The vanishing thumris

Thurmis were the most popular among classical genres not too long ago. Considered light classical mode of melodic expression it allowed vocalists to unshackle themselves from the strict and rigid bonds of ragas as they could deviate from the scalar foundations of a raga during their renditions.
Only sixty years ago, thumris were popular both among initiated listeners and connoisseurs as well as professional practitioners of the melodic arts.
They have been dumped into the dustbin of melodic history. For a variety of reasons, not because of the inability of our musicians to practice this genre, but as a consequence of the pathetic indifference of cultural policy makers and producers of music programmes in the electronic media - radio and television.
As a mode of esoteric melodic expression and because of its lyrical content, thumris were popular in what was then known as northern belt of undivided India, which included Punjab, Delhi, United Provinces and the areas near their eastern most precincts known as Purab.
Thumris had their osmosis in Avvadh, during the rule of philandering Nawabs of Avvadh with Lucknow as their capital, where it flourished in the 19th century. The Nawwbaab-e-Avvadh, especially Wajid Ali Shah, had much greater interest in the pleasures of the flesh than managing the affairs of his state.
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 theragas in which these are composed. It is a slight improvement on kheyal as, depending upon the skill, malleability and quality of the voice of the singer, it helps in prolonging the pleasing impact of a rendition.
The fact that a thumri is bedecked with such decorations as zamzamas (sparkling graces) and lilting embellishments like murkis, kans and short taans creates a much better appeal for the listeners.
When Muslim rule in India was tottering and consequential insecurity stemming from prevailing anarchy, a majority of musicians attached with the Moghul Court in Delhi shifted to areas of relative peace and safety in small princely states and principalities.
Their exodus from Delhi gave rise and caused a new musical movement, which sought to seek some relaxation from the structural rigidities of the kheyal that would allow singers to express lighter forms of music. Such trend among the musicians resulted in the evolution of thumris and dadras, the two closely relatedmodes, which became the vogue during the first half of the 19th century.
Used as a feminine gender, a thumri song is indicative of a striking note of tenderness. Its themes invariably relate to some aspect of love suggestive of separation, playful, coquettish and erotic sentiments; supplication and solicitation.
Believed to be a derivative of thummak (a graceful stamp of the foot) thumri subtly points to its links with dance and gesticulation. Like other genres, a thumri has its own distinct characteristics, which distinguish it from other modes of melodic expression.
The lyrical content 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 is composed are bhairveen, tilak kamod, khammach, tilang, maand, pahari and kafi.
As an exception to the general rule, thumris have also been composed in ragas behag and sohni. Thumris compositions are trapped in such taals (time measures) as chaacher (corrupted as chanchal), Punjabi theka and 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 thumris, dadras and tappas have been pushed into oblivion.
However, only a few decades ago all senior classical vocalists used to render thumris as an adjunct to their renditions of kheyals.
Included among the great exponents of Banaras and Lucknow styles of thumris-singing were Ustad Abdul Karim Khan and his pupilRoshan Ara Begum of Kirana gharana; Ustad Fayyaz Khan (Agra gharana) Begum Akhter (formerly Akhteribai Faizabadi) and Rasoolan Bai representing the Poorbi style; Ustad Bade Ghulam Ali Khan and his brother Ustad Barkat Ali Khan and Mukhtar Begum of Punjabi style of Patiala gharana. Subsequently, classical vocalists of the stature of Ustad Salamat Ali Khan, Ustad Fateh Ali Khan Ustad Amanat Ali Khan, Mukhtar Begum, Ijaz Husain Hazarvi; Hamid Ali Khan and Asad Ali Khan, Fareeda Khanum and Iqbal Bano occasionally demonstrated their prowess in singing thumris from Radio Pakistan, stage concerts and also at soirees sponsored by art promoting organisations and at the residences of affluent private citizens respectively.
Included in the distinct features of thumri songs are: flexibility in the elaboration of ragas sans 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.