'A Dance of Forests' by Wole Soyinka

 Thinking Activity

This blog post is a response to the thinking activity assigned by Professor Megha in the English department at MK Bhavnagar University. The task involved exploring a suggested alternative ending for Wole Soyinka's play, "A Dance of the Forest," as well as providing insights into the play itself.

Wole Soyinka:

Wole Soyinka, born on July 13, 1934, in Abeokuta, Nigeria, is a distinguished Nigerian playwright and political activist, awarded the Nobel Prize for Literature in 1986. Known for his satirical style, Soyinka's work reflects a serious critique of power dynamics. His early work, such as "A Dance of the Forests" (1960), challenged romanticized notions of Nigeria's independence, exposing the flaws of the fledgling nation.

Soyinka's plays, like "The Lion and the Jewel" (1959) and "The Strong Breed" (1963), blend Western and Yoruba elements, criticizing authoritarian leadership and expressing disillusionment with Nigerian society. Notable works include "Death and the King’s Horseman" (1975) and "The Beatification of Area Boy" (1995).

While primarily a playwright, Soyinka authored novels like "The Interpreters" (1965) and "Chronicles from the Land of the Happiest People on Earth" (2021). His poetry, including "Idanre, and Other Poems" (1967) and "Mandela’s Earth and Other Poems" (1988), showcases a command of language and diverse poetic forms.

Soyinka's activism extended beyond literature, advocating for Nigerian democracy and founding political organizations. His autobiography, "Aké: The Years of Childhood" (1981), and subsequent memoirs provide insights into his life and activism.

In 2010, Soyinka established the Democratic Front for a People’s Federation, reflecting his enduring commitment to political engagement. A trailblazer, Soyinka remains a significant figure in African literature and political discourse.

A Dance of the Forests:

"A Dance of the Forests," a seminal work by Wole Soyinka, made its debut during the Nigerian Independence celebrations in 1960, delivering a provocative message that challenged the prevailing sentiment of glorifying the African past. Soyinka, critical of the Negritude movement, sought to caution Nigerians and Africans against idealizing pre-colonial times excessively. The play serves as a stark reminder that the energies of the African people should be directed towards learning from past mistakes rather than romanticizing a bygone era.

Through the use of dead characters and flashbacks, he skillfully illustrates the need for a transformation in the deeds and mindset of pre-colonial Africa. The play challenges the prevailing narratives and urges a shift towards a more introspective and progressive outlook.

Upon its release, "A Dance of the Forests" sparked controversy and angered the Nigerian elite, particularly politicians who felt personally attacked by Soyinka's portrayal of post-colonial Nigerian politics as directionless and corrupt. Despite the backlash, the play has endured as an influential work, presenting Soyinka's unique vision for a new Africa—one liberated from the shadows of European imperialism.

Considered Soyinka's theatrical debut, "A Dance of the Forests" is renowned for its complexity and has been acknowledged as the most challenging of his plays to comprehend. Within its pages, Soyinka unveils the societal flaws, exposing the underbelly of Nigerian society and emphasizing that the past is not inherently superior to the present in terms of ethical conduct. The play serves as a warning to society that they stand on the precipice of a new historical stage—namely, independence.

Originally published in 1963 by Oxford University Press in London and New York, "A Dance of the Forests" endures as a testament to Soyinka's commitment to unveiling uncomfortable truths and advocating for a transformative vision of Africa's future.

Play Performance:

Characters:

The play contains three divisions of the characters:

In Soyinka's plays, he often uses contrast to create characters with diverse qualities. Some, like Demoke, Rola, and Murete, are lively and defend life and joy, even if they're not always morally perfect. They embody a mix of traits – creative and destructive, brave and unscrupulous. Demoke and Rola show growth and reflection.

On the other hand, there are more serious characters lacking humor, like Agboreko, Adenebi, and the Old Man. They represent sterility and order that can be stifling. Then there are power-hungry demagogues, such as Mata Kharibu and Eshuoro, who focus on vengeance.

Soyinka sees Ogun more as a force than a character, symbolizing the mystery of creativity. Ogun is like an artist, exploring the unknown and bringing back wisdom. Demoke, protected by Ogun, reflects the artist's qualities and goes through transformative experiences. Characters become a way to explore human nature, morality, and the artist's role in shaping how we see the world.

Writing style:

Studying Wole Soyinka's play "A Dance of the Forests" involves considering key aspects. Traditional drama, like works by Sophocles or Shakespeare, may not directly apply here. Soyinka, despite his Western education, aims to create African drama in English, merging Yoruba rituals with a foreign language. He challenges traditional play structures, emphasizing the Yoruba worldview over Western norms. Critics, like Biodun Jeyifo, accuse Soyinka of "nativism," favoring metaphysical essences over historical specifics. Soyinka's response suggests he values broader themes over specific historical incidents. Despite criticism, Soyinka remains dedicated to critiquing tyranny and injustice, exploring individuals' roles in their destinies. Soyinka's exposure to Western dramatic traditions leaves traces in "A Dance of the Forests." Choric passages and character resemblances draw from Greek tragedies and Shakespeare. Forest Father's role mirrors Prospero in "The Tempest," both manipulating events to correct past wrongs. Forest Father, perhaps representing Soyinka, reflects on the challenges of being a creator. In a nutshell, Soyinka's play blends African and Western influences, tackling broad themes while facing criticism for potential obscurity and nativism. The play's intricate connections to classical works and Soyinka's self-reflection add depth to the exploration of history, human nature, and the artist's role.

Structure of the play:

The structure of "A Dance of the Forests" differs significantly from the traditional five-act structure commonly found in Western drama. Instead, it is divided into two parts. In the first part, the characters embark on adventures led by Forest Father (disguised as Adenebi) toward the forest for the gathering of the tribes. Simultaneously, Ogun and Eshuoro are searching for Demoke, and Murete is pressured to reveal what he knows. Characters like the Old Man and Agboreko are trying to find and save Demoke. Interestingly, the invited guests from the past, the Dead Man and the Dead Woman, are ignored by all.

The second part delves into a flashback at the court of Mata Kharibu, where the introduced characters play double roles from the past. However, the dramaturgy becomes a bit confusing with various choruses, spirits, ants, and the masque of the Triplets. Disguise and masquerade replace regular storytelling, creating a slower pace. Eventually, Demoke intervenes to restore the Half-Child and undergo the expiation ritual. The play combines reality, something beyond material reality, ritual, and straightforward narrative. The circular movement suggests a cycle of sin from the past to the present, broken by Demoke's selfless act.

The structure highlights a striking contrast between past and present, living and dead, somber and light-hearted moments. Femi Osofisan notes the alternation between sumptuous spectacle and moments of "dark caricature," where tension shifts to laughter and celebration. This contrast is evident in the juxtaposition of comic scenes like Ogun teasing Murete with the serious search for Demoke by the Old Man and the mysterious interactions of Demoke, Rola, Adenebi, and Obaneji in the forest during Part One of the play.

Language:

Soyinka skillfully uses diverse speech styles in "A Dance of the Forests" to capture characters and situations. Agboreko, the village elder, uses proverbs for wisdom, while Adenebi speaks bureaucratically. Rola and Madame Tortoise adopt a flirtatious tone turning into vulgarity when rejected. Murete's speech is imaginative, filled with vivid insults.

As the play progresses, the language becomes more poetic, especially with the Spirits expressing dignified anguish. Even the ant leader voices the suffering of the oppressed, reflecting Fanon's concept of the "wretched of the earth." The language swells to reflect collective suffering and the impact of progress on the earth.

Soyinka also incorporates non-verbal elements drawing from Yoruba traditions. Rituals, gestures, music, and dance play crucial roles, enriching the theatrical experience beyond dialogue. In "A Dance of the Forests," non-verbal elements like the game of ampe, Eshuoro's dance, and the expiation ritual hold significant meaning. Soyinka's use of non-verbal elements enhances the theatrical impact and creates memorable moments that go beyond words.

Decolonization and neo-colonization:

"A Dance of the Forests" was performed during Nigeria's independence celebrations, reflecting the larger theme of decolonization. Franz Fanon's ideas on decolonization are echoed in the play, portraying it as a profound transformation that changes people deeply. Characters like Demoke, Rola, and Adenebi symbolize this process on a smaller scale, facing their past and making amends. Soyinka highlights that decolonization is not a cure-all, as he criticizes the post-independence leaders more interested in privileges than addressing the nation's issues.

In the play, the rejection of the Dead Man and Dead Woman's invitation symbolizes the failure to recognize historical contributions, emphasizing that the real challenge lies within the characters themselves. Soyinka suggests that blaming external forces won't magically solve Nigeria's problems after independence.

Soyinka explores the repetition of history and the connection between tradition and history in the play. The characters playing roles in a play-within-a-play suggest that history tends to repeat itself, with human nature struggling to improve and learn from mistakes. Madame Tortoise's self-seeking behavior in the play-within-a-play mirrors Rola's self-centered tendencies in the living characters. This emphasizes the negative aspects of human nature that persist across time.

Soyinka underscores the artist's role in society, rejecting the idea of isolation. In "A Dance of the Forests," Demoke represents the artist figure. His tragic act leads to a purification ritual rooted in African tradition, involving facing fears and accepting challenges. The outcome is a recognition of history and an attempt to reconcile the past with the present. Forest Father may also symbolize the artist, connecting tradition and creativity, highlighting Soyinka's belief in the transformative power of art in society.

Postcolonial dichotomy:

Soyinka's work, including "A Dance of the Forests," is intricately connected to the postcolonial context of Sub-Saharan Africa. The region's history, marked by civil wars, social unrest, military dictatorships, economic challenges, and the disruptive legacy of colonialism, serves as a backdrop to Soyinka's exploration of cultural identity, resistance, and the complexities of postcolonial existence.

Colonialism in Africa, as described by scholars like Crow and Banfield, led to the disruption of African history, creating artificial nation-states with diverse linguistic, cultural, and religious communities. Soyinka, along with other African writers, emerges as a significant voice in the literary landscape, addressing the aftermath of colonial rule and the challenges faced by newly independent nations.

Soyinka's innovative approach involves blending indigenous Yoruba traditions, rituals, and celebrations with elements of Western theatrical traditions. Despite the adversity faced by African countries, Soyinka demonstrates how their cultural richness, expressed through seasonal rituals, folklore, oral traditions, and historical reinterpretations, remains vibrant.

Franz Fanon's distinction between colonization and decolonization is reflected in Soyinka's work. Fanon emphasizes the shift from individualism, promoted by the colonial masters, to a sense of community during the struggle for freedom. In "A Dance of the Forests," the characters in the first part, particularly Demoke and Rola, initially exhibit individualistic tendencies. However, by the end of the play, Demoke's willingness to undergo the expiation ritual for the community signifies a transformation from self-interest to a communal perspective.

Demoke's response to his father's mention of expiation highlights this shift, emphasizing the collective experience of "we three" and the shared responsibility toward the community. Soyinka, through his characters, engages with the complexities of decolonization, advocating for a sense of solidarity and communal identity in the postcolonial era. This reflects the broader postcolonial discourse in Africa, where writers grapple with the challenges of forging a new identity in the aftermath of colonial rule.

The Politics of English:

The choice of language in literature, especially in the context of postcolonial societies, is a complex and often debated aspect. Soyinka's use of English and his self-imposed exile in the United States raise questions about the politics of language and cultural identity.

Ngugi wa Thiong'o's decision to write exclusively in Gikuyu, as discussed in "Decolonising the Mind," reflects his commitment to addressing the needs of his people and challenging the dominance of colonial languages. Ngugi sees writing in African languages as a form of resistance against neo-colonial states.

Soyinka's situation differs from Ngugi's approach. While Soyinka is critical of imperialism and outspoken about political atrocities, he chooses to write in English. This decision may be influenced by his desire to reach a wider, predominantly Western audience and spread knowledge of Yoruba culture globally.

Ngugi argues that the use of colonial languages perpetuates cultural imperialism, erodes people's beliefs in their heritage, and fosters a sense of cultural inferiority. The "cultural bomb" undermines the oppressed and exploited, making them identify with foreign and decadent forces rather than their own cultural roots.

Soyinka's continued use of English, despite the erosion of his faith in Yoruba and experiences of political harassment, can be seen as a pragmatic choice to communicate with a broader audience. However, it raises questions about the accessibility of his works to those Nigerians who only know Yoruba, as they might miss the full impact of the verbal elements in his plays.

The discussion also touches on Soyinka's exile, which, despite political changes, persists. This choice could be influenced by a reluctance to return due to personal experiences or a broader disillusionment with the political and social conditions in Nigeria.

In navigating the politics of language and cultural identity, Soyinka's choices reflect the complexities of postcolonial literature and the challenges faced by writers in balancing global outreach with a commitment to local languages and cultures.

Click here to read more about the critical study of this play

Alternative end of the play:

What is the actual end of the play?

"A Dance of the Forests" by Wole Soyinka ends with a symbolic and ritualistic resolution. In the final scene, the characters, who represent various aspects of Nigerian society, engage in a dance that signifies a collective journey through time and history. The dance is both a celebration and a reflection on the challenges faced by the nation. The characters confront the complexities of their past, acknowledging the mistakes and missteps that have shaped their history. The dance becomes a cathartic experience, a ritual that allows them to come to terms with their collective identity. Through this symbolic dance, Soyinka explores themes of self-awareness, cultural identity, and the need for a conscious reckoning with the past. The play concludes with a sense of renewal and a call to action. The characters, having gone through this symbolic journey, are poised to face the future with a clearer understanding of their history and a commitment to shaping a better destiny. Soyinka's ending emphasizes the importance of introspection, cultural awareness, and collective responsibility in the context of a post-colonial African nation.

What could be the alternative an end?

The play could end on a more hopeful note, with the characters finding redemption and moving forward in a spirit of renewal, rather than being condemned to repeat their mistakes. This would align more with traditional themes in some African storytelling. There could be an ending where the characters gain deeper self-awareness and resolve to change their harmful behaviors. This allows for personal growth while still acknowledging past wrongs.

 

Rather than an outside supernatural force passing judgment, the characters could engage in thoughtful debate and realize their own responsibility for change. This emphasizes human agency. The cycle of mistakes could continue but with a sense of the characters being haunted by or unable to escape their past, conveying a tragic sensibility. The ending could be more open-ended, leaving the fate of the characters uncertain. 

Conclusion:

In summary, Wole Soyinka's play "A Dance of the Forests" is like a colorful tapestry, weaving together themes of Africa's history, complex characters, and a mix of African and Western influences. Soyinka breaks away from traditional play styles, using different ways of speaking, rituals, and actions to tell his story. The play explores the challenges of life after colonialism and how language choice can be tricky in literature.

When thinking about a different ending for the play, we could imagine the characters learning from their mistakes and moving forward positively. Instead of outside forces deciding their fate, the characters might realize their own power to change. The play is like a window into Africa's past and present, with Soyinka's unique style and powerful messages shining through.

In a nutshell, "A Dance of the Forests" is not just a play; it's Soyinka's way of sharing important ideas about Africa, its history, and the human spirit.

Words: 2756

Images: 3

Videos: 3

References:

Britannica, and The Editors of Encyclopaedia. “Wole Soyinka | Biography, Plays, Books, & Facts.” Britannica, 25 January 2024, https://www.britannica.com/biography/Wole-Soyinka.  Accessed 3 March 2024.

Claude AI. “Alternative end of the play 'A Dance of the Forests.'” Claude AI, 2024, https://claude.ai/chat/673d53fe-3edd-498d-b188-57a4e1fa0474. 

“A Dance of the Forests.” Wikipedia, https://en.wikipedia.org/wiki/A_Dance_of_the_Forests.  Accessed 3 March 2024.

Soyinka, Wole. A Dance of the Forests. Oxford University Press,, 1963.