How the late Zubeen Garg embodied cultural affinities between Assam and Bangladesh
The death of renowned Assamese singer Zubeen Garg on September 19 in Singapore has rekindled reflection on the enduring cultural bonds between the Indian state of Assam and Bangladesh.
Garg, aged 52, died from drowning while swimming at Lazarus Island without a life jacket.
While initial reports speculated about scuba diving, a post-mortem conducted in Singapore confirmed drowning as the official cause of death.
He was transported to Singapore General Hospital, where he was pronounced dead in the ICU at approximately 3 pm BST.
A voice beyond borders
Though widely recognized for his contributions to Assamese and Bollywood music, Garg also left a lasting imprint on Bangladeshi audiences through his Bengali songs.
Tracks such as Aaina Mon Vanga, Mon Mane Na, Piya Re Piya Re, and Mayabini are celebrated on both sides of the border for their lyrical emotion and melodic sophistication.
His music often blurred linguistic and cultural lines, resonating with listeners in both Assam and Bangladesh and emphasizing their shared heritage.
Garg often spoke of his multicultural roots. In an interview with TV9 Bangla, he remarked: “I say I am half Bengali. From childhood, I grew up with Bengali and Assamese together.”
His understanding of identity as layered rather than rigid reflects a broader cultural sentiment - similar to the views of Maulana Abdul Hamid Khan Bhasani, who in the 1970s asserted a pan-regional sense of belonging: “Assam is mine, West Bengal is mine, Tripura is also mine…” (Weekly Haq Katha, February 25, 1972).
These expressions champion a vision of cultural unity that transcends political boundaries.
Historical and linguistic linkages
The Barak Valley region of Assam, comprising Silchar, Hailakandi, and Karimganj, is predominantly Bengali-speaking and has historical ties to linguistic activism.
In 1961, when Assamese was proposed as the sole official language, widespread protests in the Barak Valley led to the deaths of 11 demonstrators at Silchar Railway Station.
This event is commemorated annually as Bhasha Shahid Divas (Language Martyrs’ Day), and it eventually led to Bengali being granted official status in the region.
Moreover, the dialect spoken in Barak Valley closely aligns with Sylheti, a language widely used in Bangladesh’s Sylhet region.
These linguistic overlaps reflect the deep-rooted cultural affinities between the two areas.
Several reports state that Zubeen Garg spent a part of his childhood in Karimganj (officially Sribhumi) and maintained ties there.
People in Silchar within Barak Valley recall his early days, school friends and teachers in Karimganj.
He completed his Higher Secondary education at Karimganj College.
Local news also mentions that his father (pen name Kapil Thakur) stayed in a government magistrate’s quarter in the Settlement area of Hatment Road, Karimganj, where Zubeen’s family lived during some of his early years.
Bangladesh itself is linguistically diverse. For instance, the Chatgaiya dialect spoken in Chattogram differs significantly from standard Bengali in both vocabulary and pronunciation.
Such internal linguistic variation underscores the multifaceted nature of cultural identity, even within a single nation.
Grief and recognition in Bangladesh
The reaction from Bangladesh to Zubeen Garg’s death has been heartfelt and multifaceted.
Bangladesh’s Assistant High Commissioner, Z. Hasan Fahad, acknowledged Garg’s cross-border appeal, stating: “His music transcended borders and touched countless hearts, including in Bangladesh, where his soulful voice and Bangla compositions were warmly cherished.”
Also, he emphasized that Garg’s artistic legacy would endure across generations.
Fans in Bangladesh responded with deep sorrow, sharing his music on social media, reminiscing about his influence and expressing collective grief.
Many Bangladeshi commentators recognized Garg’s passing as not just a loss for Assam or India, but for a broader community connected through language, art, and shared cultural identity.
Md Mokbul Hasan, a Bangladeshi fan, wrote on the Memorial Tribute by Eskay Movies’ YouTube channel: “My heart is bleeding. We will miss you forever.”
Sara Begum commented: “Huge respect for you from Bangladesh. You brought life to our childhood.”
Another fan, AS Mahid, wrote: “Why did you have to leave so early? It should have been me instead of you.”
Garg’s personal identification as part Bengali and part Assamese mirrors the lived experiences of many across South Asia whose identities straddle artificial borders.
His Bengali songs evoke deep emotional responses in regions like Barak Valley and Sylhet, where language and identity have long been subjects of both pride and struggle.
Undoubtedly, he has a special place in the hearts of Bengali talking people, all over the world.
Garg’s ability to bridge dialects, cultures, and regions through his music serves as a reminder that diversity—within and across borders—can be a unifying force rather than a dividing one.