath.

• The sensitivity, the grip and stretch of the skin on the trunk is like that of a disciplined child, who is both bold and cautious.

• The length of time that the breath is held may be compared to that of traffic signals. If one passes the red light, accidents may occur. So also in kumbhaka, if one goes beyond one's capacity, the nervous system will be damaged. Tension in the body and brain indicates that the chitta cannot hold the prana in kumbhaka.

• Do not retain the breath by force of will. The moment the brain becomes tense, the inner ears hard and the eyes red, heavy or irritable, one is exceeding one's capacity. Which for theses warning signs, which indicates that the danger point is near.

• The aim of kubhaka is to restrain the breath. While breath is being held, speech, perception and hearing are controlled. The chitta in this state is free from pasion and hatred, greed and lust, pride and envy. Prana and chitta become one in kumbaka.

• Kumbhaka is the urge to bring out the latent divinity in the body, the abode of atman.

THE TECHNIQUE OF ANTARA KUMBHAKA

(a)Do not attempt to hold your breath after inhalation before mastering deep in – and out – breathing. Do not attempt to hold it after exhalation before mastering antara kambhaka.

(b)Mastery means artistic adjustment by disciplined refinement and control of the movement of breath. Equalise the length of your in- and out- breathing before attempting kumbhaka. Read the Bhandhas before starting kumbhaka.

(c)Learn to do antara kumbhaka by slow degrees. Start by holding the breath for only a few seconds without losing grip on the inner body. Watch the condition of the body, the nerves and the intellect. It takes some time before you can understand, experience and retain the precise inner grip over the intercostal muscles and diaphragm in the kumbhaka.

(d)When starting to learn internal retention allow some time to elapse after each kumbhaka. This enables the lungs to revert to the normal, natural and fresh condition before making another attempt. For instance, three or four cycles of normal or deep breathing should fallow one cycle of kumbhaka until the session is over.

(e)If beginners perform internal retention after each inhalation, it will strain the lungs, harden the nerves and make the brain tense, and progress will be exceedingly slow.

(f)As you improve, shorten the interval between the cycles of normal breathing and anntara kambhaka.

(g)Increase the time you hold your breath in internal retention without exceeding your capacity.

(h)If the rhythm of inhalation and exhalation is disturbed by holding the breath, it shows that you have exceeding your capacity; therefore, reduce the length of internal retention. If the rhythm is undisturbed, then your practice is correct.

(i)Knowledge of the bandha is essential for the proper practice of kumbhaka. They act as safety valves for disturbing, regularing and absorbing energy, and the energy in them is not similarly, when the lungs are full and the energy in them is not checked by the bandhas, they will be damaged, nerves will be frayed and the brain made unduly tense. This will not happen if one practises jalandhara bandha.

(j)Never do antara kumbhaka while standing, as you may lose your balance and fall.

(k)When a reclining position, place pillows under the head to keep it higher than the torso, so that no strain is felt in the head.

(l)Do not raise the bridge of the nose in internal retention. If it moves up, the brain is caught up in the movement; it cannot then watch the trunk.

(m)Throughout the practice of pranayama, pivot the head and the cervical spine forwards upwards and downwards and the erect dorsal spine and sternum upwards. This helps the brain and cervical spinal-cord to move towards the sternum and relax the forehead. This makes the energy of the brain descend to the seat of the self.

(n)Throughout each internal retention, keep a firm grip on the diaphragm and abdominal organs. There is a tendency, whether unconscious or deliberate, to tighten and loosen them in order to hold the breath longer. Avoid this as it dissipates energy.

(o)If strain is felt in the lungs or heart, exhale, and take a few normal or deep breaths. This refreshes the lungs to restart antara kumbhaka. If you continue after having felt the strain, you disturb the harmonious functioning of both the body and the intellect. This leads to mental imbalance.

(p)When you are able to hold the breath in internal retention for a minimum of ten to fifteen seconds you may introduce mula bandha. In the initial stages do mula bandha at the end of inhalation and retain it throughout retention.

(q)In internal retention, pull the abdominal organs in and up, and simultaneously bring the lower spine forward. Keep the trunk firm and the head, arms and legs relaxed throughout.

(r)Maintain the lift of the spine from the sacroiliac region and base of the liver and stomach throughout.

(s)Move the outer and inner spinal column forwards and upwards, rhythmically and evenly. As the spine moves anteriorly, roll the skin with it into the torso.

(t)If the skin of your slackens over the ribs, it is a sign that the breath has leaked from the lungs unwards.

(u)Do not overstretch or hollow the chest. Raise it in front of the ribs back and on both sides evenly. Hold the inner frame of the ribs firm and keep the outer body light. This will balance the body evenly and increase the duration of kumbhaka.

(v)See that the back and front intercostal muscles and the inner and outer layers on the sides move independently and uniformly.

(w)Adjust the skin of the armpits from back to front. Do not press the skin around the armpits of the chest but lift it up. If the skin of the armpits or the shoulders move up, this is a sign of tension. Release the skin and bring it down.

(x)At the end of inhalation and the start of retention the sadhaka experience a spark of divinity. He feels the oneness of body, breath and self. In this state there is no awareness that time is passing. The sadhaka experiences freedom from cause and effect. He should retain this state throughout kumbhaka.

(y)The volatile contests of a well-sealed bottle do not leak, through the bottle be shaken. The vital energy of the sadhaka does not escape when kumbhaka is done with the bandhas. The trunk is sealed at the base by contracting the anus and the perineum and lifting them up from muladhara. The sadhaka then becomes full of vigour and lusture.

(z)Beginners need pay no attention to uddiyana bandha and mula bandha until they have mastered the rhythm of breathing. Advanced pupils should do all the bandhas after mastering them individually while holding their breath.

THE TECHNIQUE OF BAHYA KUMBHAKA

(a)Bahya kumbhaka is of two kinds, pensive or dynamic. When pensive, it is practised without uddiyana. It is performed to keep oneself quiet and be done at any time, even after meals. When dynamic, it is done with uddiyana bandha, which massages the abdominal organs and heart and prevents dissipation of energy.

(b)Start by practising pensive exteranl retention cycles. Then concentrate on external retention with uddiyana bandha.

(c)At the beginning, after each dynamic external retention, allow some time to elapse for the lungs and abdominal organs to become normal.

(d)External retention with uddiyana should never be forced. If forced, one gasps, loses one's grip on the abdominal organs and feels a dryness in the lungs.

(e)Start external retention with uddiyana very gradually and maintain the grip of uddiyana for the same length of time in each cycle. Do six to eight cycles a day.

(f)Do a few cycles of normal or deep breathing and one external retention with uddiyana. For instance, three or four cycles of normal breathing may be followed by one external retention with uddiyana. Repeat the sequence, reducing the number of cycles of normal breathing as stability is gained by practice.

(g)While practising, follow the techniques given in paragraphs b,d,e,f,h,l,m,p,s,t,u and w of the techniques of antara kumbhaka, substituting 'bahya kumbhaka' for the words 'antara kumbhaka' wherever they occur.

(h)As one uses tweezers to remove a thorn and feels freedom from pain at once, use the intelligence as the tweezers to remove faulty grips and movements which act as thorns in practice.

(i)As the eyelids act instinctively to prevent foreign matter entering the eyes, the sadhaka should be always alert to prevent false grips, movements and habits entering into his practice of pranayama.

(j)Kumbhaka that reddens the face, burns the eyes and causes irritability is faulty. Never do kumbhaka with open eyes. Do not practise it if you have heart or chest problems, or when you are unwell.

(k)The body is the kingdom. The skin is its frontier. Its ruler is the atman, whose all seeing eye watches every detail during pranayaam.

(l)Mountain torrents dislodge rocks and gouge out canyons, yet when the energy of the flowing water is stilled and balanced against that of the rocks, each loses its seperate identity. The result is a lake, reflecting the serene beauty of the mountains round. Emotions are the torrents, while the steady intellect forms the rock. In kumbhaka both are evenly balanced and the soul is reflected in its pristine state.

(m)Consciousness wavers with the breath while kumbhaka stills and frees it from desires. The clouds disperse and the self shines like the sun.

(n)After practice of pranayama and kumbhaka realx in savasana.

References

The above mentioned information is added from the book called LIGHT ON PRANAYAMA by B.K.S. IYENGAR.