When Delhi’s glorious era ended and the arts such as music, dance and poetry were on the verge of extinction, it was the lavish and cultured royal court of the art-loving Nawab of Avadh (Lucknow), Wajid Ali Shah that became the greatest patron of these arts.

Ustad Sadiq Ali Khan was the father of the Lucknow Thumri. Stalwarts like Moizuddeen Khan, Bhaiya Saheb Ganpat Rao and Bindadeen Maharaj graced the Nawab’s court. Thumri and Kathak had an exalted status, and the Nawab himself was a writer/composer of several Thumris.

The Lucknow Thumris were mainly of “bol- baant” in nature and called “Bandish ki Thumri”. This style of Thumri follows a faster taal cycle, usually the ‘teentaal” or the ‘ektaal” and was more suited to Kathak dance. Thus, Bindadeen Maharaj went on to become a famous writer/composer of this style of Thumris as he employed them for the abhinay or emotive aspects of his Kathak.

Begam Akhtar was a famous exponent of Ghazal as well as Thumri. Her style of Thumri is influenced by the Lucknow/Punjab styles. Kumud Diwan sings in the Begam Akhtar tradition, as well as the Bandish Thumris of Lucknow. Thus, she spans the entire spectrum of the Poorab-Ang Thumri from Banaras, Gaya and Lucknow.

BANARAS        LUCKNOW        GAYA
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