Zubeen Guru Death: India United in Grief
A Musical Bridge: The Legacy of Zubeen Garg in Assam
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Guwahati, Assam – The death of Zubeen Garg, a prolific singer, composer, adn actor, has plunged Assam into mourning. Yet, the response from India’s ruling Bharatiya Janata Party (BJP) has been notably muted, sparking debate among political commentators. while Garg was a vocal critic of the BJP’s policies, his approach to dissent – and what some perceive as a reluctance to directly confront the party’s Hindu nationalist ideology – may explain the tepid reaction.
“Zubeen Garg’s opposition to Hindu majoritarianism – is partly due to the way the singer approached the politics of dissent,” explains political analyst Manjeet Dutta. “While he would openly criticise the policies and the actions of the federal and state-level BJP governments, he would seldom attack BJP leaders [personally].” This strategy, Dutta argues, allows the BJP to appropriate Garg’s legacy without facing meaningful public backlash, as overtly mourning him would invite scrutiny.
Another political commentator, speaking anonymously for fear of goverment reprisal, was more direct. While Garg dismissed the BJP as a political entity, “he would not rattle their nerves by criticising their anti-Muslim policies or the attacks on Muslims very openly,” the source said. “That way, the Hindu nationalist party never felt too alienated by him.”
‘Artistic Tour de Force’
Born in 1972 in Jorhat, Assam, to writer Mohini Mohan Borthakur and singer Ily Borhakur, Garg displayed prodigious musical talent from the age of three. He rose to prominence with his 1992 debut Assamese album, Anamika, launching a career that encompassed over 38,000 songs in numerous languages and dialects. He achieved national recognition in 2006 with “Ya Ali” from the Bollywood film Gangster: A Love Story, and won a national award in 2007 for composing songs for the non-feature film, Echoes of Silence.
Beyond his extensive body of work, Garg defied conventional expectations of an Assamese artist.According to Angshuman Choudhury, a joint doctoral candidate at the National University of Singapore and King’s College London, garg ”disrupted and distorted the very image of a public performer and artist.” Unlike predecessors like Bhupen and Janyata Hazarika, who adhered to social norms, Garg embraced iconoclasm.
“He would use verbal expletives while on stage, sing under intoxication, and on many occasions, show overt defiance against established norms and culture,” Choudhury said. This rebellious spirit was exemplified by his refusal to perform at a Bihu festival event when organizers prohibited him from singing in Hindi.
Sociologist Prithiraj Borah, of the National academy of Legal Studies and Research in Hyderabad, highlighted the philosophical depth of Garg’s art. “Zubeen’s songs did not merely entertain,” Borah stated. “They also addressed the depths of what it means to be human,to love,to suffer,and to find meaning in an often-absurd world.” He cited garg’s song “Pakhi Pakhi Ei Mon (My heart is like a feather)” as an exploration of freedom and constraint.
A Voice for All
Abrar Nadim, a health officer in Barpeta district, Assam, recalls memorizing Garg’s songs as a child. “His song, ‘AEI mayar dhorat [In this world of earthly pleasures]’ brought me closure to spirituality,” Nadim said, standing beside a garlanded poster of Garg while wearing black in mourning. The song, he explained, reflects on the fleeting nature of worldly happiness and the injustice that often prevails.
Maitrayee Patar, an Assamese songwriter and poet who collaborated with Garg as recently as 2023, emphasized his “humanitarian side that was raw and relatable to all.” She added that his refusal to align with majoritarian politics or any political party contributed to his widespread appeal.
Hussain, a Bengali-Muslim truck driver in Guwahati, highlighted Garg’s rejection of hate politics and his egalitarian treatment of all people. Garg, a Hindu, garnered unexpected displays of respect from the Muslim community following his death, with students in madrasas playing his songs and Muslim leaders offering prayers and reciting the Quran before his photos - practices not typically sanctioned by Islamic tenets.
“he [Garg] sang jikir – devotional folk songs sung by the Assamese-speaking Muslim community – to honour us,” Nadim said. “So there is nothing wrong if we pray for him by singing his songs.”
Hussain recalled that Garg “never vilified” Bengali-speaking Muslims, as he wore a T-shirt bearing Garg’s photo. He then hummed Garg’s 2007 hit, “Maya (Illusion)” – a song about the illusory nature of desire - reflecting on the void left by the singer’s passing.
In Garg’s music, the vision of an Assam inclusive of Hindus and Muslims, Assamese and Bengali speakers, was not an illusion.