Dr. Jayanta's blog: Zubeen Garg Cultural Legend

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Sunday, 12 October 2025

Zubeen Garg's: A Cultural Icon of India

Dr. Zubeen Garg at young age

Zubeen Garg, original name was Jibon Borthakur born on November 18, 1972, in the misty hills of Tura, Meghalaya, entered the world as the son of an Assamese Brahmin family steeped in artistic and intellectual fervor. His father, Mohini Mohon Borthakur—a distinguished magistrate, lyricist, and poet penning under the nom de plume Kapil Thakur—instilled in him a sense of discipline and cultural depth, while his mother, Ily Borthakur, a homemaker, singer, and actress, became his first musical muse. Named after the legendary conductor Zubin Mehta, young Zubeen initially bore the surname Borthakur but later embraced "Garg," a nod to his family's Brahmin gotra, symbolizing a rooted yet evolving identity. The family's ancestral home lay in the verdant fields of Tamulichiga (Jhanji) in Jorhat district of Assam, but Zubeen's early years were nomadic, marked by his father's frequent transfers as an Assam Civil Service officer. This peripatetic childhood across Assam's lush landscapes—from Jorhat to Karimganj and beyond—wove into his soul the raw, pulsating rhythms of the Northeast, where folk tunes whispered through bamboo groves and rivers carried the echoes of ancient ballads.

From the tender age of three, music was Zubeen's sanctuary and rebellion. Under his mother's gentle tutelage; he crooned his first notes, her voice a cradle for his innate talent. Formal training followed: for 11 years, he mastered the tabla under Pandit Robin Banerjee, its resonant beats syncing with his heartbeat. Guru Ramani Rai unlocked the treasures of Assamese folk traditions, from soul-stirring Bihu to the haunting Zikir of Sufi devotionals. By school days at Carmel School in Jorhat, Karimganj High School, and Bijni Bandhab High School, Zubeen was already composing—scribbling melodies on scraps amid the chaos of adolescence. He matriculated from Tamulpur Higher Secondary School in Nalbari in 1989, then pursued higher secondary science at J.B. College in Jorhat before enrolling for a Bachelor of Science at B. Borooah College in Guwahati in 1991. But academia's rigid cadence clashed with his free-spirited rhythm; he dropped out, trading textbooks for a microphone, a decision that would echo through Assam's cultural corridors for decades. He pursued B.Sc. with major in Chemistry at B. Borooah College, Guwahati. However, he became so deeply involved in the field of music that it affected his ability to devote sufficient time to his studies. Later, he discontinued his formal education without completing his graduation.

Zubeen's professional odyssey ignited in 1992 with his debut Assamese solo album Anamika under NK Productions—a tender fusion of pop and folk that hinted at the polymath he would become. That same year, a gold medal for his Western solo at a youth festival burnished his resolve. His first recorded tracks, "Tumi Janu Pariba Hun" and "Tumi Junaki Hubakh," graced the 1993 album Ritu, but it was Xopunor Xur (1992), Junaki Mon (1993), Maya (1994), Asha (1995), and the blockbuster Bihu collection Ujan Piriti (1995) that catapulted him into stardom. By the mid-1990s, Mumbai's glittering sprawl beckoned. His Indipop venture Chandni Raat marked his national foray, followed by Hindi albums like Chanda (1996), Shradhaanjali series (1996–1997), Jalwa (1998), Yuhi Kabhi (1998), Jadoo (1999), Sparsh (2000), and Zindagi (2007). These weren't mere recordings; they were sonic bridges, blending Assamese earthiness with Bollywood's gloss.

A virtuoso on over a dozen instruments—from the dhol's thunderous pulse to the dotara's melancholic twang, the mandolin's whimsy to the keyboard's versatility—Zubeen Garg transcended labels. Over 33 years (1992–2025), he etched more than 40,000 songs across 40+ languages and dialects: Assamese anthems, Bengali ballads, Hindi hits, and even rarities in Bishnupriya Manipuri, Adi, Boro, Dimasa, Gujarati, Kannada, Malayalam, Marathi, Mising, Nepali, Bhojpuri, Odia, Sadri, Sanskrit, Sindhi, Tamil, Telugu, Tiwa, Urdu, and English.

His voice, a gravelly baritone laced with Sufi soul and rock edge, drew from icons like Bhupen Hazarika, R.D. Burman, Ilaiyaraaja, Sting, Pink Floyd, and Kenny G. Yet, it was unapologetically his own: folk-rooted, not classically schooled, fusing tribal chants with urban angst.

Bollywood's embrace came tentatively—debut tracks in Gaddaar (1995), Dil Se.. (1998), Doli Saja Ke Rakhna (1998), Fiza (2000), and Kaante (2002)—but exploded in 2006 with "Ya Ali" from Gangster, a Sufi-rock lament that clinched him the Best Playback Singer at the Global Indian Film Awards (GIFA) and nominations at Filmfare, Zee Cine, IIFA, and Screen Awards. Stardust crowned it New Musical Sensation (Male). Follow-ups like "Sapne Saare" (Mudda – The Issue, 2003), "Maango Agar Dil Se Toh Khuda" (Chupke Se, 2003), "Holi Re" (Mumbai Se Aaya Mera Dost, 2003), "Jag Lal Lal Lal" (Big Brother, 2007, with Ustad Sultan Khan) solidified his pan-Indian allure. In Bengali cinema, he debuted with Mon (2003), scoring and singing for Shudhu Tumi (2004), Premi (2005), Mon Mane Na (2008), Chirodini Tumi Je Amaar (2008), and Love Story (2008).

As a composer, Zubeen's alchemy turned scripts into symphonies. He helmed music for over 40 Assamese films, from Hiya Diya Niya (2000) to late gems like Dr. Bezbaruah 2 (2023), The Slam Book (2023), Raghav (2023), Sikaar (2024), Bhaimon Da (2025), Rudra (2025), Joddha (2025), Homework (2025), and Roi Roi Binale (2025)

Bengali hits included Sudhu Tumi (2004), Mon Niye (2010), Kachhe Achho Tumi (2010), and Samsara (2019); Hindi ventures like Strings – Bound By Faith (2006), Dil Toh Deewana Hai (2016), and Homework (2025). His documentary score Echoes of Silence (2009) bagged the National Film Award for Best Non-Feature Film Music Direction at the 55th National Awards—a rare feather for a Northeast voice.

The silver screen beckoned in 2000 with his directorial and acting debut in Tumi Mor Matho Mor, where he also composed. Over 20 Assamese films followed: poignant roles in Prem Aru Prem (2002), Dinabandhu (2004), Mon Jaai (2008), Raamdhenu (2011), Bhal Pabo Najanilu (2013), Rodor Sithi (2014), Gaane Ki Aane (2016), Mission China (2017), Priyaar Priyo (2017), The Underworld (2018), Kanchanjangha (2019), Pratighaat (2019), Rajneeti (2022), Dr. Bezbaruah 2 (2023), Wide Angle (2024), Sikaar (2024), Homework (2025), and Roi Roi Binale (2025). Bollywood cameos in Gangster (2006), Strings (2006), and Big Brother (2007) added glamour. His portrayals—often idealistic youth grappling with identity, politics, and social upheaval—mirrored Assam's turbulent soul. On television, he judged Sa Re Ga Ma Pa (Hindi, 2002/2004), Sa Re Ga Ma Pa L'il Champs (Bengali, 2007–08/2013), and hosted Moi Zubeen Garg Hobo Bisaru (Assamese, 2013–14), while starring in the serial Anuradha (2010–11).

Zubeen Garg's Enduring Legacy in Preserving Northeast India's Folk Traditions

Zubeen Garg, the multifaceted Assamese icon who passed away on September 19, 2025, was far more than a prolific singer, composer, and actor— he was a cultural guardian whose life's work profoundly shaped the preservation and evolution of folk music in Assam and the broader Northeast India. Over his 33-year career, Garg recorded an astonishing 40,000+ songs across 40+ languages and dialects, many of which drew directly from indigenous folk roots, ensuring that fading tribal melodies not only survived but thrived in contemporary contexts.

His approach was not archival in the traditional sense but transformative: he wove ancient rhythms, instruments, and narratives into popular music, making them accessible to younger generations while shielding them from cultural erosion amid globalization and urbanization. This exploration delves into his methods, key contributions, collaborations, and the ripple effects of his efforts, especially in light of recent tributes following his untimely death.

Collaborative Preservation: Engaging with Tribal Communities

Garg's preservation was hands-on and community-driven. He collaborated with over 250 ethnic groups in Assam, documenting and reinterpreting more than 5,000 tribal folk songs through fieldwork, recordings, and live performances. This wasn't mere collection; it was revival. For instance, he worked closely with Mising and Rabha communities to preserve their unique musical traditions—oi ni:toms for the Mising (invoking river gods and agricultural cycles) and lukogeets (Rabha folk ballads often tied to rituals.

These efforts extended to lesser-known forms like Karbi lam-met (narrative songs) and Tiwa folk chants, which he incorporated into his albums and film scores.

His foundation, the Kalaguru Artiste Foundation, formalized this mission by funding cultural initiatives, including folk music workshops and recordings for underserved tribes. In documentaries like Echoes of Silence (2009), for which he won a National Film Award for music direction, Garg highlighted vanishing indigenous sounds, using his platform to advocate for their safeguarding.

He often performed at remote festivals, such as Bihu melas or tribal jhum (shifting cultivation) celebrations, where he learned directly from elders and integrated their tunes into his repertoire. This grassroots approach preserved not just melodies but oral histories, myths, and social commentaries embedded in folk lyrics—themes of love, nature, resistance, and community that mirrored Assam's socio-political struggles.

Garg's Bollywood forays further amplified these traditions. Tracks like "Ya Ali" (2006) from Gangster fused Sufi Zikir influences with rock, introducing Northeast folk to national cinema.

He acknowledged bringing Assam's folk culture to Hindi films, blending elements like the dotara (a stringed instrument) and bahi (bamboo flute) with modern production to prevent their obsolescence.

Impact and Challenges: Cultural Activism Amid Controversy

Garg's work had tangible impacts: his songs fostered intergenerational bonds, with Bihu folk beats connecting elders' traditions to youth culture.

He defied bans, like ULFA's on Hindi songs during Assam's insurgency, by performing bilingual folk fusions, promoting unity in a divided region.

However, challenges abounded—critics accused him of commercializing sacred traditions, and his outspoken nature led to controversies, including FIRs for remarks on cultural icons.

Despite this, his philanthropy reinforced preservation: donating studios, funding orphanages, and supporting 15 foster children, many from tribal backgrounds, while adopting animals and aiding flood relief in folk-rich riverine areas.

Posthumous Legacy: Digital Preservation and Tributes

Since Garg's death, his preservation efforts have gained renewed urgency. Fans and institutions are archiving his vast catalog—over 40,000 songs—to combat AI tampering, with initiatives to create "digital signatures" for his voice.

Tributes across Assam, like lamp-lighting ceremonies in Nagaon singing his folk-infused "Mayabini Ratir Bukut," or bhaona plays in Bokakhat, underscore how his work keeps traditions alive.

Prime Minister Modi, in a Mann Ki Baat address, hailed him as Assam's "brightest gem," whose music inspires generations.

In obituaries, Garg is remembered as Assam's "last icon," bridging old and new while embedding folk in the collective memory.

His legacy endures not in museums but in living culture—songs sung at festivals, passed down families, and echoing across the Brahmaputra. By modernizing without diluting, Garg ensured Northeast folk music remains vibrant, a testament to his vision that culture must evolve to survive.