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| 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.
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| Dr. Zubeen Garg at near 50 age |
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| Zubeen Garg with beloved wife Garima Saikia Garg |
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| A rockstar, simple living and encouraging millions of youth to his path |
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| Zubeen Garg with his steeped brother Arun Garg |
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