The Representation of Racial Tension in Baraka’s Dutchman Essay

In the 1964 period of play Dutchman by Amiri Baraka, formally known as Le Roi J one and only(a)s, an enigma of themes and racial conflicts argon blatantly exemplified within the short duration of the play. Baraka attacks the issue of racial stereotype symbolically through the relationship of the plays precisely subjects, Lula and Clay. Baraka uses theatricality and dynamic characters as a metaphor to portray an true theatrical performance of racist stereotypes in America through both sensible and psychological acts of discrimination. Dutchman shows Clay, an innocent African-American man enraged after he is tormented by the representation of an insane, illogical and explicit ideal of clean supremacy known as Lula. Their encounter turns from sexual to lethal as the two along with others are all confined inside of one urban subway pushcart. Baraka uses character traits, symbolism and metaphor to exhibit the legacy of racial tension in America. The subway cart setting is an role model of American symbolism. The eerie underground cart is an element of the plays title the flying Dutchmans haunted ship, however, it can also be seen as the illustration of American society. The subway cart is a representation of an enclosed space where people are forced to interact. Regardless of race, grammatical g eradicateer and amicable class the urban subway cart is an area of cordial stimulation. Passengers often enter and ride anonymously, we see in the list of characters Riders of Coach, neat and black are included in the dynamics of the subway cart set. It is a tight and confined space trapped with a random sampling of people at any given time. Baraka uses this setting as the perfect environment for two strangers to openly interact. A perfectly cancel place to meet someone new, like Clay and Lula. A ... ... generations. racial tensions have resulted in tragedies Clays murder in the end of the play is a symbolic portrayal of an innocent man attacked for the strain o f his skin and nothing more. The art of theatre attacks the audience to consider these social issues. At the end of Dutchman the audience is left uncomfortable, shocked and left to peck together the role of Lula, Clay and the flying Dutchman subway cart are metaphors for problems greater than the plays conflict.Works CitedBaraka, Amiri. Dutchman. New York, New York Marrow, 1964. Print. 766-774Du Bois, W.E.B. The Souls of down in the mouth Folk. Rockville, Maryland Arc Manor, 2008. Print.Kumar, Nita N. The Logic of Retribution Amiri Barakas Dutchman. African American surveil 37.2/3 (2003) 271-279. JSTOR. Web. 2 May 2012. .