Santo 1

Renée Santo

AP Literature and Composition

Mr. Gallagher

12 October 2010

Kenyatta Listening to Mozart

Poetry Explication

Kenyatta Listening to Mozart is one of the early works of poet Amiri Baraka. It is a poem

that demonstrates his strong cultural beliefs. He does this by hooking his readers; using objects

that his fellow Africans can relate to. Baraka also incorporates a mixture of juxtaposition

throughout as well as using lineation strategies.

Before analyzing the three sections of Kenyatta Listening to Mozart, it is important to

focus on the title alone. Instantly, Baraka’s followers are hooked. Kenyatta, the famous son of

Kenya jumps off the page. Kenyatta went to prison for his people, imagine him listening to

Mozart while performing hard labor. The juxtaposition of Kenyatta and Mozart show the cultural

clash between two different societies. Mozart is a cultural symbol of criticism in the light of non-

European struggles for basic freedom. While Kenyatta was fighting against racial discrimination

and voting rights, white Europeans were listening to classical music.

The clash and convergence of multiple cultural forces are constantly demonstrated

throughout the poem. In writing this poem, Baraka while venting about his anger, has to make

sure that he incorporates the African and Western cultures of his potential audience. In the first

section, Baraka satisfies his African audience by bringing them home “on the back trails.” This

location represents the independence of Africa and its power for holding an export such as
 Santo 2

cocaine. But, the reader from a Western culture can interpret that the manufacturing of cocaine in

Africa was something that would never be done in America. It is true that the “warm air blows

cocaine from city/to river, and through the brains of American poets in San Francisco.” The

cocaine is not necessarily being “blown” by the warm air, but exported to America, where

cocaine is illegal. Clearly, the cocaine unites these distant countries, but they remain “separated”

by cultural boundaries. Such a bold statement is indicated by the left alignment of the first

stanza. Baraka is sure and his thoughts are sturdy, just like the structure of section one.

Section two is clearly “separate.” It is separate in terms of away from the first stanza, and

loses the solidity in its structure. The second section is infested with juxtaposition. The first

would be the idea of the word “brush.” Brush in this context can be taken as a noun and a verb.

The brush creates the image of an animalistic jungle scene, which is how Americans interpret

Africa. Compared to San Francisco, Africa is not specified. The specificity of San Francisco

demonstrates that it is important because everyone there is human, not animal-like. The phrase

“light to light” is key because it strengthens the connection between Kenyatta, Baraka, and the

enlightenment of their people. The reference of “animals in the bush” is a burden that Africa has

to face continuously.

The structure and lineation of the third section is sporadic, “zoo” like and chaotic. This

explains there is an imbalance of culture between Africa and European cultures. Baraka’s goal is

to mimic the ideas of such culture and revolt against its society. When Kenyatta Listening to

Mozart was written, Kenyatta was just released from prison. The irony and negative tone of “if

you go/for that” is a way for Baraka to disconnect himself from American culture in a cynical,

controversial way.
 Santo 3

Kenyatta Listening to Mozart is a poem filled with literary and cultural history. A

controversial matter, Kenyatta committed violence against those he felt were responsible for an

aspect of society he thought was unjust. Baraka takes the shape of Kenyatta and shames the

Western culture. Using words, phrases and ideas that his African audience is familiar with,

juxtaposition, and lineation strategies, Baraka demonstrates cultural clash.