Unveiling the Harmonies of Gender: An Exploration of the Thumri Singing Tradition

Abstract

Thumri, a distinguished North Indian classical vocal genre, which has two styles called Bandish Ki Thumri and Bol Banao Thumri, functions romantic lyrics through a female protagonist, often related to love and enthusiasts' separation. There are Predominant objective of this study is to light up the gender relation that exists within the context of the Thumri singing style through an intensive analysis of feminist views and male contributions. This study investigates gender dynamics in the Thumri singing style, revealing feminist perspectives and male contributions using an intersectionality, post-colonial theory and performance theory through a comprehensive literature review approach, focusing on gender.  Thumri, a classical Indian music form, is often associated with femininity due to its historical association with courtesans who performed Thumri while having personal relationships with male patrons. However, during music reforms, male hereditary musicians played a significant role, and female musicians faced suspicion and ambivalence. The study highlights the need for a detailed understanding of Thumri's gender dynamics, which significantly influence its feminine identity. Despite progress in female performers, Thumri still faces challenges and stereotypes, and current artists are transforming gender roles.  Male and female Thumri singers, inclusive of Bhaya Saheb, Ustad Bade Ghulam Ali Khan, Gauhar Jan, Jaddin Bai Munawar Ali Khan, Jagdip Mishra, Pandit Bhimsеn Joshi, Ustad Barkat Ali Khan, Mausuddin Khan, Abdul Karim Khan, Fiyaz Khan, Saraswathi Bai, Hirabi Barodekar, Zohra Bai, and Malka Jan, Bari Moti Bai and Rasoolan Bai, Begum Akhtar , Girja Devi , Siddheshwari Devi , Shoba Gurtu ,Prabha Atre   have made great contributions to the Thumri genre, incorporating Thumri additives into their performances and passing on their competencies to the next generation.