The journey of the Hindi film song and playback singing

 

Introduction

As Discussing  the journey of the Hindi film song and the evolution of playback singing. This journey closely follows the development of Hindi cinema itself. Film music in India has never existed in isolation. It has always reflected social structure, cultural values, political change, and technological development. Through songs, Hindi cinema has expressed ideas of love, faith, caste, gender, rebellion, and identity. Playback singing played a crucial role in shaping this musical and cinematic language.

Phase one

Silent era, 1913 to 1930

Mythology and moral storytelling

In the silent era, Hindi cinema did not have recorded sound and music onscreen, but music was still central to the film experience. Live musicians accompanied screenings in cinema halls. Most films were based on mythology and religious stories.  Raja Harishchandra was the first ever film by Dada Sahab Falke in 1913 as a milestone of Indian cinema history. Even music was not the part of the core cinema and films were mute during silent era however external sources of  Music helped audiences emotionally connect with divine characters and moral conflicts. The plot structure during this phase was strongly religious and moral. Caste hierarchy and gender roles were accepted as natural and unquestioned. Women were shown as ideal, pure, and sacrificial figures. Cinema functioned mainly as moral instruction rather than social critique.

Phase two

Talkies and pre independence cinema, 1931 to 1947

Singing stars and social reform

The arrival of sound cinema changed everything. With Alam Ara in 1931, songs became an inseparable part of films. In this period, songs were recorded live, and actors sang their own songs. There was no full playback system yet. Music was influenced by Parsi theatre, folk music, devotional traditions, and Hindustani classical music. Orchestration was simple, using harmonium, tabla, dholak, sarangi and flute. Lyrics were poetic, often written in Urdu /Hindi or better known as Hindustani a influences of Braj, Avadi and Khadiboli with regional touch of Punjab, Rajasthan and Maharashtra. 

This period gave rise to singing stars. K L Saigal became the most influential male singer actor. Noor Jehan, Pankaj Mullick, and Kanan Devi were major figures. Composers like R C Boral, Khemchand Prakash, and Saraswati Devi laid the foundation of film music composition.The plot of Hindi cinema expanded beyond mythology. Films like Achhut Kanya addressed caste discrimination and inter caste love. Duniya Na Mane focused on women’s rights and forced marriage. Cinema slowly began questioning social injustice, voice for independence and social revolution. Music became a vehicle for reformist ideas and emotional persuasion. The First playback concept was driven from Bengali from Chandidas 1932, later remake in Hindi in 1934 and finally incorporated in Dhoop Chhao -1935 . Lyrics were poetic, devotional and reform oriented, influenced by Urdu poetry and theatre.Major lyricists: Kidar Sharma, Agha Hashar Kashmiri, Munshi Irshad Hussain. Themes included devotion, suffering, nationalism, caste reform and women’s pain.

Emergence of playback singing

Playback singing emerged gradually during the 1930s and 1940s. The idea came from folk theatre and Parsi theatre, where singers performed backstage while actors lip synced. Films like Chandidas played an important role in formalising playback singing. Playback singing separated the singing voice from the on screen actor. This allowed trained singers to focus on vocal excellence and freed composers creatively. It also introduced new musical professionalism into cinema. Playback singing changed film music permanently and created a new category of artists. The emerging studio, Bombay Talkie, Prabhat Film Company, New Theatres also play a great role in streaming the cinema and playback singing during the period. 

Phase three

Golden era, 1947 to early 1960s

Melody, nation building and social faith

After independence, Hindi cinema entered its golden era. The plot of films focused on family values, social reform, moral struggle, and national identity. Films such as Andaz, Awara, Mother India, Pyaasa, Baiju Bawra, Devdas and Mughal e Azam defined this period. Playback singing reached its artistic peak. Lata Mangeshkar became the dominant female voice. Mohammed Rafi, Mukesh, Talat Mahmood and Geeta Dutt shaped the male and female vocal landscape.

Composers like Naushad, Anil Biswas, Roshan and Madan Mohan integrated Hindustani classical ragas into film songs. Baiju Bawra marked a landmark in classical based film music. Religion during this phase became more humanistic and ethical rather than ritualistic. Films promoted secular values. Gender representation improved slightly, with women portrayed as emotionally strong but still confined within patriarchal limits. Caste and class issues appeared through films like Do Bigha Zamin and Mother India. Peak of lyrical poetry with social and humanistic depth. Major lyricists: Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri, Shakeel Badayuni. Themes included love, poverty, class struggle, idealism, secular values and moral questioning.

Phase four

1960s

Ghazal phase, culture and musical liberation and emotional refinement

The early 1960s saw the rise of the filmi ghazal. Madan Mohan became the leading composer of ghazals. Singers like Lata Mangeshkar and Talat Mahmood gave voice to poetic introspection. Films such as Woh Kaun Thi, Mere Mehboob, Taj Mahal and Mamta reflected emotional subtlety. The plot focused on inner conflict, romance and longing. However, this refined style soon felt limited as society. Refined, introspective and romantic lyrics dominated. Major lyricists: Raja Mehdi Ali Khan, Kaifi Azmi. Themes focused on longing, emotional conflict and poetic expression.

With urbanisation and youth culture, Hindi cinema underwent a major shift. The hero transformed into a carefree and expressive figure. Shammi Kapoor symbolised this change. Music became louder, faster and rhythm driven. Shankar Jaikishan, Mohammed Rafi and Shammi Kapoor created energetic musical expressions. Western influences like rock and jazz entered film music. Gender roles also shifted slightly. Heroines became more expressive and visually liberated. Cinema reflected changing ideas of romance and freedom. it was the era of new hope, a charm of the society and the films , music with family drama, love, affection and a kind of social transformation because was India was just free from long colonisation and new hope was seen in the film plot and music of the era. 

Phase five 

1970s- 80s

Social rebellion and changing musical priorities

The 1970s were dominated by themes of injustice, anger and rebellion. Films such as Zanjeer, Deewar and Sholay reflected political unrest and social imbalance. The social injustice, moral values and new hop was collapse because of visionless politics. The social structured of India was again changes because of rise of Chaudharies and Landlords in politics and the hope given by the independence  was slowly disappearing from the civil society. Britisher were replaced by capitalist so Dialogue and action became more important than songs to revolt against such capitalist, however revolutionary songs were composed and part of fil during the period. In another angle , Kishore Kumar emerged as the dominant male voice and His singing style was conversational and emotionally direct. R D Burman became the most influential composer, experimenting with electronic sounds and fusion. Parallel cinema preserved poetic music through films like Aandhi, Parichay and Chhoti Si Baat. Gender issues and class conflicts were addressed more realistically in this space.

Decline of melody and commercial excess

The 1980s are considered a low point for Hindi film music. Formula based compositions, repetitive rhythms and loud orchestration dominated. Melody and lyrical depth declined. The lyrics were Anand Bakshi, Gulzar, Majrooh Sultanpuri, Javeed Akthar who wrote for the film.  Some exceptions existed, such as Khayyam’s work and ghazal based films like Umrao Jaan. However, mainstream cinema largely moved away from musical sophistication. Social issues continued to appear, but music lost its narrative strength.  

Phase Six 

Late 1980s and 1990s

Romantic revival and musical dominance

Romantic films like Qayamat Se Qayamat Tak and Maine Pyar Kiya revived melody and emotional sincerity. Playback singers such as Udit Narayan and Alka Yagnik emerged. Kumar Sanu, Vinod Rathod, Abhijeet , Sonu Nigam, Sadhana Sargam, Anuradha Padwal, Kavita Krishnamurthy , Luck Ali, KK were the prominent singers who sang for the bfilm and make the era romantic. The 1990s restored the musical film. Films like Hum Aapke Hain Kaun, Dil, Kuch Kuch Hota Hai and Dilwale Dulhania Le Jayenge made music central again. Romance, family values and youth culture dominated plots. Gender representation became more expressive, though still idealised. A R Rahman introduced a new musical language combining melody, technology and global sound. Lyricists brought poetry back into popular cinema. Jatin-Lalit, Anand- Miland, Nadim-Shravam and of course LK Pyarelal, Ravi, Bappi Da, Ravindra jain were the music composer who tested something new and later become trends. lyricist like Sameer, Anand  Bakshi, prashoon Joshi, Irshad Kamil who wrote for the film and make the romantic genre  through literature and poetry. 

Phase Seven

2000 onwards

Digital era, realism and spectacle

Digital era, realism and spectacle

From the early 2000s onwards, Hindi cinema entered a digital era marked by technological advancement, thematic diversity, and a redefinition of the role of music in films. Unlike earlier decades, where songs often interrupted the narrative, music in this period became closely integrated with the storyline, character psychology, and social context. Songs were increasingly used to move the plot forward, establish ideological positions, or deepen emotional realism rather than serving only as standalone entertainment.

Films such as Lagaan, Rang De Basanti, Rock On, Munna Bhai M.B.B.S. and 3 Idiots demonstrated how music could blend with social awareness, political commentary, youth culture, and urban realism. In these films, songs functioned as narrative tools, expressing protest, friendship, patriotism, inner conflict, and transformation. Music composition during this period saw the dominance of composers who successfully combined melody with modern technology. A. R. Rahman played a central role in redefining Hindi film music by blending Indian classical sensibility with global sounds, electronic programming, and layered orchestration. His work in Lagaan, Rang De Basanti, and later films demonstrated how music could carry ideological depth as well as emotional resonance. Other important composers such as Shankar–Ehsaan–Loy, Pritam, and Vishal–Shekhar* contributed to the expansion of musical styles, incorporating rock, pop, jazz, and electronic dance music while maintaining narrative relevance.

Lyrics in the digital era became more varied in tone and content. Lyricists such as Javed Akhtar, Gulzar, Prasoon Joshi, and Irshad Kamil wrote songs that addressed identity, politics, gender sensitivity, social inequality, and emotional complexity. Lyrics moved fluidly between poetic expression and contemporary language, reflecting urban life as well as regional and cultural diversity.

Playback singing also underwent significant change during this period. Traditional voice based stardom gave way to versatility and texture. Singers such as Sonu Nigam, Shreya Ghoshal, Sunidhi Chauhan, Shaan, Arijit Singh, and Mohit Chauhan became prominent voices. Playback singing became more character specific, with singers adapting vocal colour, diction, and emotional delivery to suit particular roles rather than maintaining a single iconic style. Technological innovation played a decisive role in shaping music production. Digital recording, sound layering, auto tuning, synthesised orchestration, and advanced mixing techniques transformed the soundscape of Hindi cinema. Home studios replaced large recording halls, and background scores gained importance alongside songs. Music also began circulating through digital platforms, changing listening habits and reducing the dominance of film songs as long term cultural memory.

Caste, religion, and politics became more visible and explicit in cinematic narratives during this era. Films such as Article 15, PK, OMG – Oh My God, and The Kashmir Files used music sparingly but purposefully to underline ideological conflict, human suffering, and moral questioning. Music in such films supported narrative realism rather than romantic fantasy. At the same time, large scale spectacle driven cinema emerged strongly. Films such as Ra.One, Baahubali, Brahmastraand Kalki,  integrated music with visual effects, grand orchestration, and myth inspired narratives. In these films, background music and theme motifs became as important as songs, enhancing spectacle and emotional scale.

In summary, the digital era transformed Hindi film music into a multifaceted narrative element. Music moved beyond melody driven popularity to become a tool for realism, ideology, spectacle, and emotional depth. Playback singing adapted to character and context, lyric writing reflected contemporary concerns, and technology reshaped production and listening practices. Together, these changes marked a decisive new phase in the journey of the Hindi film song.

Sources: Web, Books and self analysis of the music. 

Note : The category/phase  is given by Author only for the education purpose only after analysing the music and plot of Hindi Cinema 

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Western Aesthetics

Aesthetics is the branch of philosophy that explores beauty, art, taste and the feelings we experience when we encounter artistic or natural creations. It asks simple but profound questions such as what makes something beautiful, how humans respond to art, and why creative expression holds meaning for us. While discussions on beauty existed since the time of Plato and Aristotle, aesthetics became a formal, independent discipline only in the eighteenth century. The credit for this development goes to the German philosopher Alexander Gottlieb Baumgarten, who is often called the father of aesthetics. His work inspired later thinkers like Immanuel Kant and G. W. F. Hegel, who shaped the larger movement of German idealism and gave aesthetics a more structured and philosophical foundation. 

How Baumgarten established aesthetics as a branch of philosophy

Baumgarten played a historic role by separating the study of beauty from general philosophy and giving it the name “aesthetics.” Before him, ideas about art and beauty were scattered across poetry, logic and metaphysics. He argued that human knowledge is not formed only through rational thinking but also through sensory experience and imagination. Because of this, he introduced a new science that studies the perfection of sensory understanding

A few of his important contributions include:

• He coined the word “aesthetics” to describe the science of sensory perception.
• He organised earlier ideas on art and beauty into a systematic structure.
• He highlighted imagination as a central creative force in artistic expression.
• He described art as a field that requires both intellect and emotional insight.
• His ideas prepared the ground for Kant’s later and more detailed aesthetic theory.

Through these steps, Baumgarten showed that the experience of beauty deserves its own method of inquiry, separate from scientific reasoning separate from scientific reasoning.

What is beauty ? 

In Baumgarten’s view, beauty is a kind of perfection that we perceive through our senses. It appears in nature, in artistic creations and in any form that shows order, unity and harmony.

Key points on his idea of beauty:

• Beauty is a “phenomenal perfection,” a harmonious unity felt through the senses.
• Nature reflects a spiritual and orderly universe, which is eternal and meaningful.
• Artists and poets reveal beauty by transforming nature into ideal forms.
• He agreed with the classical belief that truth, goodness and beauty are connected.
• He argued that beauty must be understood with knowledge and reflection, not through shallow enjoyment.
• Imagination, memories and inner imagery are essential for artistic creation.

For Baumgarten, beauty is both a sensory experience and a reflection of deeper spiritual truth

Idealism

German idealism is a philosophical movement that emphasises the active role of the mind, spirit and reason in shaping our understanding of the world. It emerged in the late eighteenth century and deeply influenced aesthetic theory.

In terms of aesthetics, German idealism suggests that:

• Art is more than copying nature; it is a creative interpretation of reality.
• Beauty arises when the inner spirit expresses itself through a visible or audible form.
• The ideal or “idea” becomes the true object of artistic expression.
• Art often resolves contradictions between nature and spirit, matter and idea, or form and meaning.

Baumgarten, Kant and Hegel all contributed to this movement, each giving a unique interpretation of how beauty and art express human consciousness.

Kant’s Aesthetics

Immanuel Kant transformed aesthetics by explaining how we judge beauty and how the mind participates in this experience. His ideas appear mainly in his work Critique of judgement.

Main ideas from Kant’s aesthetic theory:

1. Beauty is subjective yet universal
   According to Kant, beauty does not exist in the object itself but in the way our mind responds to it. Still, when we call something beautiful, we expect others to agree. That is why aesthetic judgement feels universal even though it is based on personal feeling.
2. Aesthetic pleasure is disinterested
   We enjoy beauty without wanting to own the object or expecting any practical benefit. The pleasure is pure and detached.
3. Purposiveness without purpose
   Beautiful objects appear meaningful and well-ordered, yet they serve no practical purpose. This balance creates aesthetic delight.
4. Harmony between imagination and understanding
   Beauty arises when our imagination and rational understanding work together in free, effortless harmony.
5. Nature and art
   Nature may seem beautiful, but the feeling of harmony actually arises within us. Art becomes beautiful when the artistic genius transforms ideas into expressive forms.
6. Importance of form
   Kant believed that shape, design and structure are more important for beauty than colours.

Kant created a rational and psychological framework that continues to guide modern aesthetic theory.

Hegel’s aesthetics

G. W. F. Hegel viewed art as one of the highest ways in which human spirit expresses truth. For him, beauty is the appearance of the “absolute idea” in a sensuous form. Art reveals the inner spiritual reality of the world.

Major ideas from Hegel:

1. Art goes beyond nature
   Hegel believed art is not just a mirror of nature. It elevates and reshapes nature so that the idea behind it becomes clearer.
2. Beauty as expression of the idea
   Something is beautiful when it sensuously expresses a deep spiritual or intellectual idea. Art fulfils this task better than nature.
3. Dialectical movement
   Hegel explained that art develops through conflict and resolution. Every idea contains its opposite, and the union of both creates a higher form. This process also appears in artistic creation.
4. Three stages of art
   Hegel identified three major types of art:
• Symbolic art – where form is inadequate to convey the idea fully.
• Classical art – where form and idea are perfectly balanced.
• Romantic art – where the inner idea dominates and the expression becomes more emotional and spiritual.
5. Five major arts
   Hegel considered poetry, music, painting, sculpture and architecture as the main branches of fine arts, with poetry being the highest.
6. Closeness to Indian philosophy
   Hegel’s idea of absolute spirit and synthesis has strong parallels with Indian philosophical concepts like Brahman and the unity of opposites

Hegel’s work presents art as a vital expression of human freedom and spiritual evolution.

Conclusion

The development of aesthetics as a philosophical discipline owes much to Baumgarten, Kant and Hegel. Baumgarten laid the foundation by defining aesthetics as the study of sensory understanding and beauty. Kant deepened the field by showing how our mind shapes aesthetic judgement and why beauty feels universal even though it is rooted in personal experience. Hegel expanded the discussion by understanding beauty as the manifestation of the absolute spirit and by explaining art’s historical and intellectual development.

Together, their ideas shaped the core of German idealist aesthetics and provided a lasting framework for understanding art, nature, creativity and the human experience of beauty.

 

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New Voices of Punjab : Dalit Music and Digital Culture

Dalit music in Punjab has entered a new and powerful phase in the digital age, where technology is helping young artists reshape identity, challenge discrimination, and reach audiences far beyond their local communities. Earlier, Dalit musical expression was deeply rooted in devotional traditions, especially in Ravidassia religious settings, where songs carried messages of hope, humility, and shared suffering. While these devotional roots remain important, the arrival of reasonable rates smartphones, home based recording tools, and online platforms has widened the possibilities for Dalit musicians. Digital spaces allow them to speak openly about their experiences, dreams, and frustrations in ways that would have been difficult in older, caste controlled cultural environments. As Kapuria and Duggal (2025) note, sound in Punjab travels across physical and social boundaries, and Dalit musicians are now using this mobility to build new spaces of dignity. Their songs often blend electronic beats, catchy rhythms, and strong lyrics that speak directly about caste injustice, pride, Ambedkarite ideals, and the desire for equality. Videos on YouTube, Instagram reels, and online music channels help build emotional communities where Dalit listeners feel seen, heard, and valued. As of Radhika Kumar(2025) digital shift has opened the cultural world to many first generation creators who would never have entered traditional studio systems. They now record from their homes, share their work instantly, and receive feedback from people across India and the world. In this way, technology does not just support the music; it transforms the very meaning of Dalit identity and belonging 

At the heart of this transformation lies the emotional force of sound. Dalit music today is shaped not only by political messages but also by the feelings it generates. Bold rhythms and confident voices create a sense of pride and unity, turning everyday listening into a shared experience of empowerment. Songs celebrating Dalit icons such as B R Ambedkar and Guru Ravidas become more than cultural expressions, they become declarations of self worth. When listeners comment, share, or remix these tracks, they participate in a growing online movement that challenges silence around caste. Digital culture also creates new heroes for younger generations. New Age Artists and  emerging singers represent a break from earlier patterns where Dalit voices were often hidden or limited to religious spaces. Their popularity shows that Dalit youth now see music as a way to express ambition, confidence, and a modern identity shaped by education, mobility, and online visibility. In the broader context of Punjab, where music has always been central to social life, Dalit musicians are claiming their place within the regions soundscape, contributing new stories and new emotional tones. Digital platforms give them equal cultural space, allowing them to shape public conversations on caste and community. As Kapuria and Duggal (2025) emphasize, sound can create new ways of imagining the region, and Dalit musicians are now using this power to reimagine themselves. Through technology, they have turned music into a tool of change, building a future where their voices are not only heard but also respected.

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Classical to AI Era : Journey of Indian Classical Music

 Music making in India has always been shaped by the balance between creativity, tradition, and technology. In the classical era, whether in the court of a Mughal emperor or the temples of the South, artists faced challenges rooted in rigorous training and systems of patronage. The guru–shishya parampara demanded years of discipline, and performance was inseparable from cultural and spiritual contexts. Memory, oral transmission, and live practice were the only ways to preserve music. The challenge was not just artistic but also structural: access to training was limited, and opportunities for performance depended heavily on social and political support.

The twentieth century introduced microphones, recording, and broadcasting, which transformed how Indian classical and film music reached audiences. Yet these innovations brought their own pressures. The expectation of technical perfection in studio recordings, competition in the rapidly growing film and popular music industry, and the need to adapt to radio and later television altered the very way musicians prepared and performed. While recordings preserved great traditions, they also raised questions of ownership, royalties, and credit. In India, copyright law under the Copyright Act of 1957 sought to protect creators, but enforcement and fair royalty distribution often lagged behind the fast-moving industry.

The twenty-first century and the rise of artificial intelligence have again shifted the ground. AI tools can now generate melodies, mimic instruments, and even approximate raga patterns. This raises new challenges of authenticity, authorship, and cultural integrity. Indian law still places authorship and ownership in human hands, meaning AI outputs cannot easily be protected unless human creativity is clearly involved. Globally too, courts and copyright offices stress that only human contributions qualify for protection. For musicians, the challenge today is to adapt AI as an assistant without losing identity, to ensure datasets respect cultural heritage, and to protect livelihoods in a world where machines can produce vast volumes of sound. In many ways, the essence of the challenge remains what it was centuries ago: safeguarding the human and cultural soul of music while navigating new tools and new economies.

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Thumri of the Banaras Gharana: Tradition, Experimentation, and Transformation

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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