Nandini Singh
- Dr. Pranaame Bhagawati
- 15 hours ago
- 8 min read
Born on 7th June 1952, Nimmi was initiated into the magic world of dance by her mother Late Janaki Devi, who herself was a singer of some repute. Nandini was fortunate enough to be sculpted by great Guru’s of kathak, Guru Hiralal, Guru Ganeshi Hiralal and Pt. Sunder Prasad. These kathak maestros helped her in getting the finest nuances in this dance form. At Smt. Niana Devi’s Raag Rang conference, where Ustd. Bade Ghulam Ali Khan, Ustd. Hafiz Ali Khan, Badi Moti Bai performed, Nandini, with her debut performance delighted the audience. Her whirlwind brhamaris, sharp and neat tihaees, difficult chakradhars and other episodes prevalent commonly in Kathak form, were far beyond expectations from a teenager. By fifteen she was already an accomplished dancer. In late 60’s itself, she had carved a niche for herself in kathak, blossoming into one of the finest new generation kathak dancers as Nandini. Further, in her pursuit for perfection, she got associated with Pt. Devi Lal, and Pt.Durga Lal, who brought along added enhancements in her dance. Over the years, Nandini featured in innumreable recitals in and outside India.
Then came a major gap for over two decades in Nandini’s dance life, at the top of her quest for perfection and glory, On 21st November 1971 she got married to Wg.Cdr L Gopinath Singh an Air Force Officer, where she flew off, to experience the sense and sensibilities of a marriage and of becoming a simple house wife. She gave up dancing just after her marriage. Nandini came back in to this field again in 1986 almost after a gap of 16 years now as Nandini Singh. Nandini combines her presentations a fine balance of Nritta, Abhinaya and Lyrical Beauty. She has also to her credits several choreographic works.
She has rendered her performances in all prestigious festivals throughout India and abroad, in Russia, Turkmenistan, Kyrgyzstan, USA, UK Germany, Caribbean Islands, West Indies, Afghanistan, Mauritius, Sri Lanka etc. Nandini, in her effort to awaken our younger generation to the sensibilities and aesthetics of dance, conducts regular classes, lecture demonstrations and concerts organised all over India by Spic – Macay, and Bal bhwan organisations. She has also formulated a charitable organisation in 1996 named “Vaasuki Natyashala”. In addition to being an excellent dancer with beauty and charming personality, she has proven herself to be an excellent teacher and acquired formidable reputation by being a Senior Guru at Sri Ram Bhartiya Kala Kendra, New Delhi for more than two decades . In the past she has been invited as a visiting lecturer, by Sangeet Natak Akadmi, for taking theory lessons for senior students at Kathak Kendra, New Delhi. Until recently she has been teaching the nuances of kathak at Kathak Kendra , New Delhi as a "Varistha Guru".
Apart from giving her regular performances, lectures demonstrations etc. Nandini is also involved in promoting her trivial effort, of churning the waters of Kathak teaching, through her dance institute ‘Vaasuki Natyashala’, which has been accredited by Kathak Kendra as their west zone training centre in Delhi.
Among her students are young dancers like, Poornima Roy, Leena Malakar, Shefali Goel, Salila Panda, Partho Das to name a few, who are already gaining appreciations and reviews for their work and performances nationwide. Sur Singar Samsad has conferred Poornima and Leena with Singar mani’s. Critics have praised Poornima Roy by saying they were struck by the Gem of Jaipur Gharana in her recitals and she is surely a feather in her teachers cap. Leena Malakar, another senior disciple of Guru Nandini Singh, has been praised by critics for executing the technicalities of her dance with effervescent ebullience.
AWARDS AND ACCOLADES:
Chirag-e-Nau
Rajasthan Rang Manch award
Abhivyakti Kala Sangam award
Outstanding Woman of the year award by Indian Air Force etc.
Raja ram Mohan Roy foundation award for the Best Teacher in 1998,
Pt Durga Lal Samman 2013
Senior Fellowship from the Government of India, for her research on Parans in Kathak.
Once a senior practitioner is gone, an entire universe of knowledge can disappear with them if it has not been properly documented.
YOU HAVE BEEN THE SHINING STAR OF KATHAK IN YOUR TIME AND HAVE ALSO SUCCESSFULLY TRAINED STUDENTS IN THIS ERA. WHAT SIMILARITIES AND DIFFERENCES HAVE YOU ENCOUNTERED IN THIS PROCESS?
The essence of Kathak has remained unchanged across generations - the discipline of riyaz, the surrender to rhythm, the joy is storytelling and the sanctity of tyhe Guru - Sishya Parampara. Whether in my time or today, no student can truly grow without patience, sincerity and devotion to the art. In that sense, the inner journey of a dancer remains the same. My students today carry the same spark I once carried: a desire to understand the soul of Kathak, not just its outward form. What has changed is the world around us. When I was learning, the process was slower, more immersive and deeply rooted in living with the art. We absorbed by observing, repeating and surrendering ourselves completely to the Guru’s guidance. Today’s students are extremely bright and quick in learning. and they have access to technology, recordings and global platforms that offer tremendous exposure. But this fast - paced world also brings distractions and a certain restlessness. The challenge now is to help young dancers cultivate depth, stability and inner stillness in an age that moves very quickly. At the same time, I feel grateful to have witnessed both eras. Seeing the patience of earlier generations and the sharpness of today’s youth has taught me how to preserve the purity of tradition while understanding the evolving needs of younger dancers. It has strenghthened my belief that while times may change, the heart of Kathak - and the values that sustain it - remain timeless.
YOUR DECADES OF DEDICATED SERVICE TO KATHAK AND THE JAIPUR GHARANA HAVE SHAPED COUNTLESS DISCIPLES, YET THE SANGEET NATAK AKADEMI AWARD HAS ELUDED YOU SO FAR. DO YOU FEEL THAT INSTITUTIONAL RECOGNITION SOMETIMES DEPENDS ON FACTORS BEYOND PURE ARTISTIC MERIT?
My journey has always been guided more by love for Kathak than by the desire for recognition. For an artiste, the deepest fulfillment comes from remaining connected to the art and watching it continue through one’s students. Awards are gratifying, but they are not the true measure of an artiste’s worth. Our classical traditions have survived not because of institutions, but because of devotion, lineage and the blessings of our Gurus. It is also true that institutional recognition can sometimes depend on factors beyond pure artistic merit - timing, visibility, documentation and many circumstances outside an artiste’s control. This is a reality one learns to accept with maturity. But I have never allowed these things to influence my relationship with Kathak or with the Jaipur Gharana. My focus has always been on preserving the integrity of the tradition and giving my best to every students who comes with sincerity. Over the years, I have received forms of appreciation that mean far more to me than any award. I still remember an audience member once telling me, “More than you love Kathak, Nandini - which is clearly seen in your performances - Kathak loves you even more”. Such words stay with an artiste forever. This kind of heartfelt recognition is far more motivating than institutional applause, because it comes directly from the Rasika’s heart. I deeply believe that honest work never goes to waste. Recognition may come early, late or in unexpected forms, but the value of sincere Sadhana remains untouched. For me, the greatest honour has been the respect of Rasikas, the love of my disciples and the knowledge that I have upheld the dignity of my Guru and my Gharana. Institutions may or may not acknowledge one’s journey, but the art itself always rewards sincerity.
It is also true that institutional recognition can sometimes depend on factors beyond pure artistic merit - timing, visibility, documentation and many circumstances outside an artiste’s control.
AS A LIVING ARCHIVE OF THE ANCIENT BANDISHES OF THE JAIPUR GHARANA, DO YOU FEEL THAT THE CONCERNED MINISTRY HAS TAKEN ADEQUATE STEPS TO PRESERVE AND DOCUMENT YOUR REPERTOIRE AS PART OF OUR NATIONAL CULTURAL HERITAGE?
This is a subject very close to my heart. The Jaipur Gharana holds a priceless treasure of ancient banishes, bols, parans and compositions that have been passed down orally through generations. I consider myself fortunate to have received many of these directly from my Gurus. A great deal of Kathak knowledge has survived through memory, practice and the Guru - Sishya tradition. That is beautiful and deeply sacred - but it is also fragile. Once a senior practitioner is gone, an entire universe of knowledge can disappear with them if it has not been properly documented. Some efforts have certainly been made by institutions and cultural bodies and those initiatives are valuable. However, I feel that much more needs to be done - systematically, sensitively and with urgency. We need structured, long -term preservation through high - quality video recordings, annotated notations, interviews with senior Gurus and proper archival work. This is not only about saving compositions as items of repertoire; it is also about preserving a whole way of thinking, teaching andunderstanding the art. I sincerely hope stronger steps are taken so that future generations can inherit this heritage in its full richness.
YOUR COMPOSITIONS EMBODY PRECISION, CLARITY AND RIGOROUS DISCIPLINE. WHICH ASPECTS OF YOUR TRAINING, GURUS AND THE JAIPUR TRADITION HAVE MOST PROFOUNDLY SHAPED YOUR CHOREOGRAPHIC APPROACH?
My choreographic sensibilities are deeply rooted in the training and blessings I received from my Gurus, each of whom shaped my understanding of Kathak in a unique way. From Guru Hiralal ji, I learned clarity and discipline; from Guru Ganesh Hiralal ji, the elegance of ang and the importance of aesthetics; from Pandit Sunder Prasad ji, the strength and mathematical beauty of Jaipur layakari. Pt. Durga Lal ji holds a very special place in my journey. Though he was also my peer and fellow colleague and we were debutants together, in those days we created a great excitement in the Kathak world. Later, after my sanyas from the dance world, when I returned and stood once again on the world stage, I give him immense credit for that comeback. His effort, encouragement and faith in me helped me reclaim that space. For me, he was not only a brilliant artiste but also a dear friend, mentor and Guru. Their guidance taught me that in Kathak, every movement must have meaning and every composition must have integrity. I learned to value clarity of Bol, purity of ang, command over laya and disciplined presentation. The Jaipur Gharana, in particular, shaped my understanding of rhythmic depth, powerful footwork and the architecture of composition. It taught me to respect the grammar of the form and never treat choreography as mere arrangement of decoration. For me, choreography is an extension of one’s inner rhythm. Precision, proportion and respect of tradition guide every composition I create. Even when I explore something new, I try to remain rooted in the parampara, because I believe true creativity grows naturally from tradition, not away from it.
ALONGSIDE BEING AN ACCOMPLISHED DANCE GURU AND PROFESSIONAL, YOU HAVE ALSO FULFILLED THE ROLE OF A DEDICATED HOMEMAKER. DID BALANCING THESE RESPONSIBILITES EVER POSE CHALLENGES OR DELAYS IN YOUR CREATIVE AND ARTISTIC JOURNEY?
Yes, balancing home and dance has been one of the most demanding and at the same time, most fulfilling aspects of my life. Like many women artistes of my generation, I had to manage home, family and professional commitments simultaneously. there were certainly moments when responsibilities at home required me to slow down, postpone opportunities or place my personal artistic ambitions on hold. However, I do not see this only as a limitation. These very experiences gave me strength, patience, resilience and emotional depth. They also deepened my understanding of Nari -Shakti - the quiet power of a woman who nurtures both her family and her art with dedication. Being a homemaker taught me another kind of discipline: time management, responsibility, empathy and the ability to continue one’s sadhana despite circumstances. In fact, these dual roles enriched my journey.They brought emotional maturity to my life, which naturally found its way into my abhinaya, my teaching and my overall artistic expression. If there were delays, they were simply part of the journey. What matters most is that my commitment to the art never broke. In that sense, both roles - artiste and homemaker - have shaped me and helped me become who I am today.
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