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Gati (gait) holds rasa. It conveys bhava. When done right, it tells a story before the lips even move.
Chapter 13 of the Bharata Muni‘s. Natyashastra explores gatis. It teaches us how characters enter, how they walk, how they breathe life into space. We bring those ancient instructions to life. Just actionable, scholarly, performance-ready steps.
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What is Gati?
Gati (IAST: gati, गति) means movement or manner of walking. In classical performance, it’s more than pace. It’s intent. Purpose. Emotion. Every character. Every emotion. Even every moment. Demands a specific gait.
There are natural gatis. There are stylized ones. Some are inspired by animals. Others show human emotion or divine stature.
Gait Classification of Indian Classical Dance from Natyashastra
1. गतिः स्वाभाविकी (Svābhāvika/Natural Gait)
- How to Perform:
- Lift knees up to waist level
- Keep the spine neutral and relaxed
- Arms swing gently, matching the foot rhythm
- When to Use:
- Characters in calm, everyday movement
- Entrance of courtiers, noblemen, and ladies
- Feel: Casual but dignified. Grounded.
2. गतिः स्थिरा (Sthira/Steady/Slow Gait)
- How to Perform:
- Drag feet slightly
- Minimize bounce in shoulders
- Expression should reflect tiredness or sorrow
- When to Use:
- For fever, grief, illness, old age, or fatigue
- Characters sneaking or hesitant
- Feel: Worn. Reluctant. Heavy.
3. गतिः शीघ्रा (Shīghra/Quick/Fast Gait)
- How to Perform:
- Steps are rapid, sharp, and rhythmic
- Knees lift less than Svabhāvika
- Shoulders move with urgency
- When to Use:
- Fear, joy, anger, curiosity
- Messages, sudden action, chasing
- Feel: Snappy. Alert. Immediate.
Example: Vasantasenā in Mṛcchakaṭika runs with terror. Her gait “crossed the wind.”
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4. स्खलितगतिः (Skhalita/Stumble/Irregular Gait)
- How to Perform:
- Feet lose rhythm. Sway the torso side to side.
- Arms flail. Keep the center of gravity unstable.
- When to Use:
- Drunken characters, madmen, fools
- Feel: Disoriented. Chaotic. Funny or frightening.
5. श्रिंगारिणीगतिः (Śṛṇgāriṇī/Sringara/Graceful/Romantic Gait)
- How to Perform:
- Hips sway lightly
- Steps are soft but deliberate
- Coordinated hand gestures like lalita or kapittha mudra
- When to Use:
- Dūtī (female messengers), lovers, charming entries
- Feel: Stylish. Alluring. Controlled.
Gatis Based on Character Type
Divine or Royal (Uttama)
- Height of Knee Lift: Four tālas
- Tempo: Slow (Vilambita)
- Duration of Step: Four kalās
Middling (Madhyama)
- Height of Knee Lift: Two tālas
- Tempo: Medium (Madhya)
- Duration of Step: Two kalās
Lower or Comic (Adhama)
- Height of Knee Lift: One tāla
- Tempo: Quick (Druta)
- Duration of Step: One kalā
Note: Tāla here is a unit of measurement, not rhythm. Kalā is a time unit.
Explore Samyuta and Asamyuta Hastas
Gatis Inspired by Animals (Abhinayadarpana)
1. Hamsa Gati – Swan
- One foot after the other
- Distance: Half a cubit between steps
- Hand Gesture: Kapittha hasta
2. Mayura Gati – Peacock
- Walk on toes
- Alternate knee lifts
- Hands in kapittha hasta
3. Mṛga Gati – Deer
- Quick sideways or forward hops
- Hands in tripatāka
4. Gaja Gati – Elephant
- Slow and heavy
- Hands in patāka
5. Turaṇga Gati – Horse
- Rhythmic trotting steps
- Left hand śikhara, right hand patāka
6. Siṃha Gati – Lion
- Jump forward from toe stand
- Hands in śikhara hasta
7. Mandūka Gati – Frog
- Same as lion gait
- Add springy knees and humorous flavor
Character-Specific Gaits (ViṣŇudharmottara Purāṇa)
- Vīṭa (Pimp): Graceful and sly
- Kañcukī (Gatekeeper): Shaky and stiff
- Ceṭa (Attendant): Eyes upward, dreamy
- Viduṣaka (Jester): Comical, exaggerated limping, collapsing limbs
Tips for Dancers and Actors
- Match gait to mood. Rasas like bhībhatsa or vīra demand different energy.
- Balance footwork with hand gestures. Always.
- Facial expression seals the gait. Especially in Sringara and karuna.
- Keep transitions smooth. Don’t snap from gait to gait. Flow with ease.
Frequently Asked Questions
Gait techniques shapes how a performer moves. It brings characters to life and adds realism, rhythm, and emotion to the story.
Gaits are grouped by character type, gender, emotion, and status. Each has a specific movement style to match the role.
Absolutely. Dancers and actors still use them to train, perform, and preserve classical expression in modern theater.
Prasāra adds flow. It connects steps with arm and body movements, making transitions smooth and visually striking.
Yes. They offer timeless tools for expression, body control, and storytelling that elevate any stage performance.
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Conclusion
Gati is a way to become the character. Use it wisely. Most of the expressions are conveyed with just how you move the body.
When you practice these gatis, feel them. Let your spine remember. And your ankles respond. Let the audience see your inner rhythm before they hear your lines/see your expressions.
The Natyashastra gave us the blueprint. It’s time to move it into the body.
Let every step speak.
References
- Nāṭyaśāstra, Chapter 13 (Bharata Muni)
- Abhinayadarpaṇa (Nandikeshvara)
- ViṣŇudharmottara Purāṇa, Volume III
- Shodhganga: “Elements of Art and Architecture in the Tṛtīya-khaṇḍa of the ViṣŇudharmottara Purāṇa”
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NatyaShastra Glossary: Head over to the Natyashastra Glossary page to know the meaning behind Sanskrit terms used in the articles.
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Knowledge Source & References: Inspired by ancient Natyashastra scriptures, open to interpretation.
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