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| Home > Hatha Yoga Techniques > Pranayam and Kumbhaka
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| | Pranayam and Kumbhaka
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 In prana, the root word "pra," meaning "to fill," is added to the root word, "an," ("to breathe" or "to live") creating the new meaning "the life that fills with the breath."
Pranayama is derived from prana (`vital force`) plus ayama, which defines as `stretch, extension, expansion, length, breadth, regulation, prolongation, restraint or control`. Therefore pranayama can aptly be defined as `extending prana` or increasing the life energy.
Pranayama is the technique of hatha-yoga par excellence, which is both -"the goal" and "the practice". The goal being to retain prana within the Sushumna. The "practice" to achieve it is the extension of the period of retention of prana Vayu in the body. This is achieved by incorporating the performance of very powerful breathing exercises combined with muscular contractions and concentrated mental focus.
Pranayama is a threefold practice, the three parts being Rechaka (exhalation), Puraka (inhalation), and Kumbhaka (retention).
There is movement of air, prana and thought - all of these being intimately connected in the practices of Rechaka and Puraka. Kumbhaka is where the calmness of mental faculties are involved. Every movement is held to induce the stillness and ultimate dissolution of mental modifications (chitta-vritti).
Kumbhaka itself is divided into two kinds:
· Sahita (supported) Kumbhaka involves the retention of breath and prana as part of a cycle of inhalations and exhalations. This may be further divided into Antara-kumbhaka (`inner retention` i.e. retention with the breath held in) and Bahya Kumbhaka (retention with the breath held out).
· Kevala (complete, total) - Kumbhaka, involves holding the breath for an indefinite period, without the requirement to inhale or exhale. In this state, prana is fully retained within the Nadi-matrix and is forced into the central channel of Sushumna.
The intensity levels in Kumbhaka is divided in four categories based on their external indicators:
· of the air`), the text In the initial most stage the yogi`s body perspires Profusely. This perspiration or sweat should again be rubbed in the skin.
· The second stage involves the trembling of the body.
· Third stage comprises of even more intense movements - "of that of jumping like a frog".
· The fourth is called gagan-chara. It means literally `moving in the sky`. This is claimed to effect vayu-siddhi (`air power` or `conquest implying that the persistent yogi is literally able to `rise into the air while remaining in padmasana`).
This last statement can be taken as figuratively and interpreted as as an oblique reference to a state of consciousness in which a vast `ocean of space` or `voidness` is experienced. It may also refer to cutting of ties which is anything worldly, or to induce lightness in the body. The spiritual effects of the state is so high to be solely represented by symbolic statement.
Kumbhaka denotes the suspension of the flow of prana and breath. However, there are a variety of breathing techniques in Kevala kumbhaka, which result in complete retention. These techniques are themselves referred to as types of Kumbhaka.
The Hath Yoga Pradipika describes eight such techniques, which are briefly outlined below. In each one, to induce prana into the Brahma-Nadi (the innermost channel of Sushumna), Jalandhara and Mula-Bandha i.e. chin lock and `roof lock respectively should be performed after inhalation. These two locks plus Uddiyana Bandha (abdominal lock) should accompany Bahya-Kumbhaka.
Surya-Bhedana-Kumbhaka
Surya (sun) represents Pingala Nadi and the right nostril. Bhedana derives from the root bhed, which literally means to pierce or pass through.
Surya-bhedna involves the practice of breathing in solely through the right nostril, and breathing out through the left (ida-nadi). The ring and little finger of the right hand are traditionally used to block off the left nostril, and the thumb of the same hand to block off the right.
The same fingers may be used to restrict the airflow through the open nostril during inhalation and exhalation in order to prolong the breathing cycle.
Both nostrils are closed during Antara (internal) and Bahya (External)-Kumbhaka.
Ujjayi-Kumbhaka
The literal meaning of this term is `victorious`, or more suitably, `uplifting` retention. This state is achieved by breathing in and out through both nostrils while constricting the throat by slightly closing the glottis. The constriction is enough to enable an audible deep hissing sound to be made. The abdominal muscles are contracted during inhalation as well as exhalation, thereby preventing the abdomen from over-inflating. The drawing in of the abdomen is believed to force prana upwards. This assists in prana retention. Ujjayi may be performed while moving or remaining still.
Sitkari-kumbhaka
Sit means `hissing`, and `Kari` means `maker`. The procedure involves inhaling through the mouth with the lips slightly apart, teeth gently touching, and tongue freely suspended. After retention, the breath is exhaled through the nose. This produces the mentioned sound, hence the symbolism of the `hiss-making kumbhaka.
Sitali-kumbhaka
Sitali means the one that cools. The procedure is performed much like sitkari. The difference being that the sides of the tongue are curled over to form a tube, which protrudes between the lips, and through which air is sucked in for inhalation.
This facial posture is termed kaki (crow`s beak) mudra.
Bhastrika-Kumbhaka
Bhastra is the term for the bellows used by a blacksmith. Just like the mentioned instrument, Bhastrika Kumbhaka denotes breathing like a bellows. It involeves rapid breathing with a forceful pumping action of the upper abdomen. This technique is particularly effective for breaking through the three granthis within Sushumna.
Bhramari-kumbhaka
Bhramari literally signifies "that which belongs to a bee". In this particular case, the resemblence is with the bee like sound made in the procedure. The in- and out-breaths are accompanied by a humming sound . Bhramari Kumbhaka may be practised in conjunction with sanmukhi-mudra, in which the thumbs are used to close the ears and the fingers to close the eyes. This mudra intensifies the effect of the humming. In the Gheranda- Samhita, Bhramari denotes one of a number of internal sounds, which spontaneously become audible during contemplative pranayama performed in a quiet place.
Murccha-kumbhaka
Murccha means the act of `swooning`. Murccha Kumbhaka simply applies jalandhara-bandha, along with slow exhalation. The Kumbhaka involves fixing one`s attention between the eyebrows (ajna-cakra). Doing do merges manas (mind) with the atman (Self). Referred to as mano murcchu, this `fainting` or `intoxication of the mind` is not intended to be a state of unconsciousness. On the contrary, It creates one of heightened state of awareness, in which everything that is not the Self dissolves.
Plavini - Kumbhaka
Plava means to float. Plavini refers to `that which floats`. This Kumbhaka creates the state of lightness in which one seems to float like a lotus leaf on the surface of water. This state is formed due to the filling of the body with air (i.e. prana). Owing to the literal meaning, it has sometimes been taken to mean that the technique should be performed in water. But the term is likely to be figurative, indicating that the practitioner feels the detachment from anything worldly and floats in heavenly bliss. Exactly how the technique is performed is not made clear.
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