Jana Gana Mana: Rabindranath Tagore’s Anthem of Unity, History, and Legacy

Key Points:

India’s national anthem, Jana Gana Mana, was penned by Nobel laureate Rabindranath Tagore. Its lyrics come from his Bengali hymn Bharoto Bhagyo Bidhata, first published in 1905 in the Tatwabodhini Patrika for the Brahmo Samaj, a monotheistic reformist movement followed by Tagore’s family. The song was first performed publicly on 27 December 1911 at the Indian National Congress session in Calcutta, sung by Tagore’s niece, Sarala Devi Chowdhurani, with a group of students.

Set in the Hindustani raga Alhaiya Bilawal, the melody is credited to Tagore, though his grand-nephew Dinendranath Tagore may have assisted. In 1919, during a visit to Besant Theosophical College in Madanapalle, Tagore translated it into English as The Morning Song of India. Margaret Cousins transcribed the Western notation, and it became the college prayer and later the school song of The Doon School in 1935.

During the freedom struggle, the song grew in significance. In 1943, Subhas Chandra Bose introduced a Hindi-Urdu adaptation, Shubh Sukh Chain, as the anthem of the Provisional Government of Free India, with music by Captain Ram Singh Thakuri. On 14 August 1947, the Constituent Assembly ended its first session with Jana Gana Mana. On 24 January 1950, just before the first Republic Day, the Assembly officially adopted its first stanza as the national anthem.

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Why Not “Vande Mataram”?

Bankimchandra Chattopadhyay’s Vande Mataram was also considered for the anthem. Widely sung during protests, political gatherings, and even at the 1943 proclamation of the Provisional Government of Free India in Singapore, it was a rallying cry for independence. However, some Muslim and Sikh leaders opposed its references to the Hindu goddess Durga, considering it exclusionary. To avoid religious division, Tagore’s Bharoto Bhagyo Bidhata—with its spiritual, non-idolatrous, and inclusive message—was chosen instead.

Controversy and Clarification

When first performed in 1911, some believed the song praised King George V, as the performance coincided with his visit to India. The phrase “dispenser of India’s destiny” was thought to refer to the monarch, and both Hindu and Muslim nationalists voiced objections—some citing “Jaya Rajeshwar” as praise for a king, others linking the “eternal charioteer” to the Hindu deity Krishna.

Tagore firmly rejected these interpretations. In a 1937 letter to Pulin Behari Sen, he clarified:

For Tagore, Bharoto Bhagyo Bidhata symbolized the universal divine spirit guiding all humanity, transcending caste, creed, and religion. The full song embraces India’s pluralism—its second stanza names Hindus, Buddhists, Sikhs, Jains, Parsis, Muslims, and Christians, portraying the nation as a loving mother who protects her children through hardship. This vision reflected India’s unique secularism: equal respect for all religions without dominance by any.

There have also been debates surrounding the anthem. Questions were raised about the word “Sindh,” now part of Pakistan, with some arguing that it refers to the Sindhi community in India. Proposals to replace it with “Kashmir” were ultimately rejected.

Controversies have also arisen over adaptations. A.R. Rahman’s special rendition, featuring over 50 musicians, was criticized for violating official rules on tempo and duration. Similarly, Ram Gopal Varma’s 2010 film Rann faced a ban for using an altered version of the anthem.

Legacy of Rabindranath Tagore
The full Jana Gana Mana pays tribute to an inclusive force uniting India’s faiths, languages, and cultures. Its second stanza embraces Hindus, Buddhists, Sikhs, Jains, Parsis, Muslims, and Christians, portraying the nation not as a goddess, but as a compassionate mother who shields her children through danger and hardship. This vision anticipated India’s unique secularism—equal respect for all religions, ensuring freedom of faith while preventing dominance by any creed.

The national anthem is a symbol of unity and pride, sung in both full and shortened ceremonial versions. It has inspired art, such as M.F. Husain’s 45-foot mural Bharata Bhagya Vidhata at the Tata Institute of Fundamental Research in Mumbai.

Rabindranath Tagore holds a unique distinction—he is the only poet whose works became the national anthems of two countries. On 24 January 1950, the Constituent Assembly of India formally adopted his Jana Gana Mana as the Indian national anthem. Over two decades later, on 13 January 1972, Bangladesh officially recognized Amar Sonar Bangla, another of Tagore’s compositions, as its national anthem. [Rh/VP]

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