Thumri (Hindi:[ˈʈʰʊmɾiː]) is a vocal genre or style of Indian music.[1][2] The term "thumri" is derived from the Hindi verb thumuknaa, which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations.[3]
The text is romantic or devotional in nature, the lyrics are usually in Bhojpuri, Awadhi and Brij Bhasha.[4] Thumree is characterized by its sensuality, and by a greater flexibility with the raga.
Thumri is also used as a generic name for some other, even lighter, forms such as Dadra, Hori, Kajari, Sawani, Jhoola, and Chaiti, even though each of them has their own structure and content — either lyrical or musical or both—and so the exposition of these forms vary. Like Indian classical music itself, some of these forms have their origin in folk literature and music.
Structure
As in khayal, thumri has two parts, the sthayi and the antara. It favours tala-s such as Deepchandi, Roopak, Addha, and Punjabi. These tala-s are characterized by a special lilt, nearly absent in the tala-s used in khayal. Thumri compositions are mostly in raga-s such as Kafi, Khamaj, Jogiya, Bhairavi, Pilu and Pahadi. A common feature of these and other such raga-s is the free movement they allow the artist, since they do not depend for their identity on rigidly formulated tonal sequences, irrespective of the compositions involved. In fact, one may say that they have a built-in provision for mixing raga-s or for moving out of the raga actually presented in order to add colour to the proceedings.[5]
Origins
The origins of Thumri can be traced back to the time of Jayadeva, Ramanuja, and Ramanand. It reached its peak popularity during the era of Shri Chaitanya (circa 16th century AD), whose Nagar Kirtan (Hare Krishna Hare Rama) stirred the masses into emotional ecstasies. The evolution of Thumri was inspired by the Vaishnavism sect, especially the devotion to Krishna, which expressed divine love. Later, the philosophies of Vaishnavism and Sufism played a key role in shaping both Thumri and Kathak. The Thumri style of singing primarily developed from festival and seasonal folk songs such as Holi, Chaiti, Sawan, Kajri, and Dadra, originating from eastern Uttar Pradesh.[6]
A mention of Thumri is found in the 19th century, with a link to the classical dance form Kathak. This was the bandish ki thumri or bol-baant and it found great patronage and evolved mostly in Lucknow in the court of nawab Wajid Ali Shah.[7] At that time, it was a song sung by tawaifs or courtesans. According to historical records, a new version of thumri arose in the late 19th century, which was independent of dance, and much more slow-paced. This form was called bol-banav and it evolved in Varanasi.
Thumri and khayal
Unlike the khayal, which pays meticulous attention to unfolding a raga, thumri restricts itself to expressing the countless hues of shringar by combining melody and words. The contours of a khayal are most definitely broader and fluid. Thus, a khayal singer is capable of encompassing and expressing a wide range of complex emotions. A thumri singer goes straight to the emotional core of a composition and evokes each yarn of amorous feeling, each strand of sensuous sentiment, with great discretion. Khayal aims at achieving poise and splendour; thumri is quicksilver in tone and ardently romantic in spirit. It needs a delicate heart, and a supple and soulful voice capable of expressing several shadings and colours of tones to bring out its beauty.
Some other singers of thumri are Gauhar Jan (1873–1930), Begum Akhtar (1914–1974), Shobha Gurtu (1925–2004), Noor Jehan (1926–2000) and Nirmala Devi (1927-1996). The bol banao style has a slow tempo and is concluded by a laggi, a faster phase where the tabla player has some freedom of improvisation.
Another stalwart in the genre of thumri was Naina Devi (1917–1993), who was married to a royal family but later devoted her life to the singing of the song of Tawaifs. For a member of the royal family to take such a step in those days meant fighting countless social stigmas that had enough power to totally alienate someone from the society, but she had the support of her husband.[8]
Today thumrī is sometimes sung at the end of khyal concerts as a concluding item.
Besides the tabla and the tanpura, other typical instruments in thumri are sarangi, harmonium and swarmandal. The reason as to why Thumri concludes an occasion is because it has a lasting emotional impact on the audience.
Thumrī singers pay considerable attention to the lyrics, though they may be difficult to follow in the ornamented enunciation. This is especially where the focus is on love, and many lyrics deal with separation or viraha. Krishna's ras leela or love play with Radha and other gopis of Vrindavan appear frequently. As an example, here are the lyrics of a thumrī composed by the medieval poet Lalan, celebrating Krishna's flute – how its tunes are driving Radha mad. Braj or Vrindavan is where Krishna is indulging in this love play; Radha is the "Girl of Braj".
