The vanishing thumris
By Saeed Malik
ONCE a very popular form of semi-classical music, the thumri has now almost totally vanished from our ethos, not because of the incompetence of our frontline classical singers to practise this genre, but because the electronic media closed their doors on it.
Because of its lyrical content, the thumri was popular in what was then the northern belt of British India, which included the Punjab, Delhi, United Provinces and areas near their eastern-most precincts known as the Purab. The thumri had its osmosis in Oudh, when the philandering nawabs ruled it with Lucknow as its capital, where it flourished in the 19th century. The nawabs of Oudh, especially Wajid Ali Shah, were more interested in pleasures of the flesh than managing the political affairs of their state efficiently.
In a thumri, elaboration of the lyrical contents and how the words are expressed through tonal-verbal modulations are more important than the technicalities and scalar foundations of the ragas in which these are composed. According to some musicologists, the thumri is an improvement on the khayal as, depending upon the skill and quality of the voice of the singer, it helps in prolonging the pleasing impact of a rendition. The thumri is bedecked with such decorations as zamzamas (sparkling graces) and lilting embellishments.
When Muslim rule in India was tottering and the resultant insecurity stemming from anarchy prevailed, a majority of musicians attached with the Moghul court in Delhi shifted to areas of relative peace and safety in smaller princely states and principalities. The exodus from Delhi gave birth to a new musical movement, which sought to seek some relaxation from the structural rigidities of the khayal that would allow singers to express lighter forms of music. This trend among the musicians resulted in the evolution of the thumri and the dadra, two closely related genres, which became the vogue during the first half of the 19th century.
Used as a feminine gender, a thumri is indicative of a striking note of tenderness. Its themes invariably relate to some aspect of love suggestive of amorous separation, playful, coquettish and erotic sentiments; supplication and solicitation. Believed to be a derivative of the thummak (a graceful stamping of the foot) the thumri subtly points to its links with dancing.
Like other genres, the thumri has its own distinct characteristics, which distinguish it from other modes of musical expression. The lyrical contents of its composition play a major role in creating an enduring impact on the listeners. The lyrics of some thumris have dual meanings, spiritual and mundane. The ragas in which a majority of thumris are composed are bhairveen, tilak kamod, khammaj, tilang, maand, pahari and kafi. As an exception to the general rule, the thumris have also been composed in ragas behag and sohni. Thumri compositions are trapped in such taals (time measures) as chaacher (corrupted as chanchal), Punjabi theka and a slow teentaal.
In Pakistan, where due to a variety of reasons classical music has lost ground to modern pop varieties, a number of light classical genres such as the thumri, the dadra and the tappas have been pushed into oblivion. However, only a few decades ago all senior classical vocalists used to sing thumris as an adjunct to the khayal. Among the greatest exponents of the Benares and Lucknow styles of thumri-singing were Ustad Abdul Karim Khan and his pupil Roshan Ara Begum of the Kirana gharana; Ustad Fayyaz Khan (Agra gharana) Begum Akhtar (formerly Akhtaribai Faizabadi) and Rasoolan Bai representing the Poorbi style; Ustad Bade Ghulam Ali Khan and his brother Ustad Barkat Ali Khan and Mukhtar Begum of the Punjabi Patiala gharana.
Later Pakistani classical vocalists like Ustan Salamat Ali Khan, Ustan Fateh Ali Khan-Amanat Ali Khan, Mukhtar Begum, Ijaz Husain Hazarvi; the Hamid Ali Khan-Asad Ali Khan duo, Fareeda Khanum and Iqbal Bano demonstrated their skill and prowess in singing thumris from Radio Pakistan and at private functions.
Included in the distinct features of the thumri are: flexibility in the elaboration of ragas without the structural demands of their scalar basis; greater reliance on tonal-verbal modulations; preference for a feminine voice and reliance on folk-oriented ragas in their compositions.

