NRI PULSE NEWS DESK
From the premises,
décor, repertoire and presentation, nothing about this
Arangetram was the usual. The Paces Academy Fine Arts
boasted of the best lights, media and acoustics. The
Arangetram of Kritika Subramanian began with a simple
offering of flowers to the majestic Nataraj that was set at
the corner of the stage.
Kritika Subramanian, a student of The Narasimha Academy of
Arts in Atlanta, has been in training for the past ten
years. Under the tutelage and guidance of Preeti Vinayak
Shah, Artistic Director of the Academy, Kritika was groomed
in the Kalakshetra style with emphasis on Angashudham and
Taalashudham. She also trained intensely in abhinaya before
the Arangetram under her Guru.
On June 7th 2008, a confident shishya ascended the stage.
The artists on stage were Atlanta veterans -Smt. Lakshmi
Prabhakar on vocals, Mridangam by Sri. Subra Viswanathan,
Violin by Smt. Jassotha Balaburamaniam and Nattuvangam by
Guru. Preeti Vinayak Shah. The invocatory item was to the
popular Purandara Dasa kriti, “Gajavadana Beduve.” Entwined
into this item was a Ganapathy Korvai. A traditional
Jatiswaram in Ragam Vasantha followed.
Shabdam caught the audience by surprise with the chosen
deity being Ayyapa. This item has been composed by Preeti’s
guru Sri. M. V. Narasimhachari. From birth to Sabari, the
item created a meditative mood that served well for the
varnam that followed. Thodi Varnam, “Roopamu Joochi,” had
crisp and accurate nattuvangam by Preeti Vinayak Shah. All
four jatis were executed by Guru, Shishya and Mrudangist
with perfection of rhythm, thalam and originality. Kritika’s
abhinaya skills were tested during this piece and she
delivered with intense feelings and subtle body language.
After the varnam, chief guest, Hon Fran Miller, was invited
on stage. He said, “I have never witnessed anything like
this before and I am enamored at the effort that Kritika has
The Arangetram continued with “Nada tanumani sem” with
choreography by Preeti Vinayak Shah. This item was an
instant hit with Kritika’s precise footwork and chiseled
poses. The second Padam was the every green gem“Krishna Nee
Begane.” Kritika moved the audience to tears with her mature
abhinaya and made the item into a conversation between
mother and child.
The Thillana, another unique composition by Sri. M .V
Narasimhachari, was intricate with unexpected rises and dips
in the tempo. The essence of dance was conveyed through the
shloka “Yatho Hastha Thatho Drishti,” in Ragam Hindolam.
Mangalam in Madhyamavati on Sri Rajarajeshwari concluded the
Smt. Lakshmi Prabhakar’s Thodi was appreciated as was the
support given by Smt. Jassotha Balasubramaniam on the
violin. Sri. Subra Viswanathan glittered on the mridangam as
he accompanied Preeti Vinayak Shah on the complex jati
With thrilling footwork and moving abhinaya, Kritika
Subramanian has entered the performing arena with confidence