Collage by Dami Mojid for THE REPUBLIC.
the ministry of cultural affairs
Changing the Nigerian Anthem
Collage by Dami Mojid for THE REPUBLIC.
the ministry of cultural affairs
Changing the Nigerian Anthem
Imagine a stadium packed with thousands of people. The energy crackles as a nation stands united, voices swelling in a chorus of their anthem. Yet, for some, the same anthem evokes a grimace, a reminder of past divisions. This emotional tug of war perfectly encapsulates the power and potential pitfalls of national anthems.
The power of a national anthem, akin to a nation’s historical narrative, lies in its capacity to shape and embody the essence of a country. Much like historical events, the interpretation of a national anthem can vary, acting as a uniting force or a divisive element. It serves as a potent unifier, reflecting a nation’s dreams and fostering patriotism among its citizens at home and abroad.
On 29 May 2024, President Bola Ahmed Tinubu endorsed reverting to the anthem, ‘Nigeria, We Hail Thee’, reigniting debates on national symbolism and identity. In exploring the essence of national identity and its evolving practical manifestations amid socio-economic challenges, we gain a deeper appreciation for the role of these symbols in uniting and motivating a nation.
AN ANTHEM AS A REFLECTION OF CHANGE
National anthems are not static pronouncements; they are living testaments to a nation’s evolving story. Throughout history, countries have adapted or replaced their anthems to reflect significant shifts in their identities and values.
In 1952, after the Second World War, Germany adopted a new, more pacifistic third verse for its national anthem, ‘Deutschlandlied’ (The Song of Germany), acknowledging the horrors of the past. The fall of the Soviet Union in 1991 serves as another powerful example of national anthems reflecting change in history. ‘The Internationale’, which resonated with communist ideology was Russia’s anthem from 1918-44, then replaced by ‘Gosudarstvenny gimn Soyuza Sovetskikh Sotsialisticheskikh Respublik’ (State Anthem of the Union of Soviet Socialist Republics). When the Soviet Union collapsed in 1991, Russia adopted ‘The Patriotic Song’, reflecting a new era. After Vladimir Putin became president in 2000, he advocated for restoring the Soviet anthem with new lyrics that removed references to Russian revolutionary leader, Vladimir Lenin, and communism.
The twenty-first century has also witnessed numerous anthem revisions in response to changing times. In 2012, Australia altered the second line of ‘Advance Australia Fair’ from ‘For we are young and free’ to the more inclusive ‘For we are one and free,’ recognizing the long history of its indigenous population. Austria and Canada have undertaken similar revisions to promote gender equality and inclusivity within their anthems.
National anthems can also be a response to specific historical traumas. Following the devastating 1994 genocide, Rwanda adopted a new anthem, ‘Ubwu ne Nyeruhire’ (Land of a Thousand Hills), emphasizing unity and hope for a brighter future. Similarly, after the death of Libya’s dictator leader, Muammar Gaddafi in 2011, Libya reinstated its pre-Gaddafi anthem, ‘Libya, Libya, Libya’, symbolizing a rejection of Gaddafi’s authoritarian regime.
These instances showcase the power of national anthems as mirrors reflecting a nation’s journey. They capture pivotal moments of change, both celebratory and sorrowful, and serve as potent symbols for a nation’s aspirations moving forward. And now, Nigeria has joined the list of countries that have changed their national anthems or simply reverted back to their old anthem like Libya and the Democratic Republic of Congo in 1997.
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THE SUCCESSES OF ÁFÀMÉFÙNÀ
In a way that cancels most odds, Áfàméfùnà excels in its writing and the level of research that went into it. The storytelling is well-rounded and brilliantly crafted. With the help of the memories of the titular character and his wife, this movie employs a reverse chronological order in its storytelling. The plot unfolds in a way that the richness and suspense of the movie are held together to the very end. The conversations flow realistically from scene to scene in a way that makes imagining real people having similar conversations easy.
There are numerous pieces of excellence that merge to bring Áfàméfùnà as close to perfection as cinematically possible. The everydayness of the extras—which is the point of having extras in a play or a movie—is one such instance. The success of the wardrobe and costume department in adorning the cast in believable garbs and looks is commendable. The ability of the hands behind the camera to capture aerial views of the market added an almost gustatory familiarity to the market scene. The intentional details that went into setting the scenes are also noteworthy. When we first see the home scenes, the camera catches a carefully placed 2002 calendar bearing an image of Odogwu’s picture, something that can be expected from a successful Igbo businessman of that time. Later in the movie, we see Odogwu’s sitting room again. This time, family pictures of Odogwu with his wife and daughter sit side by side with images of Jesus and Mary, all typical features of any Catholic Igbo family. These details come together to crown the efforts of the writers with a level of believability. In all, the general editing that ties these well-executed elements together contributes to making this a rich watch.
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NIGERIA’S ANTHEM: A UNIFYING SYMBOL OR A RENEWED DEBATE?
‘Nigeria, We Hail Thee’ was born during Nigeria’s independence, capturing the spirit of self-determination and a bright future. A competition for the anthem lyrics, with a deadline of 31 March 1959, led to a winning entry from British expatriate, Lillian Jean Williams. Meanwhile, the national anthem’s music competition was won by British music teacher and pianist, Frances Benda. Despite its foreign origin, the anthem’s lyrics, such as ‘Though tribe and tongue may differ / In brotherhood we stand,’ resonated with Nigeria’s diverse cultures.
Still, controversy surrounded the anthem due to its authorship by a British expatriate. There are many accepted national anthems by foreign composers like Japan’s Kimigayo’s lyrics written in 1870 by Scottish musician, John William Fenton, while he was employed by the Japanese government as a military band leader. The criticism against Nigeria’s anthem was its inability to fully capture the nation’s struggles and complexities. In 1978, during the military regime of General Olusegun Obasanjo, ‘Nigeria, We Hail Thee’ was replaced by ‘Arise, O Compatriots’. Decades later, Nigeria finds itself revisiting its past, proving that history does hit repeat.
Supporters of Nigeria’s anthem change, like corporate communications professional, Isaiah Kumuyi, see the anthem’s revival as a chance to recapture the optimism and unity of the nation’s birth. They believe that singing the old-new anthem is a call to reclaim the spirit of unity that will reignite a collective determination to build a prosperous society. However, others like popular media personality, Osikhena Dirisu, opposed the anthem, viewing it as a relic of a troubled past with corroborating arguments on foreign authorship, even though there are many successful national anthems that have foreign composers. (For example, in addition to Japan as discussed earlier, Bangladesh’s national anthem ‘Amar Shonar Bangla’ was written by Indian-born Bengali poet, Rabindranath Tagore, in 1905.)
Moreover, the newly adopted Nigerian anthem’s celebratory tone clashes with the harsh realities of contemporary Nigeria. The country faces significant challenges, including poverty, corruption, and violent conflicts. For those against the anthem change, changing the anthem feels like focusing on a nostalgic symbol distracts from addressing these pressing issues.
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A SONG YET TO SING IN UNISON
South Africa grapples with the legacy of two official anthems: the pre-apartheid ‘Nkosi Sikelel’ iAfrika’ (God Bless Africa) and the post-apartheid ‘Die Stem van Suid-Afrika’ (The Voice of South Africa). While the former is a powerful symbol of unity and resistance, some Afrikaners view the latter as a reminder of their past dominance. This dual-anthem system reflects the complexities of South Africa’s history and the ongoing process of national reconciliation.
For Germans, the ‘Deutschlandlied’ national anthem has been a source of contention since its association with the Nazi regime. After the Second World War, only the third verse was retained, emphasizing peace and unity. This revision demonstrates how a national anthem can be adapted to reflect a nation’s evolving identity.
The case of Nigeria’s anthem change highlights the challenges of forging national unity through symbols. ‘Nigeria, We Hail Thee’ may evoke a sense of nostalgia for some, but for others, it represents a divided past. The true test of the anthem’s unifying power lies in its ability to resonate with all Nigerians and inspire a shared vision for the future which it is failing at woefully, at the moment.
This anthem debate exposes the limitations of national symbols in forging unity, especially in a nation as diverse as Nigeria. While a new anthem entirely, composed collaboratively through a national competition, could hold promise, its success hinges on inclusivity and reflecting the complexities of Nigeria’s past and present. But then, national unity is a multifaceted issue that extends beyond symbolic gestures. Addressing the social and economic disparities that fuel ethnic tensions is crucial.
Initiatives that promote intercultural dialogue and understanding, alongside investment in education and infrastructure across all regions, could be more effective in fostering a sense of shared identity. Fostering a sense of shared responsibility through civic engagement programmes would empower Nigerians to actively participate in shaping their nation’s future. Undoubtedly, a successful path towards national unity requires a multi-pronged approach that combines inclusive symbolism with concrete efforts to address the root causes⎈
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