File:Hej_Slaveni_1944.png · Wikimedia Commons · See Wikimedia Commons
"Hey, Slavs" is a patriotic song celebrating Slavic peoples and their cultural identity. It matters because it has been an important cultural symbol for Slavic nations, particularly in the Balkans, where it served as the national anthem of Yugoslavia and remains significant to regional heritage and identity.
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Key facts
- Also known as
- Hej, Słowianie
- Lyrics
- Samo Tomášik , 1834
- Music
- Polish composer unknown , 18th century (arranged by Oskar Danon )
- Adopted
- 1939 (by Slovak State), 1945 (by Yugoslavia, de facto), 1977 (by Yugoslavia, de jure provisionally), 1988 (by Yugoslavia, de jure constitutionally), 1992 (by Serbia and Montenegro)
- Relinquished
- 1945 (by Slovak State), 1992 (by Yugoslavia), 2006 (by Serbia and Montenegro)
via Wikipedia infobox
Wikidata facts
- Image
- Hej Slaveni 1944.png
Show 2 more facts
- Commons category
- Hey, Slavs
- first line
- Hey, Slavs, there still lives
Sources (2)
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Article
1899 postcard with the first line in Czech (Hej Slované ještě naše slovanská řeč žije!) and views of several Slav cities "Hey, Slavs" is a patriotic song dedicated to the Slavs and widely considered to be the Pan-Slavic anthem. It was adapted and adopted as the national anthem of various Slavic-speaking nations, movements and organizations during the late 19th and 20th century.
Its lyrics were first written in 1834 under the title "Hey, Slovaks" ("Hej, Slováci") by Samo Tomášik and it has since served as the anthem of the Pan-Slavic movement, the organizational anthem of the Sokol movement, and the national anthems of the First Slovak Republic, SFR Yugoslavia, and Serbia and Montenegro. It was composed to the slowed down tune of "Mazurek Dąbrowskiego" from 1797, which was adopted as the national anthem of Poland through a process spanning from 1926 to 1927, but the Yugoslav variation has a slower tempo, changed a few notes, is more accentuated, and does not repeat the last four lines as it repeats the last two lines. The composer is unknown, although modern renditions of the song often used a World War II-era arrangement by Oskar Danon.