Lagatar24 Desk
Guwahati: The passing of singer-actor Zubeen Garg on September 19 in Singapore sparked an unprecedented wave of grief in Assam, with lakhs thronging the streets to mourn. Yet, much of India outside the Northeast barely recognized the cultural giant, confusing him with Jubin Nautiyal. This stark contrast highlights the tragedy of India’s diversity: regional legends often live and die without the nationwide acknowledgment they deserve.
A Cult Icon Beyond the Hindi Belt
Zubeen Garg, who sang over 36,000 songs in more than a dozen languages, was a phenomenon in Assam and Bengal. His debut album Anamika (1992) shaped generations, his Bihu songs became inseparable from Assamese identity, and his foray into films revived Assamese cinema. For millions, Zubeen was more than an artist—he was an emotion. Yet, outside the region, he was often reduced to being the “Ya Ali singer,” a narrow recognition of his colossal contribution.
Not an Isolated Case
Zubeen’s story echoes the fate of other regional icons like Kannada superstar Puneeth Rajkumar, whose death in 2021 drew 20 lakh mourners, surprising the rest of India. Similarly, Soumitra Chatterjee in Bengal and Sharda Sinha in Bihar shaped cultural landscapes but rarely received national spotlight. As filmmaker Utpal Borpujari notes, talent alone does not guarantee visibility unless rooted in dominant cultures or languages.
The Bias of Platforms and Public Memory
The decline of Doordarshan’s regional programming and the rise of cable TV and social media have tilted exposure toward majority languages. Even democratic platforms like Coke Studio remain niche, offering limited relief to artists like Kalpana Patowary or Shankuraj Konwar. Demographic bias in content consumption means millions know Bollywood chartbusters but remain unaware of equally influential regional masterpieces.
The Lesson in Zubeen’s Legacy
Zubeen’s impact extended beyond music—his charity, emotional candor, and cultural pride built a cult-like following. His life illustrates that cultural figures need recognition not just for their art but for their role in shaping society. Borpujari argues that India must broaden its lens: national recognition should not be confined to dominant languages alone.
Recognising the Dichotomy
Zubeen Garg’s death is a reminder that India’s diversity, while rich, also sidelines many of its finest voices. Acknowledging this imbalance is the first step toward equitable cultural recognition. Icons like Zubeen, Puneeth, and Soumitra embody the soul of regions, but their legacy should belong to the entire nation.
