Vande Mataram First At State Events
By Anushka Singh
In a move that places symbolism and sequence at the centre of state ceremony, authorities have directed that Vande Mataram be sung before the National Anthem, Jana Gana Mana, at official events, with attendees required to stand in respect through the rendering of all six stanzas.
The order formalises what has often been a matter of practice and preference at public functions, educational institutions, and government gatherings. Now, the sequence is unequivocal. The national song will precede the national anthem, and the obligation to stand will extend across the full rendition, not merely its opening refrain.
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| Image for representational purpose only |
At ceremonial halls, district auditoriums, school grounds, and state-sponsored commemorations, the change is expected to reshape the familiar rhythm of proceedings. Where once the anthem often marked the climactic closure of events, the restructured protocol inserts Vande Mataram as a prelude, expanding the ceremonial arc and underscoring its historical and emotive weight.
Composed by Bankim Chandra Chattopadhyay in the late nineteenth century and embedded in the freedom struggle, Vande Mataram occupies a distinctive constitutional and cultural space as India’s national song. Its invocation of the motherland has resonated through political rallies, protest marches, and legislative chambers alike. By mandating its performance before Jana Gana Mana, the directive appears to seek a restoration of layered symbolism, placing the poetic invocation of the nation before the formal anthem that embodies sovereign identity.
Officials emphasise that decorum will be non-negotiable. All present at such events are required to stand in respect for the duration of the six stanzas. Organisers have been instructed to ensure compliance and maintain solemnity, aligning the conduct expected during Vande Mataram with that traditionally observed for the national anthem.
The move has already stirred conversation across civil society. Supporters describe it as a reaffirmation of cultural continuity and patriotic ethos, arguing that the sequencing honours the historical journey from the idea of India to the Republic of India. Critics, however, caution that enforcement measures at public gatherings must balance reverence with constitutional sensitivities.
For educational institutions and government departments, practical adjustments are underway. Event scripts are being revised, rehearsals recalibrated, and audio arrangements standardised to accommodate the complete six-stanza rendition. Administrators note that clarity in protocol will prevent confusion and ensure uniform observance across districts and departments.
As the directive comes into force, the familiar cadence of public ceremony acquires a new overture. The motherland is invoked first, stanza by stanza, voice by voice. Then follows the anthem, sovereign and succinct. In that deliberate order lies a statement about memory, identity, and the choreography of national homage.
For many, the change may simply alter the order of song. For others, it signals a conscious layering of history into the present tense of governance, where ritual and regulation meet beneath the tricolour.
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