Thumri

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THUMR?

THUMR? A vocal (or sometimes instrumental) genre, thumr? (Hindustani, thumakn? "to walk with a jerky, mincing, or wanton gait"; possibly an onomatopoeic imitation of the sound of a stamp of a dancer's foot against the floor [thumuk]) features so-called light-classical r?gs and (in the case of vocal music) romantic texts. Most musicians associate the origins of the thumr? with the court of Wajid Ali Shah, the mid-nineteenth century ruler of Oudh, although the genre has numerous stylistic predecessors. Roughly parallel to the romantic storytelling genre padam of bharata natyam (dance idiom), thumr? has associations with the classical dance of northern India—kathak—and in a kathak program, dancers often mime their movements to thumr?.

Poets of thumr? texts have often drawn upon the legends of Krishna, particularly his amorous relationships with the milkmaids of Vraj. The gender of the voice of the text is usually feminine, although both men and women perform. Praise of the beloved, lament of the beloved's absence, and anticipation of the arrival of the beloved are among the favorite topics of thumr?, although explicitly erotic and obscene themes occasionally occur in special contexts. The dominant rasas (emotions) of thumr? are shring?ra (the erotic) and karuna (the pathetic).

Musical Characteristics

Musicians apply a select repertoire of r?gas and t?las in thumr?. One characteristic of thumr?r?gas is the affective use of alternative notes to emphasize the rasa of the r?ga. Thumr? singers also often temporarily introduce other r?gas in their renditions. As with most North Indian musical genres, the melody has two musical parts—sth?y? and antar?—in contrasting registers, each having two lines of poetry.

Musical ornaments in thumr? are generally quicker and lighter than in khayal. The principal type of elaboration in thumr? is the bolt?n, an improvised melodic rendering of the words of the song. These melismatic improvisations commonly function as "word-painting." Singers repeat text lines often, each time with new elaborations. At the conclusion, the singer returns to the first line and repeats it, while the drummer briefly solos in a sped-up section described as laggi. A laggi is often in a fast binary meter such as kaharav? (8 m?tras) or tint?l, even though the thumr? itself is in another t?la (such as the 14-matra D?pcand? or the 6-m?tra D?dra). At the end of the solo, the drummer returns to the original t?la. Instrumentalists often perform thumr?s toward the end of their programs, in which context performers choose r?gas and t?las typical of the genre. The mood of such performances is decidedly lighter than the more elaborate approach taken in ?l?p and gat-tor?, although devices such as saw?l-jaw?b may still be part of the performance.