'Piano and Drums' and 'To The Negro-American Soldiers'

Greetings! 

This blog is a response to a task given by Megha ma'am Trivedi as a part of our completion of one unit where we have to write a blog on these two poems and submit it in google classroom. The poems are, 

1) The Piano and The Drums by Gabriel Okara 2) To The Negro-American Soldiers By Leopold Sedar Sengho

About the Poet:  Gabriel Okara

Gabriel Okara (1921–2019) was a Nigerian poet and novelist widely regarded as one of Africa's foremost literary figures. Born in Nigeria's Niger Delta region, Okara's works often explore themes of identity, cultural conflict, and the impact of colonization on African societies. He gained international recognition for his poetry collection "The Fisherman's Invocation" (1978), which earned him critical acclaim for its vivid imagery and lyrical depth. Okara's writings have been celebrated for their ability to capture the complexities of the human experience while shedding light on the social and political realities of post-colonial Africa. Throughout his prolific career, he made significant contributions to African literature, inspiring generations of writers and readers alike with his powerful storytelling and poignant reflections on the African experience.

Analysis of the Poem: The Piano and The Drums by Gabriel Okara 

In the poem, the poet talks about how Western culture is taking over African traditions, making things chaotic. He feels tempted by Western ways, but deep down, he hears the call of his African roots, represented by the "jungle drums." These drums remind him of his heritage and who he really is. The poet worries that if African culture fades away, so will the beauty and peace it brings. It's a reminder to cherish and protect African traditions amidst the changes of the modern world. The poem highlights the clash between traditional African life and the influence of modern Western culture. It focuses on how foreign influences have impacted African identity. In the first stanza, the poet portrays the jungle drums as urgent reminders of African tradition, evoking memories of a simpler life before Western influence. The speaker feels a sense of nostalgia for their childhood days, recalling the comfort of their mother's embrace and the simplicity of life in their homeland. The introduction of the "wailing piano" in the third stanza symbolizes the complexities of Western civilization. The poet contrasts the individuality of the piano with the communal rhythms of the drums, illustrating the struggle to blend two contrasting cultures harmoniously. The attempt to merge these cultures results in discordance, reflecting the difficulty of reconciling the two worlds. The final stanza reflects the speaker's dilemma and confusion. Despite exposure to both African roots and modern civilization, they remain lost and unable to reconcile the two cultures. This struggle to find balance is echoed throughout the poem, highlighting the challenges of navigating hybrid cultural identities. Ultimately, the poem suggests that the blending of African tradition and Westernization has created a tangled cultural landscape, leaving individuals grappling with their sense of identity and belonging.

Drums and Piano are representing two cultures, Africa and modern- colonial Europe.

 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.

The poet here points out the call of motherland, as Africa is widely known for the ancient traditions and the huge heritage of natural recourses. 

“जननी जन्मभूमिश्च स्वर्गादपि गरीयसी|”, a hemistich of a Sanskrit shloka from the Hindu epic Ramayana, and the national motto of Government of Nepal is getting reflected here as the poet is indicating towards the African glory in his poem.

"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 dagger point

And I lost in the morning mist

of an age at a riverside keep

wandering in the mystic rhythm

                of jungle drums and concerto."

Piano playing a solo that symbolizes the complexity and allure of Western civilization. The music speaks of distant lands and new horizons with a mix of softening (diminuendo), contrasting (counterpoint), and building (crescendo) elements. However, the music abruptly stops, leaving the speaker feeling lost in the morning mist, torn between the mystic rhythm of jungle drums representing African tradition and the allure of the Western concerto.

To The Negro-American Soldiers By Leopold Sedar Sengho

About the Poet 

Leopold Sedar Senghor (1906–2001) was a prominent Senegalese poet, philosopher, and politician, known for his significant contributions to African literature and the struggle for independence. He was the first president of Senegal, serving from 1960 to 1980, and played a key role in shaping the country's cultural and political landscape. Senghor's poetry often explored themes of African identity, culture, and spirituality, blending traditional African rhythms and imagery with elements of French surrealism. He was a leading figure of the Negritude movement, which sought to celebrate and affirm the cultural heritage of people of African descent. Senghor's works continue to be studied and celebrated for their profound insights into the complexities of the African experience and their enduring relevance in the post-colonial era.

Analysis of the Poem To The Negro-American Soldiers

Léopold Sédar Senghor's poem "To The Negro-American Soldiers" pays homage to Mercer Cook, the Ambassador to Senegal and Gambia. Despite Cook's French heritage, Senghor embraces him as a brother and symbol of peace, acknowledging his solidarity with African soldiers and their shared struggle.

The poem begins with a stark contrast, as the speaker initially fails to recognize Cook in his uniform and helmet, symbols of oppression. However, upon touching Cook's hand, the speaker feels a deep connection to Africa, rediscovering lost laughter and voices of homeland.

Senghor questions whether Cook and his comrades were responsible for destruction, but quickly dismisses this, celebrating them as messengers of mercy and hope.

The poem vividly portrays the transformative impact of Cook's presence, filling the night with sweetness and adorning the sky with flowers. Cook and his comrades are depicted as bringers of warmth and rejuvenation, filling the air with comforting sounds.

The imagery extends to the people, with joy flooding the streets and abundance flourishing. In the final stanza, Senghor celebrates Cook and his comrades as warriors of peace, transcending racial boundaries and embracing them as brothers in the pursuit of renewal.