Poems - The Piano and The Drums, To The Negro-American Soldiers

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This blog is part of our study. This Thinking activity is based on Two poems 1) The Piano and The Drums by Gabriel Okara and 2) To The Negro-American Soldiers By Leopold Sedar Sengho it was assigned by Megha Ma’am Department of English MKBU. 

 The Piano and The Drums by Gabriel Okara

When at break of day at a riverside

I hear jungle drums telegraphing

the mystic rhythm, urgent, raw

like bleeding flesh, speaking of

primal youth and the beginning,

I see the panther ready to pounce,

the leopard snarling about to leap

and the hunters crouch with spears poised.

And my blood ripples, turns torrent,

topples the years and at once I’m 

in my mother’s laps a suckling;

at once I’m walking simple

paths with no innovations

rugged, fashioned with the naked

warmth of hurrying feet and groping hearts

in green leaves and wild flowers pulsing.

Then I hear a wailing piano

solo speaking of complex ways

in tear- furrowed concerto;

of far away lands

and new horizons with

coaxing diminuendo,  counterpoint, 

crescendo, but lost in the labyrinth of its complexities,

it ends in the middle of a phrase at a daggerpoint

And I lost in the morning mist

of an age at a riverside keep

wandering in the mystic rhythm of jungle drums and concerto.

Introduction of Gabriel Okara

Gabriel Imomotimi Okara, a prominent Nigerian poet and novelist, is celebrated for his significant contributions to African literature. Born on April 24, 1921, in Bumoundi, Yenagoa, Bayelsa State, Nigeria, Okara emerged as the first Modernist poet of Anglophone Africa. His literary works, marked by their experimental nature and profound cultural insights, have left an indelible mark on the literary landscape of Africa. Okara's literary journey began with his early education at Government College Umuahia and Yaba Higher College. Despite his attempt to enlist in the British Royal Air Force during World War II, which led him to work briefly for the British Overseas Airway Corporation, Okara found his true calling in writing. He worked as a printer and bookbinder for colonial Nigeria’s government-owned publishing company, where he started to delve into poetry and prose. Okara honed his craft, drawing inspiration from African thought, religion, folklore, and imagery. His early poems garnered recognition, with his iconic piece "The Call of the River Nun" winning the Best All-Round Entry in Poetry at the Nigerian Festival of Arts in 1953. This marked the beginning of Okara's literary acclaim, paving the way for his illustrious career as a writer.

In 1962, Okara attended the landmark African Writers Conference at Makerere University College in Uganda, alongside notable writers such as Chinua Achebe, Wole Soyinka, and Christopher Okigbo. His presence at this gathering underscored his role as a pioneering figure in African literature One of Okara's most renowned works is his novel "The Voice," published in 1964. This experimental novel, which incorporates elements of Ijaw language and symbolism, explores the clash between traditional African culture and Western materialism. Through his protagonist Okolo, Okara delves into the inner tensions faced by post-colonial Africans, offering a nuanced portrayal of societal and personal struggles.

In addition to his novel, Okara's poetry collections, including "The Fisherman’s Invocation" (1978) and "The Dreamer, His Vision" (2005), have earned him widespread acclaim. His poetry, characterized by its lyrical depth and evocative imagery, reflects his deep connection to African heritage and his commitment to exploring the complexities of modern African identity. Okara remained dedicated to the literary arts, serving as director of the Rivers State Publishing House in Port Harcourt from 1972 to 1980. Despite facing challenges, including the destruction of many of his unpublished manuscripts during the Nigerian Civil War, Okara's legacy endured. Okara received numerous awards and honors, including the Commonwealth Poetry Prize in 1979 and the NLNG Prize in 2005. His contributions to African literature continue to be celebrated, with initiatives such as the Gabriel Okara Literary Festival honoring his enduring legacy. Gabriel Okara's works serve as a testament to the power of literature to transcend boundaries, illuminate truths, and inspire generations. His exploration of African culture, identity, and spirituality resonates with readers worldwide, solidifying his place as one of Africa's most esteemed literary figures.

Awards and honors

1. 1953: Best All-Round Entry In Poetry at the Nigerian Festival of Arts, for “The Call of the River Nun”
2. 1979: Commonwealth Poetry Prize, for The Fisherman’s Invocation
3. 2005: NLNG Prize, for The Dreamer, His Vision
4. 2009: Pan African Writers’ Association Honorary Membership Award
5. 2017: Gabriel Okara Literary Festival

Selected bibliography

1. 1964: The Voice (novel), London: Deutsch, first edition; Heinemann
2. African Writers Series 
3. 1978: The Fisherman’s Invocation (poems)
4. 1981: Little Snake and Little Frog (for children)
5. 1992: An Adventure to Juju Island (for children)
6. 2005: The Dreamer, His Vision (poems)
7. 2006: As I See It (poems)
8. 2016: Collected Poems

Introduction of The Piano and The Drums

Piano and Drums. Not Piano vs Drums or Piano against Drums. The poem speaks to a world in which contrasts co-exist as distinct but mutual entities increasingly interdependent; where junctions become conjunctions. A world in which Pianos and Drums find equal expression, both by symbolism and direction, with a guiding vision of commonality rather than opposition, distanciation, and conflict. The melody of both worlds, threshed in the interest of common humanity, is the harmony of this new age. It is an age in which the world gravitates towards a centre: a center that finds expression in virtual and extra-personal spaces. Contemporary reading finds literary berthing that satisfies its collective quest for the interpretation of reality and location of meaning. And, Gabriel Okara, that deathless muse, more than 60 years ago, met the yearnings of ageless time.

Analysis of Poem 

This poem by Gabriel Okara titled "The Piano and The Drums" is a powerful exploration of the conflict between African and Western cultures through the metaphor of musical instruments.

The first stanza immerses the reader in the primal, visceral world of African culture, evoked through the "mystic rhythm" of the "jungle drums." The imagery is raw and intense, with references to "bleeding flesh," the "panther ready to pounce," and "hunters crouch with spears poised." This stanza connects the speaker to their ancestral roots, taking them back to a time of "primal youth and the beginning."

The second stanza continues this journey into the speaker's African heritage, where they are transported back to their mother's lap as a "suckling," walking "simple paths" in harmony with nature, "rugged" and "fashioned with the naked warmth of hurrying feet and groping hearts."

The third stanza introduces the "wailing piano solo," which represents Western culture. It speaks of "complex ways" and "far away lands," with its intricate musical structures of "counterpoint, crescendo," and "diminuendo." However, the piano's complexities become a "labyrinth," and it "ends in the middle of a phrase at a daggerpoint," suggesting the limitations and potential violence of Western cultural impositions.

“And I lost in the morning mist

Of an age at a riverside keep

Wandering in the mystic rhythm

Of jungle drums and the concerto”

The final stanza captures the speaker's sense of being torn between these two cultural forces. They are "lost in the morning mist of an age," and "wandering in the mystic rhythm of jungle drums and concerto." The juxtaposition of the drums and the concerto highlights the speaker's struggle to reconcile their African heritage with the encroaching Western influences.

Overall, the poem is a powerful commentary on the clash of cultures, with the drums representing the primal, authentic essence of African identity and the piano symbolizing the complex, intricate nature of Western culture. The speaker's journey through the poem reflects the ongoing conflict and search for harmony between these two forces, a struggle that resonates with the broader experiences of colonialism and cultural displacement.

Themes of the Poems

1. Celebration of Nature: The poem celebrates the natural environment, particularly in the depiction of the jungle drum. Through vivid imagery and descriptive language, the poet expresses appreciation for the normalcy and beauty of the natural world.

2. No Place Like Home: While not explicitly stated, the theme of "no place like home" emerges as the poet laments the confusion caused by the clash of African and Western musical instruments. This suggests that familiarity and comfort are found in one's own cultural traditions and environment, highlighting the sense of belonging and identity associated with home.

3. Living a Double Standard Lifestyle: The poem explores the consequences of living a double life, as symbolized by the conflicting sounds of the piano and drums. The persona's struggle with the merging of two contrasting cultures reflects the complexities and challenges of navigating multiple identities in a rapidly changing world.

4. Acculturation: The encounter between the piano and drums represents the process of acculturation, wherein two distinct cultures interact and influence each other's norms and practices. This theme underscores the dynamic nature of cultural exchange and adaptation, as well as the potential for both harmony and conflict in multicultural societies.

5. Cultural Conflicts: The poem delves into the theme of cultural conflicts arising from the clash of traditions, beliefs, and values. It reflects the tensions and challenges faced in societies characterized by diverse cultural backgrounds, such as Nigeria. Despite these conflicts, the poem also advocates for unity in diversity, suggesting the possibility of finding common ground amidst cultural differences.

To The Negro-American Soldiers

For Mercer Cook

I did not recognize you in prison under your

………..sad-colored uniform

I did not recognize you under the calabash helmet

………..without style

I did not recognize the whining sound of your

………..iron horses, who drink but do not eat.

And it is no longer the nobility of elephants, it is the

………..the barbaric weight of the prehistoric

………..monsters of the world.

Under your closed face, I did not recognize you.

I only touched the warmth of your brown hand,

………..I called myself “Afrika! ”

And I found once again the lost laughter, I hailed the ancient voices

………..and the roar of Congo waterfalls.

Brothers, I do not know whether you bombed the

………..cathedrals, the pride of Europe,

If you are the lightning of God’s hand that burned

………..Sodom and Gomorrah.

No, you are the messengers of his mercy, the

………..Spring after Winter.

To those who had forgotten how to laugh only

………..smile obliquely

Who knew nothing but the savory flavor of

………..tears and the vexing stench of blood

You bring the Season of Peace and hope to

………..end of the delay.

And their night is filled with milky sweetness, the blue

………..fields of the sky are covered with flowers, silence sings

………..soothingly.

You bring them the sun. The air beats with whispers

………..liquids and crystalline chirping and beating

………..silky wings

The aerial cities are tepid with nests.

Through the streets joy streamed, the boys play with

………..their dreams

Men dance before of their machines and

………..surprised themselves singing.

Schoolgirls’s eyelids are rose petals, and

………..fruits ripen in the virgins’ breasts

And the women’s hips—Oh, sweetness—

………..grow generously heavy.

Black brothers, warriors whose mouths are flowers that

………..sing

—Oh! the delight to live after Winter—I salute you

………..like messengers of peace.

Introduction of Leopold Sedar Sengho

Léopold Sédar Senghor, born on October 9, 1906, in Joal, Senegal, emerged as one of the most influential figures in African history, leaving an indelible mark on literature, politics, and culture. His multifaceted contributions encompassed poetry, political leadership, and the promotion of African identity, making him a symbol of African renaissance and intellectual prowess. Senghor's journey began with his pursuit of education, which took him from Senegal to France, where he immersed himself in the academic and cultural milieu of the time. His experiences at the Sorbonne and Louis-le-Grand High School exposed him to the intellectual ferment of 20th-century Europe while fostering his deep-seated pride in his African heritage. It was during this period that he encountered Aimé Césaire and the concept of négritude, a movement that celebrated African culture and sought to combat colonial oppression through literary expression.

Central to Senghor's intellectual legacy is his poetry, characterized by its evocative imagery, rhythmic cadence, and celebration of African identity. His verses, infused with the spirit of négritude, spoke to the collective experience of Black people worldwide, affirming their dignity, resilience, and cultural heritage. Through his poetic works, such as "Chants d'Ombre" and "Hosties Noires," Senghor articulated a vision of Africa that transcended colonial stereotypes and embraced the richness and complexity of its cultural tapestry. Senghor was deeply engaged in the political arena, playing a pivotal role in Senegal's struggle for independence from French colonial rule. As the first President of the Republic of Senegal, he sought to chart a course of national development that honored Africa's traditions while embracing modernity and progress. His advocacy for federalism reflected his belief in the importance of unity amid diversity, laying the groundwork for a model of governance that could accommodate the continent's myriad ethnicities and cultures.

Senghor's presidency was marked by efforts to foster economic development, promote education, and strengthen ties with other African nations. His tenure saw the establishment of Senegal's multi-party system and the implementation of policies aimed at social and economic empowerment. Throughout his leadership, Senghor remained committed to the principles of democracy, human rights, and pan-African solidarity, earning him respect and admiration both at home and abroad. Senghor's legacy, it is evident that his influence extended far beyond the borders of Senegal. He emerged as a leading voice for African self-determination and cultural authenticity, challenging the prevailing narratives of Eurocentrism and colonial superiority. His concept of négritude inspired generations of African writers, artists, and activists, fostering a sense of pride and solidarity among Black people worldwide.

Léopold Sédar Senghor stands as a towering figure in African history, revered for his contributions to literature, politics, and culture. His life and work embody the spirit of the African Renaissance, embodying the resilience, creativity, and resilience of the African people. As we reflect on his legacy, we are reminded of the enduring power of ideas to shape the course of history and inspire future generations to strive for a world where all voices are heard and all cultures are respected.

Analysis of the Poem

This powerful poem by Leopold Sedar Senghor is addressed "To The Negro-American Soldiers" who fought in World War II. It is a poignant tribute to their sacrifices and bravery, while also highlighting the ongoing struggle for racial equality and justice.

"I did not recognize you in prison under your

………..sad-colored uniform

I did not recognize you under the calabash helmet

………..without style

I did not recognize the whining sound of your

………..iron horses, who drink but do not eat."

The opening stanza establishes a sense of not recognizing these soldiers due to the dehumanizing effects of war and oppression. Senghor describes not recognizing them "in prison under your sad-colored uniform" and "under the calabash helmet without style". The reference to "iron horses, who drink but do not eat" paints a haunting image of the destructive machinery of war.

"And it is no longer the nobility of elephants, it is the

………..the barbaric weight of the prehistoric

………..monsters of the world.

Under your closed face, I did not recognize you.

I only touched the warmth of your brown hand,

………..I called myself “Afrika! ”

And I found once again the lost laughter, I hailed the ancient voices

………..and the roar of Congo waterfalls."

In the second stanza, Senghor connects with their shared African heritage by touching "the warmth of your brown hand" and calling out "Afrika!". This reconnection allows him to find "the lost laughter" and hear "the ancient voices and the roar of Congo waterfalls", reclaiming their cultural identity.

"Brothers, I do not know whether you bombed the

………..cathedrals, the pride of Europe,

If you are the lightning of God’s hand that burned

………..Sodom and Gomorrah.

No, you are the messengers of his mercy, the

………..Spring after Winter."

The third stanza poses the question of whether these soldiers are figures of destruction, "bombed the cathedrals" and "lightning of God's hand that burned Sodom and Gomorrah". But Senghor quickly rejects this notion, declaring they are instead "messengers of his mercy, the Spring after Winter".

"You bring the Season of Peace and hope to

………..end of the delay.

And their night is filled with milky sweetness, the blue

………..fields of the sky are covered with flowers, silence sings

………..soothingly.

You bring them the sun. The air beats with whispers

………..liquids and crystalline chirping and beating

………..silky wings

The aerial cities are tepid with nests.

Through the streets joy streamed, the boys play with

………..their dreams

Men dance before of their machines and

………..surprised themselves singing.

Schoolgirls’s eyelids are rose petals, and

………..fruits ripen in the virgins’ breasts

And the women’s hips—Oh, sweetness—

………..grow generously heavy."

The following stanzas depict the soldiers as bringers of hope, peace, and renewal. They bring "the Season of Peace and hope to end of the delay" to those who had "forgotten how to laugh" and knew only "the savory flavor of tears and the vexing stench of blood". Senghor paints vivid, sensual imagery of the rejuvenation they bring, with "the air beats with whispers liquids and crystalline chirping", "aerial cities are tepid with nests", and "fruits ripen in the virgins' breasts".

"Black brothers, warriors whose mouths are flowers that

………..sing

—Oh! The delight to live after Winter—I salute you

………..like messengers of peace."

The final stanza is a powerful affirmation and salute to these "Black brothers, warriors whose mouths are flowers that sing". Senghor expresses his "delight to live after Winter" and hails them as "messengers of peace".

Throughout the poem, Senghor skillfully weaves together the brutality of war, the reclamation of African cultural identity, and the hope for a new season of peace and renewal brought about by the sacrifices of these Negro-American soldiers. It is a poignant exploration of the complexities of race, war, and the human spirit's yearning for freedom and justice.

The poem employs rich symbolism and imagery to convey its themes. The references to "iron horses" that "drink but do not eat" creates a visceral sense of the inhumanity and destructive power of the machinery of war. Likewise, the description of their uniforms as "sad-colored" and helmets as "calabash...without style" strips away any sense of individuality or dignity. Senghor reconnects with their shared African roots through the physical connection of touching "the warmth of your brown hand." This simple gesture allows him to tap into the cultural heritage represented by "the lost laughter," "ancient voices" and "roar of Congo waterfalls."

The natural imagery of spring, renewal, laughter, flowers, sweetness and singing stands in stark contrast to the earlier references to war's destruction. This juxtaposition reinforces the idea that these soldiers are not agents of destruction, but rather "messengers of his mercy" ushering in a new "Season of Peace." The sensual, fertile imagery of "fruits ripen in the virgins' breasts" and "women's hips grow generously heavy" signals renewal, rebirth, and hope after the barrenness of war. There are also religious overtones, with references to "God's hand," "Sodom and Gomorrah" and the soldiers being "messengers of his mercy."

Senghor makes powerful use of apostrophes, directly addressing the "Negro-American Soldiers" as "Black brothers, warriors whose mouths are flowers that sing." This humanizes them after the early depictions of dehumanization through the "uniform" and "helmet." The closing line "I salute you like messengers of peace" is a resounding affirmation of Senghor's profound respect and gratitude for the sacrifices of these soldiers in the struggle for liberty, equality, and an end to the destructiveness of war and oppression. This poem is a masterful blending of brutally honest war imagery with uplifting visions of cultural reclamation, natural renewal and human perseverance in the face of degradation. It is a poetic tour de force.

Word Count - 3333

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