The Central Government has directed that the national song “Vande Mataram” be sung in educational institutions and public programs. Composed in the late eighteenth century and emerging as part of India’s freedom struggle in the early nineteenth century, “Vande Mataram” eventually became a favorite song among Hindutva ideologues for several historical reasons. During the Partition of Bengal, the song ignited and sustained Indian national consciousness. In 1937, at the Congress Working Committee meeting held in Calcutta, it was formally adopted as India’s national song. This decision was taken collectively by senior leaders including Mahatma Gandhi and Jawaharlal Nehru.
Rabindranath Tagore proposed a secular and inclusive compromise, suggesting that only the first two stanzas be used for national purposes, as certain portions of the song might cause discomfort among minority religious communities. The Committee accepted this view, and for nearly a century, the song was sung across Indian soil in a manner that respected the sentiments of all sections of society.
However, this past December, as part of the celebrations marking the 150th anniversary of “Vande Mataram,” the Central Government organized a ten-hour-long debate in Parliament. During this discussion, Prime Minister Narendra Modi and others alleged that the Congress decision of 1937 had effectively mutilated the national song and created divisions. In doing so, the present regime appeared to criticize the secular and inclusive approach adopted by earlier leaders within the Indian Parliament itself. It is in continuation of this position that the Central Government has now directed that the entire song be sung in schools and other institutions.
Before examining why “Vande Mataram,” written by Bankim Chandra Chattopadhyay in his 1885 novel Anandamath, became dearer to Hindutva proponents than even the national anthem, one must first ask: upon what foundation was Indian nationalism constructed?

The Brahminical Presence in Indian Nationalism:
To mobilize ordinary people against colonial rule, a unifying emotional force was necessary—one that could bring diverse communities together under a shared cause. Across colonized nations, nationalist concepts were often shaped after invasions by drawing inspiration from history, religion, art, and culture, thereby strengthening unity and fueling liberation movements.
India, too, fostered anti-colonial sentiment through nationalism against British rule. However, constructing a singular, monolithic national identity posed significant limitations. In a country like India, marked by diverse castes, religions, languages, cultures, and histories, forming a uniform national conception was inherently difficult. Leaders such as B. R. Ambedkar recognized that if a rigid, singular nationalism were to take shape and gain strength in post-independence India, it could undermine the country’s diversity and trigger communal conflicts. Ambedkar also warned that such a nationalism, if unchecked, would likely come under the control of Brahminism.
Although the Indian National Congress under Gandhi’s leadership attempted to navigate these complexities, Ambedkar sharply criticized what he saw as discriminatory aspects within Gandhi’s political philosophy.
At the same time, Hindutva ideologues including V. D. Savarkar worked intensely to integrate references from the Puranas and the Vedas into the framework of Indian nationalism. Parallel to these efforts, symbols such as Bankim Chandra’s “Vande Mataram” and Abanindranath Tagore’s imaginative painting of Bharat Mata emerged and gradually became part of the national narrative. Yet the Brahminical influence embedded within both the song and the imagery enabled Hindutva proponents to claim and appropriate them more easily.

Who Was Bankim Chandra Chattopadhyay?:
Bankim Chandra Chattopadhyay was born on June 27, 1838, in Kanthalpara in the Nadia district of Bengal, into a Brahmin family. His father, Yadav Chandra Chattopadhyay, served as a Deputy Collector under British administration. From a young age, Bankim studied Sanskrit, later mastering English and Western philosophy as well. He completed his higher education at Presidency College in Bengal. In 1858, he was among the first two graduates of the University of Calcutta.
Through novels such as Durgeshnandini and Kapalkundala, Bankim pioneered modern Indian fiction, earning recognition as the father of the Indian novel. His novel Anandamath, which contains “Vande Mataram,” was written in the 1870s. The narrative was set against a major anti-British uprising in Bengal.
Historically, the uprising of 1763 against the British East India Company was led by both Hindu sannyasis and Muslim sufis. The British termed it the “Sannyasi-Fakir Rebellion.” However, in Anandamath, Bankim portrayed the movement primarily as one led by Hindu ascetics. It was in this novel that the land was first personified as a mother in Indian literary history. Through this narrative, Bankim constructed a one-sided account suggesting that the freedom struggle was shaped primarily under Brahmin leadership, while largely omitting the Muslim presence in the anti-colonial struggle.
Notably, Bankim was never part of the Congress or any other freedom movement organization. He served as a Deputy Magistrate under British rule. In recognition of his services, the British administration awarded him the title “Rai Bahadur” in 1891.

From Literary Symbol to Political Icon:
It was only after Bankim’s death that “Vande Mataram” gained national prominence during the Partition of Bengal. By then, the symbolic figure of Bharat Mata, presented metaphorically in his writings, had acquired characteristics associated with Hindu deities. In 1905, Abanindranath Tagore painted the iconic image of Bharat Mata.
From that point onward, both “Vande Mataram” and Bharat Mata evolved beyond literary and artistic expressions into powerful political symbols. Over time, they became instruments within the agenda of Hindutva ideologues—a development that modern India has witnessed firsthand.