African Poems | ThAct

African Poems | ThAct

Hello Everyone, 😊

This blog is part of the thinking activity assigned by Megha Ma'am. In this task, I have explored an African poem that reflects the struggle between tradition and modernity. African poetry often gives voice to the real-life experiences of people affected by colonization and cultural change. The poem I have chosen is Piano and Drums by Gabriel Okara, which uses powerful images of music to show the inner conflict of a person caught between two worlds the simple, natural life of Africa and the complex, modern life influenced by the West. Through this blog, I will try to share my understanding of the poem and the message the poet wants to give.

Introduction

Post-colonial literature gives voice to those who have been historically silenced by colonial powers. It reflects the struggles of identity, the clash between indigenous traditions and imposed Western values, and the lingering effects of colonization on the minds and cultures of formerly colonized societies. Through poetry, authors often capture these complex emotions and conflicts in deeply symbolic and personal ways.

This blog explores two powerful post-colonial poems—Gabriel Okara’s “Piano and Drums” and Léopold Sédar Senghor’s “To the Negro American Soldiers.” Both poets address the inner conflict experienced by individuals and communities caught between two worlds: the inherited richness of their native culture and the lasting influence of colonial modernity. While Okara uses musical imagery to depict the cultural dissonance in post-colonial Africa, Senghor pays tribute to African soldiers in colonial armies, highlighting their struggle for recognition and dignity.

Together, these poems not only portray the pain of cultural displacement but also celebrate the resilience of those who strive to find meaning and identity in a fractured world.

Q) Write a detailed note on post-colonialism with reference to “Piano and Drum”.

Gabriel Okara’s Piano and Drums:

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.

Post-Colonialism in Gabriel Okara’s Piano and Drums:

Introduction to Post-Colonialism:

Post-colonialism is a critical literary theory that examines the lasting effects of colonial rule on previously colonized societies. It explores themes such as identity crisis, cultural hybridity, the clash between tradition and modernity, and the struggle for self-definition in a world shaped by colonial influences. Many post-colonial texts focus on how individuals and nations grapple with their dual heritage one rooted in indigenous traditions and the other imposed by Western imperial powers.

Gabriel Okara’s poem Piano and Drums reflects this post-colonial dilemma. Through the metaphor of two musical instruments the African drums and the Western piano, the poem illustrates the deep cultural conflict faced by post-colonial individuals. It portrays the tension between the simplicity and authenticity of traditional African culture and the complexity and alienation brought by Western civilization. The speaker’s struggle to reconcile these two influences reflects the broader identity crisis experienced by many post-colonial societies.

Cultural Conflict and the Identity Crisis in Piano and Drums:

One of the primary concerns of post-colonial studies is the identity crisis that arises from cultural displacement. Colonization often forced indigenous people to adopt foreign customs, languages, and ideologies, leaving them caught between their ancestral heritage and the imposed colonial culture. This theme is central to Piano and Drums, where the speaker finds himself torn between the familiarity of African traditions and the alien complexity of Western influences.

The poem is divided into two contrasting sections, each dedicated to one of the instruments. The first section describes the drums, which symbolize African heritage, while the second section introduces the piano, representing the Western world. The speaker initially responds to the drums with deep nostalgia and a sense of belonging. As the piano enters the scene, he becomes confused and disoriented, reflecting the struggle of post-colonial individuals who are neither fully rooted in their native culture nor completely assimilated into Western modernity.

Symbolism of the Drums and the Piano

Okara uses the symbolism of musical instruments to represent the post-colonial struggle between tradition and modernity.

The Drums (Symbol of African Heritage and Tradition)

In the first stanza, the speaker describes the sound of the drums as raw, urgent, and deeply instinctive:

“When at break of day at a riverside

I hear the jungle drums telegraphing

the mystic rhythm, urgent, raw,

like bleeding flesh...”

The use of words like “urgent,” “raw,” and “bleeding flesh” suggests a primal and deeply emotional connection to African traditions. The drums are associated with nature and the speaker’s ancestral past, evoking images of a life that is simple, direct, and in harmony with the environment. The rhythm of the drums is described as “mystic,” emphasizing its spiritual significance in African culture. The speaker feels a sense of belonging and security when he hears the drums, as they connect him to his roots.

The imagery in the poem reinforces this association with African traditions. The speaker envisions a hunter crouching with a spear, ready to strike, alongside a panther and a leopard in the wild. These images evoke a time when life was closely intertwined with nature, where survival and cultural practices were deeply connected. The drums symbolize a pure, uncorrupted African identity.

The Piano (Symbol of Western Civilization and Modernity)

In contrast, the second part of the poem introduces the piano, which represents Western culture. The tone shifts from one of confidence and familiarity to one of complexity and uncertainty:

“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…”

The piano is described as “wailing,” suggesting sorrow and emotional turmoil. Unlike the simple, natural rhythm of the drums, the piano’s sound is sophisticated, structured, and foreign. The reference to musical terms such as “concerto” and “diminuendo” reinforces the idea that Western civilization is intricate and requires formal learning. Despite its complexity, it lacks the instinctive connection that the drums provide.

The speaker experiences a sense of alienation in response to the piano. It represents a world of “far-away lands” and “new horizons,” tempting him with possibilities but also creating distance from his roots. This mirrors the post-colonial condition, where individuals educated in Western ways often feel disconnected from their indigenous identity.

Post-Colonial Themes in Piano and Drums

1. Hybridity and Cultural Dissonance

One of the key concepts in post-colonial theory is hybridity, a term popularized by Homi Bhabha. It refers to the blending of indigenous and colonial cultures to create a mixed identity. This process is often accompanied by confusion and conflict, as individuals struggle to integrate the two influences.

In Piano and Drums, the speaker embodies this struggle. He is neither fully African nor completely Westernized. While he appreciates the richness of Western culture (symbolized by the piano), he also longs for the simplicity and authenticity of African traditions (symbolized by the drums). The poem does not offer a resolution to this conflict, highlighting the difficulty of achieving a stable identity in post-colonial societies.

2. The Loss of Cultural Identity

The poem reflects the theme of cultural displacement. Many post-colonial societies experienced a loss of indigenous traditions due to the dominance of Western influences. The piano’s “complex ways” contrast sharply with the natural simplicity of the drums, illustrating how colonial rule imposed foreign systems of education, governance, and lifestyle on African societies.

The speaker’s hesitation in the final lines of the poem suggests a deep uncertainty about his place in the world. He is caught between two cultural forces, unsure of which path to follow. This reflects the broader post-colonial experience, where people struggle to reclaim their heritage while also adapting to modern realities.

3. Neo-Colonialism and the Continuing Influence of the West

Even after gaining independence, many former colonies continued to experience Western cultural, economic, and political dominance a phenomenon known as neo-colonialism. The presence of the piano in the poem symbolizes this ongoing influence. The Western world remains a powerful force, shaping the lives and identities of post-colonial individuals.

The speaker’s exposure to both the drums and the piano suggests that he cannot fully escape Western influence. This reflects the reality of many post-colonial societies, where traditional values and Western ideals exist in constant tension.

Structure, Tone, and Linguistic Contrast

Okara’s use of language and structure enhances the poem’s post-colonial themes.

• Short, direct sentences in the first stanza mimic the simplicity and raw energy of the drums, mirroring traditional African life.

• Longer, more complex sentences in the second stanza reflect the structured and intricate nature of Western civilization.

• A shift in tone from confidence to hesitation mirrors the speaker’s emotional journey, moving from a sense of belonging (with the drums) to confusion and alienation (with the piano).

This contrast in linguistic style captures the internal conflict of the post-colonial individual, torn between two cultural worlds.

Gabriel Okara’s Piano and Drums explores the post-colonial condition, illustrating the conflict between indigenous heritage and Western modernity. Through the contrast between the drums and the piano, the poem highlights the deep identity crisis caused by colonial influence, the struggle to balance tradition with imposed Western values, and the disillusionment that comes with cultural hybridity.

The unresolved tension in the poem suggests that post-colonial individuals must continuously navigate between their past and present, tradition and modernity, self and imposed identity. The speaker’s final state of confusion mirrors the broader cultural dissonance experienced by many post-colonial societies, making Piano and Drums a significant work in post-colonial literature.

A Critical Note on “To the Negro American Soldiers” by Léopold Sédar Senghor

“To the Negro American Soldiers” by Léopold Sédar Senghor:

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.

Léopold Sédar Senghor’s To the Negro American Soldiers is a deeply poignant reflection on Black identity, colonial injustice, and racial solidarity. Written in the context of World War II, the poem pays tribute to the African American, West Indian, and Senegalese soldiers who risked their lives for colonial empires empires that often denied them basic human dignity. Through his poetic voice, Senghor highlights their sacrifices, their cultural invisibility, and their potential as messengers of peace.

The poem opens with the speaker’s inability to recognize these soldiers beneath their uniforms. Senghor writes of the “sad-colored uniform” and the “calabash helmet”, which become symbols of how colonialism stripped the Black man of his identity. Their African heritage and cultural pride have been concealed behind war gear that erases their past. In the article, this is reinforced by the observation:

“The soldiers do not wear sophisticated uniforms... This allusion clearly proves the insignificance and triviality of the Negro soldiers in the eyes of the European ruler.”

Senghor's use of transferred epithets and metaphor—as in the “barbaric weight of prehistoric monsters”—portrays the transformation of once-proud African warriors, who rode elephants, into mere operators of modern war machines. These “prehistoric monsters” are the tanks and weapons they are forced to handle—lifeless machines that reflect the dehumanizing nature of war. As explained in the paper:

“His fellow African soldiers are mounted on iron horses which are nothing but tanks... implying that these machines are fed with fuel.”

The irony is painful: these men are fighting a war for nations that once colonized and enslaved their ancestors, and yet they remain “nameless and faceless tools in the hands of imperial powers.”

But Senghor doesn’t stop at despair. As the poem progresses, the tone changes from sorrow to recognition and hope. He begins to feel a deeper connection to the soldiers, and this emotional shift reflects the Negritude movement’s core message: the rediscovery of Black pride and unity. Senghor writes, “I recognize you, I recognize myself!” a powerful moment of spiritual awakening and shared identity.

The article beautifully supports this when it says:

“Senghor wants to make it clear that his attachment to these imprisoned soldiers is not personal… Yet their common heritage makes them one people.”

This idea is also reflected in the metaphorical declaration of “Afrika!”—a name that becomes not just a continent, but a symbol of brotherhood, cultural memory, and the collective African soul.

Another central theme in the poem is the contradiction of fighting for peace while being denied peace at home. These soldiers were neither fully accepted in Europe nor in America. Senghor writes of their faith in their mothers’ breast and God’s mercy, emphasizing that their strength comes not from the nations they serve, but from their cultural roots. The article reinforces this spiritual aspect, noting that:

“Senghor believes that they are the only race in the world that can establish peace… and can teach the world mercy in the face of brutalities.”

This vision of the African spirit as a force of healing and renewal is what makes the poem so hopeful. Senghor sees the soldiers not as agents of violence, but as “messengers of His mercy” and “the Spring after Winter.” These metaphors suggest that, like the changing of seasons, a better world can come after pain, and that world may be shaped by the rhythm, patience, and kindness found in African culture.

The Biblical allusion to Sodom and Gomorrah introduces a question: were the soldiers part of divine judgment or renewal? Senghor does not give a clear answer, but this ambiguity adds depth to the poem. It reflects a postcolonial dilemma should oppressed people respond with vengeance, or offer a new path forward?

By the end of the poem, Senghor envisions a world filled with light, rhythm, and harmony. He shifts from dark images of war to vivid, sensory scenes of dancing, singing, and blooming African landscapes. As the article points out:

“Through a picturesque imagery of the African landscape, Senghor tries to prove that African people are naturally peace-loving... and the ones who can spread peace in the world.”

This hopeful conclusion ties back to Senghor’s lifelong mission as a poet of Negritude: to remind the world that African identity is not only rich and proud, but necessary for the moral balance of humanity.

To the Negro American Soldiers is not just a war poem. It is a poetic tribute to resilience, a critique of colonial injustice, and a vision of cultural rebirth. Senghor gives voice to the voiceless soldiers who were imprisoned, forgotten, and marginalized yet carried within them the strength to change the world.

Through a blend of history, metaphor, and deep cultural awareness, Senghor transforms these soldiers into symbols of hope and unity. As the research article concludes, Senghor was not only a political leader but “a poet par excellence… whose poetry centers on the glorification of the African nation and the Black identity.” In a world still marked by racism, caste discrimination, and social exclusion, this poem remains timely. Senghor’s message is clear: recognition, pride, and peace begin with remembering who we are and standing together as one.

References:

Gupta, Prayash. “Cultural Dichotomy in Okara’s Piano and Drums  .” The  Literary Herald- An International Refereed English e-Journal, June 2016, https://tlhjournal.com/uploads/products/31.prayash-gupta-article.pdf Accessed 1 Mar. 2025.

Khan, Farah. “Leopold Sédar Senghor As A Negritude Poet.” International Journal of Research Publication and Reviews, vol. 5, no. 12, 2024. https://ijrpr.com/uploads/V5ISSUE12/IJRPR36453.pdf. Accessed 1 March 2025. 

Okara, Gabriel. The Piano and The Drums. Originally published in Collected Poems, Heinemann, 1986.

Senghor, Léopold Sédar. To the Negro American Soldiers. In The Collected Poetry, University of Virginia Press, 1991.