| Summary/Abstract |
I discuss the treatment of the theme of nature in ṭhumrī by some female exponents of the Pūrab Aṅg (eastern style) in the various contexts where these artists were and are active, especially in the phase of transition from the style of hereditary performers to a new middle-class style of ṭhumrī. I elaborate on how courtesans have turned the rendition of these themes into one of their tools of covert resistance, given their default liminality and their marginalisation in the early twentieth century, and have later passed on this strategy to some non-hereditary women, who have adapted it to the bourgeois urban context maintaining its liminal features.
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