On Asana: The Bridge to Pratyahara— Setu Bandha Sarvangasana, Naghmeh Ahi

The Bridge to Pratyahara— Setu Bandha Sarvangasana

REACH FROM THE SOLE TO THE SOUL

BY NAGHMEH AHI

One of the first inversions we learn in Iyengar yoga is Salamba Sarvangasana. In Yoga: A Gem for Women, esteemed Dr. Geeta S. Iyengar, calls Salamba Sarvangasana “the Queen of all the asanas.” She further elaborates, “Sarvangasana develops the feminine qualities of patience and emotional stability. It is considered to be the mother of asanas. As a mother struggles throughout her life for the happiness of her children, the mother of asanas strives for peace and health of the body.”

Not only is this supported, all-limbs pose considered the “mother” pose, but it gives birth to Setu Bandha Sarvangasana.

setu – bridge bandha – lock sarva – all anga – limbs asana – seat

A bridge connects one place to another. It links from a part to another, and what is in between is upheld, stable and steady. A bridge creates a thoroughfare where there was none. It creates harmony as it shows how two far away points can cooperate in their reach to uphold the structure.

A bridge is built.

Setu Bandha Sarvangasana is formed at the end of practice, through a well-rounded labour of love—tapas— and is accessible in its many generous variations, in all levels of practice from beginner onwards. Every age and body type can benefit from the pose from daily practice to convalescence.

Setu Bandha Sarvangasana is an introduction to how the practice of asana is a bridge to the practice of involution—pratyahara. The practitioner learns to uphold the Self (atman) that resides within, through the instrument of the whole body (sarvanga) with the support (salamba) of the Self.

uddhared atmana tmanam

one should uplift oneself by the Self —The Bhagavad Gita 6.5, Sargeant

Setu Bandha Sarvangasana introduces the body to the senses, showing the way to quietude and a settledness requisite for observation of the self—svadhyaya.

“In Salamba Sarvangasana when the chest is brought to touch the chin, it is called chinlock or Jalandhara Bandha. Bandhas are used to consciously prevent the mind and the consciousness from going beyond certain points.” (Astadala Yogamala Vol. 1, p. 258).

Setu Bandha Sarvangasana is an introduction to forming an arc with the body, and bringing sensitivity to the back body, a lesser-felt part of the self. Here it can be formed as the hands and the feet reach towards each other to link up and form the foundation to uphold the body with the back. Though not a purva-pratana-sthiti (back arch)—this is a bridge that holds within its many gifts the way to the back arches. Mr. Iyengar mentions that in this asana, “you seal the entire back portion of the body” which upholds the full extension of the anterior spine. (Astadala Yogamala Vol. 2, p. 188).

Setu Bandha Sarvangasana is done at the end of a practice session when the body has gone through various positions, movements, and directions through the asanas; it completes the Salamba Sarvangasana cycle. It is at this juncture that the work of the body gives birth to the spread of the consciousness, as it spreads its reach within.

Support: This alamba—support—can come from without and from within.

“Patanjali speaks of the fluctuations of the mind, ego, intelligence and consciousness. All these change second to second. Hence, he wants us to follow a discipline with support, as the quietening of fluctuations depends on support. (see Yoga Sutra I.35)” (Astadala Yogamala Vol. 3, p. 235.)

The versions of Setu Bandha Sarvangasana supported by props, allow the practitioner to extend the timing in the pose. The benefits of the asana can be more readily absorbed with the help of props and an extended stay wherein effort is minimized, and thus receptivity is maximized to the space within–from letting go of muscular tension, to relaxing the senses, to observing the breath.

The generosity and compassion of Yogacharya B.K.S. Iyengar has given us props as support so that under all conditions—infirmity, old age—one can be in Setu Bandha Sarvangasana and allow for a peaceful state to surface (manolaya).

“This state of quietude is manolaya. This manolaya state can be experienced while practicing inverted asanas—Sirsasana, Setu Bandha Sarvangasana, Viparita Karani, Halasana or Uttanasana—when done in a modified way so as to rest and bring stillness and silence in all the organs of action and perception. One is able to feel that sense of alert passivity and experience a state of witnessing. Here, the observer and the observed lose their identities.” (Astadala Yogamala Vol. 1, p. 221).

Setu Bandha Sarvangasana bears the gift of emotional support. The supported version of Setu Bandha Sarvangasana is a penultimate asana for settling fluctuations; often the pose is taken to address mental duress and bring about emotional stability. You will find the pose included in Light on Life as a part of the sequence for emotional stability.

“By learning to relax the brain one can remove stress. How to keep the brain cells in a receptive state is the art which yoga teaches.....If you are dejected mentally, do Setu Bandha Sarvangasana for ten minutes; your depression disappears, though you do not know how.” (Astadala Yogamala, Vol. 5, p. 75)

The lifted chest that is a hallmark of the pose is the storehouse of courage and neutrality. The positioning of the head in relationship to the chest—chest above and brain below, can give rise to being guided by the heart, with the brain in surrender. This particular position of the head to the chest lends itself to a quietude of the senses.

yatroparamate cittam niruddham yogasevaya yatra caivatmanatmanam pasyann atmani tusyati

—The Gita 6.20, Sargeant

When the mind comes to rest, Restrained by the practice of yoga, And when beholding the Self, by the self, He is content in the Self.

Herewith is a sequence for practicing the pose independently. Observe the actions you carry through from pose to pose and feel how they prepare the body, the breath, and the senses for Setu Bandha Sarvangasana. Alternatives are provided to accommodate various levels of practice.

In each asana, the connection from the feet through the legs to the chest region is the single point of focus. Some actions in a few poses are highlighted to alert you to the actions needed in Setu Bandha Sarvangasana.

Tadasana

Utthita Trikonasana

Parivrtta Trikonasana

Parsvottanasana classic pose

Allow the hands to become pliable and strong! For the palms to join fully, the upper arm bones have to roll back, off the front of the armpit chest fully. For the palms to keep that mudra (seal) of the back, the shoulder blades have to do their part and move into the direction of the front chest; use the outer edge of the hands to coax the thoracic spine into the body and roll the breast bone up! Against the extension of the legs, lift the chest, and move it up and away from the hips and legs— lengthen the waist and move forward and down along the leg.

Prasarita Padottanasana II or hands on the floor

Adho Mukha Svanasana x 2 (second round, hands on tilted blocks at wall )

Adho Mukha Svanasana with hands on blocks

Adho Mukha Vrksasana or repeat Adho Mukha Svanasana

Sirsasana and Parivrtta Eka Pada Sirsasana or Adho Mukha Svanasana followed by Bharadvajasana

Upavistha Konasana

Baddha Konasana

Virasana with Gomukhasana (arms)

Urdhva Mukha Svanasana

Enter the pose with the movement of the chest forward and up—imagine your shoulder blades as a pair of hands on your back moving them in towards the chest; take that support and roll the chest forward and up. Lengthen through the inner legs to the inner arches and move the sacrum tailbone in.

Urdhva Mukha Svanasana

Dhanurasana

As you wrap your hands around your ankles, roll the upper arms up and move the shoulder blades in. Keeping the inner thighs parallel, move the sacrum tailbone in. On your next exhalation, press the shin bones back to lift the chest up. To further extend the reach of the inner legs, with the grip of the ankles, lift the legs higher up and move the sacrum tailbone in.

Stay for a few breaths and feel the whole body. Breathe. Let go of any tension on the exhalations. Create harmony within your actions by taking deeper breaths, as you pause and then observe the cycle of breath that guides you to the next action.

Dhanurasana

Ustrasana

Stand on your shins and extend the whole rib cage up. Move the sacrum tailbone in.

Roll the thoracic spine from top to bottom and the breast bone, roll it forward and up. Roll the back of the armpit to the front of the armpit and as you hug in with the outer shoulder blades—spread the chest from behind the breast bone out to the armpits—and roll the whole chest up. Now lengthen the ribs up and away from the pelvis and move the sacrum tailbone deep in.

Arch back to release the hands to your feet. Press down on your feet and move the shoulder blades up towards the chest.

Chatush Padasana

Use the grip of the ankles to extend the arms and move further the head of the outer upper arm under and in the direction of the feet to move the back ribs in. Press the feet down and raise the buttocks up high. If it is difficult to hold the ankles, hold the side edges of the mat, or interlace the hands underneath. A belt can also help to reach the ankles. Loop a belt around the front ankle bone, extend the arms with the interlace, use a belt around the wrists and turn the palms up. Press out and down into the belt and raise the back ribs up and away from the hips.

Chatush Padasana catching the ankles Chatush Padasana with a belt on wrists

Salamba Sarvangasana and variations

1. Feet on blocks and the arms bend with the forearms at 90º 2. Lift the buttocks

4. Lift the heels, bring the hands to the back 3. Interlace the fingers with the arms extended

Take as many of the variations as you are familiar with of the Salamba Sarvangasana cycle before Setu Bandha Sarvangasana. At minimum, include Eka Pada Sarvangasana and Parsvaikapada Sarvangasana.

Setu Bandha Sarvangasana at the wall

Set up near the wall, bent legs, feet close to the hips on blocks. Press the feet down and raise the buttocks up. Cut the upper arm bones down and lift the back ribs high up. Interlace your fingers and press the arms down and move the thoracic spine in. Now lift your heels and raise the buttocks and take your hands against the back ribs close to the shoulder blades. With the hands, hold the back ribs and move them towards the chest. You can be in this version of the pose for the practice of the day or move on further.

If your hands or wrists ache or they don't make it underneath your upper back, take the feet above the bricks on the wall, with knees bent, to a height where you can place the hands against the upper back and move the chest up.

Set up further away from the wall than in section one. Come into Salamba Sarvangasana from Halasana. Once up in the pose, take the hands down the back and move the back ribs further in and up. As you hold the chest with the hands, start to coil the thoracic spine in and take one leg into Eka Pada Sarvangasana and bend the other at the knee as you move the back ribs in the direction of the chest. Absorb the tailbone and take the bent leg foot to the wall, touch, and come back up to Sarvangasana. Repeat with your second leg.

Next round, once you touch, stay, and take the second leg to the wall, and walk down to the support. Remain on the ball mounds and pump the buttocks and back ribs in and up! Return to Sarvangasana from the wall.

Here, with the wall's proximity, you can touch the wall and hop back up several rounds. Stay on the chest side, with the tailbone in, and keep the touch of the foot to the wall light! Attempt with two feet! Once you have both feet on the wall, press and pump with the ball mounds, move the tailbone and buttocks in and jump back up!

5. Salamba Sarvangasana

8. Walk down the wall 6. Eka Pada Sarvangasana with one forward and one leg reaching back, toes to the wall

9. Reach one foot down to the bolster 7. Both feet to the wall

10. Reach both feet down, toes to the bolster

Setu Bandha Sarvangasana to the floor and the wall

Go up into Salamba Sarvangasana from Halasana. Use the hands to move the back ribs in and up. Roll the inner thighs to face each other and bring the sacrum tailbone in. Extend up through the inner legs as you move your hands further down the back and point the finger tips up towards the buttocks, little fingers running parallel to the spine. Keep the jaw relaxed, the throat soft, eyes passive.

Bring one leg into Eka Pada Sarvangasana, dig in with the hands and move the chest up and forward towards the head side. As you lengthen the waist and take the tailbone in, bend the other leg; now, as your hands continue to support the back, roll your chest away to the head side, lift high the tailbone, and reach back and down with the foot, and up to the ceiling with the other, and touch down and come right up.

To keep the pose light, as you arch to touch down the foot, do just that—only touch—and come right back up! Keep your mind on the back ribs and be with your attention on the shoulder blades pressing forward towards the chest region. Repeat with your other leg.

In the next round, as you touch down, do so lightly, ball of the foot only, then bring the second leg down. Exhale fully and stay on the soles! Let this position of the feet draw the energy of the arches up into the pelvis, tailbone in and up! And roll from the height of the pelvis to the height of the chest a few times. Now come up with one leg, then the other leg.

11. Salamba Sarvangasana 12. One foot down to the floor, one leg up 13. Both feet down to the floor to drop back

14. Toes to the floor with the heels lifted 15. Legs out straight, heels to the wall with heels supported

Now, coil the back ribs in, move the hands further down the back, and be on the shoulders, keeping them pinned down and move the tailbone in and bend both legs. As you arch deeply, roll from your bottom ribs to your top ribs, and lengthen from the front thighs to the metatarsals—feel your hamstrings, feel your back ribs—touch down the ball mounds and then the heels. Go from the heel to the sole a few times to pump the buttocks in and back ribs in and come up! With practice and repetition, you can go down with both legs and back up too!

To go to the full pose, once you have touched down, keep the shoulder blades pressed towards the chest, and extend one leg. Connect from your foot to your tailbone and pump it in and up and then take the second leg.

As you roll the chest higher up with the hands, roll from the heels to the soles. Pressing the sole of the foot, extend from the arches through the legs to increase the height of the pelvis and reach from the soles to the soul! Now stay with the breath and receive the embrace of Setu Bandha Sarvangasana!

You can continue with Eka Pada Setu Bandha Sarvangasana, keeping one leg extended, bend the other and raise the leg up perpendicular. Repeat with the second leg. Walk the feet back in, get up high on the ball mounds and pump the tailbone in and the chest higher up, and jump back up to Sarvangasana. Exit through Halasana.

16. Eka Pada Setu Bandha Sarvangasana 17. Setu Bandha Sarvangasana, completed pose

Marichyasana III

Paschimottanasana

Savasana

In subsequent practice sessions, explore the myriad of supported versions of the pose to be in the pose longer and experience the pose fully.

Sarvangasana on the chair wth the hands on the back Sarvangasana on the chair with the arms reaching back under the chair Setu Bandha Sarvangasana on the the chair, feet to the wall with heels supported

Cross Bolsters Setu Bandha Sarvangasna on bolsters with a belt on hips, heels on blocks

Special Situations

If you have any issues with the neck and shoulders or the lower back, for example, practice the supported versions of the pose. A few examples are shared in this article. However, it is best to consult your teacher for the appropriate version best suited for your condition at that time.

Have a fulfilling practice.

May All Beings be Free and at Peace! OM Shanti, Shanti, Shanti! Models: Sarah Perron (CIYT, Level 2), Hector Martinez (CIYT, Level 1)

Photos: Hector Martinez and Naghmeh Ahi

Naghmeh has been a student of Iyengar Yoga since 1999. She has been guided continuously by her mentor James Murphy, and the Light and Love of the teachings of Dr. Geeta Iyengar. She is on the faculty of the Iyengar Yoga Institute of Greater New York and is a CIYT, Level 3. She has a B.A. in English Literature, and her love of the written word continues through her studies of the sacred texts. Learning to practice all limbs of yoga provides her with clarifications and questions that inform living life on a daily basis with integrity and neutrality, with love and compassion towards the self and towards all beings.