Estimated reading time: 7 minutes
Walking postures of women. “Grace in movement is a discipline embodied.”
In the Natyashastra, Bharata tells you how to speak with your body before a single word is uttered.
These “walking postures of women” are living expressions of emotion, intention, and narrative. From the angle of the toe to the lift of the hip, every detail matters.
Let’s learn Āyata, Avahittha, and Aśvakrānta. The three primary sthānas (standing postures) used in walking and speaking roles for women on stage. This is where dance, theatre, and sculpture meet.
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Why These Postures Matter
In natya, gait (gati) is the very soul of characterization. Audiences often perceive a character’s personality, mood, and social standing within seconds of seeing how they stand or move.
Think of these postures as emotional signatures. Once you master them, your “walk” narrates the character without words.
For deeper study, you can explore:
- Gati (Gait): Unique Lessons From Natyashastra
- Erotic Sentiment Gait: Sṛṅgāra Gati In Natyashastra
- Terrible Sentiment Gait: Raudra Gati In Natyashastra
Āyata Sthāna | The Extended Grace
स्त्रीणां स्थानानि कार्याणि गतिष्वाभरणेषु च ।
आयतं चावहित्थं च अश्वक्रान्तमथापि च ॥ १६०॥
strīṇāṃ sthānāni kāryāṇi gatiṣvābharaṇeṣu ca |
āyataṃ cāvahitthaṃ ca aśvakrāntamathāpi ca || 160||
Meaning:
For women characters, their stances (sthāna), gaits (gati), and ornamentation (ābharaṇa) must be executed appropriately. Among their postures and walks, the Āyata, Āvahitta, and Aśvakrānta styles should be included.
In Āyata, the right foot is Sama (straight, forward-facing). The left foot is Tryaśra (angled obliquely). The left foot is slightly raised.
Visual cue: Imagine a calm yet attentive stance, weight subtly shifted.
Uses in performance:
- Invocation sequences
- Formal greetings and dismissals
- Observing the stage or another character
- Internal thinking moments
- Expressing restrained jealousy
- Flower-scattering rituals
- Pride, dignity, and silent assertion (māna)
- Gazing towards a distant point or the horizon
How to execute:
- Stand tall, shoulders relaxed.
- Place the right foot forward in a straight line.
- Turn the left foot slightly outward and lift the heel delicately.
- Keep the torso elongated, chin level.
- Let the raised foot signal readiness to move, to react, or to speak.
Tip: This posture is ideal for alapana moments, when you need stillness but can’t let the energy drop. The audience must sense your presence even in pause.
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Avahittha Sthāna | The Natural Ease
वामः समुन्नतकटिश्चायते स्थानके भवेत् ।
आवाहने विसर्गे च तथा निर्वर्णनेषु च ॥ १६४॥
vāmaḥ samunnatakaṭiścāyate sthānake bhavet |
āvāhane visarge ca tathā nirvarṇaneṣu ca || 164||
Meaning:
In this sthānaka (standing posture), the left foot (vāmaḥ) is placed forward. The torso or waist (kaṭi) is slightly elevated or raised (samuṇnata), giving an impression of poise and grace.
Here, the left foot is Sama. The right foot is Tryaśra. The left waist is slightly lifted.
Visual cue: An elegant conversational stance, with a gentle curve at the waist.
Uses in performance:
- Engaging in dialogue
- Expressing determination or satisfaction
- Romantic anticipation
- Playfulness and grace
- The Sringara rasa in all its shades
- Looking toward someone arriving or leaving
How to execute:
- Keep your left foot firmly grounded, straight.
- Shift your right foot slightly outward.
- Lift your left hip subtly, this adds the visual softness.
- Let the upper body mirror the mood with a faint smile, a lifted brow, a tilted head.
Tip: Don’t overdo the hip lift. In classical staging, exaggeration can break the illusion. Keep it believable, like an unconscious shift in weight.
Explore Samyuta and Asamyuta Hastas
Aśvakrānta Sthāna | The Mounted Readiness
One foot is raised. The other rests on its fore-part (ball of the foot). This is the ready stance for Sūcī cārī or Āviddhā cārī movements.
Visual cue: Poised for action, yet grounded.
Uses in performance:
- Reaching for a branch or plucking flowers
- Leisure moments for characters of lower social rank
- Pausing mid-task
- Transitioning between stillness and movement
How to execute:
- Place your supporting foot lightly on its ball.
- Lift the other foot with a natural bend at the knee.
- Keep the core engaged. This is a stable yet dynamic stance.
- Let the arms follow the intended action like reaching, holding, gathering.
Tip: In group choreography, this posture works beautifully as a link between action sequences and still tableau.
Performance Integration
These postures are not static museum poses. In natya, the sthāna ends the moment a cārī (leg movement) begins. Use them to enter, to exit, to engage.
Train by:
- Practicing each posture in front of a mirror
- Holding them for a full breath cycle
- Transitioning smoothly into the corresponding cārī
The audience must see the character breathing. Work towards this goal.
Frequently Asked Questions
Āyata, Avahittha, and Aśvakrānta are the three primary postures described.
Āyata Sthāna is used for invocation, observation, and prideful stillness.
Avahittha Sthāna is ideal for expressing sṛṅgāra rasa and playful elegance.
One foot is raised while the other rests on its fore-part, ready for action.
They are transitional stillness points, ending when a cārī (leg movement) begins.
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Conclusion
In Natya Shastra, these walking postures are part of a larger vocabulary of movement. They are as much about storytelling as they are about aesthetic balance.
Dance is detail. Theatre is detail. When Bharata tells you which foot to angle and which hip to lift, it’s not pedantry. It’s the difference between looking like a performer and becoming the role.
Master these postures and your stillness will speak as loudly as your steps.
For further reading, explore:
- Walk Like a King: Royal Gait in Natyashastra
- Bibhatsa Gati – The Odious Gait in Natyashastra (How-to)
- Heroic Sentiment Gait (Veera Gati): A Hero’s Walk
- Marvel and Mirth: Adbhuta and Hasya Gaits in Natyashastra
- Pathetic Sentiment Gait (Karuna Gati) in Indian Classical Dance
- Gaits of Professions in Natyashastra
- Gaits of Animals: Learn Their Extraordinary Movements
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