Mur ostitok belin kori muk xekh kori jonmo dibo khuje kisumanok…
Jar kunu jonmo luwar odhikar nai…
Tothapi Jujaru moi jonmogoto…
Amoron Mur xankalpa…
Ostitto, Oporajito…
Xobdo album by Zubeen Garg
This is a song of resistance from the album Xobdo unfolds (better: This song of resistance from the album Xobdo unfolds) as a haunting testament to human endurance and the unyielding desire to exist despite forces of erasure. The yearning “to rise, reaching the height of the eucalyptus tree” and “to touch the sky” captures an eternal quest for transcendence, to surpass human limitation. Yet when “terrifying words” strive to “shatter” his being and “deny him birth,” the song becomes a confrontation with oppression, rejection, and the moral hypocrisy that seeks to silence individuality and truth.
The poignant line “those who have no right to be born” exposes the cruelty and injustice of a world that suppresses voices daring to defy conformity. In defiance, he proclaims: “Yet I struggle, I am born… My immortal resolve… Existence, unconquered.” These words reveal how existence transcends mere survival, thereby becoming an act of rebellion, a declaration of creative defiance against silence and suppression. Even in the absence of recognition, the very acts of living, creating, and speaking transform into profound gestures of resistance. On a philosophical plane, this song reflects Zubeen’s own life and artistry. To exist wholly, to dream without restraint, and to rise through turbulence is, and to remain (better: is to remain) unconquered.
Roots in Assamese Music, Wings Across India
Born in November 1972, he was a multilingual genius, Zubeen sang in over forty languages and recorded more than thirty-eight thousand songs across Hindi, Assamese, Tamil, Telugu, Bhojpuri, Nepali, Bengali, and several Northeastern dialects. His remark, “A king should never leave his kingdom, because when the king leaves, he is no more,” reflects his desire to remain rooted, echoing (better: rooted, and echoes) the larger-than-life aspirations of global icons like Freddie Mercury, Michael Jackson, Prince, David Bowie, and Bob Marley.
Zubeen’s music was deeply rooted in Assamese cultural heritage. The foundations were laid by pioneers like Jyoti Prasad Agarwala (Rupkonwar), Bishnu Prasad Rabha (Kalaguru), and Bhupen Hazarika, and later enriched by Jayanta Hazarika, Khagen Mahanta, Dipali Borthakur, and Sudakshina Sarma. What set Zubeen apart was his gift for connecting Assamese music with the wider Indian stage. While the earlier generation gave Assamese music its depth and soul, Zubeen made it lively, youthful, and full of fresh possibilities.
Growing up amid Assam’s turbulence, Zubeen witnessed ULFA’s insurgency, which began in 1979. He lived through military operations such as Operation Bajrang in 1990, launched (better: Operation Bajrang, launched in 1990) after President’s Rule was imposed due to escalating unrest, and later Operation Rhino, marking the next phase of counter-insurgency. These experiences shaped his art, blending the realities of conflict with a deep sense of compassion. Surrounded by violence, he chose to compose in the language of love. In his formative years, alongside close collaborators like Diganta Sharma, Dony Hazarika, Dudul Saikia, Dadu, and others, he created songs that were vibrant, tender, and timeless melodies that continue to resonate across generations. He rose to prominence at a time when Hindi and English music dominated the scene, yet he chose to compose and sing in his own mother tongue.
Zubeen Garg
That choice set him apart. Though he once aspired to study at the Trinity College of Music, financial constraints prevented it. Therefore, what Zubeen created is drawing inspiration from his land, his people, and their collective heartbeat. Although national fame followed hits like Ya Ali, Dil Tu Hi Bata, and Jag Lal LalLal… Zubeen chose to return to Assam at the peak of his success, rejecting the noise, chaos, and rigid hierarchy of Bollywood. Moreover, Zubeen has observed that copyright laws often fail to protect creators from private control, limiting their freedom to shape and expand cultural expression.
A striking example is the 2003 song “Chadti Jawani Meri Chal Mastani” (better: "Chadti Jawani Meri Chal Mastani"), the male vocals were performed by Zubeen Garg, yet his name does not appear in the YouTube video, which credits only DJ Doll. This left his contribution unacknowledged and denied audiences and the artist the recognition behind the voice. Such instances reflect the broader reality faced by many artists under existing copyright frameworks. He cherished the freedom and dignity to create on his own terms, often expressing his frustrations with the declaration that he would rather “die in Assam like a king” than losing (better: lose) himself in the hullabaloo of the Bollywood industry.
Civic Consciousness: Floods, Trees, and Assam’s Voice
Zubeen’s advocacy extended far beyond music. His suggestion to embank the Brahmaputra river to (redundant 'river' since 'Brahmaputra' is a river) mitigate Assam’s annual floods reflects not only social consciousness but also practical insight. Floods should not be treated merely as recurring events to manage by politicians (better: for politicians to manage); they disrupt livelihoods, education, health, and mental well-being, often leaving lasting trauma long after the waters recede. In a society where celebrities are expected to remain confined to entertainment, Zubeen defied this expectation, implicitly critiquing the state’s repeated failure to address these perennial challenges.
He emerged as the spokesperson for citizens protesting the large-scale tree felling and flyover construction, stressing the importance of preserving the heritage and natural beauty of the Dighalipukhuri area located near Handique Girls’ College and the Guwahati High Court. His advocacy galvanized public support, prompting authorities to urge all stakeholders to grant the Public Works Department additional time to explore alternative proposals and assess their feasibility. Ultimately, this public pressure led to adjustments in the flyover project, ensuring the protection of the historic trees. Zubeen also encouraged fans to plant 10,000 saplings, highlighting his belief in community-driven environmental action.
Zubeen Garg
Zubeen Garg was a vocal critic of the “Awesome Assam” tourism campaign, particularly its emphasis on Bollywood actress Priyanka Chopra. At the 2019 Charaideo Festival, he questioned whether such portrayals truly reflected Assam’s identity, arguing that the state’s rich wildlife and cultural heritage. It’s (Better: heritage—its) iconic rhinos, tigers, and gibbons, should take centre stage instead of celebrities with no direct connection to the region. Highlighting his own commitment to conservation, he pointed out that he had adopted Assam’s first rhino calf, demonstrating a personal investment in protecting the state’s natural treasures. While many artists in Assam and across India tend to avoid outspoken positions, Zubeen consistently broke the mould, using his platform to champion authenticity, cultural pride, and environmental stewardship.
The People’s King
Accessible and empathetic, Zubeen supported fans in times of distress, agreeing to lend monetary support, to pose for photos or gestures of connection (better: to pose for photos, or offer other gestures of connection) without hesitation. For Assam, he was more than a celebrity, he embodied collective hope, pride, and memory. Albums such as Maya, Pakhi, Xikhu, Bahi, Xobdo, Rong, Hidi Diya Niya, and Mukti became anthems of belonging.
His tattoo of Charlie Chaplin on his right shoulder, with the phrase “I may fall, but never fail,” symbolized resilience. It became both a personal talisman and a public declaration. His rebellious streak, once expressed through music and poetic pain, matured into direct social rebellion, fearlessly criticizing governments, cultural institutions, and industry practices.
Politics, Governance, and Moral Responsibility
Zubeen Garg never shied away from political commentary. He openly criticized leaders of all parties for corruption, decried bureaucratic inefficiency, and highlighted how the Cultural and Education Ministers were often disconnected from Assam’s realities. He insisted that responsibilities such as promoting culture and tourism should be entrusted to those who genuinely understand and care for the state.
He also lamented Assam’s invisibility in national platforms like airline magazines, where other states’ resources were prominently showcased while Assam remained overlooked. His actively participated (better: active participation) in the anti-CAA protests, a stance that drew criticism from the ruling party. In one of his shows, he even requested his audiences not to cast their votes for the BJP, reflecting his readiness to directly engage with the political consciousness of his followers. Even when he critiqued any specific government policies or political parties, such as this, he framed his interventions in the spirit of moral and social responsibility rather than partisan politics.
Che, Chaplin, and the Philosophy of Fearless Speech
Zubeen’s ethos resonates with Che Guevara’s conviction that “the true revolutionary is guided by great feelings of love.” Colloquially, Zubeen would say, “Moi ghentakhatirnokoru” (meaning (I don’t care)”, revealing his refusal to bow to social pressures or conventions. Like Chaplin, whose humour concealed social critique, Zubeen’s art carried rebellion, moral honesty, and cultural pride.
His life also exemplifies the philosophical principles of isegoria (the equal right to speak in public) and parrhesia (fearless truth-telling even at personal risk) underpinned (better: which underpinned) his interventions in culture, governance, and society. Through music, speeches, and activism, Zubeen exercised these ancient democratic ideals, making every song, statement, and action a testament to courage and civic responsibility.
Legacy and Tribute
All the leading newspapers of India reported that Assam declared a three-day state mourning after Zubeen’s sudden death, honoring his immense contribution to Assamese culture and music. Al Jazeera and the New York Times too covered this news. Even in Pakistan, his song Yaa Ali was performed in his honour, reflecting (better: honor, reflecting) the universal appeal of his music and the deep resonance of his artistry across the subcontinent.
Ravish Kumar, the renowned journalist and Ramon Magsaysay Award winner, publicly admitted that he had not known of Zubeen Garg until the massive outpouring of grief following the singer's death. In his tribute, Ravish described Zubeen as the “Kohinoor of Assamese culture,” emphasizing that Zubeen was not just a singer but a true artist who transcended the boundaries of language and religion, quietly shaping a new, united Assam. Zubeen Garg was more than a singer; he was a transformative force in Assamese music, culture, and society: a life that remained indomitable, resolute, and unforgettable. His journey reminds us that we should always be kind and understanding toward artists, whose lives are often filled with unseen struggles and profound challenges.
Pallavi Devi teaches Constitutional Law at Gauhati University.
