Sensory_Experience_and_Emotional_Resonance_in_Gabriel_Okaras_The_Piano_and_The_Drums.pptx

This presentation is from the Paper 206: The African Literature, Unit 4 - Poems and I choose the topic The Significance of Rituals in Shaping 'A Dance of the Forests’.

1. Department of English Maharaja Krishnakumarsinhji Bhavnagar University Date: 2nd April 2024 Sem 4। Batch 2022-24 African Literature Presentation on Sensory Experience and Emotional Resonance in Gabriel Okara's 'The Piano and The Drums' Presented by Pooja Bhuva Prepared by Avani Jani

2. Presented by:- Pooja A. Bhuva Enrollment Number:- 4069206420220005 Email:- [email protected] Batch:- 2022 - 2024 (M.A. Sem 4) Date:- 1 April, 2024 Paper: Contemporary English Literature Roll Number:- 15 Personal Information

3. What stylistic elements or techniques set this African poem apart from other African poems? How does the poet's use of auditory imagery and evocative language related to sound and sensation contribute to the poem's themes and overall effect? Does the extended metaphor of the drums representing traditional African culture and the piano representing Western influence make the poem more engaging, impactful and layered in its meaning? This presentation focuses primarily on the reader's perspective. Some of the Ideas & Questions addressed in the Presentation

4. Sensory history is an approach that goes beyond just looking at texts and visuals to understand how all five senses (sight, sound, smell, taste, and touch) influenced human experiences and meaning-making in the past. It creatively uses sources like artifacts, accounts from outsiders, and artistic works to access perspectives on sensory experiences that were often not directly discussed. This approach was pioneered by anthropologists who immersed themselves in diverse sensory cultures, pushing historians to move away from the modern Western biases that prioritize sight and written texts. By examining how different senses were valued and associated with social factors like gender, race, class, etc., sensory history sheds light on the complex dynamics of past eras. However, some historians risk oversimplifying this richness by trying to recreate or re-experience past sensations without considering their original meanings and power structures. Instead of just trying to make "dry bones live" by stimulating modern imagination, robust sensory histories should interpret how bodily senses fundamentally shaped worldviews across cultures and times. What is Sensory? ( Howes) ( Smith) In simple terms, sensory history explores how all five senses, not just sight and texts, influenced human experiences in the past, and how those sensory experiences were shaped by social and cultural contexts.

5. Full Name: Gabriel Imomotimi Gbaingbain Okara (Emmanuel) Born: 24 April 1921 (Emmanuel) Death: 25 March 2019 (Emmanuel) He was a poet, novelist, and playwright from Nigeria. (Emmanuel) He was known as the first renowned English-language Black African poet and the pioneer African modernist writer. (Emmanuel) Okara was recognized as the first modernist poet of Anglophone Africa. (Emelike) Throughout his life, he credited his successful writing career to his experience at Government College Umuahia. It was there that he found inspiration in the works of William Shakespeare and other respected writers, which helped shape his own literary journey. (Emelike) He gained fame for his significant novel "The Voice" (1964) and received admiration for his poetry collections such as "The Fisherman’s Invocation" (1978) and "The Dreamer, His Vision" (2005). Okara skillfully incorporated African ideas, beliefs, stories, and imagery into his writing, earning him the title "the Nigerian Negritudist." (Emelike) Gabriel Okara

6. The editor of his Collected Poems, Brenda Marie Osbey, expressed that, “It is with publication of Gabriel Okara’s first poem that Nigerian literature in English and modern African poetry in this language can be said truly to have begun.” (Emelike) Exploring further into his literary achievements, Gabriel Okara's poem "The Call of the River Nun" was honored at the Nigerian Festival of Arts in 1953. His poetry was featured in the prestigious literary magazine Black Orpheus, and by 1960, he had established himself as a highly skilled writer, with his poems translated into many languages, gaining recognition worldwide. (Emelike) Aside from his poetry and fiction, Okara ventured into playwriting and contributed features for broadcasting. Unfortunately, many of his unpublished manuscripts were lost during the Nigerian Civil War. (Emelike) Best All-Round Entry In Poetry at the Nigerian Festival of Arts, for "The Call of the River Nun" (1953) (Olatunbosun) Commonwealth Poetry Prize, for The Fisherman's Invocation (1979) (Augoye) NLNG Prize, for The Dreamer, His Vision (2005) (Gabriel Okara (1921-2019)) Pan African Writers' Association Honorary Membership Award (2009) (Osagie) Gabriel Okara Literary Festival (2017) (Ajeluorou) Gabriel Okara Continue…

7. In the poem, "The Piano and the Drums," the speaker compares the traditional African lifestyle with modern ways. (Elimimian) This poem is primarily divided into two parts, one symbolized by the Piano and the other by Drums. The poem is structured in four stanzas, with the first celebrating village life, the second recalling the speaker's childhood, the third expressing confusion about understanding Western ways, and the fourth conveying the powerful effect of both cultures on the speaker. (Elimimian) The poem covers a timeline from ancient eras to contemporary times, emphasizing the influence of foreign cultures on Africans. Its core theme revolves around the transformation of African traditions by external forces. Okara employs music as a symbol to illustrate this transformation and its impact on the speaker. Ultimately, the poem grieves the diminishing purity of African heritage caused by the encroachment of civilization. Through poetry, Gabriel Okara articulates his sadness regarding the erosion of African customs. The Piano and The Drums

8. Symbolism - The drums symbolize traditional African culture, values, community, rhythm, dance, and ceremony. The piano symbolizes European/Western cultural influence, modernization, individualism, discordance, and loss of cultural identity. Imagery - Strong visual imagery evokes the sights and sounds of an African village gathering through vivid descriptions. The rhythmic, musical language mirrors the beating of the drums. The piano section uses discordant imagery to depict disruption and chaos. (Elimimian) Metaphor - The drums and piano act as metaphors for the broader themes of cultural identity, colonialism's impact, and modernity. Contrast - The poem is structured into two contrasting sections: the drums section reminiscing communal African life, and the piano section depicting the present upheaval. This intentional contrast highlights the tension between traditional and modern ways of life. (Elimimian) Rhythm/Musicality - The poem's rhythmic language echoes the drumbeats, creating a musical quality that reflects the drum's cultural symbolism. This rhythmic pattern shifts with the piano section, mirroring the symbolic discordance it represents. Tone - The drums section has a nostalgic, wistful tone as it looks back fondly on village life. The piano section has a disruptive, chaotic tone capturing the cultural identity crisis. Through skillful use of symbols, imagery, metaphor, contrast, rhythm, and shifts in tone, the poet explores complex themes of cultural change, identity loss, colonialism's effects, and the tension between tradition and modernity in Africa. The drums and piano act as powerful literary devices driving this exploration. Literary Devices

9. Sensory Experience: Sight "I see the panther ready to pounce, / the leopard snarling about to leap and / the hunters crouch with spears poised." ( Nwatu) This vivid description paints a picture of a primal, jungle scene, evoking a sense of danger and anticipation. "simple / paths with no innovations / rugged, fashioned with the naked / warmth of hurrying feet and groping hearts" ( Nwatu) The imagery of simple, rugged paths and hurrying feet creates a visual representation of a more primitive, natural way of life. ( Elimimian) "green leaves and wild flowers pulsing" ( Nwatu) The vivid description of the natural surroundings, with the use of words like "green" and "pulsing," brings the scene to life and adds a sense of vibrancy and life. These visual images not only create a clear picture in the reader's mind but also contribute to the overall sensory experience by evoking a sense of place and atmosphere. Sensory Experience: Sound "I hear jungle drums telegraphing / the mystic rhythm, urgent, raw / like bleeding flesh, speaking of / primal youth and the beginning" ( Nwatu) The description of the "jungle drums" evokes a primal, raw, and visceral sound that is deeply connected to nature and the beginning of life. The use of words like "mystic," "urgent," and " bleeding flesh" creates a powerful auditory imagery that resonates with the reader's senses. "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" In contrast to the drums, the piano represents a more complex, civilized, and distant sound. ( Nwatu) Sensory Experience and Emotional Resonance

10. The piano is described as "wailing," evoking a sense of sadness or longing, while terms like "concerto," "diminuendo," and "crescendo" create a sense of sophisticated, intricate music. The sound imagery serves as a powerful tool for immersing the reader in the poem's world and evoking emotional responses. Sensory Experience: Touch "my blood ripples, turns torrent" (Nwatu) This line suggests a physical sensation within the speaker's body, as if their blood is moving and flowing like a river. The words "ripples" and "torrent" create a sense of touch and movement that the reader can almost feel. "wandering in the mystic rhythm / of jungle drums and concerto" (Nwatu) The act of "wandering" implies a physical sensation of movement and exploration, which could be interpreted as a tactile experience. "rugged, fashioned with the naked / warmth of hurrying feet and groping hearts" (Nwatu) The description of "naked warmth" and "groping hearts" evokes a sense of physical sensation and touch, even though it is not explicitly stated. While touch is not as prominent as other senses like sight and sound in this poem, these instances where physical sensation is implied or suggested contribute to the overall sensory experience by engaging the reader's sense of touch, even if subtly. The sensations of movement, warmth, and physical presence help to create a more immersive and multi-sensory experience for the reader. Sensory Experience and Emotional Resonance

11. Emotional Resonance: Contrast and Conflict "I hear jungle drums telegraphing the mystic rhythm, urgent, raw" The drums evoke primal emotions tied to ancestral roots and cultural identity. "Then I hear a wailing piano solo speaking of complex ways" The piano represents the intrusion of Western modernity, evoking a sense of displacement. "But lost in the labyrinth of its complexities, it ends in the middle of a phrase at a daggerpoint" The abrupt ending of the piano's sound suggests frustration, anger, and an unresolved cultural conflict. The big difference between the drums and the piano makes the reader feel strong emotional tension. This tension connects to the difficulty of bringing together traditional ways and modern ways. The reader feels pulled in two directions - one side feeling nostalgic and proud of their cultural roots, the other side dealing with the complexities brought by outside foreign influences. This inner struggle stirs up a mix of emotions like pride, sadness, anger, and internal conflict within the reader. Emotional Resonance: Rhythm and Musicality "Then I hear a wailing piano solo speaking of complex ways in tear-furrowed concerto;" The contrasting rhythm of the piano's "concerto" suggests a more intricate, sophisticated musicality that creates a sense of emotional complexity. "And I lost in the morning mist of an age at a riverside keep wandering in the mystic rhythm of jungle drums and concerto." The repetition of "mystic rhythm" and the blending of the drums and piano suggest a lingering, wandering rhythm that leaves the reader with a sense of emotional ambiguity and longing. The blending of these rhythms at the end creates a sense of emotional dissonance, reflecting the inner conflict and lingering resonance of these contrasting musical elements. Sensory Experience and Emotional Resonance

12. This poem uses many descriptions involving the five senses to convey the poet's feelings. Lines like "I see the panther" and "I hear jungle drums" engage the senses of sight and hearing. Phrases like "mystic rhythm", "wailing piano", and "naked warmth of hurting feet" evoke sounds, sensations, and imagery that stir the senses. By employing these vivid sensory details, the poet is expressing their emotions and inner experience. At the same time, the sensory descriptions carry a deeper message about the loss of traditional ways and the acceptance of modernity. The references to the panther, jungle drums, and mystic rhythm represent traditional, ancestral roots and cultural heritage. In contrast, the wailing piano symbolizes modern, Western influences. This juxtaposition of sensory impressions from different realms reflects the poet's mixed feelings about embracing modern society while still holding onto traditional identities and customs. When the poet describes everyone getting lost in the sound of the piano, it shows a sense of disappointment. However, it also highlights how powerful and impactful the sensation of the piano's music can be. The poet seems torn between feeling let down by people's reactions, yet also recognizing the beauty and captivating effect the piano's sound can have. The mix of sensory details and emotional expressions in this poem makes it feel magical and very interesting to read. Using vivid descriptions that engage the senses, combined with conveying deep feelings, creates an enchanting experience for the reader. Ultimately, it's fascinating how the combination of emotions and sensory descriptions makes this poem feel unique and more engaging compared to other African poems. The blending of vivid imagery, sounds, and feelings creates an fascinating reading experience that sets this work apart. Fusion of Sensories and Emotions: Personal Point of View

13. Ajeluorou, Anote. “Gabriel Okara… Restoring the genius of Africa's oldest living poet.” The Guardian Nigeria, 5 May 2017, https://guardian.ng/saturday-magazine/cover/gabriel-okara-restoring-the-genius-of-africas-oldest-living-poet/. Accessed 2 April 2024. Augoye, Jayne. “Renowned Nigerian poet, Gabriel Okara, dies at 97.” Premium Times Nigeria, 25 March 2019, https://www.premiumtimesng.com/news/top-news/322315-renowned-nigerian-poet-gabriel-okara-dies-at-97.html?tztc=1. Accessed 2 April 2024. Elimimian, Isaac I. “LANGUAGE AND MEANING IN GABRIEL OKARA’S POETRY.” CLA Journal, vol. 38, no. 3, 1995, pp. 276–89. JSTOR, http://www.jstor.org/stable/44324962. Accessed 2 Apr. 2024. Emelike, Obinna. “Nigerian literary community mourns Gabriel Okara.” Businessday NG, 25 March 2019, https://businessday.ng/life-arts/article/nigerian-literary-community-mourns-gabriel-okara/. Accessed 2 April 2024. Emmanuel. “Renowned Poet and Novelist, Gabriel Okara, Dies Just Before 98th Birthday.” Olisa TV, Internet Archive Wayback Machine, 25 March 2019, https://www.olisa.tv/renowned-poet-and-novelist-gabriel-okara-dies-just-before-98th-birthday/. Accessed 2 April 2024. “Gabriel Okara (1921-2019) – The Sun Nigeria.” The Sun Nigeria, 5 April 2019, https://sunnewsonline.com/gabriel-okara-1921-2019/. Accessed 2 April 2024. Howes, David. “Can These Dry Bones Live? An Anthropological Approach to the History of the Senses.” The Journal of American History, vol. 95, no. 2, 2008, pp. 442–51. JSTOR, https://doi.org/10.2307/25095629. Accessed 2 Apr. 2024. Nwatu, Mcanthony. “THE PIANO AND THE DRUMS – Litionary.” Litionary, 19 December 2017, https://litionaryblog.wordpress.com/2017/12/19/the-piano-and-the-drums/. Accessed 2 April 2024. Olatunbosun, Yinka. “THE RIVER NUN CALLED, AND GABRIEL OKARA ANSWERED AT LAST….” THISDAYLIVE, 31 March 2019, https://www.thisdaylive.com/index.php/2019/03/31/the-river-nun-called-and-gabriel-okara-answered-at-last. Accessed 2 April 2024. Osagie, Evelyn. “Echoes of Achebe’s works at writers’ show.” The Nation Newspaper, 25 November 2015, https://thenationonlineng.net/echoes-of-achebes-works-at-writers-show/. Accessed 2 April 2024. Smith, Mark M. “Producing Sense, Consuming Sense, Making Sense: Perils and Prospects for Sensory History.” Journal of Social History, vol. 40, no. 4, 2007, pp. 841–58. JSTOR, http://www.jstor.org/stable/25096396. Accessed 2 Apr. 2024. Works Cited

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