Opinion How Zubeen Garg became a symbol of unity in a divided Assam

That Zubeen’s death feels like a personal loss has been reiterated by many people across Assam. The recent incident at Tezpur University (where students expressed dissent and condemned the Vice Chancellor for discouraging them from paying their tributes to Zubeen Garg), among others, reflects the niche that Zubeen Garg has built for himself in the socio-cultural landscape of Assam.

Assam has historically been marked by contesting ideas about the nation, which have manifested in the form of several identity assertion movements. The Assam Movement, the emergence of the United Liberation Front of Assam, identity assertions by different tribal groups, and the protest against the Citizenship Amendment Act are some of the more recent landmark events that point out the heterogeneity of the region and the conflicting interests of the different groups. Such issues have not only shaped the narratives of society and politics but also determined the everyday lives of people.

Zubeen understood these conflicts and hierarchies that characterise the socio-political reality of the state and tried to rise above them through his humanitarian call. He saw himself as a socialist who was not bound by socio-cultural identities like caste, religion, ethnicity, language, etc. This is what made him the “Zubeen da”.

Political scientist and historian Benedict Anderson defined a nation as an “imagined community” where people feel a sense of belonging to a group/community, though they may have never met every other member of the group. How did Zubeen bring people together to imagine an Assam devoid of conflict, where everyone would be seen as a human and not as rich or poor, upper caste or lower caste, Hindu or Muslim?

Many think that Zubeen’s entry into Assamese music in the early 1990s was a breath of fresh air. It had the sensitivity to understand the disturbing past of Assam and show people a way forward to dream of a better tomorrow. Others argue that Zubeen’s style of rock and pop music provided Assamese music a new dimension to which the youth identified. A few others, however, highlighted his straightforward nature and his ability to call a spade a spade that possibly increased his appeal among people, especially the youth who saw him as fearless, courageous and someone who spoke for the right cause. Zubeen’s stand against ULFA’s ban on performing Hindi songs in Bihu functions, his voice against the CAA, are oft-cited examples that show his defiance. His generosity, exemplified by several initiatives to help the needy, has been highlighted by many after his death.

Although Zubeen’s vision of the nation transcended caste, region or religion, he often expressed his love for the land of Assam. There are multiple instances where Zubeen mentioned that he chose to stay and work in Assam and its people. He had no interest in permanently moving to Bombay to build a career, adding that he loved his land and that he would die in Assam among his own people like a king. Old video clips of Zubeen asserting that his death would be mourned by the people of Assam and would lead to an Assam bandh are circulating on social media platforms after his death. His love for Assam must be read as a broader and fluid understanding of the idea of the nation. This conception of the nation is inclusive of all those who consider themselves or are willing to be a part of it, irrespective of their mother tongue, their place of birth, ancestry or their food habits and everyday lifestyle. The only eligibility that such a definition of the nation demands is mutual love and respect for people, diversity, and the willingness to work towards the interests of Assam.

Now, after all this mourning, the most pertinent question is: Does it indicate a shift in the imagination of the idea of the nation among the youth across Assam today?

The writer is a PhD from Queen’s University Belfast, UK