Thumri is one of the most intimate and expressive forms of Hindustani music, a style where melody and emotion are so deeply intertwined that the listener feels transported into the inner world of the singer. Although it has often been described as a semi-classical or “light” genre, this description does not do justice to the depth and subtlety of its expression. Thumri has always been more than a form of entertainment; it is an art that conveys the complexities of love, longing, devotion, joy, and sorrow in a way that bridges the personal and the universal. Within the wider world of Thumri, the Banaras Gharana known also as the Purab Ang or eastern style — has held a distinctive place, preserving folk roots while embracing classical ornamentation, and creating a style that remains at once accessible and profound.
The Banaras tradition grew in the sacred and cultural environment of Varanasi, a city where music, ritual, and everyday life exist in close harmony. In contrast to the Lucknowi style, which flourished under Nawab Wajid Ali Shah as a companion to Kathak dance, Banaras musicians carved out a more independent and introspective approach. Thumri in Banaras stepped outside the courts and reached into temples, festivals, and local gatherings. It became part of the shared voice of the people, even while retaining its classical base. The Purab Ang is characterised by its preference for bol-banav, where words are repeated, stretched, and coloured with ornamentation to draw out emotional meaning. Through this method, even a simple phrase could be expanded into a long, meditative journey, reflecting the depth of human feeling.
The poetry of Banaras Thumri has always been central to its charm. Sung in dialects like Awadhi, Braj Bhasha, and Bhojpuri, the language connects directly to everyday speech. Unlike the ornate and courtly style of some other genres, the lyrics of Thumri are conversational, simple, and often intimate, describing the pangs of separation, the sweetness of union, or the playful quarrels of lovers. Many compositions use imagery from the tales of Radha and Krishna, but the emotional resonance goes beyond religious symbolism and touches universal human experience. The flexibility of the words allows singers to reinvent them each time, giving the impression of a personal conversation with the listener.
Musically, Banaras Thumri thrives on freedom. The ragas commonly chosen: Khamaj, Pilu, Kafi, Bhairavi, Jhijhoti; are light enough to allow improvisation but rich enough to carry deep expression. The talas most often used, such as Dadra, Deepchandi, Keharwa, and Punjabi, create structures that support both playful and serious moods. Singers of Banaras also excel in bol-bant, breaking words rhythmically in dialogue with the tabla, producing a dynamic and dramatic effect. The relationship with Kathak dance remains, not as direct accompaniment but as a shared aesthetic: the gestures and phrasing in music often mirror the grace of dance movements, reminding us of the interwoven cultural fabric from which Thumri emerged.
At the centre of the Banaras style is the belief that music succeeds only when it touches the heart. Thumri does not aim to dazzle through speed or display; it aims to create an atmosphere where listeners feel emotions unfolding within themselves. The emphasis on bhava, or emotional essence, gave Banaras Thumri its enduring appeal. In a performance, a single phrase such as “kaise jaaun” could be repeated and elaborated in countless ways hesitant at first, playful later, mournful in another turn each time bringing new colours to the same words. This attention to subtlety is what makes Banaras Thumri both deeply personal and universally moving.
The tradition also shows remarkable adaptability. While early Thumris were dominated by romantic and erotic sentiment, Banaras artists broadened the scope to include devotion, spiritual longing, and even philosophical reflection. The repertoire drew generously from folk songs of Bhojpuri and Awadhi, making the music instantly relatable to rural and urban audiences alike. At the same time, classical ragas were used with flexibility, allowing improvisations that blurred the lines between strict shastriya tradition and folk spontaneity. In the twentieth century, with the advent of radio, recordings, and stage performance, Banaras Thumri reached wider audiences. It was not confined to small gatherings but found a place in public concerts and festivals, adapting smoothly to changing times without losing its intimacy.
Much of the recognition of Banaras Thumri is owed to its great exponents. Badi Motibai, with her deep, resonant style, gave the genre both weight and grace, while Chhoti Motibai brought her own delicacy and subtlety to the form. Rasoolan Bai became a household name with her earthy and emotionally charged renditions that carried the flavour of Bhojpuri folk into the classical sphere. Siddheshwari Devi added depth and refinement, shaping Banaras Thumri into a sophisticated art that could stand alongside khayal and dhrupad in seriousness. Gauhar Jaan, one of the first recording artists of India, also lent her voice to Thumri, ensuring that its charm reached beyond live mehfils into recorded history. Male singers like Moinuddin Khan, Mahadev Prasad Mishra, Bhawani Sewak Mishra, Gopal Mishra, Surendra Mohan Mishra 'Mohan Ji' and Rajeshwar Mishra carried the tradition with equal passion, proving that Thumri was not limited to female voices but was an art that belonged to all. Together, these artists created a legacy that allowed Banaras Thumri to flourish as a living tradition rather than a relic of the past.
Today, Banaras Thumri continues to inspire. Contemporary vocalists keep the form alive in their repertoires, treating it not as a secondary piece after khayal but as a vital and central expression. Its melodic patterns and emotional content have influenced cinema and popular music, where traces of Thumri can still be heard in film songs and ghazals. Institutions and cultural programs in Varanasi and across India regularly celebrate this tradition, while younger musicians are trained not only in its technical details but also in its cultural background. This training ensures that Thumri remains vibrant, connected to its roots, and open to reinvention.
What makes Banaras Thumri significant is its ability to balance continuity with change. It has absorbed elements from folk, classical, devotional, and even popular culture, yet its essence intimacy, emotion, and connection has never been lost. Its journey from the courts of Lucknow to the temples and streets of Banaras, from intimate gatherings to the modern stage, illustrates the resilience and adaptability of Indian music. It is timeless in its themes of love and devotion, and contemporary in its openness to innovation.
In the end, Thumri of the Banaras Gharana is more than a genre; it is a cultural reflection of Indian life. It carries within it the laughter of festivals, the sorrow of separation, the devotion of temples, and the intimacy of personal expression. By preserving its folk foundations while enriching itself with classical artistry, Banaras Thumri has remained one of the most humanistic forms of Hindustani music. It is a reminder that music’s greatest power lies not in perfection but in feeling. As long as people seek to express love, longing, and devotion, the Thumri of Banaras will continue to resonate bridging past and present, tradition and innovation, singer and listener.
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