Post-Colonialism with Reference to “Piano and Drums” by Gabriel Okara
Post-colonialism is a critical framework that examines the effects of colonialism on cultures, societies, and literatures, particularly in formerly colonized nations. It explores themes such as cultural identity, hybridity, the clash between tradition and modernity, and the psychological effects of colonial rule. Thinkers like Edward Said (Orientalism), Homi Bhabha (The Location of Culture), and Gayatri Chakravorty Spivak (Can the Subaltern Speak?) have significantly shaped post-colonial studies.
Gabriel Okara’s poem Piano and Drums is a powerful post-colonial text that encapsulates the tension between indigenous African traditions and Western modernity. The poem uses musical imagery—represented by the drums and the piano—to symbolize two distinct cultural identities: the traditional African way of life and the influence of European colonialism.
Analysis of Post-Colonial Themes in “Piano and Drums”
1. Cultural Conflict and Identity Crisis
The poem vividly portrays the contrast between African heritage and Western influence. The drums, which symbolize traditional African culture, evoke simplicity, clarity, and a deep connection with nature. They represent a communal and organic lifestyle. The piano, on the other hand, is a symbol of Western modernity—complex, sophisticated, and somewhat alien to the speaker’s natural instincts. The clash between these two musical forms reflects the post-colonial subject’s struggle between indigenous roots and the imposed colonial culture.
2. Nostalgia for the Pre-Colonial Past
In the first stanza, the speaker expresses a sense of ease and familiarity with the rhythm of the drums. The imagery of nature—"jungle drums telegraphing the mystic rhythm"—suggests a primal connection with African traditions. This highlights a longing for an untainted cultural past, a common post-colonial sentiment where indigenous people look back at their traditions with a sense of loss and nostalgia.
3. Disruption by Colonial Influence
The poem’s tone shifts in the later stanzas when the piano is introduced. The piano represents the foreign culture brought by European colonialists. Unlike the natural and instinctive beat of the drums, the piano’s music is described as complex, intricate, and even overwhelming. The lines "coaxing diminuendo, counterpoint, crescendo" suggest an artificial sophistication that contrasts with the simplicity of the drum. This reflects how colonialism imposed new ways of thinking, often alienating individuals from their cultural roots.
4. Hybridity and Psychological Dilemma
The speaker finds themselves caught between these two worlds—one familiar and instinctual, the other foreign yet intellectually compelling. This is a classic post-colonial predicament, where individuals experience cultural hybridity. Homi Bhabha describes hybridity as the "third space" where colonial subjects exist between two cultures, neither fully belonging to one nor the other. Okara’s speaker embodies this fragmented identity, torn between tradition and modernity.
5. Anxiety about the Future
The closing lines of the poem suggest confusion and disorientation. The speaker does not explicitly choose between the piano and the drums, symbolizing the uncertainty faced by post-colonial societies. The poem leaves us with the question: Can one reconcile these two worlds, or is the colonial legacy too deeply ingrained?
Conclusion
Gabriel Okara’s Piano and Drums is a compelling metaphor for post-colonial identity struggles. It captures the dislocation and alienation felt by individuals in post-colonial societies, reflecting the broader cultural dilemmas that arise from the meeting of indigenous and colonial influences. By juxtaposing the drums (representing African tradition) with the piano (symbolizing Western modernity), the poem poignantly illustrates the tensions of cultural hybridity, making it a vital text in post-colonial literary discourse.
