Drum Dream Girl

Fiction | Poem | Adult | Published in 2015

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Summary

Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Themes

Gender Roles in Cuban Music

The primary theme of Drum Dream Girl is the transformation of gender roles in Cuba—specifically the gendered role of drummers. In Lines 11 and 50, “everyone” declares only boys can play drums. The repetition of this inclusive word—a word that implies all the citizens on the island—in two different lines in two different stanzas emphasizes the extensive reach of the gender stereotype. However, by Line 95, “everyone” has changed their mind and accepts the idea of girls playing drums.

The transformation of gender roles—moving from accepting only male drummers to accepting drummers of all genders—is due to two factors. The first factor is the character of the girl, Millo. She is described as “brave” (Line 54) and as a dreamer. These characterizations begin in the title and subtitle of the book: These, respectively, contain “dream” and “courage.” Dreaming is a way to describe seeing beyond the current patriarchal norms, and being able to imagine a different world. Her courageous and “dar[ing]” (Line 55) nature is her willingness to act on her dreams.

The second factor that goes into changing gender roles in music is how two men give the girl the opportunity to perform. They act as gatekeepers who let her through because of her incredible talent. The first man who helps the girl (Millo) open the gates for female drummers is her father. Initially, her father metonymically represents the rules of society; he is one part of the patriarchal whole when he asserts “only boys / should play drums” (Lines 69-70). However, her talent convinces him to “finally” (Line 75) seek a music teacher for the girl.

The second man—the girl’s music teacher—is the one who, within the patriarchal system, verifies the father’s belief in his daughter’s talent, and molds her into the role of drummer. It is the teacher “who could decide if her drums / deserved / to be heard” (Lines 78-80). As a man and an accomplished musician, the teacher has the power to determine if female drumming talent measures up to male drumming talent. He gets the girl a gig at the café after working with her for a period of time. Here, a public audience is able to see her perform, and her performance convinces “everyone” (Line 95) that both girls and boys can be drummers.

Island Life

Another theme in Drum Dream Girl is its depiction of island life. By definition, an island is a separate geographical region, enclosed by water on all sides. However, Cuba is not only defined by its geography, but also by its music. This is seen in Engle’s repetition of the phrase “island of music” in Lines 1, 12, and 52. One specific element of music for which Cuba is known is timbales—a type of drum that was created on the island. While the girl desires to play several distinct types of drums, the timbales are described in the most detail.

Engle also combines other sensory elements in her depiction of the island. She describes the movement of the flora, “wind-wavy palm trees” (Line 29), and the sound of the fauna: “the whir of parrot wings” (Line 31). These are tropical forms of flora and fauna that give the island a distinctive look and sound. Finally, the feeling of living on the island of Cuba can be seen in the stanzas describing carnivals. For instance, the girl hears and sees the “dragon clang / of costumed drummers / wearing huge masks” (Lines 43-45). Here, Engle shows how drumming is a dynamic and important part of public island life.

Private and Public Spheres

A third theme in Drum Dream Girl is the distinction between private and public spaces, or spheres. Gender restrictions on activities, like drumming, happen because of what occurs outside the home, or in front of people who are not immediate family (the closest of relatives). The girl initially must keep her aspirations to drum a “secret” (Line 19). The mental space of secrets is the most private sphere. She eventually starts drumming in the private sphere of her “home” (Line 46). Here, beyond the space of her “dreams” (Line 21), her family hears her play. Drumming on furniture, and then on instruments, causes her sisters to attempt to bring her into the public sphere.

Her father, however, initially prevents the girl from drumming in public spaces. He eventually relents, but needs another man to verify his beliefs about his daughter’s talent—a music teacher. The girl’s innate talent alone is not enough to gain entrance into the public sphere. The teacher works with her, and she “practiced / until the teacher agreed / that she was ready” (Lines 89-91). Both talent and training—as well as the support of the men in her life—are needed to break gender norms in music. These (and all) norms are public beliefs and rules, espoused by “everyone” (Lines 11, 50, 95), and so the girl must play in public to change gender stereotypes.