One could say that Baraka's message is in favor of black separatism, which had become the position of many black radicals after 1966. Separatist ideology dismissed talk of integration with whites and, thus, assimilation into what they perceived as "white America." I am speaking of separatism not as a hateful gesture but as a gesture toward self-sufficiency, which was encouraged by Malcolm X, both during his years with the Nation of Islam (and after his departure from the organization) and by the Black Panthers.
Amiri Baraka shared the black separatist view, which he emphasized both in his life and art by the mid-1960s. Baraka constructs Dutchman as a sort of "Adam and Eve" tale. Lula eats an apple on the train and strikes up conversation with Clay. She is friendly at first, then begins to bait—or tempt him into violence—with racially inflammatory language. The message Baraka appears to convey is that no matter how much black people try to make themselves "respectable," they will never be accepted into white society. Worse, demeaning treatment by whites will incur violent responses. If the play's conclusion is any indication of what Baraka thinks the result of that response would be, it seems that black people would, in a violent confrontation, ultimately be overcome by the forces of white supremacy.
Baraka uses a white woman instead of a white man to create sexual tension. He is also playing on the way in which white supremacy has categorized white women as potential victims of black male violence and black men as potential rapists of white women—a notion that led to the lynchings of many black men in the South. Here, Lula is...
the aggressor who baits Clay into violence, then murders him with her pocketknife. It is possible, too, that Baraka suggests that relationships with white women (Baraka's first wife was, in fact, a white woman) could lead to the demise of black men.