'The Piano and The Drums' by Gabriel Okara

 'The Piano and The Drums' 

by Gabriel Okara  

About Poet: Gabriel Okara

Gabriel Okara (1921-2019) was a Nigerian poet and author who was one of the earliest prominent anglophone writers from Nigeria. 

Pioneer of African Poetry in English: 

Okara was one of the first poets from Anglophone West Africa to gain international recognition. His first poetry collection, "The Rainmaker," published in 1963, is considered a groundbreaking work in modern African poetry.

Use of African Idioms and Imagery: 

Okara's poetry was notable for its use of African idioms, proverbs, and imagery, drawing heavily from his Ijaw ethnic background. This helped establish a distinct African voice in English poetry.

Advocacy for African Identity: 

Okara's works often explored themes of African identity, culture, and the impact of colonialism. He sought to assert an African worldview and perspective through his writing.

Experimentation with Language: Okara was known for his innovative use of language, blending Standard English with Ijaw expressions and syntactic structures. This created a unique poetic voice that reflected the cultural hybridity of his experience.

Major Works: 

In addition to "The Rainmaker," his other notable works include the poetry collections "Path of Thunder" (1971) and "Collected Poems" (1987), as well as the novel "The Voice" (1964).

Awards and Recognition: 

Okara received several honors, including the Commonwealth Poetry Prize in 1979 and the prestigious Nigerian National Merit Award in 1988.

Gabriel Okara's poetry played a significant role in establishing a distinctive Nigerian and African literary tradition, while also challenging and expanding the boundaries of English language poetry.

"The Piano and The Drums" is a powerful and evocative poem by Gabriel Okara that explores the themes of cultural identity, colonial influence, and the clash between Western and African traditions. 

Structure and Form:

The poem is divided into two parts, each representing a different cultural symbol – the piano and the drums. This structure highlights the contrast and tension between the two opposing forces.

Imagery and Symbolism:

1. The Piano: 

The piano symbolizes Western culture, modernity, and the influence of colonialism. It is described as "modern" and "grand," suggesting its dominance and sophistication.

2. The Drums: 

The drums represent traditional African culture, heritage, and the rhythms of life. They are described as "ancestral" and "ागे पीढ़ियों से चली आ रही," emphasizing their deep-rooted connection to African identity.

Tone and Language:

1. The Piano: 

The language used to describe the piano is formal and sophisticated, reflecting the perceived superiority of Western culture. Words like "dominants and subdominants," "fifths and semi-tones," and "flourish and cadence" evoke a sense of technical mastery and control.

2. The Drums: 

The language used to describe the drums is more visceral and primal, reflecting the raw energy and emotional power of African culture. Words like "речитативным тоном," "mania," and "ecstasy" capture the intense, rhythmic nature of the drums.

Themes:

1. Cultural Clash: 

The central theme of the poem is the clash between Western and African cultures, represented by the piano and the drums, respectively. Okara highlights the tension and conflict that arises when these two vastly different traditions collide.

2. Identity Crisis: 

The poem explores the identity crisis faced by Africans who have been influenced by Western culture and struggle to reconcile their traditional roots with the imposed colonial values.

3. Colonialism and Resistance: 

The poem can be interpreted as a metaphor for the colonial experience, where the piano represents the dominant Western culture attempting to suppress and overpower the drums, which symbolize the resilience and resistance of African traditions.

Stanza-wise analysis of Gabriel Okara's poem "The Piano and The Drums":

Stanza 1:

"He played a forest leaving, leaving

Renewed the swarms's diminuendos

With a grand massacre of trees:

Gross blurting of apertures

Of lopped boughs swallowing

The embracing wildflowers;"

In this opening stanza, Okara introduces the symbol of the piano through vivid imagery. The "forest leaving" and "massacre of trees" suggest a destructive force, perhaps representing the encroachment of Western culture on traditional African life. The piano's music is depicted as overpowering the natural sounds ("swarms's diminuendos") and destroying the harmony of the environment.

Stanza 2: 

"His shocking outbursts of arpeggio

Scattered birds and shredded petals

On a bemused audience of trees

Still bristling from the Grand's grand entry."

This stanza continues the description of the piano's forceful and disruptive presence. The "outbursts of arpeggio" and the scattering of birds and petals create a sense of chaos and disturbance, further emphasizing the piano's dominance over the natural world.

Stanza 3:

"But the mad man endured,

Endured the pangs of his malcontrived art,

Half bemused, half enrolled,

Enmeshed in the grandiloquent scoring

Of modern nature."

Here, Okara introduces the idea of resistance and endurance in the face of the piano's dominance. The "mad man" (potentially representing African traditions) persists despite the "pangs of his malcontrived art," suggesting a struggle to maintain identity amidst the imposition of Western culture.

Stanza 4:

"The drums began their frenzy:

Речитативным тоном Answeringthe speechless shrill

Of ancestral speechlessnessIn drummanshlp, In mansMakingthe continent indwelling burden:

The timelesswordless utterances

Of love, of earth, of religion, of birth

Speaking to mankind."

In this stanza, Okara shifts to the symbol of the drums, representing African traditions and culture. The drums are described as "frenzy," "речитативным тоном," and "ancestral speechlessness," evoking a sense of primal energy and deep-rooted heritage. The drums are portrayed as expressing the essence of African life – "love, earth, religion, birth" – in a timeless and wordless manner.

Stanza 5:

"And came the mania

Of ecstasy and orgy

Visceral response giving

Unheeded vent

To inarticulate anguish

Of bereaved faith Salving, exorcising

The victim of loveless years."

This stanza further explores the power and intensity of the drums, which are depicted as a "mania of ecstasy and orgy." The drums are seen as a "visceral response" and a means of expression for the "inarticulate anguish" and "bereaved faith" caused by the imposition of Western culture.

Stanza 6:

"The drums overwhelmed,

Took over the static revolution

Of the Grand's grand progress

And robbed him of his acreage

With the coup of their artillery

Of speech."

In the final stanza, Okara suggests that the drums ultimately triumph over the piano, "overwhelming" and "taking over" the "static revolution" of Western modernity. The drums are portrayed as reclaiming their rightful place and "robbing" the piano of its dominance through the "coup of their artillery of speech."

Through this stanza-by-stanza analysis, we can see how Okara masterfully contrasts the symbols of the piano and the drums, using vivid imagery and evocative language to explore the clash between Western and African cultures, the struggle for identity, and the enduring power of tradition in the face of oppression.

Conclusion:

In "The Piano and The Drums," Okara masterfully captures the cultural divide and the struggle for identity experienced by Africans under colonial rule. The contrasting images of the piano and the drums become powerful symbols of the clash between Western modernity and African heritage. Through his vivid language and evocative imagery, Okara invites readers to contemplate the complexities of cultural encounters and the enduring power of tradition in the face of oppression.

(WC: 1168, Image: 03, Video: 01)