Zubeen Garg was rooted in Assam, but had a vision for the world

In the history of Assamese music, the arrival of certain artists is not merely the arrival of another artiste; it marks the beginning of a new era. Zubeen Garg was one such artist who gave Assamese music a new sound, a new musical vision and a powerful connection with the younger generation.

To look at him merely as a singer, musician or filmmaker would be to overlook an important dimension of his personality. His creative work reflected a deep sense of social responsibility, compassion for people, a profound attachment to his land and culture and, at the same time, a desire to connect with the wider world.

There was a remarkable balance in his outlook—the ability to remain firmly rooted in his own soil while looking at the world with an open mind.

Zubeen Garg was born into an ordinary family in Jorhat. However, because of his father’s profession, he spent much of his childhood and adolescence in different parts of Assam. This opportunity to encounter people, communities, cultures and environments from different parts of the state from an early age appears to have enriched his worldview.

His exposure to diverse social and cultural settings helped develop a perspective that was open, liberal and receptive to differences. He was not interested only in music; he also had an interest in reading books and publications on different subjects. This habit of reading helped broaden the scope of his thinking.

As a result, his personality eventually went beyond that of merely a singer or musician. His curiosity about literature, society, politics, culture, cinema, nature and human life made him a multifaceted and distinctive personality.

With his first album, Anamika, a new kind of transformation began to be felt in Assamese music. Zubeen Garg brought together Assamese folk music and traditional melodies with modern Western musical arrangements, rhythms and instrumentation in an innovative manner.

On one side was the fragrance of Assam’s soil, the soul of folk music and Assamese cultural identity; on the other was the pulse of modern music. By bringing these two worlds together, Zubeen created a musical style that was a new experience for many young people of that period.

He did not merely imitate Western music. He blended elements of modern music with Assamese melodies and his own cultural roots to create a distinctive fusion sound. As a result, his music was modern while remaining deeply Assamese. This new musical approach also influenced the musical tastes of the younger generation in Assam.

He demonstrated that one’s own language and traditional musical heritage could be combined with modern beats, guitars, keyboards, drums and contemporary arrangements to create powerful and popular music. In that sense, Anamika was not merely an album; it became a symbol of a new chapter in modern Assamese music.

One of the most important aspects of Zubeen Garg’s personality was his humanistic and secular outlook. He respected people of all faiths. The differences of religion, caste or identity, in his view, should not become instruments of division but should instead give rise to mutual respect, empathy and harmony.

He advocated a way of looking at people first and foremost as human beings, rather than through the lens of caste, status or social hierarchy. The aspiration that everyone should receive dignity and opportunity formed an important part of his socially conscious outlook.

However, it would not be appropriate to label Zubeen Garg a communist merely because he spoke about equality, social justice and sensitivity towards disadvantaged people. Equality, social justice and concern for the oppressed are not the exclusive characteristics of any one political ideology.

His social outlook can more appropriately be understood as that of a humanistic, secular, egalitarian and socially conscious artist. He was modern, but not disconnected from his roots; he was socially conscious, but he did not confine himself within the boundaries of any particular political ideology.

Zubeen’s humanism was not confined to songs or public statements. Standing beside people during times of crisis was also an important part of his personality. His humanitarian side was particularly visible during floods in Assam.

Under the banner of the Kalaguru Foundation, he was involved in collecting donations and extending assistance to flood-affected people. By standing beside those who had lost their homes, livelihoods and property to floods, he seemed to demonstrate that an artist’s social responsibility does not end on the stage after a performance.

His compassion was not limited to human beings. Zubeen was also a lover of nature and was sensitive towards animals. His affection for dogs, cats, monkeys, egrets and different birds has been mentioned on various occasions. He was also conscious of the destruction of Assam’s forests, deforestation and the need to protect the natural environment.

The understanding that protecting Assam’s green landscape, forests and natural resources is a collective responsibility was consistent with his love of nature. In this sense, the scope of Zubeen’s humanism extended beyond humanity itself; it encompassed people, animals, birds and the natural world in a broader and more sensitive philosophy of life.

To understand Zubeen Garg’s social consciousness, the turbulent and politically unstable period of Assam in the 1990s is also important. He was sensitive to the violence, uncertainty and conflict of that period and their impact on ordinary people’s lives.

Some of his early creations reflected the social atmosphere of the time, the restlessness of the younger generation and the emotional pain experienced by the people of Assam. Through songs such as Mukti and Xishu, among other works of that period, one can sense his social concerns and his commitment to people.

Amid the unrest in Assam, Zubeen expressed the need for peace, dialogue and a return to the mainstream instead of violence. His voice was also heard in appeals to young people associated with ULFA and other militant organisations to abandon violence, return to the mainstream and work for peace and the future of Assam.

This reveals an important aspect of his thinking. He did not wish to view conflict simply through an “us versus them” framework. Instead, he appeared to seek an understanding of the human being behind the conflict and a peaceful solution for the future of Assam.

Zubeen Garg was not a conventional thinker confined to the world of music; his films also reflected another dimension of his social and creative vision.

Through films such as Dinabandhu, Mon Jai, Mission China and Kanchanjungha, he attempted to explore society, human relationships, conflict, identity, the realities of life and different aspects of Assam’s social environment from different perspectives. What he expressed through music in the language of emotions, he attempted to present through cinema in the language of characters, stories and images.

His popularity and creative energy played an important role in taking Assamese cinema closer to a new generation and in creating a new audience for the industry. In particular, films such as Mission China and Kanchanjungha demonstrated new possibilities for Assamese cinema through larger-scale storytelling, modern technology, action, entertainment and contemporary narratives.

Just as Zubeen introduced a new fusion in music, he also attempted to give Assamese stories a new scale and present them from the perspective of a new generation through cinema.

Another powerful aspect of Zubeen’s thinking was his deep attachment to Assamese identity, language, culture and distinctiveness. His desire was for Assam to preserve its unique identity while moving forward. This was reflected at various times in his public statements and social engagements.

During the movement surrounding the Citizenship Amendment Bill, or CAB, and later the Citizenship Amendment Act, or CAA, he strongly voiced his concerns regarding the rights, identity and distinctiveness of Assam and the Assamese people.

However, his love for Assam should not be interpreted as narrow nationalism. Loving one’s own community and culture and disrespecting other communities are not the same thing. Zubeen loved his identity, but at the same time, he also upheld respect for the identities of others. Respect for India’s diverse peoples, languages and communities was also an important part of his outlook.

Trying to place Zubeen Garg’s political position within the boundaries of any single political party would be to reduce the complexity of his personality. Rather than displaying blind loyalty towards a particular party, he appeared more inclined to question political forces and exert pressure on them to work in the interests of Assam. Whether a party was in power or in opposition, the central question seemed to be: “What are you doing for Assam and the Assamese people?”

His dissatisfaction with political corruption, abuse of power and actions contrary to the public interest was also expressed at different times. For this reason, his politics can be understood as issue-oriented rather than party-oriented. Instead of becoming a permanent spokesperson for any particular political party, he demanded that political leadership work for the people of Assam.

The freedom to think independently, the courage to question and the ability to see people simply as human beings were among the notable characteristics of his public personality.

One of the most significant aspects of Zubeen’s thinking was his universal outlook. He did not encourage Assamese youth to remain confined within their own language and culture. He also encouraged the learning of English so that young Assamese people could connect with the vast body of knowledge available across the world.

There is a profound message in this: learning English does not mean forgetting one’s mother tongue. Rather, by keeping one’s roots firmly planted in one’s own language and culture, one can use English to access knowledge in science, technology, literature, education and other fields across the world.

In other words, the roots may remain in Assam, but the vision should extend to the entire world. In an age of globalisation, this perspective is particularly relevant. Remaining connected to one’s language, culture and identity while establishing connections with global knowledge, technology and opportunities can be a powerful way for the new generation to move forward.

There is a remarkable harmony between Zubeen Garg’s music and his philosophy. Just as Assamese folk melodies and Western music came together to create a new sound in his music, Assamese identity and universalism coexisted in his worldview.

Through cinema, he attempted to examine social and human issues from new perspectives. Across music, cinema, social thought and public life, a common message can be found in his creative journey: one must move forward without abandoning one’s roots, but rather by standing firmly upon them.

To love one’s identity while respecting the identity of others; to embrace one’s own language without closing the doors to the knowledge of the world; to speak for Assam’s rights without promoting hatred; to question every political party instead of blindly following one; to be modern without forgetting one’s roots; to stand for peace while refusing to remain silent in the face of injustice, corruption and inequality; and to love not only people but also animals and nature—these ideas reflect the broad scope of his worldview.

That is why Zubeen Garg was not merely a popular artist of Assam. He was a bridge between Assamese identity and universal thought. He loved Assam, but he did not make the world smaller in order to love Assam.

He wanted Assamese people to take pride in their language, culture and identity while simultaneously acquiring education, learning English and accessing global knowledge so that they could move forward alongside the rest of the world.

Perhaps the most beautiful interpretation of Zubeen Garg’s philosophy is this: “Let your roots remain in your own soil, but let your vision extend towards the entire world.”

Zubeen Garg’s music, therefore, is more than melody. Through his music, cinema and ideas, we find a unique synthesis of Assam, humanity, equality, identity, peace, freedom, justice and universalism. An artist’s life may come to an end, but the questions that an artist leaves behind in society can remain alive for generations.

Zubeen Garg has left many such questions before Assamese society: How far can we move forward with the world while protecting our own identity? Will we lose our roots in the process of becoming modern? And while loving our own land, how generously can we embrace the wider world?

Perhaps it is in our continuing search for answers to these questions that the true relevance of Zubeen Garg’s creative legacy will remain alive.

Views expressed are that of the author and do not reflect EastMojo’s stance on this or any other issue. The author is a teacher from Dhekiajuli, Assam.

Also Read: From ‘No More Dams’ to a CBI FIR: The Bhanu Tatak case in Arunachal