Estimated reading time: 10 minutes
Terrible Sentiment Gait!
“Fear! The deepest of all human emotions, finds its profound expression in our very footsteps on stage.”
The Natyashastra, that ancient fount of Indian performing arts, meticulously details every nuance of dramatic presentation. Among its many treasures, the concept of gati, or gait, offers a beautiful insight into character portrayal.
Gait in Indian classical dance is a narrative in itself.
Let’s talk of the most potent and challenging gaits: the Terrible Sentiment Gait, or Raudra Gati.
What is Raudra Gati or Terrible Sentiment Gait?
Terrible Sentiment (Raudra) is dominant in beings like Daityas (demons), Rakshasas (fiends), and Nagas (serpent deities). It’s a complex interplay of physical presence, innate character, and terrifying circumstances.
Think beyond a simple “scared” expression.
We’re talking about a primal, visceral fear, or the raw, unbridled power that instills fear.
Also read Royal Gait and Erotic Sentiment Gait.
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वेपमानशरीरश्च शंकितः प्रस्खलन् मुहुः ।
रसे रौद्रे तु वक्ष्यामि दैत्यरक्षोगणान् प्रति ॥ ४८॥
vepamānaśarīraśca śaṃkitaḥ praskhalan muhuḥ |
rase raudre tu vakṣyāmi daityarakṣogaṇān prati || 48||
Meaning:
With a trembling body, filled with suspicion, stumbling repeatedly, such gait should be used in the Raudra Rasa (Terrible or Furious Sentiment) when portraying Daityas (demons) and Rakṣasas (ogres).
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Three Facets of Terror or Raudra
The Natyashastra categorizes the Terrible Sentiment into three distinct types. Each demands a unique approach to gait, allowing the dancer to precisely convey the specific nature of the terror.
Terrible in Make-up (Veshabhinaya / Āhārya Raudra)
Think of a creature born of nightmares. The Natyashastra paints this vivid picture: “a Rakshasa with his body dripping in blood, mouth moistened with it and having pieces of flesh in the hands.”
How to do:
- Body Language: The gait here is not about swiftness, but about a chilling, deliberate heaviness. Each step should convey the weight of their gruesome appearance.
- Torso: Maintain a slightly hunched posture, suggesting predatory intent.
- Hands: The Kapota hand (palms joined, hollowed as if holding something) can be adapted. Here, imagine it clutching something macabre. The movement should be slow, almost savouring.
- Facial Expression: Eyes are piercing, perhaps with a slight widening of the pupils. The mouth, though moist, should hint at a grim satisfaction.
- Footwork: Steps are measured and heavy. Imagine feet sinking slightly into the ground with each stride. This conveys a sense of unyielding power and a lack of urgency, as if nothing can stop them.
Example:
A powerful Rakshasa after a battle is slowly advancing with a severed limb in hand. Their steps are deliberate, almost dragging, leaving a trail of dread. The weight of their gore is palpable in their movement.
Explore Samyuta and Asamyuta Hastas
Terrible in Limbs (Angabhinaya or Āṅgika Raudra)
This category describes a being of immense, overwhelming physical presence. Say “a very tall Rakshasa with a prodigious physical frame, many heads, and many hands holding weapons of various kinds.” This is about sheer, intimidating scale.
How to do:
- Verticality: Emphasize height. Even if you’re not physically tall, use your entire body to project an imposing stature. Straighten the spine, lift the chest.
- Expansive Gestures: Arms should move with a wide sweep, suggesting the multiple limbs and weapons. The Pataka hand (flat palm, fingers extended) can be used broadly, as if wielding many instruments of destruction.
- Head Movement: The Vidhuta head (slow movement of the head from side to side) can be used here. It should not be in confusion, but in a slow, surveying manner, as if assessing its surroundings for new targets.
- Footwork: Steps are four Talas high (a Tala is a unit of measurement, suggesting significant height). This means lifting the feet high off the ground with each step. The steps are also three Talas wide, implying a broad, expansive stride. This gait is not stealthy; it’s designed to be seen and to dominate space.
रूक्षो निर्भर्त्सनपरो रौद्रः सोऽयं स्वभावजः ।
चतुस्तालान्तरोत्क्षिप्तैः पादैस्त्वन्तरपातितैः ॥ ५३॥
rūkṣo nirbhartsanaparo raudraḥ so’yaṃ svabhāvajaḥ |
catustālāntarotkṣiptaiḥ pādaistvantarapātitaiḥ || 53||
Meaning:
Harsh (rūkṣa), given to scolding or threatening (nirbhartsana-para), such is the innate (svabhāvaja) character of the Raudra type. His gait should be marked by forceful lifting (utkṣiptaiḥ) of the feet with abrupt falls (antarapātitaiḥ) in a four-beat rhythm (catuḥtāla-antara).
गतिरेवं प्रकर्तव्या तेषां ये चापि तद्विधाः ।
अहृद्या तु मही यत्र श्मशानरणकश्मला ॥ ५४॥
gatirevaṃ prakartavyā teṣāṃ ye cāpi tadvidhāḥ |
ahṛdyā tu mahī yatra śmaśānaraṇakaśmalā || 54||
Meaning:
This is the manner of movement (gatiḥ) appropriate for him and others of that type. The terrain (mahī) where such characters appear is unpleasant (ahṛdyā), terrifying. It is filled with cremation grounds (śmaśāna), forests (araṇa), and darkness (kaśmalā).
‘tāla’ here refers to a unit of measurement of time and not of space and that the time taken to lift up a leg is longer that it takes to put it down.
So, it would follow that in the situation of war, the gaits will be irregular and in viṣama gati. On the basis of this lakṣaṇa, Kohala and others suggest movements based on nartanaka, utphullaka for the raudra rasa. (Source: Kohala)
Example:
A tall demon is striding across the stage, each colossal step shaking the earth. Their multiple arms, laden with weapons, move in a slow, menacing arc, encompassing everything in their path. The sheer scale of their movement is terrifying.
Terrible by Nature (Svabhavika or Svabhāva Raudra)
This is about the inherent character that evokes terror. Natyashastra says “a person with red eyes, tawny hair, black complexion and rough voice, and a person who always scolds and who walks by raising the feet four Talas high, and takes steps three Talas wide.”
This is the embodiment of pure, unadulterated menace.
How to do:
- Intense Gaze: Wide open and moving eyes are crucial. The look should be awe-stricken (meaning inspiring awe or fear). And alternately turned to sides, constantly scanning, always vigilant, always ready to confront.
- Voice (if applicable): A rough, scolding tone is implied. Even in a silent dance, this quality should be felt in the dancer’s presence.
- Footwork: Same like the “Terrible in Limbs”. The gait involves lifting the feet four Talas high and taking steps three Talas wide. This emphasizes the character’s forceful and dominating nature. It’s a walk that demands attention and instills fear.
Example:
Think of a tyrannical king or a furious sage. Their eyes constantly dart, their body language exudes an aggressive dominance. Each high, wide step is a statement of power and an implicit threat.
Raudra for the Frightened and the Frightening
You now learnt how to create fear, now let’s understand how to show fear on stage. The Natyashastra gives specific guidance for those experiencing fear within the Terrible Sentiment, and those instilling it.
The Terrified State: For Women and Inferior Men
“In the Terrible Sentiment the experts should make the Gait of women, and men of inferior type who are lacking in spirits, suitable to their nature.” This applies when a character is genuinely frightened, not necessarily terrifying others.
How to do:
- Quick Short Steps: The gait is characterized by rapid, hesitant steps.
- Trembling Body: A visible tremor throughout the body, particularly the hands and limbs, is essential.
- Dry Lips and Faltering Gait: These details emphasize extreme anxiety and a loss of composure.
- Kapota Hand: The Kapota hand (hands joined at the wrist, palms hollowed) can be held close to the chest, conveying vulnerability or a plea.
- Vidhuta Head: A Vidhuta head can be used, but here it suggests confusion or panic, quickly darting from side to side.
- Scared Look: Eyes are wide, darting, constantly scanning for threats.
Example:
A woman startled by a monstrous sound. Her steps are frantic, her body shivers uncontrollably, and her eyes wide with unadulterated fear, searching for an escape.
Mimicking Fear and Threatening Others
“This movement should be resorted when a person is to mimic any one in fear. And the same rule will apply in frightening as well as in threatening persons.”
The Akshipta Chari
The Akshipta Chari (a specific leg movement involving throwing the foot forward and then drawing it back) is assigned to both people “when they have seen a strange animal or heard a strange sound.” This chari indicates a sudden shock, a recoiling from something startling.
The Edakakridita Chari
“Gait in the terrified state will consist of movement of feet in the Edakakridita Chari falling in quick succession sometimes close to and sometimes at a distance from each other, and the hands are to follow them.” This specific chari evokes the frantic, unpredictable movements of a startled animal.
Frequently Asked Questions
Raudra Gati primarily expresses intense emotions like anger and fear, adding depth and internal feeling to the narrative through powerful movement.
Raudra Gati stands out with its bold, strong expressions and wild energy, contrasting sharply with softer or sorrowful gaits.
Yes, contemporary artists can modernize Raudra Gati with fresh techniques and themes, keeping its traditional roots while connecting with today’s audiences.
Mastering Raudra Gati requires physical conditioning, movement control, clear hand gestures, and strong emotional expression. Practice with mirror work, improvisation, and teacher feedback is essential.
Avoid over-exaggeration, a lack of emotional connection to the character, and inconsistent body language. These can detract from the authenticity of the performance.
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Final Thoughts
The Natyashastra’s detailed instructions for the Terrible Sentiment Gait offer an incredible roadmap for dancers. It’s about internalizing the emotion and allowing it to manifest through precise, informed bodily expression.
From the terrifying presence of a Rakshasa to the trembling fear of a victim, each nuance is meticulously outlined.
With these authoritative teachings, we now have a deeper understanding of human emotion and its powerful portrayal on stage. So, go forth and explore the terrifying beauty of Raudra Gati! It will transform your performance.
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Also, we aim to bring forth the richness of this ancient text. We try to shed light on the profound wisdom it holds and its everlasting influence on various artistic traditions.
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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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