National anthems are among a country’s most recognisable symbols. Sung at national days, diplomatic ceremonies, sporting events, schools and protests, anthems evoke pride, memory and identity. India’s “Jana Gana Mana,” composed by Rabindranath Tagore, is an example of an anthem that stirs deep national feeling and can be either sung or played instrumentally. Yet beneath their formal role many anthems hold fascinating quirks, contradictions and surprising histories. From wordless tunes to foreign authorship, shared melodies to revised lyrics, anthems reveal how culture, politics and identity intersect.
Anthems without words: Some countries have official anthems that are purely instrumental. Spain’s “Marcha Real” (Royal March) is the most famous example; repeated attempts to add lyrics have failed amid political divisions, so the music remains wordless. Other wordless anthems include Bosnia and Herzegovina, San Marino and Kosovo (which India does not recognise). In divided societies, choosing lyrics can privilege one ethnic, linguistic or political group over another, so silence can function as a neutral form of unity.
One person, multiple anthems: Rabindranath Tagore’s authorship of two national anthems is remarkable: India’s “Jana Gana Mana” and Bangladesh’s “Amar Shonar Bangla” (My Golden Bengal). Sri Lanka’s “Sri Lanka Matha” was also strongly influenced by Tagore through one of his Sri Lankan students from Visva-Bharati in Santiniketan. This overlap reflects late-colonial South Asian intellectual exchange, when artists and activists crossed emerging national borders and inspired multiple nation-building projects.
Shared anthems and melodies: Some countries share anthems or tunes. Greece and Cyprus both use “Hymn to Liberty,” reflecting shared language and history. Finland’s “Maamme” shares a tune with Estonia’s “Mu isamaa, mu õnn ja rõõm.” Such overlaps show how national identity can arise from common regional traditions as much as from distinct origins.
Multiple official anthems: A few states keep two official anthems. Denmark recognises both “Der er et yndigt land” (used mainly for civilian occasions) and “Kong Christian stod ved højen mast” (for royal and military events). New Zealand has two equal anthems—“God Defend New Zealand” and “God Save the King”—reflecting ties to the British monarchy alongside a distinct national identity.
Revolutionary and evocative lyrics: Many anthems preserve the emotional intensity of formative conflicts. France’s “La Marseillaise,” written during the Revolution, famously calls citizens to arms. Algeria’s “Kassaman” (We Pledge) and Portugal’s “A Portuguesa” similarly embody anti-colonial and nationalist struggle, their lyrics invoking resistance, sacrifice and defiance.
Reflective anthems: Not all anthems are triumphant. Hungary’s “Himnusz” is a solemn prayer asking for divine mercy after centuries of hardship. Israel’s “Hatikvah” centres on hope and longing after diaspora experiences. Poland’s “Mazurek Dąbrowskiego” (Poland Is Not Yet Lost) was composed to sustain morale when Poland had vanished from the map; uniquely, it even mentions Napoleon as a symbol of resilience.
Evolving and reshaped anthems: Anthems change with politics. Post‑World War II Germany limited the use of the “Deutschlandlied” to its third verse because earlier verses had been tainted by Nazism. Russia replaced the Soviet anthem in 1991 and briefly used only music; the old Soviet melody was restored in 2000 with new lyrics. Australia moved from “God Save the Queen” to “Advance Australia Fair” in 1974. Canada’s “O Canada” exists in English and French versions that are not direct translations; in 2018 Canada amended its English lyrics for gender inclusivity. Political shifts—revolutions, independence, regime change—often prompt revisions to national symbols.
Language complexity and cultural fusion: Some anthems deliberately incorporate multiple languages. South Africa’s anthem combines five languages in one composition—Zulu, Xhosa, Sesotho, Afrikaans and English—signalling post‑apartheid reconciliation and the country’s “rainbow” character. The anthem’s multilingual form is both musical challenge and political statement. Versions of the Pan‑African liberation song “Nkosi Sikelel’ iAfrika” were once used by several countries, though some have since adopted new anthems.
Anthems that name other countries: A few current anthems mention foreign lands in their lyrics. The Dutch anthem refers to Spain, Poland’s anthem mentions Italy, and Algeria’s anthem refers to France. Other anthems once named other states but later removed those references.
Musical style and length: Anthems vary widely in style and duration. Uruguay’s “Himno Nacional” is long and operatic, taking up to six minutes when fully performed. Japan’s “Kimigayo” is among the shortest, based on a short poem wishing longevity. These contrasts reflect different musical traditions—from European classical influences in Latin America to poetic brevity in East Asia.
A moment of confusion: In 2012, at a shooting contest in Kuwait where Kazakhstan won gold, the ceremony accidentally played the parody anthem from the film Borat instead of Kazakhstan’s national anthem, causing controversy and embarrassment.
Anthems as living symbols: National anthems are more than ceremonial music. They condense history, politics, identity and emotion into short pieces of music. Their peculiarities—wordless melodies, shared tunes, multiple official versions, revolutionary calls, or reflective prayers—reveal how complex national identity can be. Anthems preserve memories of wars, independence struggles, cultural exchange and political change. They are not static: lyrics are revised, tunes repurposed and meanings reinterpreted as nations evolve. What once served as a battle cry may become ceremonial; what once united may later divide, or vice versa. Every anthem carries a unique story about how a nation sees itself and wants to be seen.
The author is Indian ambassador to Portugal. The views are personal