Category: Anthem

Summary of Australia’s current national anthem

• What is it about? The song is about the people to celebrate what Australia has to offer the bounty of our natures and being surrounded by sea and beautiful beaches, it also talks about welcoming all around the world and sharing what Australia as to offer.
• Whose perspectives are included/not included? The indigenous people and old people are being left out and not being acknowledged within the words of the anthem.

Diverse nature of Australians and Australian society

Australia’s diverse nature is about welcoming different nationality and culture to our country. Immigrants from all around the world bring a huge benefit to our economy and at the same time we learn more skills and ideas from different people. Being a diverse society improved cultural insights and productivity. People learn to adapt and become interested in other people culture other than their own. The opportunity to try exotic foods, cultural music and historical arts from other countries will open our minds. The differences our color, religions and race open a variety of opportunity to learn talents, skills experience different languages. It gives people the chance to experience different things outside of what they normally familiar with. It encourages people to grow outside their boundaries. It adds vibrant and makes our society fascinating. The better mutual understanding in our multi-culture will help eliminate raciest issues and bring positive attitude to people.

Characteristics of Australians

What make us Australian other then being born here or legally coming to Australia. We are a citizen who always give everyone a chance and treat people equally. Two traits of being Australian are respect and cultural awareness.

These traits contribute to the shared values of the Australian people with showing respect we promote social harmony and justice for all. Being a respectful Australian we are afraid of our authority; we value people no matter what positions they have in our society. It contributes less discrimination and giving opportunities for all. Cultural awareness also is very important for our growing population with growing number of people coming from overseas we have more knowledge in different cultures, and this helps us make sensible decisions in how to treat other people. We can best adapt our approaches to ensure to create a positive outcome. Our culture shapes us how we see the world and make sense of it.

I’d like to discuss the background of the two national anthems of my mother country – Vietnam and Australia. It also involves the comparison and my point of views between these two national anthems.

First of all, I would like to discuss the Australian national anthem: “Advance Australia Fair”. The words and music to this song were written in 1878 by Peter Dodds McCormick, a Scotsman who emigrated to New South Wales in the 1850s. For a brief history, Australia Government ran a competition in 1973: the Australia national anthem quest. Out of thousands of nominees, six were chosen including Advance Australia Fair. But the judges couldn’t agree on a winner. Then, a plebiscite held in 1977 overwhelmingly favoured Advance Australia Fair, but it would be another eight years and another change in government before it all became official. Finally, the song became the national anthem of Australia and was officially declared on 19 April 1984. A new national anthem was required because Australia became more independent that many people didn’t think the old one was relevant anymore.

Recently, there are many mixed opinions that many people willingly stand up for an alternative while the others are proud and preserve this song. In my opinion, the Advance Australia Fair is the spiritual dish of the Australians, so all of them need to be satisfied with their national anthem. To achieve that satisfaction, altering a national anthem is not too difficult.

Next, I am going to show you Vietnamese national anthem “Tien Quan Ca” – “Marching Song”, which were written and composed by Van Cao in 1944. The ‘Marching Song’ was adopted as the national anthem of North Vietnam in 1945, and was declared as the national anthem of the new unified Socialist Republic of Vietnam in 1976 (after the reunification of both North Vietnam and South Vietnam at the end of the Vietnam War). The “Marching song’ was composed during the struggle against the French colonialists of the Vietnamese. Therefore, it was used to encourage and motivate the soldiers’ spirit to fight against foreign invaders to preserve our territory.

I am a student myself, so I could feel the smouldering of blood in the hearts of people longing for a bright future when I sing the national anthem during the flag salutation every Monday. We were forced to sing the national anthem with words (without backing music). By that way, we proudly enunciate every majestic word and represent our patriotism, gratitude of ancestors who sacrificed. It also shows national pride and motivation for the younger generation

In comparison these two national anthems, there are some similarities and differences that I find out myself. The first common point of them is that the person who composed them is an ‘outsider’. Advance Australia Fair was composed by an original Scottish composer Peter Dodds McCormick. The strange thing is that the Australian national anthem was not composed by an Aboriginal but by a foreigner. Quite similarly, the Vietnamese National Anthem was originally written in the form of a march to encourage soldiers outside the battlefield. But at that time, Van Cao did not even know the war zone as well as the revolutionary soldiers. He was just thinking of writing a simple song for them to sing. Secondly, both of them have lyrics that emphasise the desire for freedom and independence. As mentioned above, the language style used in the Advance Australia Fair is poetic, uplifting and playful in some way. “Tien Quan Ca” used a lot of Sino-Vietnamese words so it is more serious, stately, and even redolent of gunpowder. Other difference is in the theme of the songs. “Advance Australia Fair” is a bit praising the natural beauty of the country. Meanwhile, “Tien Quan Ca” of Vietnam is inclined of patriotism, profound hatred of the enemy and triumphant victory. Besides, Australian national anthem was composed and voted when the country was completely independent, but the Vietnamese national anthem was composed when the country was divided between the North and the South due to the Vietnam war. Last but not least, the melody of these two songs is not bustling, cheerful or rollick, they sound a bit eloquent, dignified and even dirge-like. But in my personal opinion. Advance Australia Fair is somewhat brighter while The Marching Song is more majestic.

Subjectively, I love the national anthem of my country – Vietnam more than any others in the world because I probably understand its historical context and the profound meaning of each word. ‘The national anthem is the soul of the nation. If we don’t appreciate it, how can we educate the younger generation?” Said, Vietnamese President. Objectively, the Marching Song is still better than the other anthems I know. I can not explain this! But not only me, everyone has a place to belong to and has a national anthem that they consider to be the best in the world.

A national anthem is arguably the greatest work of music a country can produce. It’s a true reflection of the nation’s culture, their people and their traditions. It ignites a fire within the hearts of the indigenous people, motivating them to fight wars, play football matches, and recollect the struggles the forefathers went through to build a nation from the ground up. In this article, we share our pick of the 10 most beautiful national anthems from around the world:

Paraguay’s Republic or Death!

The Paraguayan people are very serious about their national anthem and the name goes to show just that. It’s not the best national anthem out there, but it is definitely the most aptly named one. Republic or Death not only gives you an idea of what the song is really about, it also portrays the true sense of nationalism.

Imagine an announcer asking the crowd to Stand up for Republic or Death”. Now that would be cool. Even though Paraguay’s sport accolades are limited to a silver medal in men’s football, they do always participate in sporting events with a lot of heart and panache.

Nepal’s We Are Hundreds of Flowers

We are hundreds of flowers sounds a bit unusual and the song itself is not like any national anthem you have ever head. That doesn’t necessarily make it a bad song. It’s nothing like a church melody or something you’d play on the backdrop of a military parade.

It however does paint a joyous picture of the country; the sort of music you hear Taxi drivers play out loud in the streets of Kathmandu. It’s the only anthem that requires a Casio keyboard to play, and is a stream of happiness and positivity. You might find it a bit unsettling to know that it was produced within the Maoist revolution.

Mauritania’s National Anthem

The Mauritian national anthem does a very bad job at advertising a country. A menacing picture of the country is painted, something you don’t really expect from a national anthem. You can hear the people scream, “Once you come here, there is no getting out”.

It’s safe to say that it’s a lot more frightening than the North Korean anthem or Iran’s anthem, and that’s saying something. The song is titled Motherland, and for all its vices, it does paint a pretty picture of the indigenous landscapes.

Russia’s National Anthem

The Russian anthem has been known to cause some controversy at sporting events, and for good reason. Provided the fact that the state sponsored the doping of some of the athletes, if and when Russia wins any gold, the crowd is likely to give them a tough time.

However, that shouldn’t take away the spotlight from the song itself. It’s widely regarded as one of the most melodious and vehement national anthems around the world, and the lyrics are so powerful, it often leaves most the singers in tears.

Myanmar’s Until the End of the World

South Africans like to claim that their anthem is the only one that starts in a different tune to the one it ends in, with the song being a mixture of Nkosi Sikelel’ iAfrika and Die Stem van Suid-Afrika, but their claim isn’t necessarily true. Myanmar’s brilliantly named anthem, Until the End of the World does the same thing, albeit in a far weirder way.

When it’s played within their country, it begins with a Burmese folk tune, but within 30 seconds, it transforms into a military march. It’s almost like a DJ getting bored of the slow tunes and switching to a trance song.

Democratic Republic of Congo’s Arise Congolese

UK’s God Save the King, the first national anthem in the world, was initially meant to be sung by a single musician and not a crowd, but that didn’t happen. However, the Congo people decided to honor that tradition. Arise Congolese’s last section has been crafted to be sung by a soloist, with a choir chipping in for the words Congo, 30 June, and sacred day.

With that said, the original design of the song isn’t respected most of the times. Since everyone is so engrossed in singing the song, they fail to let the soloist work his magic during the final verse. However, you do get a sense of its beauty.

China’s March of the Volunteers

Even though March of the Volunteers is played frequently at the Olympics, not many people are aware of its weird past. The song was originally composed for Children of Troubled Times, a 1935 film which depicted the invasion of Manchuria by the Japanese troops.

However, the song became so popular, especially because of the lyrics asking people to build a new Great Wall with their own blood and flesh, that it got released on vinyl and eventually became the country’s national anthem.

Kazakhstan’s My Kazakhstan

Everybody has a laugh when the wrong national anthem gets played by mistake, but the Kazakh athletes must be sick of such mishaps. In 2012, a song from the movie Borat was played instead of their anthem. That was not the only time this happened though; another time, the athletes had to listen to Livin’ la Vida Loca during an opening ceremony.

Having said that, My Kazakhstan is a beautiful song, and anyone who is responsible to play national anthems at sporting events should not repeat transgressions of the past in the future. It has inspiring lyrics and the melody has a sense of vehement patriotism to it.

Brazil’s National Anthem

Not many nationals can match the enthusiasm showed by the Brazilian people. They are always so full of life and their national anthem has been written along the same lines. It sounds like a mini opera, with the introduction spiraling upwards and gaining pace so fast that you almost feel like the melody is dragging you onto your feet.

Every time it’s played at a sporting event, the whole crowd sings along, and that’s a sight everyone enjoys. Unlike most sports fans, Brazilians sing the anthem as if they are required to. Their joy and enthusiasm appear to be oozing out of their bodies, and they always lift up the whole stadium.

Israel’s The Hope

National anthems stir up a lot of emotions, but normally they don’t trigger sadness. Israeli music composers didn’t like to take the traditional route and compose a joyous, beautiful melody; they wanted to make something that makes people recollect the struggles of the past.

It was written before the country’s existence and that makes sense. Throughout the song, you can hear the longing for a Jewish homeland, with the music having a nostalgic feel to it. Anytime it’s played in a stadium, expect athletes to tear up.

Introduction

Protests in professional sports has been occurring for decades and had started with professional athletes using their platform to bring more attention towards the injustices going on towards Black people. Protests from professional athletes range from Jesse Owens protesting in the 1936 Olympics in Berlin, to Tommie Smith and John Carlos protesting in the 1968 Olympics in Mexico, to Colin Kaepernick protesting against the National Anthem in 2016. Due to the Kaepernick protest, other professional athletes had come out and took a knee during the national anthem on the field before football games. As a result of this, athletes have received criticism from fans to team owners to even President Trump. Kaepernick’s protest had also led to players in other professional sports to protest peacefully against the national anthem as well, because of how resolutions to injustices were being ignored, which relates to the song “Blowin’ in the Wind” by Bob Dylan. Bob Dylan (1963) is a famous white musician who has had his music become the national anthem for the civil rights movement as he understood what blacks were going through and realized how the solutions were being ignored by the government. Dylan believes that there is no reason that the injustices that Blacks are facing should be ignored and that they deserve to have those issues resolved by the government when the solution is right in front of them and enforce it. But President Trump has chosen to respond to the NFL protests, by deciding to create and enforce a new policy that didn’t allow NFL players to protest against the national anthem on the field, and that any player who is caught doing so, that team will get fined, and the owner gets to decide whether to fire that player or not for doing so (Seifert, 2018). Kevin Seifert (2018), a national reporter for ESPN, has written several articles for ESPN around the sports industry and how professional sports has changed. This topic of peacefully protesting and immediately getting it shut down by the government also relates back to a “Letter from a Birmingham Jail” by Dr. Martin Luther King (1963) because the approach of Dr. King is as peaceful as a professional athletes approach for protesting and they are both fighting for the same reason which is because of the oppression and injustices towards Black people. Seeing the government immediately backlashing protests in professional sports brought up the question: Should the government interfere with political affairs in professional sports? Overall, an analysis of the background behind protests in professional sports along with the specific scenarios and reasons behind why protests have continued to occur in professional sports. To begin, the reason why the government should not interfere with the political affairs in professional sports will be established in this paper, especially if the reason why the protests are arising have solutions that only the government can implement and are choosing not to when the solutions are right in front of them. The government should not interfere with political affairs that arise in sporting events because it violates professional athletes constitutional rights therefore policies against protesting against the national anthem should be removed in professional sports.

Inequalities in Sports

Race and racism are the main cause behind protests that have constantly arose in professional sports and in college athletics. It was stated by Geremy Cheeks and Akilah R. Carter-Francique (2015) that “Race and racism have played pivotal roles in sports st all levels, thus CRT provides an appropriate lens to challenge the dominant discourse in sports and examine racial oppressions impact on college sport[s]” (Carter-Francique & Cheeks, 2015). Dr. Geremy Cheeks, PhD in sports management from Alabama A&M University, is an expert in sports management and has written several journal articles about HBCU schools athletic programs, and athletic programs in general, and Carter-Francique, PhD in sports studies, also works in the Department of Health and Kinesiology at A&M University and is an expert in sports studies, has also written journal articles about issues that go unseen in sports that is not usually seen we don’t usually see on a day-to-day basis. Carter-Francique and Cheeks’ would agree with what is going to be discussed next as they provide a background of what goes on in the sports industry at the collegiate and professional level. This leads to two examples of where this has been publicly displayed.

Professional athletes have been against the system for decades now and this paper will start with Leonard Bates, African-American starting fullback for New York University. In the 1940’s, segregated southern schools made an agreement with other schools in the country, that schools that had African-American football players on their team were allowed to travel and play against the southern segregated schools as long as the African-American athlete was left behind because they weren’t allowed to play against them. This agreement was called the “Gentleman’s Agreement.” Students had begun to protest New York University once they had found out about this agreement and had “about two thousand protesters picket[ing] the NUU administration building on October 18, wielding signs such as ‘Bates Must Play’ and ‘No Missouri Compromise’ (Horger, 2017). Senior Lecturer at The University of Ohio, Marc Horger (2017), goes back to the first publicly known protest that had occurred and had been widely known in the sports industry and explains the cause behind it and other significant and well known protests that have occurred as higher authority used their power to shut it down in the United States. His stance on this situation that has been going on for decades is neutral because he is just providing the audience information on some history behind well known protests in sports.

This can also be seen not only in football but this can be seen in basketball at the collegiate level. For example in the NCAA, there was a rule implemented where players weren’t allowed to dunk the basketball when they had the chance to. This rule was implemented because the Whites feared that African American athletes were taking over their league and that they were the center of attention around the sport and they had to come up with a way to challenge and see whether they were really that good and take that attention away from them. Willie Worsley, a guard who had played for The University of Texas at El Paso in 1966 a year before dunking was banned, stated in John Matthew Smith’s (2009) article that he “[thought] along about the time we won, they were seeing that people of color were dunking, jumping higher, and running faster. They were thinking, ‘That’s not how the game’s played. Let’s see if these ‘athletes’ can shoot” (Smith, 2009). Ferdinand Alcindor Jr. also known as Kareem Abdul-Jabbar had concurred with Worsleys statement and believed that “‘there was no good reason to give it up except that this and other niggers were running away with the sport’” (Smith, 2009). With the injustices that athletes have continued to face, it brings question to themselves of whether they belong in where they are at whether it is at the collegiate or professional level or in society.

Government Interference

A significant issue standing in the way of a solution to the solution that was established is the the amount of money that teams participating in protests will lose due to a decrease in viewers and with the fines that come with protesting against the national anthem in front of a camera (NFL). This section is going to describe what actions the government have taken in order to attempt to bring an end to the national anthem protests. After recent controversy on the NFL protests that were led by ex 49ers quarterback Colin Kaepernick, President Trump came up with a solution to ultimately end that. It is stated that for the NFL, any team “will be fined by the league if its personnel are on the field and do not stand and show respect for the flag and the anthem” and that team owners “may develop [their] own work rules, consistent with the above principles” (Seifert, 2018). This new policy led to a sharp decline in protests in the NFL by professional athletes as they put their careers in jeopardy but that didn’t stop Kaepernick as he continued to protest which later on led to his release from the 49ers and is now currently unemployed.

Although President Trump and the NFL had came up with the policy against protests against the national anthem, it didn’t stop professional athletes from other sports to not step up and fight against the injustices. They stepped up and used their platform as motivational as possible to ensure that the social injustices are addressed so that solutions can be came up with. An article released in July of 2018, revealed how white athletes feel about the protests that take place in sports and how “for the white players, it’s about the fear of losing their jobs”, and also how “[the] white fans share Trump’s tribalism that includes seeing white players as the brains and black players as the bodies, not too smart, who should just shut up and play” (Lipsyte, 2018). Robert Lipsyte (2018), an American Journalist for The Nation Magazine, attended college at Columbia University and has written several articles for The Nation about different stories that have made the headlines in the world. Lipsyte reveals how Trump portrays athletes based on race and how they should carry themselves as professional athletes. Lipsyte also goes on to show the issues that athletes of color have with Trump and the way that Trump responds to them in the article. Writer and human rights activist, Richard Lapchick (2018), states that with the injustices that are going on, it is going to be “harmful to our society because our children grow up idolizing and emulating these athletes, so to see them treat one another with such overt racism is disheartening” (Lapchick, 2018). Lapchick, despite being physically attacked, still thrived to push forward and continue to fight against injustice working with scholar athletes and even professional teams. Lapchick utilizes athletes perspectives on the issue and how they react to the injustices that they see or face, and believes that the racist acts will ruin the future generation and how they treat each other. Lapchick’s article connects to my individual argument because it gives perspectives of professional athletes and how they reveal the way that it’s going to affect the future generations.

Public’s Role

It is very obvious that the public has already provided their perspectives on the situation at hand, but the most recent situation has occurred in NFL, where The Associated Press claims that social injustices may be addressed during the superbowl and most entertainers declined the offer to perform at the most recent super bowl. Entertainers like rapper Meek Mill, Cardi B, and Jay Z had expressed their emotions online when they had heard that Travis Scott accepted the offer and would perform alongside Maroon 5. Cardi B had taken her response to social media and had said that “she won’t take the Super Bowl halftime stage until Kaepernick gets a job, but she will perform at a downtown concert next week” (The Associated Press, 2019). The Associated Press (2019) is a non-profit news agency who finds world wide news and sends it out worldwide. They have news articles in top news companies such as The New York Times, The Washington Post and USA Today, and they’ve been doing it since 1846 when it was founded. This Associated Press established the social injustices being known about and taking action by those who are trying to come up with solutions on how to fix the problem, but higher authority hasn’t taken any action. The Associated Press would agree with Horger’s perspective because this is an example of a form of protesting against the injustices in sports not only by athletes but by other famous people who were inspired by professional athlete protests.

Conclusion

The best solution to decrease rebellion against professional sports and the government and to decrease the amount of protests that occur in professional sports is to remove policies that go against protests against the national anthem in sports, and to also find solutions to the social injustices that are going on instead of just ignoring them. But if this solution were to go in effect, it would lead to a decrease in views of professional sports based on which teams choose to protest, and also with finding solutions to resolve the social injustices may come with money having to be an issue with that.

A circumstance in which my solution works is that in the NFL, players would be allowed to take a knee during the national anthem if they feel the need to get a point across. The professional athletes who want to fight for injustice and the communities that are being fought for would support this solution because now there is attention being brought to them, so now there are more solutions to most likely be in effect in those oppressed communities. Most audiences would not support the solution, along with President Trump because they believe that during the national anthem is not the time to protest and athletes should just play the sport.

This solution can account for the opponents concerns by giving them more to think about and that “what if” factor for example if the roles were reversed so that people would be able to see the cause behind protests. The world would be a better place if the solution is implemented because now those communities that are being oppressed will now have more people fighting for them and the more people that you have by your side, the more likely the government will help resolve the problems. Also, it will lessen the amount of racist acts that occur in sports at the collegiate and professional level which means all athletes will be treated as equals with the same amount of respect.

Work Cited

1. Agyemang, K., & Singer, J. (2014). Race in the Present Day: NBA Employees Sound Off on Race and Racism. Journal of African American Studies, 18(1), 11-32. Retrieved from http://www.jstor.org/stable/43525532
2. Bieler, D. (2019, February 5). Colin Kaepernick thanks Rihanna for her Super Bowl boycott. The Washington Post. Retrieved February 7, 2019, from https://www.washingtonpost.com/sports/2019/02/05/colin-kaepernick-thanks-rihanna-her-super-bowl-boycott/?noredirect=on&utm_term=.af77b1e11571
3. Blowin’ in the Wind [Recorded by B. Dylan]. (1962). On Blowin’ in the Wind [MP3]. Manhattan: John. H. Hammond. (1962, July 9)
4. Cheeks, G., & Carter-Francique, A. R. (2015). HBCUs Versus HWCUs: A Critical Examination of Institutional Distancing Between Collegiate Athletic Programs. Race, Gender & Class, 22(1-2), 23-35. Retrieved February 15, 2019, from https://www.jstor.org/stable/10.2307/26505321.
5. Horger, M. (2017, October 16). Top Ten Origins: Sports Protests. Retrieved February 11, 2019, from http://origins.osu.edu/connecting-history/top-ten-origins-sports-protests
6. King, M. L., Jr. (1963, April 16). Letter from Birmingham Jail [Letter]. Birmingham, Alabama.
7. Lapchick, R. (2018, January 12). Racist Acts in Sports Were on the Rise in 2017. Retrieved from http://www.espn.com/espn/story/_/id/22041345/racism-continued-rear-ugly-head-sports-2017
8. Lipsyte, R. (2018, July 12). Donald Trump’s War On Black Athletes. The Nation.
9. Seifert, K. (2018, May 24). How National Anthem Rules Differ Across Sports Leagues. Retrieved from http://www.espn.com//story/_/id/20848575/rules-national-anthem-differ-sports-leagues
10. Smith, J. (2009). ‘It’s Not Really My Country”: Lew Alcindor and the Revolt of the Black Athlete. Journal of Sport History, 36(2), 223-244. Retrieved from http://www.jstor.org/stable/26405188’
11. T. (2019, January 25). Entertainers Address Social Injustice Issues at Super Bowl. The Washington Post. Retrieved February 7, 2019, from https://www.nytimes.com/aponline/2019/01/25/arts/ap-fbn-super-bowl-social-injustice.html
12. Wright, J. (2016). Be Like Mike?: The Black Athlete’s Dilemma. Spectrum: A Journal on Black Men, 4(2), 1-19. doi:10.2979/spectrum.4.2.01

Music is intrinsic to all human beings, it is an activity that we all engage in every day, whether it be music creation or consumption. On a personal level we use it to explore our emotions, construct our own self-image and reinforce our personal identities, developing our understanding of who we are and what our purpose is in life. On a larger scale we use music to ground ourselves in our cultural surroundings, thus being a tool used to unite cultures and create a shared identity. But, does music play a part in constructing national identities?

“National identity in music is a hugely complex subject. Where you come from doesn’t just shape the kind of music you make; it shapes how people perceive both it and you” – Rob Boffard.

Before we can begin to look at the role that music plays in constructing national identity, we first need to explore the fundamental components that arguably construct a nation. Miller (1995) outlines five building blocks that construct a nation and how these things contribute to the collective identity of a nation. Firstly he believed that nations were built on shared beliefs and characteristics held by the members of a community. Secondly he believed that nationality ‘embodies historical continuity’. This is the idea that nations are formed from historical misfortune and honour, Miller believes that we feel obliged to continue our belief of national identity because we have inherited something that our ancestors built and fought for on countless occasions. The third feature that is used to distinguish national identity is the act of doing things together, such as making decisions. By using people such as politicians we make national decisions that shape the nation in either a positive or negative way. The fourth ‘building block’ of forming a national identity is the geographical location that joins people together. Some of the national decisions we make are territorial and are aimed at controlling or owning land so that we can have authority over that land. The last component that Miller explored was national character, this was the idea that the members of a nation are supposed to be together and should share a certain set of characteristics, one characteristic used to outline this is biology, this looks at how the people we share a nation with should all be of the same kin. This idea however is directly linked to problems in society such as racism.

It is also important to understand the ideas outlined by Anderson (1983) and Gellner (1994) when looking at the composition of a nation. They believed that an important element that forms a nation is homogeneity. Homogeneity is “the quality of parts or people that are similar to each other or are of the same type”. Anderson believed that this homogeneity created a sense of commitment to the nation for the citizens living within in. Bhabha (1994) expands on this theory by exploring the idea that a nation is moving through time working towards a coherent identity between the people of a nation. Thus creating diverse communities that feel connected through their similarities and therefore constructing national identities. When exploring the ways in which music might construct or effect our national identity we come across a criticism of Anderson and Gellner’s theory of homogeneity. Middleton (1990) explains that the problem with defining specific songs or genres of music as ‘national music’ is that cultures within a nation will re-define the music and change what it symbolises to suit their beliefs whilst introducing their own music that they believe represents them as a culture within the nation.

To begin to understand the formation of national identity we do not only need to know how nations are constructed but also how we form our personal and cultural identities. Personal development is an integral part of forming personal identity, through personal development we are able to take our characteristics and experiences and order them in a way that makes sense to us. When exploring the formation of cultural identity we find that social interaction plays a large role, a person’s beliefs and sense of individual identity will decide whether or not that person wants to enter into a specific community or culture and to decide this a level of communication is needed between those entering the culture or community and those already in the culture or community. These collective individual identities then begin forming larger cultural identities based on common beliefs held by all of those within the community, thus a cultural, shared or collective identity is created. This then has the opportunity to lead to sub-cultural identities in which the beliefs of minority groups are allowed to flourish.

We can then look at the relationship between the idea of collective identity and music. It is mentioned that music does not just construct someone’s identity, but also forms part of their identity. This idea that music demonstrates the ability to help construct collective identity begins to explain the way in which a country identifies itself with certain music, such as a national anthem. This music then reinforces feelings of kinship, reminding individuals that they are part of the same community thus constructing and reinforcing their collective identity.

Now that we have begun looking at the fundamental building blocks needed to construct a nation, and touched upon that formation of individual and collective identities, we can begin to examine the role that music takes in constructing a larger, national identity. One theoretical approach, outlined in ‘Knights Book, Music, National Identity and Politics of Location’, explores national identity and music and believes that music does not play an essential role in constructing national identity. It is believed that national identity and music are socially constructed, meaning that they are created or shaped by the people within a society. Therefore people’s interpretations of national identity and music can be explained as fluid and experiential. Consequently different cultures within a nation will have different experiences and interpretations of music that is meant to represent or symbolise national identity. It can therefore be theorised that maybe nationality is not a fixed concept and instead is re-constructed time and time again throughout history. This concept of national identity being fluid is strengthened in Middleton’s (1990) criticism of Anderson and Gellner’s theory of homogeneity when outlining the idea that ‘national music’ is redefined by cultures within a nation, with the addition of other music styles to suit the specific beliefs of that culture.

In some cases, if the citizens and communities within a country have an overall strong ideology of their nationality and the things that represent them as a nation, then popular songs from certain periods in history become symbols and sometimes even anthems. These songs then represent the country and peoples identification with that country. By taking the British national anthem, ‘God Save the Queen’ as an example we can begin exploring this idea of how countries use music as a symbol of nationality. ‘God save the Queen’ became popular in September 1745 when sung at a theatre production by the cast at the Drury Lane Theatre. The lyrics within the piece of music obviously demonstrate the ideology of nationality – “That men should brothers be, and form one family”, and loyalty to those who reign over the country – “Long live our noble Queen” and is often played or sung in the presence of royalty, thus being recognised as the British national anthem. Curiously, no official version of the national anthem has been published – instead many variations have been written and published that correlate to current national circumstances of the time. For example, in 1919 a version of the anthem was published that promoted the idea of peace, this version has since been included in many hymn books. This provides evidence and supports the theory suggested by both Knight and Middleton, that national identity is fluid and experiential, it is something that is reconstructed, much like the lyrics to the national anthem are rewritten to fit the current state of the nation.

Looking back at Millers five building blocks we can safely say that they are fundamental to building a nation. These fundamentals identify the basic things needed to construct a nation including things such as collective beliefs, geographical location and collective decision making. However, we have also found that identities are fluid, they are largely based on experiences and therefore are changed frequently to fit both individual beliefs and collective beliefs. Simon Firth (1996) takes these ideas of fluid identity and the construction of a nation and looks at how these are affected by music in his essay, ‘Music and Identity’. Firth suggests that identity is a process and music is an experience, explaining that one reflects the other and is comprised by organising social, material and physical things. He suggest that experiencing music is a key part of our identities due to the fact that it offers us an overall sense of ourselves and those around us, he explains this as “the subjective and the collective”. He believes that music does not represent the beliefs of a society and its identity, but offers a window into the relationships and ideologies shared among the society that the music originated from, therefore it could be explained as a way of living their emotions rather than expressing them.

From this we can draw that many essays and theories based around this idea of music and identity all seem to hint that identity is something that is fluid and experiential – saying that music is of a similar nature and instead of being used as a way to express emotion it is instead used as a tool to live our emotions. The British National Anthem is a good example of this. The anthems lyrics were, and still could be, changed at pivotal moments in history. We can begin to conclude this was an attempt to live, or construct, the nation’s actions, emotions and feelings of the time in history, rather than simply reflecting the events taking place that were having an effect on the nation.

If we take the idea that music is constructive rather than reflective we can begin to look at how any type or genre of music, allows people to experience collective identity through symbolism. Jonathan Ree believed that out identities were formed of things around us, not something that we discover but something that we experience, he said: “The problem of personal identity, one may say, arises from play-acting and the adoption of artificial voices; the origins of distinct personalities in acts of personation and impersonation”.

Moving forward from the points raised about the belief system involved in constructing both personal and collective identities, we can begin to explore how a nations social class system may be affected my music and how this could relate to the construction of national identity. Social class is used as a way of describing the social divides within a society, usually based on social status and economic position. The class system is broken up into three types of classes, the working class, middle class and upper class. People within a certain social class will often have a similar educational background and income, those in the working class may have gone to public schools and work for minimum wage jobs whilst those of the higher class are often very wealthy and are believed to be well educated. This is a very basic outline of the social class system of somewhere like the UK, but how, if at all, is this affected by music.

Let’s begin by looking at the different types of music that have emerged from nations across the world. The term ‘high and low music’ making is sometimes used to describe music created by different nations and cultures. Western music is often coined as high music whilst non-western music is seen as low music, examples of these high and low forms of music could be classical music (high) and Folk music (Low). However, Bohlam suggests that there is no difference between the two types of music in terms of the music making process and the overall outcome. On analysis Firth explains that whilst high and low music may form different variations of identity but the way in which music forms identity stays the same. Due to the fact that music is known to be intrinsic to human beings, we are able to analyse music on a basic level, this helps us decide whether or not we like the music we are hearing. Whether music is high or low we still analyse it in the same way, we identify features of the music such as tonality, structure, lyrical content and rhythm, using these we can begin making personal decisions on how the music embodies our beliefs and emotions. These aspects, as we have seen above, are directly linked to the formation of both personal and collective identity.

“War. Death. Despair. Oppression. Environmental ruin. Yup, when it comes to demoralizing literature, dystopian novels have it all! Yet many of us love this genre, and there are good reasons we do” states The Huffington Post. Dystopian novels are loved among many people, but there is also criticism of having these negative novels. Dystopian novels such as Anthem by Ayn Rand and Fahrenheit 451 by Ray Bradbury are popular in schools. There are many purposes of teaching these novels in schools.

The primary purposes of teaching Anthem and Fahrenheit 451 in schools are that facing reality is an inevitable part of life, there is always hope, and these books can help people with their problems. Firstly, one of the purposes of teaching dystopian novels in schools is that Facing reality is an inevitable part of life, and that cannot be ignored. Technology has become an indispensable part of modern society, and it controls the everyday lives of people. Montag thinks about Mildred just moments before the first bomb explosion, “He saw her in her hotel room somewhere now in half second remaining with the bombs a yard, a foot, an inch from her building. He saw her leaning toward the great shimmering walls of color and motion where the family talked and talked and talked to her, where the family prattled and chatted and said her name and smiled at her and said nothing of the bomb that was an inch, now a half inch, now a quarter inch from the top of the hotel” (Bradbury 152).

Even during the most dramatic situations, when the war has been declared, Montag sees Mildred in a room surrounded by technology and virtual life. Mildred does not care anymore about the things that are happening around her; she has become emotionless and insensitive. It is common for young people to spend time on social media and using technology everywhere; also, as time goes by, it is becoming more popular in older people. The society is becoming dependent on technology, but it is essential to see and think about what is happening in the real world with real emotions and people. Also, for most people, it is only about themselves, and they do not care about other people’s lives. Clarisse states that “I’m afraid of children of my own age. They kill each other. Six of my friends have been shot in the last year alone. Ten of them died in car wrecks. Sometimes I even go to the Fun Parks and ride in the jet cars when they race on the edge of town at midnight and the police don’t care as long as they’re insured” (Bradbury 27/28).

People risk other people’s lives to have fun, and it is normal that often someone gets killed. They do not care about their lives and safety as long as their financial funds and their own interests are safe and satisfied. Moreover, a critical aspect of facing reality is understanding that society suppresses changes and differences. In Anthem, The World Council of Scholars states, “Many men in the Homes of Scholars have had strange new ideas in the past, but when the majority of their brother Scholars voted against them, they abandoned their ideas, as all men must” (Rand 73). Equality 7-2521 invents electricity, but it is unknown to the society, and they are firmly against it because for them, it is different and extraordinary, which is unacceptable. The society is not fair all the time, but it is essential to believe in and do important things. Dystopian novels teach that facing reality is an inevitable part of life, as it reveals that people are dependent on technology, most of them do not care about others, and the society suppresses differences.

Furthermore, the purpose of teaching dystopian novels in schools is that no matter how dark the situation may be, there is always hope. Even when everything is lost or is not going as planned, it is not the end; it is the beginning of something new. Equality 7-2521 describes, “We fell, but we never let the box fall from our hands. Then we ran. We ran blindly, and men and houses streaked past us in a torrent without shape. And the road seemed not to be flat before us, but as if it were leaping up to meet us, and we waited for the earth to rise and strike us in the face. But we ran. We knew not where we were going. We knew only that we must run, run to the end of the world, to the end of our days” (Rand 75). Nothing went as planned, and he had lost everything, but he does not give up and keeps moving forward and looking for the right thing. Finally, he finds a house from the Unmentionable Times, and he knows what he has to do and finally finds peace. For a moment, everything was gone for him, but hope gives him that he has been looking for. It was not the end; it was just the beginning of the new.

Additionally, the part of the journey – to realize the greatness and destination – is struggling. After Montag sees a woman refusing to leave her books and burns herself with her books, he states, “There must be something in books, things we can’t imagine, to make a woman stay in a burning house; there must be something there. You don’t stay for nothing” (Bradbury 48). After that devastating picture, Montag is struggling to find answers and happiness and peace. But after all, it helps him to find answers and peace, which makes him understand his life destination and greatness of the books. The journey to the end starts with the beginning. Also, hope represents that the difficulties are opportunities for people to change. Montag states, “I’m afraid he’ll talk me back the way I was. Only a week ago, pumping a kerosene hose, I thought: God what fun” (Bradbury 85). A week ago, Montag would not have cared about reading or books, but he was the one who burns them. Now he is worried about going back to the way he was. He changes because of the difficulties of society and his life.

It represents hope and that problems force people to change for the better. The purpose of teaching novels such as Anthem and Fahrenheit 451 in schools is that these novels show that in every situation, there is always hope. Thirdly, dystopian books can help people with problems they have or might have in the future. These books help the audience to understand the importance of mistakes and failures. Granger, the leader of the “Book People”, states, “We all made the right kind of mistakes, or we wouldn’t be here” (Bradbury 143). Montag hesitates about the decisions he has done – killing Beaty, reading books, and placing some of the books into Mr. Black’s house – and Granger convinces him that he has come so far only thanks for the mistakes he has made. Mistakes and failures are part of the success, and it is reasonable to make these because from the mistakes and failures comes experience and knowledge.

Also, society sets morals. Clarisse states, “My uncle drove slowly on a highway once. He drove forty miles an hour and they jailed him for two days. Isn’t that funny, and sad, too” (Bradbury 6). This is a society where you are suspect if you were a pedestrian, but killing innocent people – because you are required to drive fast – is considered normal. Fahrenheit 451 represents the society where having a conversation and enjoying nature is prohibited. Being different is not necessarily wrong because society says that. It is okay to be different and not follow the path the society sets. Lastly, a person’s decisions and actions require self-awareness to find happiness. Montag says, “No matter when he came in, the walls were always talking to Mildred” (Bradbury 42). Mildred is not happy because she is stuck and lives in her virtual reality. She has no desire to think for herself or gain knowledge beyond what is streamed into her parlor. Bradbury uses his novel to convince his audience how happiness comes from experience and a person’s need to own their thoughts. The quest for joy begins with self-awareness and requires tough decisions, action, and perseverance. Dystopian novels can help people with their problems, and that is one of the reasons that books as Fanhreneit 451 and Anthem are taught at schools. All in all, facing reality is an inevitable part of life, there is always hope, and these books can help people with their problems – are the main purposes of teaching dystopian novels such as Anthem and Fahrenheit 451 in schools.

The one purpose of teaching these novels – facing reality is an inevitable part of life – reveals in Fahrenheit 451 as technology has become an indispensable part of their society, and for most people, it is only about themselves. In Anthem, it reveals as the community suppresses changes and differences as Equality 7-2521 is different, and he tries to change the society with his innovation. Hope in every situation reflects in Equality’s achievement as he finds the peace after the difficulties he has been through, and in Montag, when he overcomes his struggling and finds the truth, he was looking for. The last purpose of teaching these books is that people can find solutions to their problems. It is revealed by the mistakes Montag has made and thanks to these mistakes , he gets to where he wanted to get. Also, society sets morals, but it is normal to be different, and happiness requires self-awareness. Teaching dystopian novels such as Anthem and Fahrenheit 451 in schools is relevant because teaching demoralizing literature has many positive purposes. Works Cited Rand, Ayn, and Leonard Peikoff. Anthem. A Signet Book, 2012.

The most common form of pride seen across the globe is national pride, patriotism for one’s motherland. Patriotism is the feeling of love, devotion and sense of attachment to a home and alliance with other citizens who share the same sentiment. This attachment can be a combination of many different feelings relating to one’s home, including ethnic, cultural, political or historical aspects. ‘The Maple Leaf Forever’ made a great reemergence to honor the 150th anniversary of Canada. The song was composed in 1867 by Alexander Muir to celebrate the union of four provinces into one country named the Dominion of Canada, a historical event termed the ‘Canadian Confederation’. The overpowering patriotism shown in this poem created a large impact on the country’s residents and helped pave the way to Canadian independence.

‘The Maple Leaf Forever’ was composed by Alexander Muir in October 1867. Next to ‘O Canada’, which it surpasses in age by 13 years, ‘The Maple Leaf Forever’ has been the most popular patriotic song composed in Canada. However, due to “its British colonial perspective, the song did not become popular among French Canadians”. The song fundamentally celebrates the British military victories in Canada and the manner in which they seemingly, united the country.

The first verse begins with a British salute to Wolfe’s conquest of Québec at the Battle of the Plains of Abraham during the Seven Years’ War where the “dauntless hero, came, / And planted firm Britannia’s flag, / On Canada’s fair domain”. As the poem continues lines 7/8 showcase a gesture of allegiance and loyalty to Canada’s colonial forefathers by noting the unification of the “Thistle, Shamrock, Rose entwine / The Maple Leaf forever” being Scotland, Ireland and England. However, this line drew a lot of attention over the decades due to the exclusion of the fleur-de-lis. However, the original version that Muir created was certainly pro-British, was not created to be an anti-French anthem. The original lyrics of the first verse from “Here may it wave, our boast, our pride, and join in love together / The Lily, Thistle, Shamrock, Rose, the Maple Leaf Forever”. By mentioning the Lily, I believe, Muir was attempting to indicate that under the Union Flag, the French seemed as equals and can be united as Canadians.

It’s important to note that the use of floral emblems is, in fact, a manifestation of patriotism emphasized through the literal ‘land’ element in love for one’s native land. The German translated slogan “Blut und Boden” is a nationalist slogan popularized during the Second World War, that is used to express (at the time of the Second World War) “the “Nazi ideal” of a “racially correct” nation that would unify a settlement area. This slogan relates to the superior homeland’s mentions in the poem by defining them as the “ideal” group that would populate Canada. This slogan, in English means “blood and soil”, which is another very patriotic salute to the vast newly found land and its inhabitants.

In the third verse, the mention of two places “Cape Race to [and] Nootka Sound” are important to note because both cities are on far sides of the continent and hold a certain significance in the message. Beginning with the east side of Canada, Cape Race is located in Newfoundland and Labrador. Cape Race is also regarded as a national historic site of Canada. The little town is known for its brightly shinning tourist attraction; the Cape Race Lighthouse. Nootka Sound, located on the west side of the continent on the edge of the rugged Pacific coast of Vancouver Island, of British Columbia, historically known as King George’s Sound. The mention of these two places marks another impression of patriotism by picking a place on both sides of the country to bring the land together as a whole. It played a historically important role in the maritime fur trade. Both places mentioned played a significant part in history that helped our small country “…flourish green o’er Freedom’s home”.

A historic and patriotic song called ‘The Maple Leaf Forever’ almost became the national anthem of Canada. It was written in 1867 by Alexander Muir, to commemorate the year of Confederation. Sadly, in the end, it placed second. Nevertheless, this poem remains one of the most popular patriotic songs in Canada. The multiple references to the “motherland bloodline’s” that populated this new land emphasized the British patriotism in Canada. Along with the ignorance towards the French-Canadian’s, this only created a stronger urge to create a sense of unity to encompass all of Canada’s patriotism.

Introduction

Rabindranath Tagore would have never imagined that his composition would have become such a debatable issue. The contention behind Bharato Bhagyo Bidhata was to bring countrymen under one flag by putting aside their differences. The first stanza of Bharato Bhagyo Bidhatha is the national anthem of India.

It has become the sixty-four thousand dollar question after the SC passed the order that it would be compulsory to stand in cinema halls for National Anthem as a gesture of respect.

However the issue must be debatedbeyond the characteristics of judicial order.As mentioned in the order, the Supreme Court has justified this mandate by stating that they are furthering a culture of “constitutional patriotism”. In doing so, the author analyses the reasoning of SCand argues that the idea of “constitutional patriotism” is misinterpreted and a misplaced understanding. Further, the author will apply the idea of “constitutional patriotism” to prove that Order lacks constitutional basis and is arbitrary. Lastly,an analysis of ancillary issues and judicial precedent leading to the present Order will be presented.

Explanation of the Case

Factual summary

The petitioner, Shyam Narayan Chouksey was member of certain social and spiritual organisations and has taken upon himself the burden to launch a campaign, in the name of the ‘JeevnJagritiPrayas’ .

As put forth, he went to watch ‘KabhiKushiKabhi Gum’,. While viewing the said movie the petitioner found that in a particular portion the National Anthem is sung.

To show respect Petitioner stood up but others remain seated even his standing up was objected by the people who were sitting behind him and in, fact, they complained of obstruction. As he could not swallow the hidden indifference, outright insult to the national honour and “commercial use of national anthem” he went to the authorities.

After finding no positive response he brought the matter to the notice of the functionaries of the local administration but it was of no use. After observing the sheer ignorance, the Petitioner filed a PIL in MP High Court in Jabalpur.

Procedural history.

Mr. Shyam Narayan Chouksey filed a Public Interest Litigation on 24 July 2003 in MP High Court under Article 226 of Indian Constitution. A Division Bench consisting JusticeDipakMisra& Justice A. Srivastava agreed with the contention and directed that the film shall not be shown in any theatre, unless the scene which depicts the Anthem is deleted. This order was later stayed.

The matter went in appeal to the SC. A 3-judge Bench consisting of Justice V N Khare, Justice S B Sinha and Justice S H Kapadia of Supreme Court allowed the appeal and set aside the order of the High Court. Then the Petitioner filed a review petition against the decision of SC. In the review, the Court noted that the questions of law arising in the case have “far reaching implications” and need to be considered by the Court.

The Court thus, recalled its 3-judge Bench judgment except to the extent concerning the certification of film. However, when the matter came up for hearing, Petitionerwas not represented in court. Hence, the Court disposed of the case while observing that the “questions of law would remain open”. The certification of the film as decided by the 3-judge Bench was maintained.

Same petitioner again filed a Public Interest Litigation in November 2016 in Supreme Court under Article 32 of Indian Constitution.On 30.10.2016 Supreme Court passed an order framing guidelines on playing of National Anthem and making it compulsory for viewers to stand up for national anthem as a sign of respect.

Issues

The case addressed the classic fight between two different discourses of patriotism i.e. either it should be promoted by state in a sphere such as entertainment industry or patriotism should be a feeling that should not be spoon fed but self-induced.

It has made a split between the individuals of the country. Defenders of the Order who come ahead of schedule to film lobbies contend that this will make a culture of devoted union in the Indian masses while pessimists who by and large come after National Anthem embrace the contention that singing out national song of praise in a space implied for excitement is despotic and non-reasonable which doesn’t emerge any energy among the Indian masses.

The liberal side actively debates that India needs a culture of patriotism, not patriot-isation of culture. On the off chance that we have gone to a phase where theaters need to help us to remember the estimation of patriotism, the Indian framework has fizzled. In the event that our homes couldn’t show us the privilege sanskars, if schools and their educational module couldn’t impart in us the privilegedcivilisational values, and on the off chance that we now need to rely upon the cliché imagery of assimilating intensive lessons — a kind of constrained gathering treatment in patriotism before three hours of diversion can hardly help the cause.

Thereby, to resolve the issue or rather choose one of the sides, Supreme court gave this controversial judgment.

Arguments

Petitioners

1. Petitioner under Article 32 or the Indian Constitution of India made a reference to the enactment, namely, Prevention of Insults to National Honour Act, 1971. It had the contention that sometimes the National Anthem is sung in various circumstances which are not permissible and can never be countenanced in law. The emphasis is on showing requisite and necessary respect when the National Anthem case is sung or played. The assertion is that it is the duty of every person to show respect when the National Anthem is played or recited or sung.
2. Citing the Fundamental Duties – It is the duty of every citizen of India –
   1. To abide by the constitution and respect its ideals and institutions, the National Flag and the national Anthem. From the aforesaid, it is clear that it is the sacred obligation of every citizen to abide by the ideals engrafted in the constitution. And one of the most important ideals is to show respect to national flag and national anthem. The petitioners claimed that the time has come that the citizens of the country must realise that they live in a nation and are duty bound to show respect to national anthem which is the symbol of the constitutional patriotism and inherent national quality. It should not allow any different notion or the perception of individual rights, that have individually thought of have no space.

Respondents

1. Standing for the National Anthem is meaningless if it’s mandated, and such a mandate undermines the essential liberty of free speech. The tenor of the order of the Indian Supreme Court implies forced patriotism, while such mandated displays of patriotism go against the very grain of freedom of expression.The expression of patriotism should be left to an individual’s personal choice and ought not to be dictated through a decree or any other means like a government order or law.
2. The Court cannot sacrifice ‘individual rights’ at the altar of ‘constitutional patriotism’ While curtailing individual rights, the Court in its previous judgment has used terms like ‘constitutional patriotism’, ‘nationalism’ and ‘patriotism’ liberally throughout the order without enunciating the variance in their import. It has been argued that free speech and expression can be curtailed under Article 19(2) only by an existing law or a law made by the State and no other mechanism. In the absence of any law or constitutional provision to justify its actions, the Court cannot resort to ‘constitutional patriotism’ as a justification to encroach upon the freedom of speech and expression of people.
3. Mandating the national anthem could spell disastrous consequences by giving teeth to self-appointed vigilantes looking to uphold the nation’s honour. There have already been several instances of such jingoism in the recent past which cause serious apprehensions regarding the enforcement and outcome of the Court order.

The laws applied

The Hon’ble Supreme Court referred to clause (a) of Article 51-A, fundamental duties occurring in Part IV-A of the Constitution. It read as follows:

“51-A. Fundamental duties. – It shall be the duty of every citizen of India – (a) to abide by the Constitution and respect its ideals and institutions, the National Flag and the National Anthem”

From the aforesaid, it is clear as crystal that Hon’ble Supreme Court wants to portray that every citizen of India has a sacred obligation to abide by the ideas engrafted in the Constitution. And one such ideal is to show respect to The National Anthem and National Flag.

Through the order the Hon’ble SC want to state that. a time has come, the citizens of country must realise that they live in a nation and they are duty bound to show respect to National Anthem which is the symbol of Constitutional Patriotism and inherent national quality.

The Hon’ble SC also portrays that they does not allow any different new notion or the perception of the individual rights, hat have individually thought of have no space. And this idea would be constitutionally impermissible.

Judgment& disposition

1. In the Aforesaid case the Hon’ble Supreme Court directed that the following directions shall be scrupulously followed:
   1. There shall be no commercial exploitation to give financial advantage or any kind of benefit. To elaborate, the National Anthem should not be utilized by which the person involved with it either directly or indirectly shall have any commercial benefit or any other benefit.
   2. There shall not be dramatization of the National Anthem and it should not be included as a part of any variety show. It is because when the National Anthem is sung or played it is imperative on the pari: of every one present to show due respect and honour. To think of a dramatized exhibition of the National Anthemis absolutely inconceivable.
   3. National Anthem or a part of it shall not be printed on any object and also never be displayed in such a manner at such places which may be disgraceful to its status and tantamount to disrespect. It is because when the National Anthem is sung, the concept of protocol associated with it has its inherent roots in National identity, National integrity and Constitutional Patriotism.
   4. All the cinema halls in India shall play the National Anthem before the feature film starts and all present in the hall are obliged to stand up to show respect to the National Anthem.
   5. Prior to the National Anthemis played or sung in the cinema hall on the screen, the entry and exit doors shall remain closed so that no one can create any kind of disturbance which will amount to disrespect to the National Anthem. After the National Anthem is played or sung, the doors can be opened.
   6. When the National Anthem shall be played in the Cinema Halls, it shall be with the National Flag on the screen.
   7. The abridge version of the National Anthem made by any one for whatever reason shall not be played or displayed.
2. The directions were issued, for love and respect for the motherland is reflected when one shows respect to the National Anthem as well as to the National Flag. That apart, it would instil the feeling within one, a sense committed patriotism and nationalism. It is the sacred obligation of every citizen to abide by the ideals engrafted in the Constitution. And one such ideal is to show respect for the National Anthem and the National Flag. The matter was listed for further hearing on 14.10.2017.

Discursive argument

Let’s make “the particular country” great again. The world is already divided by so many flags. There is a wave of jingoism in most of the part of the globe. According to UN, there is an eclipse over the democracies of the world and the politicians are using nationalism as a weapon to justify their arbitrary actions. Economists believe nationalism would be the reason for the next Great depression because the countries going back from there free trade agreements.

Tagore who composed the anthem was himself very critical of nationalism. Tagore believed it is a danger to humankind. He was a patriot and he also composed vande matram. He believed patriotism is an attachment to the motherland and its basic sentiment of Animals and Humans. He believed nationalism is more of an ideology, an ideology used by politicians to ignite hate among commons. Tagore wrote 4 national anthems and he was the only person in modern history that did so. Tagore in his essays showed great fears of Indian following the way of West.

The concept of nationalism comes from west. Where the population is mostly homogenous and the language is also similar.India is a country formed by communities. The men of India hasth multiple self and each self prioritises over the other. . Nationalism demands homogeneity, it calls for absolute priority but India has no traditional identity. The author sense of hostility against nationalism comes from the fact that nationalism is absolutely incongruent with the Indian civilization. Nationalism is against diversity and our nation has full of it.

The order given by Hon’ble SC of India is something that should not be processed by the general public. In the expressions of court, the residents ‘are compelled by a solemn obligation to demonstrate regard to National Anthem’ as the song of devotion is an ‘image of protected enthusiasm’. The Court utilizes the expressions ‘national character’ and ‘national uprightness’ alongside ‘established energy’ without breaking down the significance and import of any of these terms.

This judgment arises many questions in the mind of the author. The first one is if a person watch a movie in Cinema halls does his nationalism decreases? If the individual keeps popcorn and soft drinks in his hands, will this be considered as disrespectful act towards the national anthem? Why the national anthem should be played in Cinema halls only, why not in parliament or before the arrival of a train on railway station (if it comes on time though)?

The court depended widely on Article 51(A) in its judgment. Article 51(A) states that It will be the obligation of each resident of India (a) to maintain the Constitution and regard its beliefs and organizations, the National Flag and the National Anthem. Article 51(A) is a piece of key obligations that is unenforceable and extensively built obligation. Through a progression of case laws in Indian Courts, unmistakably there is a commitment upon Hon’ble Supreme Court to adjust principal obligations against enforceable essential rights.

The Court has emphasised on the obligations of individuals and dismissed essential fundamental rights guaranteed by the constitution. The basic structure of constitution is more tilted towards the fundamental rights. In any case, the lawmaking body has neither systematized any obligation of regard nor specifies any such obligation anyplace in the Constitution Scheme. Hence without talk encompassing Scheme, nationalism pushed by the Hon’ble Supreme Court comes up short on the possibility of Constitutional Patriotism. Nationalism pushed by the Hon’ble Supreme Court comes up short on the possibility of Constitutional Patriotism. When we deeply study the legislative articles on which SC relied i.e. Article 51(A) and Prevention of Insult of National Honour, we can safely conclude that these condemn active unsettling influence in a gathering that is actively singing the national song which is very not quite the same as the positive obligation that the Hon’ble Supreme Court systematizes in its Judgment.

The SC doesn’t differentiate from active acts of disturbance and an inactive demonstration of silent in Bijoe Emmanuel case. The SC veers off from the position taken by the Supreme Court in Bijoe Emmanuel v. the State of Kerala.

The author believes that the Hon’ble Supreme court has just constrained others to show regard in a film lobby however this complement don’t add any nobility to the national song as devotion in film lobbies are not the right spot to show regard.

When the judgment came, the author was in school and he believed the SC gave a revolutionary judgment. He was in illusion that nationalism is the solution of all his dear country’s problem. However, today the author believes that this judgment sparked jingoism in India and nothing else. Today media doesn’t ask questions to the government, people died in the lines of ATM’s when the government made legal tender illegal. The people who died were termed nationalist, “They died for the nation, they said”. I hope the person who said this would repeat the same on the demise of his loved one in similar conditions. The government has brought nation to the brink of recession and no one stands against the arbitrary orders of the government. People are lynched by the nationalists. Our country is in crisis and all this is happening after this judgment. The judgment opened the door of acceptance, acceptance to petty nationalism.

The writer remembers whenever the national anthem was played in school; there was a rush, an adrenaline rush. The feeling cannot be described in words. Today the feeling has faded away. An act of compulsion never creates true respect, it rather creates despise. And the judgment has created great dissatisfaction among the commons of our great nation.

Conclusion

India don’t have a political problem, the real problem is social. We are getting influenced by the philosophy of the west. We need to remind us again and again that Europe had racial and linguistic unity from the earliest time. They had no complications internally. They also have wars continuing among their neighbours. India has everything contrary to that. The issue should have been disposed off earlier and should not have reached the gates of SC even in the wildest dreams.

Petitioner had different intentions and the end result was different. The whole nationalistic narrative is wrong and should not have happened. The court needs to take a deep look into Constitutionalism Patriotism. The court risked the basic principles of constitution.

Summary

This case comment aims at analyzing the judgment of in the light of fundamental rights,1 fundamental duties and nationalism. The comment starts with the Introduction of the case and the roots of national anthem followed by brief introduction of the particular case followed by arguments of parties which includes the analysis. Then the ratio has been critically analysed by the author.

I have a lot of mixed feelings about Anthem. It’s a game I have so much fun controlling, shooting and just playing. Its gameplay foundation is entertaining and the controls feel polished but for just about everything I like about this game, there’s something wrong with it. It’s but another game as a service title that charges full price for admission, adds on microtransactions, and arrives lacking stability that matches all these various price tags. Perhaps the weakest part of Anthem is its story and that’s incredibly taboo to say with this being a Bioware game. Bioware is a game studio that for the most part has been well known for its incredible storytelling or at least its ambition to almost get there.

Anthem is the latter. You play as one of these noble warrior heroes, no not Captain Marvel, but instead, Iron Man, wait no, I mean Freelancers. These humans are called freelancers that use mech suits called javelines that aren’t Iron Man but I mean let’s be honest totally feel like Iron Man, is the guardian of the human world. In this same universe, a group of aliens tries to harness the power of the anthem for their own evil ambitions while the freelancers try to prevent the apocalyptic aftermath from affecting innocent humans. Your progression throughout the story and connections with people in this world are all established at Fort Tarsis.

This is the home base for the freelancers where people go to upgrade their javelins, buy things, and just see what’s up with the merchants. It’s filled with people to talk to and to Bioware’s credit, some of them are engaging, filled with personality, and fun to talk to. It’s always like that though and you end up getting these dialogue choices that feel completely irrelevant to the actual story because no matter what you choose they don’t tend to impact the story. Sure there are moments where characters will give these heartfelt stories or recounts of the events in Anthem but most of the time I just want to get out of Fort Tarsis to get back into the action. The world of Anthem is cool, I want to explore it, and I want to hear and learn more about it. However, what’s being shown or rather told through the interactions and cutscenes doesn’t do a great job of matching up to the action that I’ve fallen in love with. Anthem feels like renting a sports car to go to a McDonald’s drive-through or buying a 4k TV to watch 360p content.

The foundation is great but the way it’s used in terms of gameplay is incredibly lacking. You start off your journey by selecting one of 4 javelins as your own. Each javelin has a unique play style that’s up to you to find which one suits you. For me, that was the quick interceptor javelin that’s almost like this mech ninja robot that felt so badass to me. Whether I was playing with a controller or on a mouse and keyboard, flying through the air, boosting out of the way of mountains and just soaring through the sky felt fantastic. I love it and I just can’t state how great it feels to jump off a cliff, fly through a ravine only to find a group of enemies, and start shooting at them. The foundation for Anthem is absolutely marvelous. Each javeline is equipped with a pair of weapons and special abilities and each one is fully customizable or upgradable. This is where Anthem’s action RPG mechanics come into play. You have full reign to customize the cosmetics of your jawline, add new abilities, or as you gain loot, upgrade your weapons and said abilities. In the earlier parts of the game, I found it addicting to mix and match different weapons and abilities to find my perfect play style.

That early on experimentation of finding a great combo to be a vital part of my squads on missions was fun but that’s the honeymoon period of Anthem and sadly it doesn’t last long. After the whole new game feeling wears off, the shine of it all really starts to die down. You see Anthem starts strong with its core foundation but then doesn’t really pick up until the very end of the 15-hour campaign where suddenly the stronghold missions really kick up the adrenaline. These are essentially raids that throw tougher bosses with more complex attack patterns and more rare loot. They’re a joy to play but they’re so far into the game that the whole middle part of the 15 hours is left with nothing but repetitive shallow missions that somehow suck the fun out of flying as a knock-off iron man. Throughout the campaign, I was bombarded with the same missions over and over again. Going on fetch quests, collecting items, taking out the same types of enemies in different areas, controlling the area of the map, and so on. They lack any form of depth and with the gameplay mechanics being so fun, I can’t help but feel they were wasted on such boring missions outside of the initial wow and the end-game content. Add on top of that a handful of different bugs and just bad quality-of-life issues. I’ll be flying over a valley, spot an enemy only to have the enemy either disappear or just straight up turn invisible but still be active.

Load times are long ranging from 45 seconds to a minute long and they appear every time you go from fort tartis to your mission or to the javeline customization area. Oddly enough I also noticed that the load times got worse the longer I played into the campaign. Some of the bugs have been fixed with the day 1 patch but things aren’t entirely smoothed just yet. I’ll still have disappearing enemies but at least the audio won’t randomly cut out and I won’t randomly get kicked from the game. The pretty stupid AI that kinda just looks at me sometimes is still here though. In the end, Anthem’s strengths are constantly fighting with the game’s weaknesses. I just want to jump into the world, explore, and take on some actual great design missions. Sadly, those great missions are at the end of the game and don’t last very long.

The start of the game is fun but it’s constantly boggled down by bugs, loading times, and very shallow missions with a weak story where the most fun I’m having is just flying around and that wears down quickly. To be frank, I want to love Anthem and I do love parts but the rest of the game makes it so difficult. When you’re out in the environment, gliding through the sky with your javaline, Anthem looks stunning. The wildlife, patches of foliage, and the lighting system, all look like a lavish tech demo. If you have a current series of Nvidia cards and CPU, this is one of the handfuls of games you can run at 4k 60 fps and the end result looks incredible. Jasmine’s models have this great sense of wear and tear on them that to me makes them feel more realistic and part of the environment. Battles in the anthem look like beautiful fireworks flashing colorful lights throughout the forest.

Sadly things do get drawn back when you get to the fort where you’re taken out of your jawline for a first-person view of the npcs in anthem. They’re not the best-looking character models, especially for Bioware standards or I guess maybe they are on par with those standards if we’re talking about Andromeda. As for performance, this is a game you’ll want to play on PC for sure. Pretty much every console model runs Anthem at 30 fps with frame rate drops across the board with base consoles having the worse performance. Xbox One X runs at 4k while the PS4 Pro runs at 1800p. As for the base consoles, the PS4 runs at 1080p while the Xbox One runs at what looks like 900p, certainly something softer than 1080p. On the audio front, Anthem’s environmental design and weaponry sound effects sound fantastic. Jumping from off a cliff and throttling the jets on my javeline feel like I’m in control of a full jet yet in the form factor of a small suit. There’s this big crunch with every weapon that makes them feel like these futuristic nuclear weapons, I mean they technically are but you get my point. When it comes to just general audio effects, I’m very pleased with Bioware work.

On the other hand, when talking to NPCs it’s kind of hit or miss. Again the great storytelling and dialogue you’d expect from BioWare is just mixed here. I have some NPCs delivering these great retellings of stories while others feel like they just phoned in the conversation. In February 2019, EA decided to release a brand new AAA title that aims to be a big new game as a service title and it was wonderful, that game is called Apex Legends. Anthem, on the other hand, is but another game that just wasn’t finished at launch. It’s a 15-hour campaign where the substance of it lasts about 1-3 hours before it begins to feel like a drag. Design decisions are all over the place and the result is a game that just isn’t fun to play past the initial wow factor. Sure, like Destiny, this can get more content down the line that completely changes and improves the final game, but the final game is here already and it’s severely lacking. This is a game you either try out by paying $5 on EA’s subscription service or use Redbox to play it for a day. Regardless, it’s something you shouldn’t be paying anywhere near $60 for the current state that it’s in. I give Anthem a 6.5/10.

For decades, if not centuries, music has been apart of people’s life and culture. It has been a gateway for some to not only define their identity, but to honor it. Music can serve as a pass time that units one another with similar passions and interests, giving them a sense of belonging. It may also be used to pay homage to their land and heritage. Needless to say, music, regardless of it’s use or outlook, is a lifeline to those who appreciate it as such. It is a beacon of hope to those who otherwise feel lost. During World War II that beacon was a vital component in keeping any sort of spirit remotely alive. In a time of great hardship and sadness, music and the meaning, history, and symbolization that accompanied it, gave a culture of millions feelings of hope, escape, and remembrance of who they were in a time where they were dehumanized. Music, whether it was by playing or listening, saved lives to those enduring the tragedy that was the Holocaust. The art of composing left a testament to what an entire race endured, and the beauty of listening to their peoples music gave Jews hope and distraction during a time it was needed most.

Music served as a lifeline in the obvious sense that it provided psychological benefits to Jews during World War II; however, the act of actually making and performing music quite literally saved lives. Music was both composed and performed by prisoners in concentration camps, solely for the benefit of the Germans. Although, most of the music made in the camps was not done willingly, it gave the people apart of the camps orchestra and choir a reason to be kept alive. Said orchestras and choirs were used to compete against other camps for the guards mere amusement and dominant display of pride. Sadly, it was also used as a form of embarrassment and harassment when the guards made the prisoners perform on the spot. The guards intent was to break musicians with their constant orders to perform. Another reason for forcing prisoners to create music was to produce a camp anthem, to distinguish one from the next. One of the first and most known anthems to be made came from the camp of Borgermoor. After becoming a popular success other camp commanders demanded their own anthem as to raise the pride and profile of their camps. For the commanders it was used for things like marching drills, roll calls and over all distinction from other camps; however, for the prisoners they sang out their anthems as a symbol of hope. Even though music was a form of forced punishment, prisoners used this hope to remember their strength.

However, music made in the camps was not always forced. Prisoners composed music for themselves as well as for other inmates as a type of homage to their shared culture. During concentration camps the inmates were dehumanized and terrorized but the art of making music reminded them of where they came from and who they were. It evoked a sense of identity that they felt they were losing. Unfortunately, the inmates were only allowed to compose or perform during their leisure time, during which they put on shows and performances. This became the highpoint of their horrific circumstances. Said shows and performances were only authorized through commander approval. Any sort of music in reference to politics or the government was illegal, forcing the inmates to compose and sing them in secret. As for legal performance, they were to always be approved by camp commanders. Due to the entertainment they provided, commanders often times allowed as well as forced musicians to perform. This gave a relationship between the SS and the in prisoned musicians that sparked envy in other inmates. In addition, the relationship between the two left the musicians with a feeling of guilt for their talent. While that talent became a tool for survival and less harsh punishments, it meant a sort of dependency they did not want.

In addition to receiving ‘better’ treatment at execution camps, prominent musicians and artists were sent to a camp by the name of Terezin. It was there that prisoners performed and produced the most. The camp was home to wonderful talent; however, Hitler and the Nazi party used the prisoners talent to promote propaganda for the outside world. The Red Cross visited Terezin at one point, but before arriving the Germans spruced the camp up in order to make it seem like they have given Jews a safe place so to speak. Whilst visiting the camp, the talented inmates put on performances for the Red Cross as apart of the camps cover up to deceive the world. One was titled ‘Brundibar’, a children’s opera about an evil man stealing money from children’s earnings but ends up getting taken down. Although the opera was commissioned and held for German propaganda purposes it gave distraction to the children performing as well as to their fellow inmates watching. It also gave them a certain hidden voice, due to the fact the play was really about taking a stand to Hitlers injustice. Sadly, after the opera had come to a close most of the cast were sent to execution camps to be put to death by the gas chambers. The entire camp/ghetto of Terezin was a pure propaganda showcase, but nevertheless it was home to beautiful composers that were able to create for a brief time before being sent to the East to be gassed.

Despite horrific times, composers and producers were not silenced. They found ways to create. A remarkable example of the this is the story of Rudolf Karel, a prominent composer who was imprisoned for aiding a resistance. He was not given any sort of paper to write his compositions but instead he used toilet paper, due to the fact he was suffering from dysentery. Karel died from this infection in the aforementioned camp Terezin before ever being able to properly compose his writings. However, a man named Francesco Lotoro, an Italian musicologist, was able to find his writings and recreate them for the first time since it was originally written down. This piece was not the only one to be found and rebuilt by Lotoro. The musicologist has discovered hundreds and thousands of compositions from the time of the Holocaust in order to ‘fill the hole left in Europe’s musical history and show how even the horrors of the Holocaust could not suppress artistic inspiration’ (Poggiolo, 2013). Poggiolo, author of the article ‘Honoring ‘Our Will To Live: The Lost Music Of The Holocaust’ quotes Lotoro saying “They wanted to leave a testament; they leave to us music”. And a testament they did in fact leave.

Another prominent composer Lotoro pays respect to is a man named Viktor Ullman. Ullman was yet another composer held in the Terezin camp. There, it is said he composed over twenty operas. He died in Aushwitz among the gas chambers. Before being sent to death Ullman wrote an essay in which Lotoro later spoke about. In the essay the prominent composer says, “By no means did we sit weeping on the banks of the waters of Babylon and our endeavor with respect to arts was commensurate with our will to live”.

While the art of producing, performing, and listening to music was still technically possible, the circumstances in doing these things at the time of the Holocaust were still horribly tragic. Nevertheless, as mentioned previously, music served as a spot of light in the midst of their dark surroundings. Despite not being allowed to sing particular pieces, Jews sang for hope, literally. Prisoners sang what is now to be known as Israel’s national anthem, Hatikvah, literally meaning ‘the hope’. Reading the transcribed English version of the song, it is clear why such a song was defiantly sang during the time of World War II. The two stanza anthem speaks words of hope, entailing that it is not lost and as long as the Jewish spirit remains so does the hope of freedom. This song was seen as dangerous to the Germans because it represented the act of resistance. Prisoners were beaten and severely punished for partaking in this act; however, it did not stop them. The Nazi’s were not able to silence their hope. Rafael Medoff quotes Filip Muller, a Sonderkommando, in his article ‘Holocaust and Hatikvah: A Song of Hope in a Time of Despair’, saying: “To be allowed to die together was the only comfort left to these people… And when they sang Hatikvah, now the national anthem of the state of Israel, they were glancing into the future, but it was a future which they would not be allowed to see. To me the bearing of my countrymen seemed an exemplary gesture of national honor and national pride which stirred my soul”. They cried out this song whilst facing inevitable death on the way to the gas chamber. The prisoners knew there was no hope for their own lives, as they were marching to their death sentence, but yet they sang. It was not entirely for themselves but rather their people and the hope that one day again their people will be free among their homeland.

Music, for Jews, had its place during the Holocaust through acts of composing and performing of course, but it also had its significant post-war. Musicals and concerts were created post-war by various composers as way to tell the story of and give voice to loved ones lost. While some pieces were originally composed during the actual Holocaust amidst concentration camps and later reconstructed, others were created by composers looking to pay tribute to the Holocaust victims and show pride and honor of the race in which they came from. A race that was once seen as inferior and worthless. One of the more popular musical pieces regarding the Holocaust is a cantata titled ‘A Survivor from Warsaw’ by prominent composer Arnold Schoenberg. The twelve-tone fictional piece was meant to give the audience a portrayal of the Warsaw ghetto. It is a first person narrated performance where the ‘survivor’ speaks about his lost memories due to trauma he witnessed. He speaks of his past through fragmented memories, showing proof of his psychological trauma. The piece is performed by the narrator both singing and speaking his, what can be remembered, past at Warsaw. In the prologue the cantata reads “I cannot remember everything. I must have been unconscious most of the time. I remember only the grandiose moment when they all started to sing, as if pre-arranged, the old prayer they had neglected for so many years – the forgotten creed!”.

Another infamous musical response to the Holocaust was an electronically based music performance titled ‘Different Trains’, by Steve Reich in 1988. It is a semi-autobiographical piece that takes aspects of his life in America versus what his life would be like if he was a European Jew during the Holocaust as oppose to an American Jew. Inspiration for this piece came from a personal thought of his. As a child, Reich would travel via train frequently due to his divorced parents living in different states. After becoming a composer he looked back at these train ride memories and could not help but think that if he had been in Europe at that time he would be riding on a very different train. He electronically incorporated testimonials and sound clips from various survivors, shedding light on the very different lives of European and American Jews. The musical experience was said to be divided into three categories, ‘America, before the war’, ‘Europe, during the war’ and ‘After the war’ (Vlodarski, Musical Holocaust Memorials). The musical piece calls for the audience to reflect on two very different worlds lived despite being of the same race and time period of one another.

Museums can be filled based on music and its relation to the Holocaust. One can only begin to understand the relationship between the two. It cannot be fully understood due to unfortunate holes that the world sadly may never fill. Holes that formed through mass genocide of a targeted race. The world can only come to know the the relationship between music and World War II through compositional findings, survival testimonials, and tributes created by fellow Jews. However, despite not being able to completely understand the relationship, we are given a consensus that music gave hope, honor, and identification to several millions of Jews. It is with this hope that gave many Jews an unbreakable spirit despite the Nazi’s best efforts. Whether musical life was forced or composed and performed on its own free will it served as a necessary distraction during a historical tragedy. As a whole it was a beacon of hope to musicians and non musicians alike. As long as hope remained and Hatikvah’s was sang, spirits could not be broken, giving corroboration to the power of music.

‘As long as within our hearts

The Jewish soul sings,

As long as forward to the East

To Zion, looks the eye –

Our hope is not yet lost,

It is two thousand years old,

To be a free people in our land

The land of Zion and Jerusalem’.

Sources

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11. Poggioli, S. (2013, January 25). Honoring ‘Our Will To Live’: The Lost Music Of The Holocaust. Retrieved from https://www.npr.org/2013/01/25/169364174/honoring-our-will-to-live-the-lost-music-of-the-holocaust.
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