Dr. Deepti Bansal

Dr. Deepti Bansal is a talented Hindustani Classical Vocalist who specializes in the rare art of Thumri singing. She is a well trained artiste in classical, semi-classical and devotional forms of Indian Music. She has traditional knowledge of various forms of music like Khayal, Thumri, Dadra, Kajri, Chaiti, Hori and Bhajans. Deepti has imbibed the intricacies of Thumri Gayaki of Banaras Gharana and specializes in its presentation. Gifted with a melodious voice, her singing has a charismatic appeal. Her bhajans are marked with deep devotional fervour. The traditional lineage of learning from a teacher or guru has been the hallmark of Indian Classical Music, Dr. Deepti Bansal has received comprehensive training in Classical Music from the following Gurus. Vidushi Savita Devi (exponent of Banaras Gharana Poorab Ang Thumri). Dr. Prem Prakash Johri (exponent of Kirana Gharana Khyal). Dr. Sunita Saxena (Vocalist of Classical & Semi-Classical Music).

Dr. Deepti is presently working as an Associate Professor in Music Department (Vocal), Daulat Ram College, University of Delhi, Delhi. She is dedicated to her profession and connects well with her students. Besides teaching, she has contributed generously to the academic and extra-curricular activities of the college.

AWARDS & RECOGNITIONS

She is a recipient of honours for her contribution in the field of music by Personality Development Centre, Meerut (1999), Sanskrit Samaradhak Samman by Delhi Sanskrit Academy (2008, 2015, 2016), Manav Sewa Sansthan Samman by Manav Seva Sansthan Meerut, Matri Shakti Samman by UP Sangeet Natak Academy, Lucknow (March 2021), Bharat Sanchar Samman 2020 by ALTTC, UNO’s International Telecom Union Centre of Excellence for Asia Pacific Countries for Advanced Technologies, Bharat Sanchar Nigam Ltd., Govt. of India (March, 2021), Pt. Ghanarang Prakash Samman 2020-21 for outstanding performance and dedication in the field of music awarded by Dumraon Gharana Dhrupad Tradition, Delhi and Baba Allauddin Khan Smriti Samman, Delhi, Shikshak Samman by Sanskritik Prakoshtha, Delhi (Sept. 2024).

A graded artiste of All India Radio and Doordarshan, Deepti has established herself as a distinguished name in the field of Indian classical and devotional music through decades of consistent performances across prestigious cultural platforms in India.

Over the years, she has presented acclaimed vocal recitals at some of the country’s noted music festivals, cultural institutions, and commemorative gatherings. Her early performances included the Shashti Poorti Samaroh of Dr. Prem Prakash Johri organized by Jhankar, Meerut in 1993, followed by the renowned Baiju Bawra Sangeet Sammelan in Mathura in 1994 and Kal Ke Kalakaar Sangeet Sammelan in Mumbai in 1996.

Her growing presence in the Indian classical music circuit continued through performances at Bhatkhande Jayantiorganized by Sangeet Sankalp, Pratapgarh (1997), Vishnu Digamber Jayanti Samaroh Ghaziabad (1998), and prestigious venues such as India Habitat Centre and India International Centre during the late 1990s and early 2000s.

Deepti has remained closely associated with organizations promoting Indian classical music and cultural heritage, regularly performing at programmes organized by Sangeet Sankalp, Jeevantini, Sahitya Kala Parishad, Swar Jyoti Association, and Siddheshwari Devi Academy of Indian Music. Her repertoire has included classical vocal recitals, thumri presentations, bhajan evenings, and thematic musical celebrations dedicated to festivals and spiritual traditions.

Among her notable appearances are Vasant Parv organized by Sahitya Kala Parishad (2009), Thumri Utsav by Sangeet Sankalp (2009), performances at Epicentre Gurgaon (2011), Sabras organized by Siddheshwari Devi Academy of Indian Music, Kabeer Sandhya at India International Centre (2014), and Pt. Chandra Shekhar Pant Jayanti Samaroh in Haldwani (2016).

In recent years, she has continued to remain active through major cultural presentations including Gandhi Vandan at Kamla Nehru College Delhi (2018), Ras Varsha at Gandharva Sangeet Mahavidyalaya Ghaziabad (2019), and several devotional and seasonal music festivals organized by Jeevantini between 2023 and 2025. Her recent performances include the IIC Double Bill Music & Dance Recital Programme in Delhi (March 2024), Rasa Banaras at India Habitat Centre (November 2024), Rasanubhuti at India International Centre (May 2025), and Rang Shringar organized at Shastriya Kala Kendra, Meerut in February 2026.

Apart from stage performances, Deepti also remained actively engaged with audiences during the digital era through numerous Facebook Live concerts and online music festivals. These included presentations for Jaipur Sangeet Mahavidyalaya, Delhi Sangeet Sankalp, Sanskar Bharti Gurugram, Baba Allauddin Khan Music Foundation, Nadabha Varanasi, and the Malhar Festival organized by the Dumraon Gharana, among others between 2020 and 2021.

Through her sustained contribution to Hindustani classical and devotional music, Deepti continues to be recognized for preserving and promoting India’s rich musical traditions across both traditional and contemporary performance platforms. One of the most distinctive aspects of Deepti’s musical journey is her ability to compose and render Sanskrit poetry with remarkable fluency and artistic depth. Blending classical music with the rich literary and spiritual heritage of Sanskrit, she has carved a unique space for herself in the field of devotional and classical vocal performance.

Since 2001, she has been a regular performer at the prestigious Vyas-Samaroh, an All India Conference of Sanskrit organized at Chaudhary Charan Singh University. Her continued association with this scholarly and cultural platform reflects her deep engagement with Sanskrit literature and traditional Indian knowledge systems.

Over the years, Deepti has earned wide appreciation for setting classical Sanskrit compositions to various ragas and presenting them with both musical sophistication and devotional sensitivity. Her repertoire includes the lyrical Ashtapadisof Jayadeva, compositions of Adi Shankaracharya, verses from the Puranas, selections from the Bhagavad Gita, Vedic hymns, and stutis dedicated to various Hindu deities. Her ability to merge the intricacy of Sanskrit pronunciation with the emotive depth of Hindustani classical music has been particularly appreciated by scholars, musicians, and audiences alike.

Through these presentations, she continues to contribute towards preserving and popularizing Sanskrit-based musical traditions in contemporary cultural spaces.

Deepti has also shared a significant musical association with her Guru, renowned thumri exponent Savita Devi, providing vocal support in several prestigious national and international performances over the years. Her close accompaniment to the veteran artiste reflects both her deep grounding in the Banaras tradition and the trust placed in her musical sensitivity and performance discipline.

She accompanied Vidushi Savita Devi in the National Programme of Music broadcast by All India Radio in November 2005, followed by several notable performances under the banner of SPIC MACAY and at the celebrated Harballabh Sangeet Sammelan in Jalandhar in 2007.

Her contributions extended to major cultural and classical music platforms including a Holi special programme on Doordarshan (2008), performances at Bharatiya Vidya Bhavan (2010), and a thumri presentation organized by Kathak Kendra in 2010.

She further accompanied her Guru during Vishwa Dharohar Diwas in Bhopal (2011), Varsha Mangal at India International Centre (2011), and the prestigious Tansen Samaroh. Deepti also assisted Savita Devi in a workshop on Thumri conducted at India Habitat Centre, reflecting her active involvement in the transmission and preservation of traditional semi-classical forms.

Her performances with Savita Devi continued through programmes such as the Thumri Festival organized by Indian Council for Cultural Relations in 2012, Kajri Jhoola Gayan Mahotsava at Bharat Bhawan, Bhopal (2013), Sangeet-Bihaan organized by Bihar Sangeet Natak Academy (2013), and the Late Pt. Kishan Maharaj Smriti Sangeet Samaroh in Patna.

She also contributed to a special programme on Thumri for DD Bharti, participated in the Begum Akhtar Centenary Celebrations organized by Sangeet Natak Akademi in 2015, and performed during Paryatan Parva at Rajpath, Delhi in 2017.

Through these collaborations, Deepti has played an important role in supporting and carrying forward the rich legacy of Purab Ang thumri and Hindustani semi-classical traditions under the guidance of her Guru Vidushi Savita Devi.

As a Teacher-In-Charge of the Music Department at Daulat Ram College, how do you balance preserving the depth of Hindustani Classical traditions while adapting to the evolving interests of today’s students?

Since the day I joined this institution as a teacher, this college has been like a ‘karmabhoomi’ of my professional duties. As a Teacher-In-Charge of Music Department, except for taking music classes, the rest of the departmental work is more administrative in nature (e.g. admission, timetable, working in various Committees etc.) that requires managing and organizing skills. The task is quite in contrast with the creativity and depth of Classical Music Tradition. I feel a teacher has to play two roles together- one as mentoring students and executing departmental work while second as working for one’s self-enhancement and growth. Balancing them together is not difficult if one is true to both. Ever since my childhood, I have grown up with music as a part of my life, received traditional education of classical music through my Gurus, pursued it to college, passed out and secured a teaching job. All through this journey, my Sangeet-Sadhana continued as I carried forward the tradition of Poorab Ang Thumri of my Guru Vidushi Savita Devi of Banaras Gharana. On the contrary, teaching in a college requires following a structured system of University curriculum and examination and mentoring the students accordingly. Each year new students take admission having varied interests and possibilities. Sometimes they have no idea about what classical music and ragas are about. For them music is just limited to Bollywood songs, ghazals and guitar. I orient them towards Hindustani Classical Music and have to make them understand that it is the foundation of all kinds of music. Sometimes the interest is created in them by teaching them drut compositions of khayal in the raga of curriculum and relating it to the song based on that particular raga. Acceptance is the first step towards success. Once they accept the fact about classical music, they move forward easily with the subject. If they get deeply involved in the subject, they pursue it further to make their future in the same. Over the years I have also evolved myself to cater to their interests. Opportunities are also given to them to perform the lighter forms of music in competitions etc.

Having been part of the institution since 1980 s, how have you seen music education transform in Delhi University, particularly in terms of pedagogy and students’ engagement?

Transformation is an ongoing process. Yes, there have been changes in the curriculum, pattern of examinations from time to time. Earlier, traditional ways of teaching music were more prominent. This included lecture style classroom teaching and focusing on practical performance. Repetitive practice and positive reinforcement is essential in teaching of performing arts. The need and demand of time brings about changes and every change has its pros and cons. With a change in education policy, new patterns have emerged. Due to a multidisciplinary approach, Skill Enhancement courses, Value Addition courses and Generic Elective courses have been introduced. As a result, a music student now also gets an opportunity to study other subjects of his choice along with music. Although, I feel it shifts the focus of a student from mastering one subject to many. Being performance based, music requires greater devotion and more time to master it. Yet, the need of the time is to offer choices to a student in order to open a number of fields before him. Some students are happy with these opportunities while others are confused. There is an emphasis on component of research which is good for promoting critical thinking. Performance is being combined with scholarly growth too. Active student engagement is being encouraged through assignments, project work etc. I think the shift is from hand holding to a more individualistic and responsible approach. Rest, the future shall unfold.

The department offers exposures to classical, semi classical and folk-forms – how important is this diversity in shaping a well- rounded musician in the contemporary cultural landscape?

Each stream of music, be it classical, semi-classical or folk has a wide variety of singing forms like Dhrupad, Khayal, Thumri, Dadra, Kajri, Chaiti, Hori, Regional Folk songs, Bhajans etc. This gives an opportunity to a student to choose the form of his interest and excel in it to become a performing artiste. Moreover, knowledge of all varieties makes him versatile. Cultural landscape of music is very vast. Music is a part of many cultural rituals like birthdays, weddings, religious functions etc. besides being an art to be performed on stage. This provides a scope to the student to earn his living through music. University of Delhi offers vocal and instrumental in both Hindustani and Carnatic music which gives a flexibility to the student to learn more than one style or instrument e.g. if a student of vocal music also learns to play harmonium through Skill Enhancement course, it would help him to play the instrument while singing. Knowledge of tabla is an asset to having a command over his laya or rhythm. In depth knowledge in more than one field of music, helps in making an all- rounded musician. Such musicians can be more in demand in the professional field.

Through initiatives like music associations, workshops and lecture-demonstrations, what role do extra-curricular platforms play in nurturing performance confidence and artistic identity among students?

Self-expression is very important for all students and one needs platforms like these to express oneself, grow and excel in music. Like a tree needs space to spread its roots to make a strong standing for itself, a student needs such platforms to make a strong base for himself to grow. Learning is a good experience but expressing the outcome of that learning is of utmost importance. I always encourage my students to participate. Participating in competitions, programs, workshops and lecture-demonstrations organized by associations opens the mind of students and gives them an opportunity to realize their potential and self-worth. It also shows them as to where they stand, guides them about the path to be followed and boosts their self- confidence. Appreciation, encouragement, motivation is all that they need to spread their wings to fly. Positive feedback nurtures them. Our role is to act as a facilitator for them. Mere practicing at a practice ground does not make anyone a cricketer. In order to become a real player, one has to get down to the field to exhibit his talent. Being knowledgeable is not enough, one has to participate in life in order to succeed. I have seen many students growing into an artiste and doing well in their lives as their performance confidence was nurtured through these platforms.

As someone deeply involved in both academics & institutional responsibilities, what advice would you give to young women aspiring to build a career in music whether as performers, scholars or educators and that in an AI generated tech world?

First of all, ‘Believe in yourself’. Set clear goals and then aspire to achieve heights in that area. Everything requires commitment, discipline and regularity. Put your heart and soul into whatever you choose and tread the path of your choice. Life has its ups and downs for all. One needs to learn from one’s experiences and keep moving irrespective of success and failures. As far as AI is concerned, it has been created by humans only. AI can empower artistes to cross traditional barriers but it is in no way a replacement of human being. With any progress or growth, change is inevitable in social & cultural scenario of the country. All one needs to do is to just change one’s mindset in order to resonate along with the existing current. AI is there to facilitate and support us with a new technology. But the main power lies within us. A couplet by the famous Urdu poet Bashir Badra ji has always inspired me -

“Hum bhi dariya hain hamein apna hunar maloom hai,

Jis taraf bhi chal padenge, raasta ho jaayega.”