Delicate Mudras and Powerful Abhinaya by Kritika Subramanian -Atlanta Dunia -

Delicate Mudras and Powerful Abhinaya by Kritika Subramanian

Disciple of Smt. Preeti Vinayak Shah (Atlanta) excels at Arangetram

The imaginatively conceived repertoire combined with an immaculate and masterly presentation made the arangetram by Kritika Subramanian a refreshingly different performance. The ambience provided by the Paces Academy Fine Arts with extraordinary electrical fittings, media and acoustics further added grandeur to the event. The Arangetram began with a simple floral offering to the imposing Nataraj idol that occupied the corner of the stage.

Kritika Subramanian, a student of The Narasimha Academy of Arts in Atlanta, has received training for the past ten years under Smt. Preeti Vinayak Shah, Artistic Director of the Academy. Kritika was groomed after the Kalakshetra style with special emphasis on Angashudham and Taalashudham. One could easily visualize that Kritika Subramanian was rigorously trained in abhinaya and mudras by her Guru.

On June 7th 2008, a confident shishya ascended the stage and the supporting artists on stage were Atlanta veterans -Smt. Lakshmi Prabhakar on vocal, Sri. Subra Viswanathan on mridangam, Smt. Jassotha Balaburamaniam on violin and Guru. Preeti Vinayak Shah rendering the Nattuvangam.

The invocatory item was the popular Purandara Dasa kriti, “Gajavadana Beduve.” to which was harmoniously wedded 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. This item created a pensive mood that to make the atmosphere conducive for the varnam that followed. Thodi Varnam, “Roopamu Joochi,” was set to crisp and accurate nattuvangam by Preeti Vinayak Shah. All four jatis were executed by Guru, Shishya and the percussionist with flawless perfection of rhythm, thalam and originality. Kritika’s abhinaya skills were tested during this piece and she delivered with intense emotion and subtle body language.

The chief guest, Hon Fran Miller said, “I have never witnessed anything like this before and I am enamored at the effort that Kritika has put forth.” His remarks truly echoed the sentiments of all those present to witness the performance.

The Arangetram continued with “Nada tanumani sem” choreographed by Preeti Vinayak Shah. This item was an instant hit with Kritika’s precise footwork and chiseled poses. The second Padam was the soul-stirring “Krishna Nee Begane.” Kritika, with her mature abhinaya, made the conversation between mother and child a heart-rending experience.

The Thillana, a composition by Sri. M .V Narasimhachari, was intricately woven with unexpected modulations in the tempo. The essence of dance was conveyed through the shloka “Yatho Hastha Thatho Drishti,” in Ragam Hindolam. mangalam in Madhyamavati The program concluded with mangalam on Sri Rajarajeshwari set in madhyamavati ragam .

Sri. Subra Viswanathan excelled on the mridangam as he accompanied Preeti Vinayak Shah on the complex jati sequences. With deft footwork and expressive abhinaya, Kritika Subramanian has all the skills to evolve as an accomplished dancer in times ahead.