Zubeen Garg’s manner of passing sent a tremor not just across his home state of Assam but across the North East and his fans pan-India. While his passing was a shocker for his fans, Zubeen perhaps had a premonition that he would leave this world sooner than later. It was perhaps how he would have liked to pass on to the other world. His song “Moi Morim Jidina Oi” (on the day that I die) is a presentiment of sorts. He says once he is dead four men would carry his body and cremate it. Humans, Zubeen reiterates, are sure of only ‘today’ and can never predict the future. In fact, he urges humans not to trust their frail physical bodies (dehor bhorokha nai, bujisa ne nai). A singer, songwriter and musician to boot, Zubeen represents the youth of his generation. He was impetuous and did not care too much about niceties; performed when called for and lived an ordinary person’s life even while his fans worshipped him. The sea of humanity that thronged Sarusajai stadium where his mortal remains have been kept after the coffin was brought from Singapore on Sunday morning was a decisive mandate about Zubeen Garg’s popularity across ages groups. He was an icon that was the emblem of Assamese pride and also that of the North East because whenever Zubeen was interviewed he spoke lovingly of Assam and the North East.
Its rare for a singer to be able to traverse from one language to another, but Zubeen did it effortlessly. Besides Assamese, Hindi and Bengali he sang in over 40 languages and dialects and also played 12 types of instruments. This versatility is what sets him apart. Another aspect of Zubeen Garg was his irreligious nature and derision for caste and class, so much so he adopted the title Garg from his gotra. That Zubeen also dabbled in film making and acting makes him stand apart as a versatile creative artist. Very few are imbued with such a range of artistic talent. Zubeen’s life was not without its share of problems. During some Bihu festivals in Assam he was prevented from performing because he sang Bollywood music which was construed to be counter-cultural. On such occasions Zubeen chose to walk out rather than comply since according to him music bridges cultures and speaks in multiple languages. But the Bihu organisers often had to relent on the demand of Zubeen’s fans.
A singer who believed in uniting hearts and minds across cultures and languages was much like the late Dr Bhupen Hazarika, a bridge that connected the people of the North East. Such souls are rare and their passing leaves a deep void in the creative-cultural cum musical space. A recipient of many honours, Zubeen was never affected by the adulation he enjoyed but lived a very grounded life and used his influence in the right direction – to better the lives of those in distress apart from being responsive to the needs of society. Zubeen Garg’s deeds will live on and his life will remain a celebration.
