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Devan膩c膩rya, author of 厂补峁単墨迟补尘耻办迟腻惫补濒墨 deals with gaits based on rasa, 产丑腻惫补 and gaits based on 苍峁泃迟补. So, according to him gati can be seen in 苍腻峁瓂补 and 苍峁泃迟补. He explains that the gati is relevant for the eight rasas.^[1]

艢峁涐箙驳腻谤补驳补迟颈鈥�

In the sentiment of love, one should perform with 肠补迟耻谤补艣谤补 and sama, straight body with limbs properly stretched, and it should be attractive with smiling glances, and beautiful with 惫颈濒腻蝉补.

肠补迟耻谤补艣谤腻 蝉补尘腻 丑峁沝测腻 savil膩s膩'ti艣obhan膩 |
驳补迟颈岣� 艣峁涐箙g膩ri峁嚹� prokt膩ka峁�膩k峁�asmitasa峁儁ut膩 ||^[2]

痴墨谤补驳补迟颈鈥�

Gait in 惫墨谤补 should be gambheera, forceful with the foot raised and kept apart and as if going to the war.

碍补谤耻峁嘺驳补迟颈鈥�

Gait in 办补谤耻峁嘺 is with straight and watery eyes and with soft footsteps in 蝉补尘补辫腻诲补 movements.

Adbhutagati鈥�

Gait in wonder is with the foot moving here and there, raised, straight and bloomed eyes with pupils in center.

颈迟补蝉迟补迟补岣� p膩d膩 tathotk峁�epa蝉补尘腻kul膩 |
vik膩sit膩k峁�iyukt膩ca madhy膩sau c膩dbhut膩 蝉迟丑颈迟腻 ||^[3]

贬腻蝉测补驳补迟颈鈥�

Gait in the sentiment of 丑腻蝉测补 is different from other actions, done by 痴颈诲奴峁�a办补 with 补峁単补 and 耻辫腻峁単补 actions which provoke laughter.

叠丑补测腻苍补办补驳补迟颈鈥�

Gait in 产丑补测腻苍补办补 is with eyes showing fear, looking front, back, and steps ready to run.

Raudragati鈥�

Gait in Raudra is fierce, uncontrollable, knitting brows, fearing the onlooker, with 肠腻谤墨蝉 like 补迟颈办谤腻苍迟腻 and 奴谤诲丑惫补箩腻苍耻.

atyutka峁��� ca s膩峁璷p膩 谤补耻诲谤墨 bhruku峁璱bh墨峁�a峁嚹� |
补迟颈办谤腻苍迟辞谤惫惫补箩腻苍耻产丑测腻峁� 办峁泃腻 产丑墨迟颈办补谤墨 尘补迟腻 ||^[4]

叠墨产丑补迟蝉补驳补迟颈鈥�

Gait in 叠墨产丑补迟蝉补 is with bent a foot with just few steps some kept apart and some kept crooked.

Devanac膩rya describes the gaits for the eight sth膩y墨 产丑腻惫补s and corresponding rasas. He adds that the gaits for the other 蝉补帽肠腻谤颈 (惫测补产丑颈肠腻谤颈) 产丑腻惫补s are similar to these. He does not include 艣腻苍迟补 as the ninth rasa, according to him there are only eight rasas. Here we can see clearly that these gaits have expressions of face also, and these come under 腻峁単颈办补 combined with s膩ttvika abhinaya. These descriptions given by the author have more clarity and they are practiced in present day dance and drama traditions.

狈峁泃迟补驳补迟颈 which goes along with 濒补办峁�y补 is that which encompasses different 肠腻谤墨蝉, variety of laya, 迟腻濒补 and has a beautiful and attractive form.

punar苍峁泃迟补gati峁� c膩pi vak峁�ye lak峁�y膩nus膩rata岣� |
n膩n膩c膩r墨蝉补尘腻yukt膩n膩n膩r奴pamanohar膩 ||^[5]

Thus, the author admits that these gatis were in practice during that time.

-) 峁歫耻鈥攊s straight walk that can be in front, back or side.

-) Vakra鈥攊s a serpentine movement

-) 厂腻肠墨鈥攊s the gait which represents sideward (辫腻谤艣惫补肠腻谤腻) movements

-) 碍辞峁嘺鈥攊s the gait covering corner to corner movements

-) 艢峁涐箙办丑补濒腻蝉补峁単颈峁嚹�鈥攊s when the actors move connected with each other like a chain.

-) Svastika鈥攊s gait, which has crossed movements.

muhu岣� svastikayogena 驳补迟颈岣� svastikac膩ri峁嚹� |^[6]

-) 痴补办谤补办辞峁嚹� (罢颈谤补艣肠墨苍腻)-is reaching the corner with serpentine movement.

bhuj补峁単补gatireva sy膩tko峁嚹佱弗 vakrako峁嘺k膩岣� ||^[7]

-) 笔腻谤艣惫补肠腻谤腻鈥攊s moving towards sides.

-) 惭补峁囜笉补濒墨鈥攊s moving in a circular way. ma峁囜笉al墨 ma峁囜笉al膩k膩r膩 ||^[8]

-) 础谤诲丑补尘补峁囜笉补濒墨鈥攊s a gait in semicircular form.

tva峁僣膩rdh膩c膩rdhama峁囜笉al墨 ||^[9]

-) 罢峁泍补艣谤补鈥攊s gait in form of triangle.

-) 颁补迟耻谤补艣谤补鈥攊s gait in form of a square.

-) 狈腻驳补产补苍诲丑补鈥攊s moving here and there.

-) 膧惫颈诲诲丑补 svastika鈥攊s throwing of leg inside and crossed.

-) 笔腻谤艣惫补诲补谤艣颈苍墨鈥攊s looking to the sides and walking.

krame峁嘺 dar艣ayetp膩r艣ve s膩nvarth膩 p膩r艣vadar艣in墨 ||^[10]

-) 笔补谤颈产丑谤补尘补峁嘺肠腻谤颈峁嚹�鈥攊s circular turns.

-) Vy膩k墨r峁嚹� is鈥攑reading out the legs like leaps on all sides.

-) 碍丑补帽箩颈办腻鈥攊s walking like a lame person.

-) 惭补诲腻办谤腻苍迟腻鈥攊s gait in intoxication.

madaskhalanayogena mad膩kr膩nt膩 gatir尘补迟腻 |^[11]

-) 厂补尘辫耻峁璦肠腻谤颈苍墨鈥攊s walking in semicircle.

Devanac膩rya says gatis are broadly classified into twenty varieties, which come under 蝉腻尘腻苍测补 gati and there can be many more, in particular gait of a chariot, elephant, horse, 尘峁沢补, 蝉颈峁僪补, 诲补峁冡梗峁璻颈, 尘补测奴谤补, 丑补峁僺补, matsya, and so on, which are known as 惫颈艣别峁�a驳补迟颈蝉 pecial gaits. These are to be performed as per the situation in three layas and thus all varieties have three variations.

He also adds that the gait of women should be 惫颈濒腻蝉补 and komala and that of men should be 驳补尘产丑墨谤补 and uddhata.

str墨峁嚹佱箖 tu gataya岣� prokt膩岣� savil膩s膩岣� sakomal膩岣� |
gambh墨r膩艣coddhat膩艣c膩pi pu峁僺膩峁� tu gataya岣� sm峁泃膩岣� ||^[12]

However, the author has not included the explanations on the gait related to animals and birds. Many of these are seen in Bharata苍腻峁瓂补 and other classical and folk dance forms even today.

Footnotes and references:

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[1]:

SM.V.233 -242.

[2]:

Ibid.V.234

[3]:

Ibid.V.237

[4]:

Ibid.V.240

[5]:

Ibid.V.243.

[6]:

Ibid.V.253

[7]:

Ibid.V.253

[8]:

Ibid.V.255

[9]:

Ibid.V.255

[10]:

Ibid.V.258

[11]:

Ibid..V.261

[12]:

Ibid.V.261.