Xi Gao

Mr.Gallagher
AP Literature
Kenyatta Listening to Mozart Explication

In the poem, Kenyatta Listens to Mozart by Amiri Baraka, the author believes it is necessary to

integrate Western and African culture for development but Baraka also warns that the choice to accept

western culture to make Kenya the “norm” will only lead Kenya to lose its original culture and beliefs. The

difference between the two cultures is what can unite them to Kenya’s advantage. The title of the poem

introduces the idea of western influence in African culture. The juxtaposition of Kenyatta, an intelligent

and political leader in Kenya, listening to Mozart, European musical genius, depicts the strong effects of

western culture. Even the most powerful of African culture is under the influence of European culture.

Throughout the poem, the author further utilizes juxtaposition, structure, and imagery to show the dangers

of integrating the two cultures too much but also states that it is necessary to combine the two cultures.

In the first stanza of the poem, the author introduces the mindset of western thinkers reflecting upon

Kenyans. Baraka creates an image of “warn air [blowing] cocaine from city to river, and through the brains

of American poets in San Francisco.” He uses the poets in San Francisco to symbolize western thought

patterns and their intelligence. Cocaine is a symbol for the mental thought processes undergone by these

poets. Like the idea of imperialism, European ideas are spreading to countries everywhere like Kenya.

However, cocaine, a highly addictive drug, also indicates the danger of having too much European

influence. If the Kenyans completely transform into Europeans or depend fully on Europeans, the ideals of

Kenyan culture would be forgotten and would present Kenyans as weak and useless. If the Kenyans had

only wanted to be like the West wearing “sunglasses” and in “San Francisco,” where everyone at the time

resided, then integrating would be for the wrong purposes. Thus the title of the poem also questions the

masculinity of Kenyan leaders. If they give themselves up to Europeans, if even the strongest leader

becomes like a westerner, what becomes of Kenyans, where are their own strengths?

In the second stanza of the poem, the author uses imagery and juxtaposition to show the need for two

cultures to unite but also warns the danger of integration. The stanza starts with “separate and lose” with a

break between “separate” and “and” to emphasize the negative consequences of separation. If the Kenyans

isolate themselves from European influence, it will only lead to Kenyan’s further downfall. Separation will

only lead to loss and failure for the Kenyans. In the next line, Baraka creates an image of “spats [brushing]
through the undergrowths of fiction.” Spats, an European shoe accessory, brushing through the

undergrowth, low vegetation of Kenya depicts European influence in Kenya. The undergrowth, low

vegetation and shrubs that can only reach a certain height, refers to Kenya. Without European help, they

cannot develop into more. At the same time, spats do not belong in the wilderness of Kenya, so Kenyans

should not become like westerners. The author states that “we do not write poems in the rainy season.”

Poems like the poets in the first stanza symbolize intelligence. In circumstances like “rainy season,”

“undressed” and “absolute stillness,” birds cannot fly and poems cannot be written, indicating that

development cannot occur. With European partnership, Kenya cannot function or improve itself. However,

Kenya should not act like useless victims in need of help to the Europeans. Like “mathematic birds” they

should know how to calculate their own future, instead of relying on Europeans. In the end of the stanza

the author also warns the dangers of this association. Working together, “light to light,” “the weighted

circumstance prowls like animals in the bush.” This is to say that integrating the two cultures will

ultimately bring upon misfortune if not careful.

In the last stanza of the poem, the author uses structure to depict the chaos of all beings and

categories. Unity is a like a “zoo” composed of all categories that consists of “consciousness,” “cries,” and

“prowlings.” Uniting with western culture, there will be danger so Kenyans should be aware of the

possible betrayals. The last few lines of the poem are separated especially the lines “beings that fly, beings

that swim, exchanging information.” Being that fly refer to the Europeans who have the most power and

beings that swim refer to the Kenyans who are still developing. These two subjects are not alike, like

Kenyatta compared to Mozart, but it compromises into a “zoo.” Baraka emphasizes that everything gits

together despite how incongruent it may seem. Juxtaposing this effect is how the lines are broken up but

forms to make the poem. Moreover, Baraka splits information into two lines, “in” and “formation” to

depict the importance of forming together cultures. In the end, Baraka states that “choice and style avail

and are beautiful categories if you for that.” The “if you go for that” is stated in a bitterly ironic tone

implying that incorporating western and African cultures is fine but it is not the perfectly safe plan.

Western culture should not become Kenyans’ way of life, they should not think or act like westerners,

instead use western ideas to grow.

Overall the poem comes together to form Baraka’s opinion that integrating two cultures is necessary

for further growth and development but be aware of the troubles that lie beneath such change. As the world
changes and improves, Europeans are the top in power. If the Kenyans separate and fight against European

power, they will only lead to loss. Working with Europeans can improve Kenya government but Kenyans

should not forget their morals and original beliefs. Baraka warns the dangers of being fully imperialized by

European culture.