SAMPRADAYA Dance Creations’ repertoire includes interdisciplinary choreographic works, cross-cultural collaborations, young audience productions and education and outreach activities. Leading choreographers, musicians, composers, playwrights, dramaturges and lighting designers of Canada and India have collaborated in the creation of new works.
SAMPRADAYA Dance Creations’ maintains a strong presence in the Canadian dance scene through its national tours and festival participation. SAMPRADAYA Dance Creations has toured across Canada and internationally to India, the United States and Ireland.
Continually nurturing the passion for and excellence in dance, SAMPRADAYA Dance Creations works with its sister company – SAMPRADAYA Dance Academy to train and develop a new generation of accomplished and versatile dancers.
What is Bharatanatyam?
Bharatanatyam (pronounced BARA-ta-NAT-yam) is a classical dance form of India, celebrated for its sophistication, subtlety and stylization. Its origins developed over several centuries in the temples of South India, where it formed part of the daily ritual. Repertoires and modes of presentation have undergone changes over its long history, but its intimate association with Hindu religion and mythology has been preserved. It is one of the most highly refined and developed systems of dance.
Recognized for its dynamic rhythm and rich vocabulary of expressive gestures, its hallmarks are crisp geometrical movements, sculpture-esque poses and stylized expressions.
Bharatanatyam is characterized by its demi-plié-like stance, complexity of rhythmic footwork and delicate facial expression. Visually, it is a dynamic and precise style of dance with a distinct linear quality.
As an art form, bharatanatyam is multifaceted and calls for a poetry of movement where eloquence is achieved through a synthesis of:
Nritta is the decorative, abstract and non-representational dance that does not convey a particular meaning or mood.
Nritya is the expressional dance that interprets the lyrics of the chosen verse of poetry through the use of hand gestures and mimetic expression.
Its style lends itself to both solo and group choreography. In addition to a high degree of proficiency in technique, the dancer needs to have a substantial knowledge and appreciation of the thematic and philosophical content of India’s collection of myth and legend in order to express the various forms of poetic verse flagyl. The dancer also needs to be sensitive, abundantly creative and inspired by India’s mythology and legends.
This classical dance form is accompanied by the Carnatic, or South Indian, system of music.
Lata Pada’s choreography reflects the range of her creativity within traditional and non-traditional spheres of artistic expression, including intercultural dance collaborations with artists of diverse dance genres.