Thumri: a mystical gharana, continually blooming through ceaseless, enigmatic metamorphoses

 

Penned by Soumita Saha:  Hindustani classical music is pivotal in our cultural evolution, shaped by diverse geographical influences. This music primarily features two main styles: North Indian and Carnatic. Focusing on the North Indian style, it represents a cultural blend, especially with influences from the North West. This fusion created a unique and magical tradition, epitomizing our rich cultural exchange and heritage through music.

Hindustani classical music features major vocal forms like dhrupad, khyal, and tarana. Other forms include dhamar, trivat, chaiti, kajari, tappa, tap-khyal, ashtapadis, thumri, dadra, ghazal, and bhajan. These latter styles are semi-classical or light classical, often not adhering strictly to classical music's rigorous rules.

Thumri, North India's most popular light-classical song form, emerged in the 19th century at Lucknow's court under Wajid Ali Shah. Closely linked to kathak, North India's primary classical dance style, thumri thrived due to this musical-dance connection. It became a courtesan staple, with many old song compositions surviving through their dedication, preserving this rich cultural heritage.

In the mystical lanes of Benares (Varanasi), a captivating variant of thumri quietly blossomed, steeped in the emotional interpretation of its lyrical texts. This version, requiring a slower tempo, unfurled itself distinctly from the brisker rhythms of the Lucknow style, weaving a richer tapestry within the thumri tradition through its profound expressive depths.

Intriguingly, unlike the intricate classical forms of dhrupad and khayal, both the Lucknow and Benares styles of thumri prioritize the clarity and impact of words, making the lyrics the heart around which the music orbits. This shift underscores a fascinating evolution in Indian music: the clearer the articulation of words, the more the form edges away from classical rigidity, embracing a lush, lyrical expanse where emotion and expression hold sway over complex musical architectures.

Thumris use the same ragas as classical music, yet not all ragas suit this text-rich style. Consequently, the same few ragas, often romantic evening ones, recur often. Additionally, the 'rules' of a raga are interpreted more loosely in light classical styles.

Thumri lyrics are often in old North Indian dialects such as Purbi and Braj Bhasha. The themes predominantly revolve around love, frequently depicting the divine love between Lord Krishna and his consort Radha. Human love stories also appear, but the divine romance remains a central motif, highlighting the emotional and devotional aspects that are characteristic of thumri's lyrical tradition.

Thumri serves as a generic term for various lighter forms like Dadra, Hori, Kajari, Saavan, Jhoola, and Chaiti. Each has its unique structure and content, whether lyrical, musical, or both, leading to diverse expressions. Similar to Indian classical music, many of these forms originate from folk literature and music. Despite sharing the broader category of light classical music, their distinct characteristics make each form unique in its rendition and appeal.

Origin and Performance of Thumri 

'Thumri' is not just a form but Thumri itself is a Gharana that originated in the late 19th century in North India's Awadh region (now Uttar Pradesh). During this period, musicians and poets delved into the genre of thumri, traditionally a light classical form linked to courtesans and tawaifs (female performers). This exploration marked the formal establishment and evolution of the Thumri Gharana.

Pioneers like Nawab Wajid Ali Shah of Awadh transformed thumri into a refined art, enhancing its expressiveness. They crafted a novel singing and improvisation style, blending classical and folk traditions. This evolution led to the birth of a unique performance school, famously known as the Thumri Gharana, which emphasized emotional depth and artistic sophistication in its renditions..

The Thumri Gharana first flourished under artists like Badi Moti Bai and Channulal Mishra, who refined its style and expanded its repertoire mysteriously. The second wave, led by Siddheshwari Devi and Rasoolan Bai, mysteriously brought Thumri to the masses through recordings and performances, unveiling its charm to a broader audience and securing its place in the annals of hindustani classical music's history.

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