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Husna Jan or Husna Bai was a Tawaif and a Thumri singer of Banaras during the late 19th and the early 20th century. She was known in Uttar Pradesh as an expert in khayal, thumri and tappa gayaki. [1] She is credited with redefining and revolutionising the singing tradition in the early 1900s, singing patriotic songs and inspiring other singers to follow suit. She was trained by Thakur Prasad Mishra, and the famous Sarangi player Pandit Shambunath Mishra, and her tappa gayaki she mastered under the teaching of the legendary Chote Ramdas Ji of Banaras.
Bai was a contemporary of Bhartendu Harishchandra, and corresponded with him and took his advice and opinion on poetic expression. Her thumri and other subgenres of thumri were published as Madhu Tarang (Sharma, 2012). Harishchandra also got her to compose Geet Govind by Jaidev. She was considered in the same league as Vidyabari and Badi Moti Bai, masters of the art of thumri and tappa. Bai was referred to as ‘Sarkar’ or chieftain, as she rose to great heights in her career.
When M.K.Gandhi traveled through Kashi(a particular neighborhood in modern-day Varanasi.) and Nainital during the Non-Cooperation movement (1920–22), Bai galvanised a movement in which she had an influence in persuading female singers to earn a living by singing Bhajans and patriotic songs instead. This was also aimed at raising the dignity of these singers, whose work was frequently equated to sex work as a profession. Many of these singers joined the charkha movement subsequently. With the followers of Gandhi picketing outside the homes of sex workers in Amristar and public opinion appearing to turn against Tawaif’s and those professions perceived in similar fashion to a perception of sex work. Bai formed the ‘Tawaif Sabha’(tawaif federation of Kashi) with two objectives of supporting the national movement and reforming the lives of Tawaifs. Bai’s presidential speech at the inauguration of the Sabha is available in Varvadhu Vivechan, (Sahitya Sadan, Amritsar, 1929) She recited a nationalist poem.
Bai exhorted fellow Tawaifs to learn from the life of Joan of Arc and the women of Chittorgarh, wear iron shackles instead of gold ornaments, and stay away from a life not honourable. As Tawaifs could not change their profession entirely Bai advised them to begin their recitals with nationalist or patriotic compositions. She advised the Tawaifs to collect these songs from Vidhyadhari Bai, another famous Tawaif singer of Banaras. Bai saw this as a step towards achieving social status and dignity for Tawaifs. With other Tawaifs she participated in the boycott of non-Indian goods and embraced the Swadeshi movement.
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Thumri is a vocal genre or style of Indian music. The term "thumri" is derived from the Hindi verb thumuknaa, which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations.
A tawaif was a highly successful entertainer who catered to the nobility of the Indian subcontinent, particularly during the Mughal era. The tawaifs excelled in and contributed to music, dance (mujra), theatre, and the Urdu literary tradition, and were considered an authority on etiquette. Tawaifs were largely a North Indian institution central to Mughal court culture from the 16th century onwards and became even more prominent with the weakening of Mughal rule in the mid-18th century. They contributed significantly to the continuation of traditional dance and music forms.
Shobha Gurtu (1925–2004) was an Indian singer in the light Hindustani classical style. Though she had equal command over pure classical style, it was with light classical music that she received her fame, and in time came to be known as the Thumri Queen, and for the 'Abhinaya' sung in her full-throated voice.
In Hindustani music, a gharānā is a system of social organisation in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style.
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Allah Jilai Bai was a folk singer from Rajasthan, India.
Siddheswari Devi was a legendary Hindustani singer from Varanasi, India, known as Maa (mother). Born in 1908, she lost her parents early and was brought up by her aunt, the noted singer Rajeshwari Devi.
Mahatma Gandhi Kashi Vidyapith is a public university located in Varanasi, Uttar Pradesh, India. Established in 10 February 1921 as Kashi Vidyapith and later renamed, it is administered under the state legislature of the government of Uttar Pradesh. It got University status in 1974 as Deemed to be University and State University status in 2009 by The Uttar Pradesh State Universities (Amendment) Act, 2008. The university has more than 400+ affiliated colleges spread over six districts. It is one of the largest state universities in Uttar Pradesh, with hundreds of thousands of students, both rural and urban. It offers a range of professional and academic courses in arts, science, commerce, agriculture science, law, computing and management.
Gauhar Jaan was an Indian singer and dancer from Kolkata. She was one of the first performers to record music on 78 rpm records in India, which was later released by the Gramophone Company of India and resulted in her being known as "the Gramophone girl" and "the first recording superstar of India". Having recorded more than 600 songs in more than ten languages between 1902 and 1920, Jaan is credited with popularising Hindustani classical music such as thumri, dadra, kajri, and tarana during the period.
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Zohrabai Agrewali (1868–1913), also known mononymously as Zohrabai, was one of the most noted and influential singers of Hindustani Classical Music from the early 1900s. Along with Gauhar Jan, she marks the dying phase of the tawaif singing tradition in Indian classical music. Known for her masculine style of singing, she recorded several songs for the Gramophone Company of India.
Rasoolan hussain was a leading Indian Hindustani classical music vocal musician. Belonging to the Benaras gharana, she specialized in the romantic Purab Ang of the Thumri musical genre and tappa.
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Siyaram Tiwari was an Indian classical singer and leading exponent of Dhrupad-genre of Hindustani classical music. He belonged to the Darbhanga gharana and was based in Patna. Though Darbhanga gharana is known for its laykari techniques, he was the first exponent of the gharana to promote fast-paced laykari in Dhrupad, which developed in the second half of 20th-century.
Music in Varanasi is a tradition linked to the ancient times of the Pauranic legends. Lord Shiva, who is reported to have established this city, was credited with developing music and dance forms. Legend also attributes that Renu}, son of sage Vishvamitra and Mahagobind, was the precursors of music tradition in Kashi (Varanasi) when nymphs (Apsaras), Gandharvas and Kinnaras were the traditional practitioners of this art form, and saint Chaitanya and Vallabhacharya were the pioneers in spreading this music tradition in Varanasi. Notable musicians of Varanasi include the iconic sitar player Ravi Shankar, the Shehnai maestro Bismillah Khan, Sarod maestro Vikash Maharaj and singer Girija Devi. has joined the global bandwagon of UNESCO "Cities of Music" under the Creative Cities Network. Varanasi chosen in music category of creative cities network clearly signifies the rich musical heritage of this ancient city.
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Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore, the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore, the Jati then becomes Sampurna-Sampurna. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.