Thumri

Thumri is a semi-classical vocal form of North Indian (Hindustani) music that beautifully blends melody, emotion, and lyrical expressiveness. Known for its romantic and devotional themes, Thumri places emphasis on bhāva (feeling) and abhinaya (expression) rather than on complex rhythmic or structural elaboration. Often described as the lyrical heart of Hindustani music, Thumri serves as a bridge between classical rigor and popular sentiment, offering a delicate balance between musical discipline and poetic emotion.

Historical Background and Evolution

The origins of Thumri can be traced to the late eighteenth and early nineteenth centuries in the courts of North India, particularly under the patronage of the Nawabs of Awadh. It flourished in the cultural milieu of Lucknow, Benares (Varanasi), and Patna, which were vibrant centres of music, dance, and poetry.
Nawab Wajid Ali Shah, the last ruler of Awadh (reigned 1847–1856), played a pivotal role in shaping the form. A poet, dancer, and musician himself, he encouraged the development of Thumri as a romantic and expressive art form closely associated with Kathak dance.
Initially, Thumri was performed in royal courts and by tawaifs (courtesans), whose artistic sensibility and expressive interpretation elevated the genre to great heights. After the decline of princely patronage during British colonial rule, Thumri transitioned to concert stages and music schools, where it was refined into a semi-classical genre respected for its aesthetic depth.

Meaning and Etymology

The term Thumri is believed to derive from the Hindi word thumakna, meaning “to walk with grace” or “to dance with gentle movement”. This aptly captures the essence of Thumri—graceful, fluid, and emotionally nuanced. It reflects both musical flexibility and expressive charm, embodying the rhythm and softness of movement.

Musical Structure and Form

Thumri is based on rāgas (melodic frameworks) and tālas (rhythmic cycles), but with greater freedom and flexibility compared to classical genres like Khayal or Dhrupad. Its structure allows for spontaneous improvisation and emotional interpretation while maintaining a melodic framework.
Key features of Thumri include:

• Short Composition: The lyrics, usually in two to four lines, form the emotional nucleus of the piece.
• Rāga Simplicity: Thumri typically employs light or romantic rāgas such as Kafi, Khamaj, Pilu, Bhairavi, Desh, and Tilak Kamod, which lend themselves to expressive ornamentation.
• Rhythmic Freedom: It is commonly set to Deepchandi (14 beats), Dadra (6 beats), or Keherwa (8 beats) tālas.
• Emphasis on Bhāva: Unlike Khayal, which prioritises musical expansion, Thumri focuses on emotional nuance, subtle inflections, and lyrical clarity.

Styles and Regional Schools

Two principal styles or traditions of Thumri developed in the nineteenth century, distinguished by their cultural contexts and performance approaches:

1. Lucknow (Purab Ang) Thumri:
   • Originated in the court of Wajid Ali Shah in Lucknow.
   • Emphasises lyrical beauty, grace, and expressive abhinaya (gestural interpretation).
   • Closely linked to Kathak dance.
   • Sung in slow tempo (vilambit laya) with delicate ornamentation.
   • Representative artists include Begum Akhtar, Gauhar Jaan, and Girija Devi.
2. Benares (Banaras Ang) Thumri:
   • Flourished in Varanasi under the influence of temple and devotional music.
   • Features stronger rhythmic articulation and improvisation.
   • Integrates elements of Khayal and Dadra styles.
   • Often performed as an independent concert form rather than as dance accompaniment.
   • Prominent exponents include Siddheshwari Devi, Rasoolan Bai, and Badi Moti Bai.

A lighter, faster variety known as Punjabi Thumri also developed later, influenced by folk melodies and popular music.

Language and Poetic Themes

The lyrics of Thumri are typically composed in Braj Bhasha, Awadhi, or Hindi, and occasionally in Urdu. They often draw upon the devotional and romantic traditions of North India, portraying divine love through the human emotions of longing, union, separation, and devotion.
Common themes include:

• The love of Radha and Krishna, symbolising spiritual devotion (bhakti).
• The pain of separation (viraha) and the joy of union (milana).
• Emotional states of desire, jealousy, and playful flirtation (śṛṅgāra rasa).

The singer acts as both narrator and interpreter, using tonal nuance, melodic variation, and emotional expression to evoke subtle moods.

Relationship with Kathak Dance

Thumri and Kathak share a symbiotic relationship. In classical Kathak performances, Thumri provides the musical base for expressive storytelling (abhinaya). The dancer interprets the lyrical and emotional content through facial expressions and hand gestures, transforming the song into a visual poem.
This association further enhanced Thumri’s reputation as a form of Nritya Sangeet—music meant for dance expression. Many of Wajid Ali Shah’s court performances integrated both Kathak and Thumri to narrate romantic and devotional themes.

Variants and Related Forms

Several musical forms are closely associated with Thumri, often performed alongside it in concerts:

• Dadra: A lighter form of Thumri, set to Dadra tāla (6 beats), with a more folk-like flavour.
• Chaiti: Sung during the Hindu month of Chaitra (March–April), with semi-classical style and folk melody.
• Kajri: Associated with the monsoon season, expressing the longing of lovers during rain.
• Hori: Depicts scenes from the festival of Holi, full of colour, playfulness, and joy.

These forms share similar emotional and melodic characteristics, extending the expressive range of Thumri repertoire.

Performance Practice and Improvisation

Thumri performances are characterised by a balance of lyrical interpretation and musical improvisation. The singer may repeat phrases, elongate syllables, or vary intonation to enhance emotional effect.
Improvisational techniques include:

• Bol-banav: Melodic and expressive variation of words.
• Murki and Meend: Graceful oscillations and glides between notes.
• Sargam: Singing with note syllables.
• Taans: Rapid melodic passages, though less elaborate than in Khayal.

The accompanying instruments usually include tabla, sarangi, and harmonium, with the tanpura providing a continuous drone.

Notable Exponents

Over the centuries, Thumri has been enriched by several legendary artists who defined and popularised its aesthetic character:

• Begum Akhtar – Known as Mallika-e-Ghazal, her emotive Thumri renditions blended classical precision with poetic intensity.
• Siddheshwari Devi – A leading exponent of the Banaras style, celebrated for her deep emotional expression.
• Rasoolan Bai and Badi Moti Bai – Renowned for their lyrical interpretation and improvisational mastery.
• Girija Devi – Instrumental in reviving and popularising Thumri on concert platforms.
• Nirmala Devi, Shobha Gurtu, and Kesarbai Kerkar also made significant contributions to its dissemination.