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By:

Shoumojit Banerjee

27 August 2024 at 9:57:52 am

Classroom of Courage

In drought-scarred Maharashtra, a couple’s experiment in democratic schooling is turning child beggars into model citizens In the parched stretches of Maharashtra, from Solapur to the drought-hit villages of Marathwada, a modest social experiment has quietly unfolded for nearly two decades. It is neither a grand government scheme nor a corporate-backed charity. Since 2007, the Ajit Foundation, founded by Mahesh and Vinaya Nimbalkar, has worked with children living at the sharpest edges of...

Classroom of Courage

In drought-scarred Maharashtra, a couple’s experiment in democratic schooling is turning child beggars into model citizens In the parched stretches of Maharashtra, from Solapur to the drought-hit villages of Marathwada, a modest social experiment has quietly unfolded for nearly two decades. It is neither a grand government scheme nor a corporate-backed charity. Since 2007, the Ajit Foundation, founded by Mahesh and Vinaya Nimbalkar, has worked with children living at the sharpest edges of society in Maharashtra. The foundation has become a home for out-of-school children, those who have never enrolled, the children of migrant labourers and single parents, and those who scavenge at garbage dumps or drift between odd jobs. To call their foundation an “NGO” is to miss the point. Vinaya Nimbalkar describes it as a “democratic laboratory”, where education is not merely instruction but an initiation into citizenship. The couple were once government schoolteachers with the Solapur Zilla Parishad, leading stable lives. Yet what they witnessed unsettled them: children who had never held a pencil, begging at traffic signals or sorting refuse for a living. Prompted by this reality, the Nimbalkars resigned their jobs to work full-time for the education of such children. Leap of Faith They began modestly, teaching children in migrant settlements in Solapur and using their own salaries to pay small honorariums to activists. Funds soon ran dry, and volunteers drifted away. Forced out of their home because of their commitment to the cause, they started a one-room school where Vinaya, Mahesh, their infant son Srijan and forty children aged six to fourteen lived together as an unlikely family. The experiment later moved to Barshi in the Solapur district with support from Anandvan. Rural hardship, financial uncertainty and the pandemic repeatedly tested their resolve. At one stage, they assumed educational guardianship of nearly 200 children from families that survived by collecting scrap on the village outskirts. Eventually, the foundation relocated to Talegaon Dabhade near Pune, where it now runs a residential hostel. Twenty-five children currently live and study there. The numbers may seem modest, but the ambition is not. Democracy in Practice What distinguishes the Ajit Foundation is not only who it serves but also how it operates. Within its walls, democracy is practised through a Children’s Gram Panchayat and a miniature Municipal Council elected by the children themselves. Young candidates canvass, hold meetings and present their budgets. Children maintain accounts and share decisions about chores, activities and certain disciplinary matters. In a country where democratic culture is often reduced to voting, the foundation’s approach is quietly radical. It treats children from marginalised backgrounds as citizens in formation. The right to choose — whether to focus on sport, cooking, mathematics or cultural activities — is respected. “We try never to take away what is their own,” says Vinaya Nimbalkar. Rather than forcing every child into a uniform academic mould, individual abilities are encouraged. A boy skilled in daily calculations may not be pushed into hours of bookish study; a girl who excels in cooking may lead the kitchen team. For children who have known only precarity, standing for election, managing a budget or speaking at a meeting can be transformative. On International Women’s Day, the foundation seeks visibility not just for praise but for partnership. If you are inspired by their mission, consider supporting or collaborating—your involvement can help extend opportunities to more children in need.

The Voice of the Northeast That Echoed Across India

Zubeen Garg (1972–2025)
Zubeen Garg (1972–2025)

Zubeen Garg, the iconic singer, composer, actor, and cultural ambassador of Northeast India, passed away on September 18, 2025, at the age of 52, following a tragic scuba diving accident in Singapore. The news sent shockwaves through the music world, leaving fans, colleagues, and the Assamese community in profound grief. Known as the “Heartthrob of Assam” and a multifaceted artist whose voice bridged regional folk traditions with Bollywood glamour, Garg’s untimely death marks the end of an era for Indian music. He was rushed to a hospital after sustaining injuries during the dive but succumbed while undergoing treatment in the intensive care unit. His passing has prompted an outpouring of tributes from across the nation, with many remembering him as a symbol of resilience, creativity, and unyielding passion for his roots.


Born Zubeen Borthakur on November 18, 1972, in Tura, Meghalaya, to an Assamese Brahmin family, Garg’s early life was steeped in artistic influences. His father, Mohini Mohon Borthakur, was a magistrate by profession but a poet and lyricist known under the pseudonym Kapil Thakur. His mother, the late Ily Borthakur, was a talented singer, dancer, and actress who nurtured his musical inclinations from the tender age of three. Garg often credited her for his initial training, recalling how she taught him to sing before he could even speak properly. The family moved frequently due to his father’s job, exposing young Zubeen to diverse cultures across Assam and beyond. He honed his skills in tabla under Pandit Robin Banerjee for 11 years and delved into Assamese folk music with Guru Ramani Rai. Academically, he completed his matriculation at Tamulpur Higher Secondary School and began a Bachelor of Science at B. Borooah College in Guwahati but dropped out to pursue music full-time. Tragedy struck early in his personal life when his younger sister, Jongki Borthakur, an aspiring actress and singer, died in a car accident in 2002. In her memory, Garg released the poignant album Xixhu, a testament to his deep familial bonds. He married fashion designer Garima Saikia Garg in 2002, and the couple shared a quiet life away from the spotlight, with Garg openly declaring himself irreligious and free from caste constraints.


Garg’s career ignited in 1992 when he won a gold medal for his western solo performance at a youth festival, propelling him into the professional arena. That same year, he released his debut Assamese album Anamika, which quickly established him as a rising star in regional music. Albums like Xapunor Xur, Junaki Mon, Maya, and Asha followed, blending folk elements with contemporary sounds. His first bihu album, Ujan Piriti (1995), became a commercial hit, capturing the festive spirit of Assam. Eager to expand his horizons, Garg relocated to Mumbai in 1995, diving into the competitive Bollywood scene. He debuted with the Indipop album Chandni Raat and contributed to films like Gaddaar (1995), Dil Se (1998), Doli Saja Ke Rakhna (1998), Fiza (2000), and Kaante (2002).


The turning point came in 2006 with “Ya Ali” from the Bollywood film Gangster, a haunting Sufi-rock anthem that catapulted him to national fame. The song, with its emotive lyrics and Garg’s powerful vocals, became an instant chart-topper, earning him the Best Playback Singer award at the Global Indian Film Awards (GIFA). It remains one of his most enduring hits, often cited as a milestone that introduced Northeast talent to mainstream India. Building on this success, Garg delivered more Bollywood gems like “Dil Tu Hi Bataa” from Krrish 3 (2013), a romantic melody that resonated with audiences for its heartfelt delivery. In regional cinema, his Assamese tracks like “Jajabor” – a masterpiece of modern Assamese music blending wanderlust and emotion – solidified his status as a cultural icon. Critics hailed it as a timeless piece, reflecting Garg’s nomadic spirit and love for his homeland.


Garg’s repertoire extended beyond Assam and Hindi. In Bengali cinema, he enchanted listeners with “O Bondhu Re” from Premi (2005), a soul-stirring ode to friendship, and “Piya Re Piya Re” from Chirodini Tumi Je Amar (2008), which captured the essence of young love. Garg’s voice wasn’t confined to playback; he composed and directed music for films, winning the National Film Award for Best Non-Feature Film Music Direction for Echoes of Silence in 2009 at the 55th National Film Awards.


Beyond music, Garg was a prolific actor and filmmaker. He debuted in acting with the Assamese film Tumi Mur Matho Mur (2000) and appeared in Bollywood cameos, including in Gangster and Strings (2006). His directorial venture Mission China (2017) was a blockbuster, blending action with patriotic themes, while films like Kanchanjangha (2019) showcased his storytelling prowess. Over his career, he amassed numerous accolades, including multiple Best Music Director and Best Playback Singer awards from regional bodies. In 2024, he received an honorary Doctor of Literature (D.Litt.) from the University of Science and Technology, Meghalaya, recognizing his contributions to arts and culture. Zubeen Garg’s death leaves a void in Indian music, but his melodies will endure, inspiring generations. He is survived by his wife, Garima, and a legion of fans who will forever hum his tunes. As one fan aptly put it, “Zubeen wasn’t just a singer; he was the soul of Assam.” Rest in peace, maestro.


(The writer is a senior journalist based in Mumbai. Views personal.)

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