The mask figure serves as Senghor's central emblem for the traditional past and the ancestors, for whom it symbolized a vibrant reality. He uses the word "mask" almost as if it were a magical incantation to call forth the spirits of ancestors who are now concealed and challenging to sense. The "silence" highlighted by the poet emphasizes the importance of approaching the ancestors with focus and respect. Senghor further explains that the masks act as a portal to the "breath of my fathers," which signifies the living essence of the ancestors that will fuel his poetic inspiration. He suggests that his own face reflects the masks because they capture the idealized traits of his ancestors' actual faces.

The latter section of the poem recognizes the danger of the ancestral past being obliterated by contemporary influences, especially due to the colonial invasions by the French, British, Dutch, and Belgians in Africa. The "princess" mentioned in line 12 symbolizes the noble lineage of African empires, and in line 14, the "immutable eyes" of the masks signify both the divine calmness of the ancestors and their limited capacity to do more than witness the current hardships. Overall, the poem wrestles with the question of whether summoning the ancestral spirits can aid Africans in overcoming their present condition of oppression and hopelessness.

Senghor refers to the holy ground linked to the lion-headed ancestor, a hallowed place where the poet can engage with the lineage of "fathers" that extends back to the mythical first ancestor, the lion. In the concluding line, it is the earth itself that transfers its energy to the dancer’s feet, and, by extension, to the metrical feet of the poet crafting his poem.

The poem portrays Africa with contrasting imagery. On one hand, Africa is depicted as a victim of oppression, economic exploitation, and violence, stripped of its traditional beliefs and lifestyles to serve foreign interests. On the other hand, it is shown as a resilient source of vitality, creativity, and a harmonious relationship with nature. Europe is also represented with complexity. It is seen as a stern mother upon whom modern Africa depends, but whose embrace is limiting rather than nurturing. Lines 16-18 emphasize Europe as a grim landscape dominated by mechanized industry and warfare, symbolizing death, despair, and oblivion. Currently, Africa depends on Europe, while Europe exploits Africa's labor and natural resources. Europeans often view Africans' deep connection to nature and the land as lacking higher spirituality. However, Africans see this connection as a profound spirituality and artistic creativity, symbolized by the dance mentioned in the final line.

Senghor imagines a future where Africa's subordinate position is overcome, benefiting both the colonized African people and the European colonizers. He uses a metaphor comparing the "brown yeast" of African culture with the "white flour" of European civilization, suggesting that together they can create a more enriching and nourishing bread than either could alone. In a similar vein, lines 16-18 suggest that Africa has the potential to revitalize European societies, which have grown cold, weary, and decadent. By incorporating the lively elements of African culture, European culture can rejuvenate itself.