March of the Volunteers
Template:Short description Template:Redirect Template:Use dmy dates Template:Infobox anthem Template:Infobox Chinese
The "March of the Volunteers",Template:Efn originally titled the "March of the Anti-Manchukuo Counter-Japan Volunteers",Template:Efn is the official national anthem of the People's Republic of China since 1978. Unlike previous Chinese state anthems, it was written entirely in vernacular Chinese, rather than in Classical Chinese.
The Japanese invasion of Manchuria saw a boom of nationalistic arts and literature in China. This song had its lyrics written first by the communist playwright Tian Han in 1934, then set to melody by Nie Er and arranged by Aaron Avshalomov for the communist-aligned film Children of Troubled Times (1935).<ref>The politics of songs: Myths and symbols in the Chinese communist war music, 1937–1949. CT Hung. Modern Asian Studies, 1996.</ref> It became a famous military song during the Second Sino-Japanese War beyond the communist faction, most notably the Nationalist general Dai Anlan designated it to be the anthem of the 200th Division, who fought in Burma. It was adopted as the PRC's provisional anthem in 1949 in place of the "Three Principles of the People" of the Republic of China and the Communist "Internationale". During the Cultural Revolution, Tian Han was criticized and placed in prison, where he died in 1968. The song was briefly and unofficially replaced by "The East Is Red", then reinstated but played without lyrics, restored to official status in 1978 with altered lyrics, before the original version was fully restored in 1982.
History
[edit]Template:National anthems of China
The lyrics of the "March of the Volunteers", also formally known as the National Anthem of the People's Republic of China, were composed by Tian Han in 1934<ref>Huang, Natasha N. Template:'East Is Red': A Musical Barometer for Cultural Revolution Politics and Culture, pp. 25 ff.Template:Dead link</ref> as two stanzas in his poem "The Great Wall" (Template:Lang), (Template:Lang) intended either for a play he was working on at the time<ref name="rowhass">Rojas, Carlos. The Great Wall: A Cultural History, p. 132. Harvard University Press (Cambridge), 2010. Template:ISBN.</ref> or as part of the script for Diantong's upcoming film Children of Troubled Times.<ref name="chichi" /> The film is a story about a Chinese intellectual who flees during the Shanghai Incident to a life of luxury in Qingdao, only to be driven to fight the Japanese occupation of Manchuria after learning of the death of his friend. Urban legends later circulated that Tian wrote it in jail on rolling paper<ref name="rowhass" /> or the liner paper from cigarette boxes<ref name="roo" /> after being arrested in Shanghai by the Nationalists; in fact, he was arrested in Shanghai and held in Nanjing just after completing his draft for the film.<ref name="chichi" /> During March<ref name="chih2">Liu (2010), p. 154 Template:Webarchive.</ref> and April 1935,<ref name="chichi" /> in Japan, Nie Er set the words (with minor adjustments)<ref name="chichi" /> to music; in May, Diantong's sound director He Luting had the Russian composer Aaron Avshalomov arrange their orchestral accompaniment.<ref name="avant" /> The song was performed by Gu Menghe and Yuan Muzhi, along with a small and "hastily-assembled" chorus; He Luting consciously chose to use their first take, which preserved the Cantonese accent of several of the men.<ref name="chichi" /> On 9 May, Gu and Yuan recorded it in more standard Mandarin for Pathé Orient's Shanghai branchTemplate:Efn ahead of the movie's Template:Clarify release, so that it served as a form of advertising for the film.<ref name="avant" />
Originally translated as "Volunteers Marching On",<ref name="dianxin" /><ref>Yang, Jeff & al. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema, p. 136. Atria Books (New York), 2003.</ref> the English name references the several volunteer armies that opposed Japan's invasion of Manchuria in the 1930s; the Chinese name is a poetic variation—literally, the "Righteous and Brave Armies"—that also appears in other songs of the time, such as the 1937 "Sword March".
In May 1935, the same month as the movie's Template:Clarify release, Lü Ji and other leftists in Shanghai had begun an amateur choir and started promoting a National Salvation singing campaign,<ref name="chih">Liu Ching-chih. Translated by Caroline Mason. A Critical History of New Music in China, p. 172. Chinese University Press (Hong Kong), 2010.</ref> supporting mass singing associations along the lines established the year before by Liu Liangmo, a Shanghai YMCA leader.<ref name="chichi" /><ref>Gallicchio, Marc. The African American Encounter with Japan & China, p. 164. Template:Webarchive University of North Carolina Press (Chapel Hill), 2000.</ref> Although the movie Template:Clarify did not perform well enough to keep Diantong from closing, its theme song became wildly popular: musicologist Feng Zikai reported hearing it being sung by crowds in rural villages from Zhejiang to Hunan within months of its release<ref name="roo">Melvin, Sheila & al. Rhapsody in Red: How Western Classical Music Became Chinese, p. 129 Template:Webarchive. Algora Publishing (New York), 2004.</ref> and, at a performance at a Shanghai sports stadium in June 1936, Liu's chorus of hundreds was joined by its audience of thousands.<ref name="chichi" /> Although Tian Han was imprisoned for two years,<ref name="avant" /> Nie Er fled to the Soviet Union, only to die en route in Japan;<ref name="chih2" />Template:Efn and Liu Liangmo eventually fled to the U.S. to escape harassment from the Nationalists.<ref name="llm" /> The singing campaign continued to expand, particularly after the December 1936 Xi'an Incident reduced Nationalist pressure against leftist movements.<ref name="chih" /> Visiting St Paul's Hospital at the Anglican mission at Guide (now Shangqiu, Henan), W.H. Auden and Christopher Isherwood reported hearing a "Chee Lai!" treated as a hymn at the mission service and the same tune "set to different words" treated as a favorite song of the Eighth Route Army.<ref>Journey to a War, cited in Chi (2007), p. 225.</ref>
The Pathé recording of the march appeared prominently in Joris Ivens's 1939 The 400 Million, an English-language documentary on the war in China.<ref name="avant" /> The same year, Lee Pao-chen included it with a parallel English translation in a songbook published in the new Chinese capital Chongqing;<ref name="chungking" /> this version would later be disseminated throughout the United States for children's musical education during World War II before being curtailed at the onset of the Cold War.Template:Efn The New York Times published the song's sheet music on 24 December, along with an analysis by a Chinese correspondent in Chongqing.<ref name="chichi" /> In exile in New York City in 1940, Liu Liangmo taught it to Paul Robeson, the college-educated polyglot folk-singing son of a runaway slave.<ref name=llm>Liu Liangmo. Translated by Ellen Yeung. "The America I Know". China Daily News, 13–17 July 1950. Reprinted as "Paul Robeson: The People's Singer (1950)" in Chinese American Voices: From the Gold Rush to the Present, pp. 207 ff. Template:Webarchive University of California Press (Berkeley), 2006.</ref> Robeson began performing the song in Chinese at a large concert in New York City's Lewisohn Stadium.<ref name=llm/> Reportedly in communication with the original lyricist Tian Han, the pair translated it into English<ref name=avant>Liang Luo. "International Avant-garde and the Chinese National Anthem: Tian Han, Joris Ivens, and Paul Robeson" in The Ivens Magazine, No. 16 Template:Webarchive. European Foundation Joris Ivens (Nijmegen), October 2010. Accessed 22 January 2015.</ref> and recorded it in both languages as Template:Nowrap ("Arise!") for Keynote Records in early 1941.<ref name=chichi>Chi, Robert. "'The March of the Volunteers': From Movie Theme Song to National Anthem" in Re-envisioning the Chinese Revolution: The Politics and Poetics of Collective Memories in Reform China, pp. 217 ff. Template:Webarchive Woodrow Wilson Center Press (Washington, DC), 2007.</ref>Template:Efn Its 3-disc album included a booklet whose preface was written by Soong Ching-ling, widow of Sun Yat-sen,<ref>Deane, Hugh. Good Deeds & Gunboats: Two Centuries of American-Chinese Encounters, p. 169. China Books & Periodicals (Chicago), 1990.</ref> and its initial proceeds were donated to the Chinese resistance.<ref name="roo" /> Robeson gave further live performances at benefits for the China Aid Council and United China Relief, although he gave the stage to Liu and the Chinese themselves for the song's performance at their sold-out concert at Washington's Uline Arena on 24 April 1941.<ref name=blow>Gellman, Erik S. Death Blow to Jim Crow: The National Negro Congress and the Rise of Militant Civil Rights, pp. 136 Template:Webarchive. University of North Carolina Press (Chapel Hill), 2012. Template:ISBN.</ref>Template:Efn Following the attack on Pearl Harbor and beginning of the Pacific War, the march was played locally in India, Singapore, and other locales in Southeast Asia;<ref name="avant" /> the Robeson recording was played frequently on British, American, and Soviet radio;<ref name="avant" /> and a cover version performed by the Army Air Force Orchestra<ref>Eagan, Daniel. America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, pp. 390 f. Template:Webarchive Continuum International (New York), 2010.</ref> appears as the introductory music to Frank Capra's 1944 propaganda film The Battle of China and again during its coverage of the Chinese response to the Rape of Nanking.
The "March of the Volunteers" was used as the Chinese national anthem for the first time at the World Peace Conference in April 1949. Originally intended for Paris, French authorities refused so many visas for its delegates that a parallel conference was held in Prague, Czechoslovakia.<ref name="santi">Santi, Rainer. "100 Years of Peace Making: A History of the International Peace Bureau and Other International Peace Movement Organisations and Networks" in Pax Förlag Template:Webarchive. International Peace Bureau, January 1991.</ref> At the time, Beijing had recently come under the control of the Chinese Communists in the Chinese Civil War and its delegates attended the Prague conference in China's name. There was controversy over the third line, "The Chinese nation faces its greatest peril", so the writer Guo Moruo changed it for the event to "The Chinese nation has arrived at its moment of emancipation". The song was personally performed by Paul Robeson.<ref name=avant/>
In June, a committee was set up by the Chinese Communist Party to decide on an official national anthem for the soon-to-be declared People's Republic of China. By the end of August, the committee had received 632 entries totaling 694 different sets of scores and lyrics.<ref name=chichi/> The March of the Volunteers was suggested by the painter Xu Beihong<ref>Liao Jingwen. Translated by Zhang Peiji. Xu Beihong: Life of a Master Painter, pp. 323 f. Foreign Language Press (Beijing), 1987.</ref> and supported by Zhou Enlai.<ref name=chichi/> Opposition to its use centered on the third line, as "The Chinese people face their greatest peril" suggested that China continued to face difficulties. Zhou replied, "We still have imperialist enemies in front of us. The more we progress in development, the more the imperialists will hate us, seek to undermine us, attack us. Can you say that we won't be in peril?" His view was supported by Mao Zedong and, on 27 September 1949, the song became the provisional national anthem, just days before the founding of the People's Republic.<ref name=provo>Resolution on the Capital, Calendar, National Anthem, and National Flag of the People's Republic of China. 1st Chinese People's Political Consultative Conference (Beijing), 27 September 1949. Hosted at Wikisource.</ref> The highly fictionalized biopic Nie Er was produced in 1959 for its 10th anniversary; for its 50th in 1999, The National Anthem retold the story of the anthem's composition from Tian Han's point of view.<ref name=chichi/>
Although the song had been popular among Nationalists during the war against Japan, its performance was then banned in the territories of the Republic of China until the 1990s.Template:Citation needed
The 1 February 1966 People's Daily article condemning Tian Han's 1961 allegorical Peking opera Xie Yaohuan as a "big poisonous weed"<ref>Template:Cite journal</ref> was one of the opening salvos of the Cultural Revolution,<ref name="wagner">Wagner, Rudolf G. "Tian Han's Peking Opera Xie Yaohuan (1961)" in The Contemporary Chinese Historical Drama: Four Studies, pp. 80 ff. Template:Webarchive University of California Press (Berkeley), 1990. Template:ISBN</ref> during which he was imprisoned and his words forbidden to be sung. As a result, there was a time when "The East Is Red" served as the PRC's unofficial anthem.Template:Efn Following the 9th National Congress, "The March of the Volunteers" began to be played once again from the 20th National Day Parade in 1969, although performances were solely instrumental. Tian Han died in prison in 1968, but Paul Robeson continued to send the royalties from his American recordings of the song to Tian's family.<ref name=avant/>
The anthem was restored by the 5th National People's Congress on 5 March 1978,<ref name=zhstate/> but with rewritten lyrics including references to the Chinese Communist Party, communism, and Chairman Mao. Following Tian Han's posthumous rehabilitation in 1979<ref name=chichi/> and Deng Xiaoping's consolidation of power over Hua Guofeng, the National People's Congress resolved to restore Tian Han's original verses to the march and to elevate its status, making it the country's official national anthem on 4 December 1982.<ref name="zhstate">Template:Lang [Zhōnghuá Rénmín Gònghéguó Guógē, "National Anthem of the People's Republic of China"]. State Council of the People's Republic of China (Beijing), 2015. Accessed 21 January 2015. Template:In lang</ref><ref name="state">"National Anthem" Template:Webarchive. State Council of the People's Republic of China (Beijing), 26 August 2014. Accessed 21 January 2015.</ref>
The anthem's status was enshrined as an amendment to the Constitution of the People's Republic of China on 14 March 2004.<ref name="constitution">Constitution of the People's Republic of China, Amendment IV, §31. 10th National People's Congress (Beijing), 14 March 2004. Hosted at Wikisource.</ref><ref name="zhstate" /> On 1 September 2017, the National Anthem Law of the People's Republic of China, which protects the anthem by law, was passed by the Standing Committee of the National People's Congress and took effect one month later. The anthem is considered to be a national symbol of China. The anthem should be performed or reproduced especially at celebrations of national holidays and anniversaries, as well as sporting events. Civilians and organizations should pay respect to the anthem by standing and singing in a dignified manner.<ref>Template:Cite web</ref> Personnel of the People's Liberation Army, the People's Armed Police and the People's Police of the Ministry of Public Security salute when not in formation when the anthem is played, the same case for members of the Young Pioneers of China and PLA veterans.
Special administrative regions
[edit]The anthem was played during the handover of Hong Kong from the United Kingdom in 1997<ref>Ho Wai-chung. School Music Education and Social Change in Mainland China, Hong Kong, and Taiwan, p. 69. Template:Webarchive Koninklijke Brill NV (Leiden), 2011. Template:ISBN.</ref> and during the handover of Macau from Portugal in 1999. It was adopted as part of Annex III of the Basic Law of Hong Kong, taking effect on 1 July 1997,<ref name=hk>Basic Law of the Hong Kong Special Administrative Region, Annex III. 7th National People's Congress (Beijing), 4 April 1990. Hosted at Wikisource.</ref> and as part of Annex III of the Basic Law of Macau, taking effect on 20 December 1999.<ref name="macao">Basic Law of the Macao Special Administrative Region, Annex III. 8th National People's Congress (Beijing), 31 March 1993. Hosted at Wikisource.</ref>
Macau
[edit]The use of the anthem in the Macau Special Administrative Region is particularly governed by Law No.5/1999, which was enacted on 20 December 1999. Article 7 of the law requires that the anthem be accurately performed pursuant to the sheet music in its Appendix 4 and prohibits the lyrics from being altered. Under Article 9, willful alteration of the music or lyrics is criminally punishable by imprisonment of up to two years or up to 360 day-fines<ref>Template:Lang [Dì 5/1999 Háo Fǎlǜ: Guóqí, Guóhuī jí Guógē de Shǐyòng jí Bǎohù, "Law №5/1999: The Use and Protection of the National Flag, National Emblem, and National Anthem"]. Legislative Assembly (Macao), 20 December 1999. Hosted at the Chinese Wikisource. Template:In lang</ref><ref>Template:Lang ["Law №5/1999: The Use and Protection of the National Flag, Emblem, and Anthem"]. Legislative Assembly (Macao), 20 December 1999. Hosted at the Portuguese Wikisource. Template:In lang</ref> and, although both Chinese and Portuguese are official languages of the region, the provided sheet music has its lyrics only in Chinese. Mainland China has also passed a similar law in 2017.<ref>Template:Cite web</ref>
Hong Kong
[edit]Nonetheless, the Chinese National Anthem in Mandarin now forms a mandatory part of public secondary education in Hong Kong as well.<ref name="hohoho">Ho (2011), p. 36. Template:Webarchive</ref> The local government issued a circular in May 1998 requiring government-funded schools to perform flag-raising ceremonies involving the singing of the "March of the Volunteers" on particular days: the first day of school, the "open day", National Day (1 October), New Year's (1 January), the "sport day", Establishment Day (1 July), the graduation ceremony, and for some other school-organized events; the circular was also sent to the SAR's private schools.<ref>Ho (2011), pp. 89 ff. Template:Webarchive</ref><ref>Lee, Wing On. "The Development of Citizenship Education Curriculum in Hong Kong after 1997: Tensions between National Identity and Global Citizenship" in Citizenship Curriculum in Asia and the Pacific, p. 36. Template:Webarchive Comparative Education Research Centre (Hong Kong), 2008.</ref> The official policy was long ignored, but—following massive and unexpected public demonstrations in 2003 against proposed anti-subversion laws—the ruling was reiterated in 2004<ref>Template:Cite book</ref><ref name="vicky" /> and, by 2008, most schools were holding such ceremonies at least once or twice a year.<ref>Mathews, Gordon & al. Hong Kong, China: Learning to Belong to a Nation, p. 89. Template:Webarchive Routledge (Abingdon), 2008. Template:ISBN.</ref> From National Day in 2004, as well, Hong Kong's local television networks have also been required to preface their evening news with government-prepared<ref>Hong Kong 2004: Education: "Committee on the Promotion of Civic Education" Template:Webarchive. Government Yearbook (Hong Kong), 2015. Accessed 25 January 2015.</ref> promotional videos including the national anthem in Mandarin.<ref name="vicky">Vickers, Edward. "Learning to Love the Motherland: 'National Education' in Post-Retrocession Hong Kong" in Designing History in East Asian Textbooks: Identity Politics and Transnational Aspirations, p. 94 Template:Webarchive. Routledge (Abingdon), 2011. Template:ISBN.</ref> Initially a pilot program planned for a few months,<ref name="mrwong" /> it has continued ever since. Viewed by many as propaganda,<ref name="mrwong">Wong, Martin. "National Anthem To Be Broadcast before News". Template:Webarchive South China Morning Post (Hong Kong), 1 October 2004.</ref><ref>Luk, Helen. "Chinese National Anthem Video Draws Fire from Hong Kong People" Template:Webarchive. Associated Press, 7 October 2004.</ref><ref>Jones, Carol. "Lost in China? Mainlandisation and Resistance in Post-1997 Hong Kong" in Taiwan in Comparative Perspective, Vol. 5, pp. 28–ff. Template:Webarchive London School of Economics (London), July 2014.</ref> even after a sharp increase in support in the preceding four years, by 2006, the majority of Hongkongers remained neither proud nor fond of the anthem.<ref>Mathews & al. (2008), p. 104. Template:Webarchive</ref> On 4 November 2017, the Standing Committee of the National People's Congress decided to insert a Chinese National Anthem Law into the Annex III of the Basic Law of Hong Kong, which would make it illegal to insult or not show sufficient respect to the Chinese national anthem. On 4 June 2020, the National Anthem Bill was passed in Hong Kong after being approved by the Legislative Council.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>
Tune
[edit]<score vorbis="1">
\relative g' {
\key g \major \time 2/4
g8. b16 d8 d8 \bar "|" e4 d4 \bar "|" b8. g16 \times 2/3 {d'8 d d} \bar "|" b4 g4 \bar "|" \times 2/3 {d8 d d} \times 2/3 {d8 d d} \bar "|" g4 r8 d8 \bar "|" \break
g4. g8 \bar "|" g8. g16 d8 e16 fis16 \bar "|" g4 g4 \bar "|" r8 b8 g8 a16 b16 \bar "|" d4 d4 \bar "|" \break
b8. b16 g8. b16 \bar "|" d8. b16 a4 \bar "|" a2 \bar "|" e'4^> d4^> \bar "|" a4^> b4^> \bar "|" \break
d8^> b8^> r8 d8 \bar "|" b8 a16 b16 g4 \bar "|" b4 r4 \bar "|" d,8. e16 g8 g8 \bar "|" b8. b16 d8 d8 \bar "|" \break
a8 a16 a16 e4 \bar "|" a4. d,8 \bar "|" ^\< g4. g8 \bar "|" b4. b8 \! \bar "|" d2 \bar "|" \break
g,8. b16 d8 d8 \bar "|" e4 d4 \bar "|" b8. g16 \times 2/3 {d'8 d d} \bar "|" b8 r8 g8 r8 \bar "|" d4^> g4^> \bar "|" \break
b8. g16 \times 2/3 {d'8 d d} \bar "|" b8 r8 g8 r8 \bar "|" d4^> g4^> \bar "|" d4^> g4^> \bar "|" d4^> g4^> \bar "|" g4^> r4 \bar "|."
}
\addlyrics {
起
来！ 不 愿 做 奴 隶 的 人 们！ 把 我 们 的 血 肉，
筑 成 我 们 新 的 长 城！ 中 华 民 族
到 了 最 危 险 的 时 候， 每 个 人 被 迫 着 发 出
最 后 的 吼 声。 起 来！ 起 来！ 起 来！
我 们 万 众 一 心， 冒 着 敌 人 的 炮 火， 前 进！
冒 着 敌 人 的 炮 火， 前 进！ 前 进！ 前 进！ 进！
}
</score>
A 1939 bilingual songbook which included the song called it "a good example of...copy[ing] the good points from Western music without impairing or losing our own national color".<ref name=chungking>Template:Cite book</ref> Nie's piece is a march, a Western form, opening with a bugle call and a motif (with which it also closes) based on an ascending fourth interval from D to G inspired by "The Internationale".<ref name=hojo/> Its rhythmic patterns of triplets, accented downbeats, and syncopation and use (with the exception of one note, FTemplate:Music in the first verse) of the G major pentatonic scale,<ref name=hojo>Template:Cite journal</ref> however, create an effect of becoming "progressively more Chinese in character" over the course of the tune.<ref name=hohoho/> For reasons both musical and political, Nie came to be regarded as a model composer by Chinese musicians in the Maoist era.<ref name=chih2/> Howard Taubman, the New York Times music editor, initially panned the tune as telling us China's "fight is more momentous than her art" although, after US entrance into the war, he called its performance "delightful".<ref name=avant/>
Lyrics
[edit]Original version for Simplified Chinese, Traditional Chinese, and English
[edit]| IPA transcription | English translation in Songs of Fighting China<ref>Lee, Pao-Ch'en. Songs of Fighting China [C]. New York: Chinese News Service, Printed in U. S. A. by Alliance-Pacific Press. Inc. 1943.</ref> |
|---|---|
| <poem style="font-size:100%">Template:IPA</poem> | <poem style="font-size:100%">
Arise! ye who refuse to be bond slaves! With our very flesh and blood, Let us build our new Great Wall. China's masses have met the day of danger, Indignation fills the hearts of all our countrymen. Arise! Arise! Arise! Many hearts with one mind, Brave the enemy's gunfire, March on! Brave the enemy's gunfire, March on! March on!, March on!, On! </poem> |
1978–1982 version
[edit]Template:Wikisource Template:Wikisource
Variations
[edit]The march has been remixed by various performers:
- The American musician Paul Robeson recorded it in Chinese and English for the 1941 album Chee Lai! Songs of New China.Template:Refn<ref>Bonner, David. Revolutionizing Children's Records: 1946–1977, pp. 47 f. Template:Webarchive Scarecrow Press (Plymouth), 2008.</ref>
- The Army Air Force Orchestra recorded an instrumental version as the theme for Frank Capra's 1944 Why We Fight VI: The Battle of China.
- The Slovenian group Laibach created an electronic version of the anthem with lyrics in both English and Mandarin for their album Volk.<ref>Anderson, Rick. "Laibach: Volk" Template:Webarchive. AllMusic (San Francisco), 2015. Accessed 22 January 2015.</ref>
- The British musician Damon Albarn included a loose and upbeat version on the soundtrack to his musical Monkey: Journey to the West.<ref>Jones, Chris. "Monkey: Journey to the West Review" Template:Webarchive. BBC Music (London), 2008. Accessed 18 December 2011.</ref>
- The German musician Holger Czukay included a cut-up instrumental version on his album Der Osten ist Rot ("The East Is Red").
See also
[edit]- Historical Chinese anthems
- Flag of the People's Republic of China
- National Emblem of the People's Republic of China
Notes
[edit]References
[edit]External links
[edit]Template:Wikisource Template:Wikisource
- Template:Cite web
- National Anthem of the People's Republic of China (EN)
- Official instrumental version, hosted by the People's Republic of China
- Semi-official vocal version, hosted by the China Internet Information Center
Template:S-start Template:Succession box Template:Succession box Template:Succession box Template:S-end
Template:Chinese patriotic songs Template:National anthems of Asia Template:Hong Kong topics Template:Macau topics Template:Authority control