The Dragon Can't Dance - Themes

Themes

In the novel The Dragon Can't Dance, author Earl Lovelace expresses several reoccurring themes that illustrate fundamental psychological losses, which the characters are trying to rediscover and re-establish on a personal, and community level. Aldrick and his compadres are striving to find meaning and locate connectedness in something other than their involvement in the Carnival experience that occurs annually in their city of Port of Spain. In spite of their efforts, their multi-generational lack of roots and culture prevent them from developing productive attachments. This undermines their sense of identity on a personal and societal level.

The first theme that emerges is characters longing for acceptance. Pariag feels this way about moving to a new location to be part of a bigger group and community. This in turn makes him feel more worthwhile. Pariag says, "The main reason he had come to the city to live was so that he could join up with people, be part of something bigger…" Pariag wanted to experience a sense of belonging. He correctly understood that only through new relationships could his life feel more meaningful.

The second theme is the call for unity and power to the people. In a desperate attempt to ignite a sense of raison d'être within the people of his community, Aldrick, Fisheye and the other men highjack the police van and drive crazily though the town center and shout: "We are the People's Liberation Army. Today we are calling our people to come out, to rise up and take power! Rise and reclaim you manhood, people! Rise up!" These young men are trying to inspire unity and meaning within a community that had been disconnected from its cultural roots for hundreds of years.

Another theme is the search for self-identity. Near the end of the book, Aldrick questions his identity. He thinks to himself, "What was he without the dragon? Who was he? What was there to define himself? What would he be able to point to and say: This is Aldrick?" Without a history or culture to relate to, Aldrick represents a vast number of people of Trinidad who are at a loss in terms of their identities. He is searching for his roots or some clue that will direct him homeward.

Lastly, the theme of power struggles for recognition plays a large part of this novel. For example, Miss Cleothilda feels threatened by the prospect that Sylvia might be taking over the "queen" or head woman position on the Hill. "It didn't take Miss Cleothilda long to discover that a new situation had begun to exist in the Yard, a situation that she felt threatened her position as 'queen'… it was Sylvia… if she became ambitious, the Yard could have a new 'queen'. Miss Cleothilda began making readjustments." When Miss Cleothilda's core identity of what makes her human or the 'queen' is at risk, a struggle to survive sets in. Recognition is paramount. Since the opportunities for expressing self-worth and intrinsic value are so limited on Calvary Hill (and Trinidad overall), even minor roles within the community become critical to people, especially if they have been alienated and marginalized.

All of these themes are interwoven and indicative of a primary absence of fulfilling attachment, which serves as the lynchpin to identity. Attachment is developed through fertile relationships that act as conveyances of our history and culture. With the systematic, long-term destruction of the memory of Trinidad's past, the identity and self-worth of its people are set adrift.