Playwright LeRoi Jones, later known as Amiri Baraka, was a black nationalist—a 1960s and 70s social movement that believed black people should preserve their separate identities, rather than assimilate into American society, and ultimately create a separate black nation. How does Dutchman reflect black nationalist ideas? 

Compare and contrast the two black “types”—the conductor versus Clay and the other younger black man. Discuss the significance of the play’s ending and how it relates to Jones’ broader point about black male identity.

As Dutchman tries to fight against racial injustice and stereotyping, it simultaneously depicts a somewhat biased portrait of gender roles, as Lula is shown to be an over-sexualized “whore” who uses her sexual appeal to achieve her goals, while Clay is much more innocent and “harmless.” Trace and examine the gender politics between Clay and Lula throughout the piece. What broader points does Jones appear to make about gender and the imbalance between the sexes?