Development and Evolution of Gati

The works written by scholars who followed Bharata have given a variety of gaits based on nāṭya, nṛtta and nṛtya. The movements are based on moods, characterisation, space management, time factor, aesthetics and beauty. Abhinayadarpaṇa deals mainly with the animal gaits and some cārīs that are still seen in the regional styles of Bharatanāṭya. Gati elements dealt with by Devanācārya, author of Saṅgītamuktāvalī, has many important aspects to be noted. Excellent moves based on the length and breadth of the stage space known as nṛttagatis and rasagatis are explained. Jāyana’s is completely based on permutations and combinations of rhythm.

Thus the concept of gati has been dealt with in various centuries by different authors. The meaning of gati has taken various connotations during this period. Thus from the meaning of dramatized style of walking given by Bharata^[1] imitating the movement of animals and birds by Nandikeśvara,^[2] the movement of covering the stage space given by Devanacārya,^[3] etc. the term gati has got the meaning of rhythm and tempo based foot-work as given by Jāyana.^[4] Thus, it has to be noted that gati has a wide scope of understanding and choreographic value in a performance.