The impressive line-up of thumri composers also includes Kalika Prasad who, along with his brother, Bindadin, composed thumris that were suitable for “nritya bhava” and presented them through their dance.
Thumri thus was once the exclusive preserve of female singers, and came to be conventionally known as a feminine style "par excellence"Ī composer of no mean merit, Nawab Wajid Ali Shah wrote under the name of Akhtar Piya and patronised masters of the eminence of Kudau Singh Pakhwaji and Maharaj Binda Din, the pioneering Kathak maestro. They depicted their “nrityabhava” and also offered their “mujra” through thumri songs. Any talented artiste could participate in this song-and-dance concert with the obvious preponderance of young women among the participants. The Nawab himself, with his consuming passion for poetry and music, took an active part in the presentation.
Every year, he organised a big “raas” show with the sport of Lord Krishna and the gopis as the theme. He was probably the greatest known patron of thumri, “raas” and the Kathak dance. Thumri thus found a congenial atmosphere during the reign of Nawab Wajid All Shah of Avadh. Their obsessive fondness for fun and frolic brought forth a new style that could pander to their whims and caprices in a variety of ways. The princely patrons of music, lolling in luxury, now had little use for sombre, dignified musical entertainment. But it is equally significant to note that this period also marked the twilight of the Mughal rule. Primarily, the emergence of thumri can be said to have symbolised a kind of reaction to its percursor, khayal, in which combinations of musical sounds enjoyed precedence over the poetic aspect of song-themes. The object was to make dance movements more expressive and abiding. Thumri came into vogue in the eastern region (Purab) of Uttar Pradesh towards the close of the 18th century as an accompanying song of dance. It is also said to have been derived from a combination of the terms “thumak” and “rijhana” Thus it connotes association with dance.
The word thumri is derived from “thumak” (graceful stamping of the foot). Voice modulation and delicate intonation are two of the many vital features of thumri, and the artiste is allowed freedom to employ a variety of ornamentations such as “meend”, “murki”, “kan”, “khatka”, “zam-zama” and the like in projecting the mood of the theme.
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The singer has to comprehend the lyrical motivations of the chosen song to be able to give full musical expression to the emotion it embodies. It calls for a sense of restraint and discrimination on the part of the singer, as the expressive aspect of the poetic theme is basic to its delineation. Imagination thus plays a vital role in the rendition of thumri. Unlike Dhrupad and khayal, the stress in thumri-singing is not so much on the melodic unfoldment as on the portraiture of the mood enshrined in the lyric. Aptly described as the expression of the singer's soul and temperament, thumri is purely romantic or devotional in its content.
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