Citation: Yusuf, A.Y. & Idris, A. (2026). Ideology in Social Practice: A Critical Discourse Analysis of Nigeria’s ‘New’ National Anthem. Tasambo Journal of Language, Literature, and Culture, 5(1), 133-141. www.doi.org/10.36349/tjllc.2026.v05i01.014.
IDEOLOGY IN SOCIAL
PRACTICE: A CRITICAL DISCOURSE ANALYSIS OF NIGERIA’S ‘NEW’ NATIONAL ANTHEM
By
Dr. Aliyu Yakubu Yusuf
Department of
English and Literary Studies
Bayero University,
Kano
ayyusuf.eng@buk.edu.ng
07069176407
And
Dr. Adamu Idris
Department of
English and Literary Studies
Bayero University,
Kano
aidris.eng@buk.edu.ng
Abstract
This paper examines Nigeria’s ‘new’
national anthem through the lens of critical discourse analysis. At Nigeria’s
independence in 1960, the country’s first national anthem was ‘Nigeria We Hail
Thee’. This anthem was replaced in 1978 with the famous ‘Arise O Compatriots’,
which lasted for almost half a century before the country reinstated the former
anthem in 2024. This move was described by most local commentators as ‘an old
wine in a new bottle’. Therefore, it is this reinstated anthem that this paper
attempts to explore using van Dijk’s (1998) Critical Discourse Analysis,
especially the notion of ideology in discourse. This study employs a purposive
sampling technique to source the text of the anthem online and subjects it to
critical analysis. The findings reveal that the anthem was reinstated by
Nigeria’s ruling class due to some latent ideologies imbued therein. In other
words, in the present era, when the country is plagued by a plethora of
ethnolinguistic and sociopolitical challenges, the citizens need to inculcate
the messages contained in the anthem. This may usher in a new era of social stability
in the country.
Keywords: Discourse, Ideology, National Anthem,
Nigeria, Social Practice
Introduction
When it comes to the sociopolitical
history of nations and nationhood, national anthems are a common feature that
marks the identity and peculiarity of all countries around the world. Countries
around the world are often identified by their unique anthems, which serve as
markers of national sovereignty and symbols of a shared national identity.
However, it is important to note that even within countries, individual
institutions and organisations usually have their own anthem which they recite
during meetings, events and occasions. In Nigeria, for instance, most
universities, government institutions, and political parties, amongst others,
have their own anthems that reflect their unique objectives and which also
differentiate them from other institutions and organisations. Consequently,
Klutse and Israel (2024, p. 1336) remark that “Whether during a formal event,
sports event, or a political rally, anthems are a potent means of conveying a
group’s or country’s identity and goal”. Therefore, to a large extent, these
anthems are used to underline the institutions’ aims, missions, visions, ideals,
and manifestos that are composed in the form of lyrics (Oyeyemi, 2018).
As a country, Nigeria is located in
West Africa. In terms of her linguistic profile, most linguists have pointed out
that it is very hard to identify the total number of local Nigerian languages. This
is because some of the so-called languages are merely dialects of some other
languages (Jowitt, 1991). In spite of this, however, Ethnologue (2025) projects
that Nigeria is home to about 520 indigenous languages.[1] This ethnolinguistic diversity, as
well as the country’s Anglophone affiliation, makes Nigeria choose English, the
native language of the British colonial masters, as the official language used
in formal communication. English is used in civil service, courts of law,
banks, the media, and so on. In addition, Nigerian Pidgin English also serves useful
communicative purposes in the daily life of Nigerians in informal situations. Consequently,
the Nigerian national anthem was composed in English, the nation’s official
language.
A number of studies have been conducted
on anthems of different countries and institutions. Most of these studies have
explored anthems from the perspectives of Speech Act Theory (Adegbenro & Mayadenu, 2025; Klutse & Israel, 2024), Systemic Functional Linguistics (Adenike & Funmi,
2022; Ayinuola, 2020), and Text Linguistics (Oyeyemi, 2018). This demonstrates that there is a paucity of studies on
national anthems from the Critical Discourse Analysis (henceforth, CDA)
perspectives. Most of these outlined studies focused on national anthems of
other African countries, not Nigeria (Ayinuola, 2020; Robert & Eddie, 2017).
The available study that explores the Nigerian national anthem from the
perspectives of CDA was Onyeachulam and Okoye (2024), who examine the old national
anthem (Arise O Compatriot), as opposed to the new one (Nigeria We Hail Thee),
which is the focus of the present study. This paper, therefore, attempts to bridge
this literature gap by exploring the new (or the reinstated) anthem from the
viewpoints of van Dijk’s CDA, to uncover the covert ideologies that are
conveyed in the anthem to Nigerians as members of a distinct social group.
Concept of National Anthem
The national anthem is a written
document that serves as an instrument of national unity and identity. According
to Oyeyemi (2018, p. 31), “The National anthem of any nation
can be described as a symbol that portrays the uniqueness and characteristic
identity of a nation, usually rendered in lyrics”. This suggests that a national
anthem is composed to remind the world of a country’s political power and independence
from external control. It also captures the struggle of past heroes who
dedicated their lives to the country’s cause. Moreover, a national anthem is
not merely a piece of melodious poetry that is sung at official events and
occasions. It is a linguistic symbol that carries the nation’s aspirations and
values. It also serves as a tool that instills a sense of belonging and a
spirit of nationalism, irrespective of ethnolinguistic and sociocultural
diversities among citizens (Adegbenro & Mayadenu, 2025). To this
end, Adenike and Funmi (2022)
add that:
Anthems usually praise heroes, historical
figures and claim divine, national, or institutional spirit. Anthems contribute
to the representation of a country or institutions, to the creation and
strengthening of national or institutional solidarity. Singing the anthem has a
major psychological effect upon the masses, due to its enhancement of national
or institutional commitment (p. 132).
Ayinoula (2021) also remarks that the oldest
national anthem was said to be that of the Netherlands, which was composed in
1568. However, subsequent anthems, such as Britain’s “God Saves the Queen” and
Russia’s “God Saves the Czar” respectively composed in 1744 and 1745, became
much more popular. Ever since, national anthems have come to symbolise
sovereign nations, so much so that today, there is no country in the world
without a national anthem. In Africa, in particular, the rise of the national
anthem coincided with the rise of independence of African nations. Indeed,
Odebode (2020) asserts that in post-colonial states, national anthems are
created and recited to distance nations from their colonial past and to act as
a potent way for citizens of countries make a rallying cry to underline their
unity, patriotism, and national pride (Ajayi, 2019).
Coming down to Nigeria, the country’s first
national anthem (Nigeria We Hail Thee) was written at independence in 1960 by a
British national by the name of Lillian Jean Williams, who lived in Nigeria at
the time. Its music was composed by another British citizen called Frances
Berda. Although the anthem was created by expatriates, it underlines Nigeria’s
commitment to peace, progress, and unity in diversity. This is necessary considering
the multiethnic nature of the country’s population. The anthem lasted until
1978 when the military regime headed by General Olusegun Obasanjo replaced it
with a new one (Arise O Compatriots), whose lyrics were created by a group of
five Nigerians and the music composed by Benedict Odiase, the then Director of
Music, Nigeria Police Band (Adegbenro & Mayadenu, 2025). The rationale for the domestication of the
country’s anthem was to do away with the remnants of colonialism from one of
the most significant symbols of the country. However, in a dramatic turn of
events, the old anthem was reinstated by the civilian government of President
Bola Ahmed Tinubu in 2024. Thus, this paper attempts a linguistic exploration
of the reinstated anthem by subjecting it to CDA.
Review of Related Empirical Studies
Several studies have examined
national anthems from linguistic standpoints, including stylistics,
socio-pragmatics, lexico-semantics, text-linguistics, and discourse analysis.
For example, Ayinuola (2020) used Hallidayan Systemic Functional Linguistics
and Fairclough’s Socio-Semiotic model of Critical Discourse Analysis to study
national anthems of twenty (20) African countries (four countries each from the
five African sub-regions) and discovered that the anthems of most African
countries are lexicalised with a view to expressing territorialist,
Pan-Africanist, historicist, theist, and egalitarianist ideologies. Similarly,
Robert and Eddie (2017) also examined the national anthems of Ghana and
Liberia, using Fairclough’s Critical Discourse Analysis as the framework. The
study found that “the national anthem of Ghana promotes male chauvinism while
that of Liberia promotes feminism, each capturing the labour of nationalists,
the anticipated challenges and responsibilities of liberty as independent
states” (Robert & Eddie, p. 40).
Furthermore, Adenike and Funmi (2022)
conducted a study on the lexico-semantic features of the anthems of three
selected universities in Ekiti State, Nigeria. The universities are Bamidele Olumilua University of Education, Science and Technology (BOUESTI),
Federal University, Oye-Ekiti (FUOYE), and Afe Babalola
University (ABUAD). These were purposively selected to represent state, federal,
and private universities, respectively. As a tool for data
analysis, the study employed Halliday’s Systemic Functional Linguistics.
Following the analysis, it was shown that the choice of words and stylistic
devices in the anthems is meant to instill the spirit of academic solidarity,
love, and pride among staff and students. The anthems also emphasise the
potential for achieving great things by members of the selected universities.
On his part, Oyeyemi (2018) carried out a qualitative descriptive
methodology, applying the Integrated Theory of Text Linguistics, to study
Nigeria’s national anthem (Arise O Compatriots). The study revealed that
because the anthem was composed in a genre of poetry, each line has a few words
that convey condensed and inexhaustible messages that promote nationhood among
Nigerian citizens. The study further established “that the structure
and functions of language intermingle in a multifaceted context of
communication, and validates the expressive and emotive nature of the National
Anthem” (p. 31).
Adegbenro and Mayadenu (2025) also
carried out a socio-pragmatic study of the Nigerian National Anthem (Nigeria We
Hail Thee) in order to explore the communicative functions of the anthem and
how it is used to reinforce the spirit of national unity and identity. The
study utilized a mixed-method approach through Searle’s Speech Act and Halliday’s Systemic Functional Linguistics theories to analyse the anthem line-by-line. It was found
out that the anthem consists of all three Speech Acts identified by Searle
(1969). The study highlighted the variability in the occurrence of the various
speech acts in the anthem, including admiring, asserting, encouraging,
declaring, promising, committing, and praying.
Klutse and Israel (2024) further examined anthems of five selected public
universities in Ghana. The study adopted Searle’s (1969) and Austin’s (1975)
Speech Act Theory as the framework for analysis. The study “…through textual
analytical design, unravelled the linguistic patterns, semantic nuances, and
hidden meanings within the anthems” (p. 1336). The study also revealed that the linguistic
interplay in university anthems in Ghana showcases hopes and love for education
as well as aspirations for academic excellence. Most of the anthems also
portray assertive statements about the universities’ backgrounds, shared goals,
and commitment to societal values. Thus, the discourse of university anthems in
Ghana expresses meanings and fosters academic solidarity.
Analytical
Framework
As its analytical framework, this study adopts Critical Discourse Analysis
(CDA), a methodological approach that is concerned with the study of text and
talk (van Dijk, 1995) to explore the intricate relationship between discourse,
society, power, and ideology. (Wodak, 2021; Gee, 2014; Fairclough, 2012, 2010;
van Dijk, 2012, 2009, 1998; Bloor & Bloor, 2007; ). In particular, Bloor and
Bloor (2007) note that CDA is an interdisciplinary approach which draws ideas
from linguistics, anthropology, ethnography, cognitive
psychology, and ethnomethodology. van Dijk (2009, p. 111) adds that
“critical discourse analysis is problem-oriented. It does not primarily focus
on discourse and its properties, but on social issues and problems, such as
racism and sexism or other forms of domination and power abuse, and
then examines whether and how text and talk are involved in its
reproduction”.
For the purpose of the present
study, van Dijk’s (1998) notion of ideology in discourse is adopted as the
analytical tool. According to him, “Ideologies are
not merely sets of beliefs, but socially shared beliefs of groups. These
beliefs are acquired, used, and changed in social situations, and on the basis
of the social interests of groups and social relations between groups in
complex social structures” (p.
135). From the foregoing, it can be argued that the relationship between a text
(or discourse) and the ideologies imbued therein is always symbiotic. That is,
the kind of existing social structures in the society often shape, and are
shaped by, the ideologies that are common in that society. It is therefore
important to note that in any society, ideologies are expressed in language.
Indeed, Ar (2015, p. 63) stresses that “Language,
or more specifically discourse, is conceived as the most common form of social
structure that is closely linked to ideology”.
The idea that discourse and
social structures are inseparable is reminiscent of Fairclough’s (2001) notion
of Discourse as Social Practice. He argues that language is a part of society and
not somehow external to it. Language is a socially-conditioned process;
conditioned, that is, by other (non-linguistic) parts of the society. For
Fairclough, therefore, the relationship between discourse and the society where
it operates is internal and dialectical. In other words, “linguistic phenomena are social phenomena of a special sort, and social phenomena are (in part)
linguistic phenomena” (p. 19). Thus, it is this strand of CDA that is adopted
in this study to unveil the latent ideologies that are conveyed to Nigerians as
people who belong to a particular social group.
Another theoretical postulation related to this study is Van Dijk’s
socio-cognitive approach to discourse analysis.
This approach argues that social structures, such as power, inequality,
ideology, racism, and so on, influence the nature of discourse. They do that
through the cognitive structures in people’s minds. These cognitive structures include
belief systems, knowledge, attitude, stereotypes, and ideologies. This implies
that discourse is not shaped directly by society, but primarily by the mental
representations of social events. Therefore, this study intends to apply this
theoretical position to argue that the reception of the revised Nigerian
national anthem is largely shaped by the prevailing social realities affecting
everyday Nigerians, including ethnolinguistic, sociocultural, regional, and
religious differences.
Methodology
This study is a desk-based research that follows a qualitative
tradition, which focuses on the collection and analysis of non-numerical data,
such as video or audio clips, as well as written texts. The study employs a
purposive sampling technique to collect a sample of the re-adopted national
anthem online[2] and uses it as the data. This is because purposive sampling allows the
study to collect data that aligns with the objective of the study. In addition,
this sampling technique allows the researcher to choose the selected anthem
instead of the ‘old’ one or anthems of other countries.
The anthem is made up of three stanzas of six lines each, giving it a
total of 18 lines. It was written in such a way that every other line of the
stanza contains a rhyming scheme, which gives it a peculiar musicality when
recited orally. This study subjects each stanza of the anthem to critical
discourse analysis to bring out the latent ideologies that the Nigerian
government passes across to the citizens. All three stanzas were analysed
because of the intricate relationship between the ideologies they contain, as
well as the fact that analysing only a stanza or two will leave out some crucial
covert ideologies which the anthem professes to Nigerian citizens. This further
allows for a holistic analysis of the three stanzas separately, as opposed to
excerpts from the stanzas. Additionally, analysing only the text of the anthem without
considering its performance, reception, or public discourse constitutes the
limitation of this study.
Data Presentation and Analysis
In this section, the data (the
reinstated anthem) is analysed stanza by stanza. The focus of the analysis is
specifically on the lexical choices in the anthem. This is done to decipher the
covert ideologies contained in the three stanzas and to examine the possible
transition between one stanza of the anthem and the other. The stanzas are,
thus, labelled in this study as Excerpt 1, 2, and 3 for the purpose of
analysis.
Excerpt 1
Nigeria,
we hail thee
Our own dear native land
Though tribe and tongue may differ
In brotherhood we stand
Nigerians all, and proud to serve
Our sovereign motherland
The
first stanza of the anthem begins unconventionally by addressing the country
head-on, as can be seen by the use of the plural personal pronoun “we’ in the
first line, suggesting a shared collective Nigerian identity. The use of this
deictic category implies that it is the generality of Nigerian citizens who are
depicted as the persona in the anthem. The
stanza also “hail” the country and expresses the need for the citizens to
instill in themselves the culture of patriotism and commitment towards the country,
as can be seen in the verse “our own dear native land”. The stanza also reinforces
the country’s ethnolinguistic diversity, as exemplified in the verse, “though
tribes and tongues may differ”, and the inevitability of living together as
disparate ethnolinguistic groups. Further, the stanza outlines the necessity
for Nigerians to imbibe the spirit of tolerance and brotherhood, as outlined in
the line “in brotherhood we stand”. The stanza finally underlines the power and
sovereignty of Nigeria as a political entity that is free from control by
external forces.
By
critically analyzing the above stanza, it is possible to uncover some latent
ideologies. such as unity in diversity, patriotism, brotherhood, political
freedom and dedication to duty. As van Dijk (1998, p. 138) notes, “ideologies positively serve to empower dominated groups, to create
solidarity, to organize struggle and to sustain opposition”, the preceding
stanza serves to imbibe the sense of solidarity to the Nigerian cause and
emphasises the constitutional power of the Nigerian state to impose values on
the citizens. This is one of the features of CDA as a methodological approach.
Excerpt 2
Our flag shall be a symbol
That truth and justice reign
In peace or battle honoured
And this we count as gain
To pass on to our children
A banner without stain
This
stanza basically begins from where the first one ends, emphasising the need for
truth and justice as the ideologies that should be the guiding principles in all
the affairs of both the leaders and the led in Nigeria. This is hugely
important, especially in a country with a multiplicity of languages, religious
affiliations, and geographical variations. Nigeria also has a national flag,
which is one of the most cherished symbols of the country. The flag contains a vertical
triband of green, white, and green. The green colours, sandwiching the white,
represent the country’s agricultural potential, while the white symbolises
peace and unity. The former acknowledges the fact that Nigeria is blessed with
a vast expanse of agricultural land which, if utilised properly, can provide
food security to Nigerian citizens as well as for export to foreign markets,
which can, in turn, earn huge revenues to the government. The latter recognises
the inherent diversities among Nigerians and the need for peace and unity, as
the only panacea for the country to remain a single geopolitical entity.
On the
evidence of the aforesaid stanza, the ideologies of peace and unity, as well as
the quest for food sufficiency to the citizenry, are mandatory aspects of
communal life, which are depicted in the discourse of the Nigerian anthem.
Indeed, van Dijk (1998, p. 138) notes that ideologies are essential conditions
“for the existence and the reproduction of groups, or for the collective
management of the relationships between groups, rather than functions that only
serve individuals”. Fairclough (2021) also adds that discourse
determines and is determined by social structures. This explains why the lyrics
of the Nigerian anthem preach the spirit of unity and peaceful coexistence, despite
the existing differences among the citizens. The last line of the above stanza
makes it explicit that Nigerians must strive to make the country stable, so
that the upcoming generation will inherit a nation they will be proud of.
Excerpt 3
O God of all creation
Grant this our one request
Help us to build a nation
Where no man is oppressed
And so with peace and plenty
Nigeria shall be blessed
The last
stanza of the anthem begins with the invocation and acknowledgement of God as
the supreme being and the creator of everything, as can be seen in the verse “O
God of all creation”. This is hardly surprising, given the fact that Nigeria is
notoriously divided along religious lines, with Muslims inhabiting most of the
northern part of the country and Christians dominating the South. The stanza
also represents the ardent prayers and yearning of Nigerians to “build a
nation” where justice and fairness are the watchwords. This is reflected in the
line of the fourth line of the stanza, which portrays the passionate request
towards God to help Nigerians build a just country “where no man is oppressed”
and the citizens live in peace, harmony and prosperity.
In
addition, the stanza also highlights the prayers by Nigerians to have a country
with economic stability and general well-being. This is timely considering the
World Bank (2024) report, which shows that around 47% of Nigerians live below
the international poverty line, which at the moment stands at $2.15 per day.[3] This, therefore, demonstrates that Nigerians
are in dire need of economic upturn so that the people can earn enough means of
sustenance for themselves, allowing Nigeria to “be blessed” with “peace and
plenty”, as the last two verses of the anthem aptly captured. Thus, the
Nigerian anthem in its entirety is a manifestation of the country’s goals,
yearnings, and aspirations to develop a peaceful and united society where
justice becomes the order of the day.
Looking at the last
stanza, it can be argued that the stanza depicts religious ideologies that are
central to the lives of most Nigerians. According to van Dijk (1998), religious
ideologies shape the way in which the world is understood and where group
interests may be involved. It is this understanding of the world through the
frameworks of religion by most Nigerians that has perhaps informed the presence
in the anthem of the aforesaid supplication for a prosperous country. In this
way, van Dijk sees religion as a social practice, a category or a means of
identification which enables its adherents to “develop ideologies that are related to the position and
the interests of the members of this category in society” (p. 144). In this
sense, the discourse of the Nigerian anthem is reflective of one of the most
cherished ideologies of Nigerians. This further corroborates Fairclough’s
(2004) submission that the aim of CDA is to demystify discourses by deciphering ideologies and enhance
understanding of language functions.
Discussion
From the foregoing analysis, it was
found that the discourse of the Nigerian anthem portrays some salient ideologies
that are promoted to guide the affairs of the citizens. The act of encoding
ideologies in an anthem has been explored by other writers. For example,
Ayinuola (2020) examines how lexical items are used in selected African
countries, including Nigeria, to encode ideologies of Pan-Africanism,
territoriality, egalitarianism, historicism, and theism. In the old Nigerian
anthem in particular, these ideologies are reflected via the use of lexical
items, such as heart, might, love, truth, strength, faith, honesty, among
others. The present study expands this argument by noting that beyond lexical
items, such as brotherhood, truth, justice, and peace, the new anthem also
encodes the nationhood ideologies within entire phrases, verses, and stanzas.
The new anthem is also meant to be perceived beyond the surface linguistic
features to the cognitive processes that inform its composition.
The ideology of national unity and nationhood is
imbued within the first stanza. This can be seen in such lines as “though
tribes and tongues may differ/In brotherhood we stand/Nigerians all are proud
to serve/Our sovereign motherland”. In the same vein, the second stanza of the
anthem also carries ideologies of patriotism, peaceful coexistence, and sovereignty
of the Nigerian state, as can be derived from such lines as “Our flag shall be a symbol/That truth and justice reign/In
peace or battle honoured/And this we count as gain”. And as discussed
previously, the concluding stanza of the poem reflects the religious ideologies
of the Nigerian populace. This is similar to how God was invoked in anthems of other
nations, such as Ghana, England, Russia, and Liberia. The former, in
particular, begins and ends with the invocation of God, as in “God bless our
homeland Ghana” and “And under God march on forevermore” (Robert & Eddie,
2017), underlining the religious tendencies of human societies.
Moreover, on the old national anthem, Oyeyemi (2018, p. 35)
remarks that “the attention of the persona is on love and unity to build
Nigeria as a nation. While building loyalty, dedication, and trust in the
citizenry, the persona believes that the place of love and unity is important
in a heterogeneous society like Nigeria”. These ideologies are re-echoed in the
new anthem, which also preaches love, loyalty, patriotism, and unity, among
others. This demonstrates that while the two anthems are different in the
composition of their words and phrases, they are similar in the kinds of
ideological underpinnings they portray to Nigerian citizens. Both anthems carry
some covert ideologies that can potentially set the country on the path to growth,
unity, and harmony.
The re-adopted national anthem also attempts to foster the
ideology of a shared sense of belonging among Nigerians. This can be observed
in the second line of the opening stanza, which reads “Our own dear native
land”. This line implies that no matter how wide our existing fault lines appear
to be, we still have a country that is a common homeland to all of us. This
view is supported by Adegbenro
and Mayadenu (2025), who submit that the second phrase in the anthem “presupposes
that Nigeria is a shared homeland, emphasizing a collective sense of ownership
and emotional attachment to the land. The use of the possessive pronoun ‘our’
strengthens this bond between the citizens and their country”. The discourse of
the new anthem, therefore, represents an attempt to inculcate some desired
ideologies as part of social practice among Nigeria’s disparate communities.
Conclusion
On the evidence of the preceding data analysis, it can be concluded
that the new Nigerian national anthem is a piece of discourse that carries some
covert ideologies which a common reader might not be able to decipher. The anthem,
therefore, needs to be read between the lines to fully appreciate its positive ideological
contents. This study has, thus, uncovered some of these ideologies, which include
unity in diversity, patriotism, peace, brotherhood, truth and justice, among
others. This is quite timely considering the ethnolinguistic, regional, and
religious diversities that often threaten the corporate existence of the people
in the country. Thus, by critically analysing the data, this study concludes
that the decision to reinstate the anthem was an attempt by the Nigerian
government to remind the citizens of the need to put into practice those ideologies
in their daily lives. This further reflects the power relations between the
Nigerian government and the citizens.
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discourse-historical approach. In R. Wodak & M. Meyer (Eds.), Methods of critical discourse analysis
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Appendix
Nigerian
National Anthem
Nigeria,
we hail thee
Our own dear native land
Though tribe and tongue may differ
In brotherhood we stand
Nigerians all, and proud to serve
Our
sovereign motherland
Our flag shall be a symbol
That truth and justice reign
In peace or battle honoured
And this we count as gain
To pass on to our children
A banner without stain
O God of all creation,
Grant this our one request,
Help us to build a nation
Where no man is oppressed
And so with peace and plenty
Nigeria shall be blessed.
[1] Ethnologue: Languages of the World https://www.ethnologue.com/country/NG/
[2] Full lyrics of the reinstated
national anthem: ‘Nigeria We Hail Thee’
https://www.pulse.ng/articles/lifestyle/the-new-national-anthem-2025013010005919765
/
[3] 47% of Nigerians Now Live Below
Poverty Line, World Bank Reports
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