‘The Drum and The Piano’ by Gabrial Okara

 Hello Everyone,

This blog is responding to a thinking activity task assigned by Megha Ma’am. Which is based on the African poem ‘The Drum and The Piano’ by Gabrial Okara.

#About Poet:Gabriel Okara (1921–2019)

He  was a prominent Nigerian poet and novelist. He is considered one of the pioneers of modern African poetry written in English. His poetry reflects the tension between African traditional culture and Western colonial influence. Okara often uses simple language, strong imagery, and musical symbolism to express cultural conflict and identity crisis in post-colonial Africa.

#About the Poem: The Piano and The Drum

(DALL·E)

This poem is published in The Fisherman’s Invocation (1978) by Gabriel Okara. “The Piano and the Drums” is a symbolic poem that contrasts African (Black) culture and Western (White) culture through two musical instruments:

Drums → Symbol of traditional African life

Piano → Symbol of Western civilization

The poem presents the poet’s emotional attachment to his African roots and his confusion after encountering Western modernity. It shows the psychological conflict experienced by Africans during colonial times.

Q:1 How are White culture and Black culture presented in “Piano and Drum”? Explain.

Introduction

In his poem “The Piano and the Drums,” Gabriel Okara has created a sharp dichotomy between Black and White cultures through the symbolic use of two different musical instruments: the drum and the piano. The poem mirrors the cultural dichotomy faced by Africans during the colonial era when African culture was exposed to Western civilization. Through the use of imagery and musical symbols, the poet has sought to underscore the simplicity and vitality of African culture and the intricacy and ambiguity of Western culture. The poem ultimately mirrors the internal turmoil faced by the poet as he found himself caught between two contrasting cultures.

Presentation of Black Culture

Black culture is symbolized by the jungle Drums. The poet writes:

“I hear jungle drums telegraphing

the mystic rhythm, urgent, raw.”

The words “mystic rhythm” and “urgent, raw” show natural energy and emotional depth. The imagery of wild animals — “the panther ready to pounce” and “the leopard snarling” — reflects strength and vitality. 

The drum connects the poet to his childhood:

“at once I’m in my mother’s laps a suckling.”

This suggests innocence, warmth, and security. The line “walking simple paths with no innovations” shows that African life is simple and pure. Thus, Black culture is presented as natural, harmonious, and spiritually rich.

Presentation of White Culture

White culture is symbolized by the Piano. The tone changes when the poet hears:

“Then I hear a wailing piano

solo speaking of complex ways.”

The piano music represents Western civilization with its complexity. Words like “concerto,” “counterpoint,” and “crescendo” suggest sophistication and technical advancement. However, the poet feels confused and overwhelmed:

“lost in the labyrinth of its complexities.”

The word “labyrinth” 

shows mental confusion. The line “it ends in the middle of a phrase at a daggerpoint” suggests violent interruption, symbolizing colonial domination. Thus, White culture is presented as advanced but complicated and disturbing.

Conclusion

In the final lines:

“wandering in the mystic rhythm

of jungle drums and concerto.”

Gabriel Okara shows that he is caught between two cultures. He feels emotionally connected to African tradition but cannot ignore Western influence. Therefore, Black culture is presented as simple, natural, and emotionally fulfilling, while White culture is shown as complex, modern, and mentally challenging. The poem beautifully expresses the cultural conflict and identity crisis of colonial Africa.

References

Blackbox Learn. “Piano and Drums.” YouTube, 26 Feb. 2021, www.youtube.com/watch?v=9DXKwQqhqds .

DALL·E. Illustration of Gabriel Okara’s “The Piano and the Drums” Showing the Contrast Between African Drums and Western Piano. 2026. OpenAI, ChatGPT.

Okara, Gabriel. The Fisherman’s Invocation. Heinemann Educational Publishers, 1978.

Thank You!

A Dance of the Forests by Wole Soyinka

 Hello Everyone,

This blog is a response to a thinking activity task assigned by Megha ma’am. Which is based on the African Play ‘A Dance of the Forests’ by Wole Soyinka.

#About Playwright: Wole Soyinka

Wole Soyinka, the playwright of A Dance of the Forests, is one of the most important dramatists and intellectuals from Africa. He wrote A Dance of the Forests at a time when Nigeria was gaining independence. He did not write a nationalist drama, but instead wrote a highly symbolic play that questioned the glorification of the past. He uses Yoruba myths, ghosts, and rituals to show that history is not heroic or pure but rather cyclical and complex. Soyinka’s vision in A Dance of the Forests reflects his idea that freedom requires accountability. He criticizes corruption, pride, and lack of morals in the past and present by showing that one needs to face the truth. He uses a bold and critical approach in A Dance of the Forests, showing that he cares about society and that his work should be thought-provoking.

#About Play: A Dance of the Forests

A Dance of the Forests is a symbolic and complex drama written by Wole Soyinka and premiered in 1960 as part of Nigeria’s Independence celebrations. Rather than glorifying the past, this play questions the idea of blindly celebrating history and tradition. This play is set in a mystical forest where the living call upon their noble ancestors to consecrate a national festival. Instead of noble spirits, however, the Dead Man and the Dead Woman appear, symbolizing guilt, corruption, and crimes committed in the past. Through his characters, Demoke, Rola, Adenebi, Forest Head, Ogun, etc., Soyinka portrays themes of moral accountability, history repeating itself, pride, etc., which ultimately leads to a message that real freedom comes not through false pride in a glorified history but through self-accountability.

Write a proposed alternative end of the play 'A Dance of the Forest' by Wole Soyinka. (1000 to 1500 words)

1.1 Introduction

A Dance of the Forests by Wole Soyinka is a complex symbolic drama that exposes the moral failures of the past and questions blind celebration of national independence. In the original conclusion of A Dance of the Forests, Soyinka presents a cyclical vision of history, suggesting that human beings continue to repeat their mistakes.

This proposed alternative ending retains the spiritual and mythic structure of the play but introduces the possibility of conscious transformation. Instead of ending with unresolved tension and historical repetition, this version imagines that the living characters actively confront their guilt and choose moral renewal.

1.2 The Setting of the Alternative Ending

The alternative ending begins in the forest clearing after Demoke’s confession of pushing Oremole from the sacred tree. The Dead Man and Dead Woman still stand between the worlds of the living and the dead, demanding recognition rather than honour.

The totem carved from the sacred araba tree remains standing. It represents national pride, artistic ambition, and false glory. The forest is silent, and the presence of Ogun and Forest Head is felt strongly. The living characters—Demoke, Rola, and Adenebi—are emotionally shaken.

1.3 Demoke’s Moral Transformation

In this alternative ending, Demoke does not remain passive after his confession. Instead, he takes full responsibility for his crime. He recognizes that the totem he carved was not merely an artistic creation but a monument built upon envy, pride, and bloodshed.

Demoke declares that a nation cannot stand firmly on a foundation of guilt and illusion. He realizes that celebrating independence while hiding moral corruption would repeat the mistakes of the past.

In a symbolic act of repentance and renewal, Demoke takes his axe and strikes the totem. Each blow represents his rejection of pride and false ambition. By destroying his own masterpiece, he sacrifices personal glory for truth.

This act interrupts the cycle of denial and becomes the turning point of the play.

 1.4  Rola’s Awakening and Acceptance

Rola (Madame Tortoise), who once justified her actions as survival, experiences a deep inner change in this version. When the Dead Woman reminds her that power without responsibility leads to destruction, Rola does not respond with sarcasm or defiance.

Instead, she reflects on her past. She admits that she used men for her advantage and mistook manipulation for independence. She recognizes that her actions contributed to moral decay rather than freedom.

When Demoke begins to destroy the totem, Rola joins him. She places her hand over his on the axe and helps bring it down. This symbolizes her willingness to participate in rebuilding society based on honesty rather than deception.

Her transformation shows that redemption is possible through acknowledgment and responsibility.

1.5 Adenebi’s Realization and Commitment to Truth

Adenebi initially opposes the destruction of the totem. As a symbol of rhetorical nationalism, he believes that the people expect heroic ancestors and glorious stories. He fears that exposing the flaws of the past will weaken the nation’s pride.

However, Forest Head confronts him with a powerful truth: independence without moral integrity is meaningless. Empty speeches cannot create genuine progress.

Gradually, Adenebi realizes that his own speeches often hide corruption and injustice. He understands that national celebration must not be based on illusion.

In the alternative ending, Adenebi accepts the difficult responsibility of telling the people the truth. He resolves to abandon false glorification and encourage honest self-examination. His transformation represents the reform of leadership and public discourse.

1.6 Reconciliation with the Dead

The Dead Man and Dead Woman do not disappear until they are acknowledged. Their demand is not revenge but recognition of historical suffering.

Once Demoke, Rola, and Adenebi openly accept their guilt and reject false pride, the spirits begin to fade peacefully. The Dead Woman emphasizes that forgiveness cannot be demanded—it must be earned through changed actions.

The Dead Man urges the living to “choose differently.”

Their peaceful departure symbolizes reconciliation between past and present. Unlike the unresolved tension of the original ending, this version offers conditional closure based on awareness.

1.7 Symbolism of the Fallen Totem

The destruction of the totem forms the climax of this alternative ending. The totem, once towering and proud, falls to the ground. Its collapse symbolizes the fall of illusion, arrogance, and superficial nationalism.

After it falls, sunlight filters into the clearing. Where the totem once stood, a small green shoot begins to grow.

This new plant symbolizes renewal rooted in humility rather than pride. It suggests that true nation-building must begin close to the earth—with honesty, responsibility, and ethical action.

1.8 The Message of Forest Head and Ogun

Forest Head reveals that festivals are not masks to hide guilt but mirrors to reflect truth. He declares that freedom is not escape from consequence but the courage to face it.

Ogun, the god of iron and creativity, reminds Demoke that tools are neutral; it is human intention that determines whether creation becomes destruction.

Before departing, Forest Head states that “the dance is never finished.” This line preserves Soyinka’s philosophical tone. History may continue, but human beings have the power to alter its direction through conscious choice.

1.9 The Final Movement: Return to Society

At dawn, the living characters prepare to return to the town where the festival of independence awaits. They do not return as heroes or as victims. They return as individuals who have confronted the truth.

Demoke resolves to create art grounded in humility.

Rola resolves to seek freedom without manipulation.

Adenebi resolves to speak honestly, even if it costs him popularity.

Their walk back symbolizes reintegration into society—not as blind celebrants, but as morally awakened citizens.

The forest remains behind them as a sacred space of truth and moral testing.

1.10 Conclusion

This proposed alternative ending maintains the mythic and ritualistic tone of A Dance of the Forests while offering a more hopeful perspective. Instead of emphasizing endless repetition of historical mistakes, it highlights the possibility of transformation through responsibility.

The fall of the totem symbolizes rejection of illusion.

The acknowledgment of guilt symbolizes moral courage.

The growth of a new plant symbolizes renewal.

The central message of this alternative ending is that independence and national pride must be grounded in ethical awareness. Without confronting the past, society remains trapped in cycles of corruption. However, when individuals consciously choose truth over illusion, change becomes possible.

Thus, the dance of history continues—but in this version, the dancers move with awareness, responsibility, and the hope of a better future.

Refrences:

Bhatt, Yesha. A Dance of the Forests - Wole Soyinka. 12 Jan. 2022, yeshab68.blogspot.com/2022/01/a-dance-of-forests-wole-soyinka.html. Accessed 28 Feb. 2026.

Soyinka, Wole. A Dance of the Forests. 1971.

Thank You!

Documentation - Preparing a List of Works Cited

 Hello Everyone,

This blog is a response to a thinking activity task of ‘Documentation - Preparing a List of Works Cited’assigned by Prakruti Ma’am based on Research Methodology.

Q:1 Why are Citations needed? Discuss in the context of this chapter.

Citations are essential in academic writing because they ensure clarity, credibility, and academic integrity in research work.

1. To Give Credit to Original Authors

Citations acknowledge the intellectual work of others. When writers borrow ideas, facts, arguments, or words, they must properly credit the original source to avoid plagiarism.

2. To Avoid Plagiarism

Proper documentation protects writers from charges of plagiarism by clearly distinguishing their own ideas from borrowed material.

3. To Enable Verification of Sources

Citations allow readers to trace and verify the sources used in the research. The List of Works Cited provides full publication details so readers can locate the original material.

4. To Strengthen Credibility and Authority

A well-documented paper demonstrates that the writer has conducted thorough research. Using reliable and properly cited sources strengthens the argument and builds academic credibility.

5. To Contribute to Scholarly Conversation

Research writing is part of an ongoing academic discussion. Citations show how the writer’s work connects to, builds upon, or responds to existing scholarship.

6. To Maintain Consistency and Standardization Chapter 5 provides clear MLA guidelines for arranging and formatting entries in the Works Cited list. Standardized citation style ensures uniformity and makes academic work easier to read and understand.

7. To Provide Complete Publication Information

Citations include essential details such as author, title, publication data, and medium of publication, ensuring accuracy and transparency in research.

Conclusion

In Chapter 5, citations are presented not merely as technical requirements but as a fundamental part of responsible scholarship. They uphold honesty, enhance credibility, and allow readers to locate and evaluate the sources that support a research paper.

Q:2 Write a short note on ‘MLA Style’.

MLA Style is a standardized system of documentation developed by the Modern Language Association for writing research papers, especially in the humanities.

MLA Style provides clear guidelines for:

• Citing sources within the text using parenthetical references.

• Preparing a List of Works Cited at the end of the paper, arranged alphabetically.

• Formatting entries with specific rules for author names, titles, publication details, and medium of publication.

• Maintaining consistency in punctuation, capitalization, and order of information.

The purpose of MLA Style is to ensure clarity, uniformity, and accuracy in academic writing. It helps writers give proper credit to sources, avoid plagiarism, and enable readers to locate the cited materials easily.

Choose a topic of your choice and  create an annotated bibliography containing at least 8 varied qualitative source types pertaining to that topic. [For example, if you choose Amitav Ghosh's Gun Island or a theoretical concept like posthumanism, cite one journal article, one news article, one video, one encyclopedia entry, one book, one book chapter, one webpage, one image pertaining to Gun Island or posthumanism] The annotation must be of 50-100 words.  

Here, I’m choosing the text ‘The Wretched of the Earth’ and applying the Theory ‘Decolonization’.

Journal Article: Burke, Edmund. “Frantz Fanon’s ‘The Wretched of the Earth.’” Daedalus, vol. 105, no. 1, 1976, pp. 127–35. JSTOR, http://www.jstor.org/stable/20024388 . Accessed 27 Feb. 2026.

This journal article offers a critical evaluation of Frantz Fanon’s The Wretched of the Earth, situating it within the broader intellectual and political debates of decolonization. Burke examines Fanon’s arguments about revolutionary violence, nationalism, and the psychological consequences of colonial rule. The article is particularly valuable for understanding how Fanon’s ideas were received in Western academic circles during the 1970s. Burke also assesses the strengths and limitations of Fanon’s revolutionary humanism. As a peer-reviewed scholarly article published in Daedalus, this source is reliable and useful for analyzing the theoretical framework of anti-colonial resistance and its global implications. It provides historical depth and critical context for studying postcolonial theory and African liberation movements. 

Encyclopedia: Britannica Editors. "decolonization". Encyclopedia Britannica, 1 Apr. 2025, https://www.britannica.com/topic/decolonization . Accessed 27 February 2026. This encyclopedia entry provides a comprehensive overview of decolonization, tracing its historical development from the late nineteenth century to the post–World War II era. It outlines key events, regions, and political movements involved in dismantling colonial empires across Africa, Asia, and the Caribbean. The article explains causes such as nationalist movements, economic pressures, and global geopolitical shifts. As a reference source, it offers concise definitions and factual grounding rather than theoretical analysis. Its credibility is high due to editorial review and institutional authority. This source is particularly useful for establishing historical background and defining key terms before engaging with theoretical texts such as Fanon or Ngũgĩ wa Thiong’o. It serves as a foundational reference for understanding the broader context of decolonization.

Book Chapter: Collins, Michael. “Nation, State and Agency: Evolving Historiographies of African Decolonization.” Britain, France and the Decolonization of Africa: Future Imperfect?, edited by Andrew W.M. Smith and Chris Jeppesen, UCL Press, 2017, pp. 17–42. JSTOR, https://doi.org/10.2307/j.ctt1mtz521.6 . Accessed 27 Feb. 2026. 

Collins analyzes how historians have interpreted African decolonization over time, focusing on the shifting roles attributed to African agency, European imperial power, and international dynamics. The chapter critiques earlier Eurocentric narratives and highlights newer historiographies that center African political actors and local resistance movements. It is particularly useful for understanding methodological debates in decolonization studies. As part of an academic edited volume published by UCL Press, the chapter is scholarly and credible. This source strengthens research by providing historiographical depth, allowing readers to see how interpretations of African independence movements have evolved. It is valuable for framing decolonization not only as an event but also as a contested field of academic inquiry.

News Article: Folukeifejola. “The Trouble With Defining Decolonisation: A Table Analogy and Some Reading.” Foluke’s African Skies, 21 Mar. 2025, folukeafrica.com/the-trouble-with-defining-decolonisation-a-table-analogy-and-some-reading . Accessed 27 Feb. 2026. 

This online article explores the conceptual difficulty of defining “decolonisation” through an accessible table analogy. The author argues that decolonization is not simply the removal of colonial rulers but a deeper restructuring of systems, knowledge, and power relations. While not a peer-reviewed academic source, it provides contemporary reflections and accessible explanations that help clarify theoretical debates for broader audiences. The piece is useful for illustrating how decolonization continues to be discussed in digital and activist spaces. It complements academic sources by offering a modern interpretive lens. However, since it is a blog publication, it should be used alongside scholarly materials for academic research.

Book: Thiongʼo, Ngũgĩ Wa. Decolonising the Mind: The Politics of Language in African Literature. Boydell and Brewer, 1986.

In this influential book, Ngũgĩ wa Thiong’o argues that language is central to colonial domination and cultural control. He contends that African writers should reject colonial languages and write in indigenous languages to reclaim cultural identity. The text combines literary criticism, political theory, and autobiographical reflection. It is a foundational work in postcolonial and African literary studies, expanding the idea of decolonization beyond political independence to cultural and linguistic liberation. As a primary theoretical text by a major African intellectual, it is highly authoritative. This source is essential for understanding the cultural dimensions of decolonization and for analyzing literature within anti-colonial frameworks.

Video: Dr. Masood Raja. “Fanon: The Wretched of the Earth | Decolonization.” YouTube, 13 Apr. 2021, www.youtube.com/watch?v=cybCnxehtTQ .

In this lecture video, Dr. Masood Raja provides an accessible explanation of Fanon’s The Wretched of the Earth, focusing on its key themes such as violence, national consciousness, and the pitfalls of post-independence leadership. The video format makes complex theoretical ideas easier to understand, especially for students encountering Fanon for the first time. While not a peer-reviewed source, it is academically informed and pedagogically useful. It serves as a supplementary interpretive guide rather than primary research material. The lecture supports comprehension of Fanon’s arguments and can aid in classroom discussions and presentations on decolonization theory.

Webpage: United Nations. “Decolonization | United Nations.” United Nations, www.un.org/en/global-issues/decolonization . Accessed 27 Feb. 2026.

This official webpage outlines the United Nations’ role in supporting decolonization and supervising non-self-governing territories. It provides historical background, resolutions, and current initiatives related to the global process of decolonization. The source is authoritative and policy-oriented, offering insight into international legal and institutional frameworks. It is particularly useful for understanding the political and diplomatic dimensions of decolonization beyond theoretical debates. As an official UN publication, it is highly credible and valuable for research focusing on international governance and global policy perspectives.

Image: “Decoloniazation.” Human Rights Career, www.humanrightscareers.com/issues/decolonization-101-meaning-facts-and-examples .

This webpage image and article provide a simplified overview of decolonization, including definitions, examples, and key facts. The visual component helps communicate complex historical processes in an accessible format. While it is not an academic source, it is useful for introductory understanding and visual presentation purposes. The content is best used for contextual or illustrative support rather than scholarly argumentation. When included in research, it should supplement more authoritative academic and institutional sources.

Choose a research article on any one of the following identities: refugees, immigrants, women writers, queer poets, tribal communities. Study the introductory section of that article and identify whether the section adheres to one or more of the 7 principles of inclusive language as discussed by the 9th edition of the MLA Handbook. Justify your observations. 

Here, I’m choosing this article on Tribal Communities.

Barnes, Stuart J., and Jan Mattsson. “Building Tribal Communities in the Collaborative Economy: An Innovation Framework.” Prometheus, vol. 34, no. 2, 2016, pp. 95–113. JSTOR, https://doi.org/10.1080/08109028.2017.1279875 . Accessed 27 Feb. 2026.

The Introduction section of the article largely adheres to the Seven Principles of Inclusive Language discussed in the MLA Handbook (9th ed.). The evaluation is as follows:

First, the section uses bias-free language. It does not contain discriminatory or stereotypical references to gender, race, class, nationality, or any other identity category. Terms such as “individuals,” “organisations,” “consumers,” “participants,” and “entrepreneurs” are neutral and professional.

Second, the text avoids the use of generic masculine pronouns. It does not use “he,” “his,” or “man” to represent all people. Instead, it uses plural and neutral expressions like “participants” and “unknown parties,” which align with MLA’s recommendation to maintain gender neutrality.

Third, the section respects self-identification by not imposing identity labels on any group. Since the article focuses on economic and business models rather than identity categories, there is no problematic naming or misrepresentation.

Fourth, the language does not imply superiority or deficit. No group is portrayed as inferior or less capable. Even when discussing “unknown parties,” the term is used in an economic context and does not carry negative judgment.

Fifth, the article avoids unnecessary labels. It does not mention social, cultural, or demographic categories that are irrelevant to the topic. All terms used are directly related to the research focus.

Sixth, the section uses generally culturally neutral and global language, referring to “societies,” “economies,” and “global scale.” Although one example focuses on Austin, Texas, the language itself does not exclude or marginalize other regions.

Seventh, the writing is precise and avoids generalizations. The claims are supported by citations, and careful phrases such as “one purported alternative” and “a recent study suggests” show responsible academic writing.

In conclusion, the Introduction section strongly adheres to the principles of inclusive language outlined in the MLA Handbook (9th ed.), particularly in maintaining neutrality, avoiding bias, and using gender-inclusive expressions.

Thank You!