Nandini Ramani comes across as a stern teacher as she walks in for the interview. But, as she starts talking, you are exposed to a soft spoken, determined teacher, who is bent upon “sharing every nuance and knowledge” related to Bharatanatya with the next generation of dancers. Nandini was in the city on the invitation of Kalasindhu Academy Of Dance and Related Arts, Banashankari, for a Masterclass in Bharatanatya, which concluded recently.
Nandini, a student of T. Balasaraswathi, explains the “classes were focused on the traditional repertoire pieces from the legendary tradition of my teacher.” She started learning from Balasaraswathi when she was five years old. “I started in 1955 and was with her till 1984 and was a part of her teaching staff too. In the beginning I had no clue who I was learning from. My hero then was my elder sister. It was only when I grew up that I realised the greatness of Bala. That time she was not yet a legend. And, I am so glad I was a part of her journey.”
About the dancers in Bengaluru, Nandini says, “they have their own stamp. Dancers here have a bright spirit. There is a fine adherence to traditional value and also a bright approach to certain contemporised styles. This is nice as long as there is some positive development in performance.”
She adds that she is open to contemporary style of dancing. “I watch even film dances. One has to have an open mind. Bharatanatya survived because of films those days. During the days of the Devadasi Bill, films helped sustain the form. Whether good Bharatnatya survived on screen or out of it is debatable. The term classical is debatable. What ever inspires you and makes you watch it again and again, is the beauty of a classical form. Bharatanatya also can not remain stagnant. How old things are approached and incorporated with new styles by a young dancer is a good point to discuss with regard the new dancers.”
Nandini says she holds tradition close to her heart. But, “that does not stop me from being creative. I try and present a slice of the past tradition to present dancers, who can then get creative within the classical boundary.”
Nandini adds that she wants to be a teacher that can be approached by her students. “I want to be different from our dance legends. They were old time masters and their ways were tough. Today children will not take it. I want to share every ounce of knowledge so that no part of what I have learnt dies with me.”
And she says that classical dance is not for a niche audience. “It has reached vast people. Certain mediocrity has crept into the form as dance has to catch up to so my people. But even a lay person will know whether a dancer is good or not. Workshops are good even though some dancers feel its not for them as they are performers. But what happened over time was that each person specialised in a particular style, like some one is an expert in abhinaya, and another in nritta and so on and so forth. These workshops are an experience for the dancers as it exposes them to various other styles.”
