The classical term for a composition's entry point relative to sam. Sama graha begins on the beat, anagat begins before it and carries across, atit begins after it and catches up. The concept comes from Sanskrit tala theory and survives most visibly in how mukhdas and gats are placed.
Entry placement changes the whole character of a piece: an anagat entry creates suspense that resolves at the landing, while atit gives a sprung, chasing quality. Kathak repertoire in particular exploits all three.