Piano and drums

Piano and drums:

 In Gabriel Okara's poem "The Piano and the Drums," the speaker contrasts the traditional lifestyle of Africans with that of the modern world. The poem spans from the dawn of civilization to contemporary times, highlighting the impact of foreign culture on African society. At its core, the poem explores the theme of cultural disruption caused by external influences.

Okara uses music as a metaphor to illustrate the theme, particularly focusing on its effect on the speaker. The poem underscores the purity of African culture before the intrusion of civilization. Through poetic lamentation, Okara expresses his sorrow over the erosion of traditional African values and customs.

In essence, Gabriel Okara conveys his perception of the degradation of African culture, particularly through the lens of music, and articulates his lamentation through the medium of poetry.

In Piano and Drums, Okara employs the idiom of music to discuss the subject of culture conflict. Piano represents western culture that was introduced by European colonialist, while drums stands for the indigenous african culture. A negritude poem, the lyric explains the crisis of identity that confronts Africans who live a double life as a consequence of the colonial conquest and the imposition of a foreign way on them.  The poet-persona is born into an African culture that is in close proximity to nature, which is evoked in the first two stanzas.

The poem "Piano and Drums," penned by Nigerian poet Gabriel Okara, is situated within the postcolonial discourse. Its tone and atmosphere exude a sense of melancholy, suggesting a deep-seated regret within the poet's psyche regarding the neglectful treatment of African culture by its own people.

Gabriel Okara: 

                             “The straight word never runs away from the crooked word.”

                                                                                                                    -- Gabriel Okara

Gabriel Okara: A Pioneering Nigerian Voice

Gabriel Okara (1921-2019) was a celebrated Nigerian poet and novelist, renowned for his unique blend of African traditions and Western literary styles. Though largely self-educated, Okara's passion for language blossomed early, leading him to write plays and radio features. His poem "The Call of the River Nun" (1953) garnered recognition at the Nigerian Festival of Arts, solidifying his reputation as a skilled literary craftsman.

Okara's poetry is characterized by its exploration of contrasting themes, often juxtaposing life and death. His poems frequently follow a circular pattern, transitioning from everyday life to moments of profound insight before returning to reality. Notably, Okara incorporated rich elements of African thought, religion, folklore, and imagery into both his verse and prose.

His debut novel, The Voice (1964), stands as a remarkable experiment in language. Okara directly translated from the Ijo (Ijaw) language, preserving its syntax in English to authentically capture African concepts and imagery. The novel explores the clash between traditional African culture and Western materialism through the symbolic journey of its protagonist, Okolo. Okara's portrayal of Okolo's internal struggles set him apart from many of his contemporaries.

Beyond his groundbreaking novel, Okara's literary contributions include a poetry collection, The Fisherman's Invocation (1978), and children's books like Little Snake and Little Frog (1981) and An Adventure to Juju Island (1992). Throughout his career, Okara held various positions in the civil service, later serving as director of the Rivers State Publishing House. His legacy lives on as a pioneer who masterfully weaved African traditions into the fabric of English literature.

Major works :

Novels:

1. The Voice (1964): Okara's first novel, exploring the conflict between traditional African values and Western materialism. It features Okolo as its protagonist, who grapples with societal pressures and his own ideals. The novel is known for its linguistic experiment, where Okara translates directly from the Ijo (Ijaw) language, creating a symbolic landscape.

Poems:

1. "The Call of the River Nun" (1953): A prize-winning poem at the Nigerian Festival of Arts, showcasing Okara's early recognition and talent in poetry.

2. "Piano and Drums": One of Okara's most renowned poems, exploring the clash between traditional African culture and modern Western influences.

3. "You Laughed and Laughed and Laughed": Another popular poem by Okara, frequently anthologized for its themes and imagery.

4. "Once Upon a Time": A poem addressing the impact of modern Western culture on ancient African traditions.

These divisions highlight Okara's contributions to both prose and poetry, focusing on themes of cultural identity, societal pressures, and the encounter between tradition and modernity.

Major Honors and Awards:

Here are the major honors and awards received by Gabriel Okara:

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, held at the University of Port Harcourt in his honor.

About the Poem:

Published in "Collected Poems (edited and with an introduction by Brenda Marie Osbey)" in 2016 as part of the Early Poems section, "The Piano and The Drums" is a symbolic exploration of the dual cultural influences experienced by the poet-speaker, encompassing both African and Western cultures. Within the poem, the "jungle drums" serve as a representation of the African world, while the "piano" embodies the Western world. Through these musical objects associated with each culture, Gabriel Okara skillfully depicts the contrasting worlds, creating a rhythmic harmony that reveals the complex impact of these cultures on his identity. Consequently, the poet grapples with confusion regarding which path to follow. In African tradition, talking drums convey a multitude of messages, while the piano, a Western instrument, is unfamiliar to Africa, having been introduced through the arrival of white settlers.

In the final stanza of the poem, the poet-speaker finds himself in a state of dilemma, mirroring the opening scene by the riverside. Enveloped in a "mist" of conflicting cultures, he is immobilized by indecision, unable to discern whether to embrace the enchanting rhythm of the jungle drums or succumb to the mournful notes of the piano in a concerto.

Representing African culture, the drum embodies simplicity, naturalness, yet lacks sophistication. In contrast, the piano, symbolizing Western civilization, exudes advancement but complexity. Thus, the poet-speaker is entangled in the complexities of his African heritage and upbringing juxtaposed with his exposure to modern civilization through education.

Ultimately, the poem concludes with the poet-speaker's unresolved struggle, as he grapples with the challenge of reconciling his life between these two distinct cultures.

The Original Poem:

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.

Analysis of the Poem - 'The Piano and The Drums' :- 

In the opening stanza, the speaker reflects on the mesmerizing sound of the jungle drum. To him, this rhythmic beat carries a mystical quality, evoking a sense of the supernatural. The drum's resonance instills a sense of agility, strength, and swift action. As depicted in lines 3 to 4, the speaker's imagination transports him back to primordial times, envisioning the profound impact of this sound on the inhabitants of the jungle.

“… 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”

All is action and natural. The poetic persona with a straight use of imagery and comprehensible words draws the reader's attention to the fact that everything about this sound is in their natural states using words like, “riverside, jungle, raw, fresh,” names of animal in the jungle – natural habitat, and the last line of the stanza speaking of a hunter with spear ready to strike and hunt. Everything about this stanza depicts the freshness of nature and life as of the old. 

Stanza Two :- Once again, the poetic persona remembers of years back when he was still an infant in his mother’s laps suckling her breast (lines 9 to 11). Suddenly, he is walking the paths of the village with no new ideas of a way of life different from the one he is born into : 

“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.”

Stanza Three :-  Then, here in stanza three, reality changed as the poetic persona came in contact with a different sound from a faraway land : 

“Then I hear a wailing piano

Solo speaking of complex ways in

Tear-furrowed concerto;

Of far-away lands”

The change in the sound came with a different instrument other than African native drum, and it also produces a sound that is different with so many musical technicalities which the poetic persona expresses with musical dictions in words like, “concerto, diminuendo, crescendo.” He deploys them to emphasize the difficulty in understanding this new sound 

“… but lost in the labyrinth

Of its complexities…”

Consequently, in the last four lines, the poetic persona laments on the level of confusion the new sound brings when it mixes with the drums : 

“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”

In a broader sense, the poet delves into the complexities arising from the amalgamation of Western and African cultures. Any endeavor to blend these two distinct cultures only leads to confusion and chaos. Consequently, the poet advocates for a clear choice: embrace either African culture or adopt the ways of the white man. The speaker does not oppose the selection of either culture but cautions against attempting to merge them. Indirectly, he warns against striving to outshine the white man or surpass civilization in sophistication.

Conclusion: 

In conclusion, "The Piano and the Drums" skillfully juxtaposes the Western piano and the traditional African drums, serving as potent symbols of cultural conflict. While the piano showcases technical refinement, it falls short in capturing the raw emotional depth inherent in the drums, which resonate deeply with the African essence. The poem serves as a tribute to the resilient spirit of African culture, cautioning against the gradual erosion of cultural identity. Through rich imagery, Okara underscores the significance of safeguarding traditional art forms and embracing one's cultural heritage amidst the pervasive influence of Western dominance.