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J膩yasen膩pati, author of 狈峁泃迟补谤补迟苍腻惫补濒颈 deals with the 濒补办峁�a峁嘺 of gati in a different manner. This is in the sixth chapter entitled鈥斺��诲别艣墨 辫腻峁环补 肠腻谤墨 濒腻蝉测腻峁単补 濒补办峁�a峁嘺m鈥�. He explains gati based on rhythmic patterns such as 迟腻濒补 and 办腻濒补.

In dance, the rhythmic patterns are of three kinds, druta, madhya and vilambita, slow, medium and fast tempos, respectively. All three exist in lengthy and short time measures. These are of 艣耻诲诲丑补驳补迟颈 and 蝉补峁卥墨谤峁嘺驳补迟颈. If only one progression is sustained from the beginning through the end, then it is 艣耻诲诲丑补.

If it is combined with others then it is called 蝉补峁卥墨谤峁嘺.

nartane gatayastisro drutamadhyavila峁僢it膩岣� |
d墨rgh膩lpa迟腻濒补k膩le峁�u sa峁僢havantyakhile峁�vapi |
别迟腻岣� 艣耻诲诲丑腻岣� 辫耻苍补蝉迟腻蝉腻峁� 蝉补峁僰墨谤峁嚹佱弗 sa峁僰ar膩t mitha岣� ||^[1]

If the dancer takes two steps in his or her gait for one beat in the rhythmic cycle it is druta gati, if she takes one-step for one beat it is madhya gati and one-step for every two beats it is vilambita gati.

The three gatis are:

1. druta,
2. madhya,
3. vilambita.

The three more progressions are:

1. vilambita druta,
2. madhya vilambita and
3. druta madhya.

Other six progressions are:

1. druta-druta,
2. druta-vilambita,
3. madhya-madhya,
4. madhya-druta,
5. vilambita-vilambita,
6. vilambita madhya.

Finally, with one more progression it becomes nine:

1. 尘补诲丑测补-尘补诲丑测腻诲测补苍迟补,
2. 诲谤耻迟补-诲谤耻迟腻诲测补苍迟补,
3. vilamba-惫颈濒补尘产腻诲测补苍迟补,
4. drutamadhyama-vilambita,
5. madhyadruta-vilambita,
6. vilambadruta-madhyama,
7. madhyavilambita-druta,
8. vilambamadhya-druta and
9. drutavilambita-madhya.

Thus, totally there are twentyone varieties.

The skilled dancer should perform for these rhythmic combinations in the prescribed rhythm, keeping the upper body-line erect. 膧di迟腻濒补, eka迟腻濒补, 尘补峁囜弓丑颈办腻, and so on, are cyclic 迟腻濒补s. The couplets like prati迟腻濒补鈥�诲惫颈迟墨测补 and 苍颈蝉蝉腻谤耻办补-迟峁泃墨测补 are in concordance with a measure mutually.

Ekasara, dvisara and trisara, are the three progressions (gatis), which manifest in all the directions.

gatirekasar膩'ny膩 tu dvisar膩 trisar膩 迟补迟补岣� |
tisrastu gatayo dik峁�u sa峁僢havanyakhil膩svapi ||^[2]

If the step moves naturally in rhythm, it is ekasara. One foot is laid down, the other foot is rubbed on the floor by its side, and the former is moved ahead. When this is done on both sides consequently, it is dvisaragati. In the above, the former step is excuted thrice, the latter twice and proceeds as before, and then it is trisara.

The above progressions are executed forward, backward and in the six directions. When one foot is crossed and the other is released to move ahead then the progressions are svastika 辫奴谤惫补办补. Thus, the combination of 肠腻谤墨s, 辫腻峁璦蝉 and 濒腻蝉测腻峁単补s are numerous in number.

J膩yana also adds some variety of 诲别艣墨 lasy膩峁単as, which are like gaits. He says, the limbs are in consonance with the rhythm and they compete with each other in beauty during the gait, which is known as 辞测腻谤补岣�. There is a similar gait called oyy膩ra na岣峚i in 叠丑补谤补迟补苍腻峁瓂补. If the dancer presents elegant moves in the different fighting movements and in other dances, it is called 补峁兣沘驳补迟颈. While dancing when the dancer performs the mnemonic notes in the instruments through the footwork it is called 辫腻诲补辫腻峁璦. If 苍峁泃迟补 of 尘腻谤驳补 and 诲别艣墨 styles are performed in unison with the instruments and rhythm it is known as gatistha.

J膩yana says, 鈥渁re not these gatis which are sportive movements, beautiful and pleasing, with 蝉补耻峁ａ弓补惫补, eye movements, hand gestures and 办补谤补峁嘺蝉 most enjoyable?

sal墨l膩岣� sau峁ａ弓havop别迟腻岣� soll膩s膩岣� s膩k峁�ivibhram膩岣� |
蝉补丑补蝉迟补办补谤补峁嚹佱弗 kasya gatayo na 尘补苍辞丑补谤腻岣� ||^[3]

Footnotes and references:

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[1]:

N峁泃taratn膩val墨 VI. 171.

[2]:

Ibid.VI. 182.

[3]:

Ibid..VI. 188.