Thinking Activity : A Dance of the Forests by Wole Soyinka

A Dance of the Forests by Wole Soyinka

This blog is a thinking exercise based on Wole Soyinka's play A Dance of the Forests. It includes a short introduction to the author, a summary of the play, and a Q&A section. Megha ma'am assigned me this task.

About Wole soyinka :

Wole Soyinka, born on July 13, 1934, in Abeokuta, Nigeria, is a famous Nigerian playwright, poet, and political activist. He made history as the first African to win the Nobel Prize for Literature in 1986. His work combines Western literary traditions and his Yoruba culture, using both to talk about important social and political issues in Nigeria and around the world.

Soyinka studied in Nigeria and later in the UK, where he earned a degree in English. After returning to Nigeria, he founded an acting company and wrote his first big play, A Dance of the Forests (1960), which criticized Nigeria’s new government and its view of the past. This play was part of the country’s independence celebrations.

Besides his early funny plays, Soyinka wrote more serious works like The Strong Breed (1963), Kongi’s Harvest (1966), and Death and the King’s Horseman (1975). These plays deal with themes of power, leadership, and injustice. His work is often inspired by Yoruba culture and mythology and shows his disappointment with African leaders and the struggles of post-colonial societies.

Soyinka has always been a strong supporter of democracy and human rights. He has used his writing and activism to speak out against political corruption, even facing imprisonment and exile for his views. He has also written memoirs, like Aké: The Years of Childhood (1981) and You Must Set Forth at Dawn (2006), where he shares his personal experiences and political beliefs.

In addition to plays, Soyinka has written novels such as The Interpreters (1965) and Chronicles from the Land of the Happiest People on Earth (2021), as well as poetry collections like Poems from Prison (1972) and Mandela’s Earth and Other Poems (1988). His works show his skill in language and his ability to express deep ideas through poetry.

Throughout his career, Soyinka has remained a key figure in both African and global literature and politics. His writing, rooted in his own experiences, speaks to universal issues of power, corruption, and the fight for justice.

About Play :

A Dance of the Forests is one of Wole Soyinka’s most famous plays. It was first shown during Nigeria’s Independence celebrations in 1960. The play criticizes the idea of glorifying Africa's past and warns that Nigerians and Africans, in general, should focus on avoiding the mistakes of the past.

Soyinka, who opposed the Negritude movement, believed that Africa should not just look back at its pre-colonial history but should focus on changing for the better. He used dead characters and flashbacks in the play to show how the past’s mistakes continue to affect people’s lives.

When it was first released, A Dance of the Forests angered many people, especially the political elite in Nigeria. Soyinka’s portrayal of post-colonial Nigerian politics as corrupt and directionless was controversial. Despite the criticism, the play remains influential today. It presents Soyinka’s vision for a new Africa that moves beyond the influence of European colonialism.

The play is seen as Soyinka’s first major work and is considered one of his most complex plays. It shows the darker sides of society and makes it clear that the past is no better than the present in terms of problems. Soyinka warns that Nigeria is about to enter a new phase in its history—independence.

The play was published in 1963 by Oxford University Press in London and New York.

Questions:

(Q.1).Write a proposed alternative end of the play 'A Dance of the Forest' by Wole Soyinka.

Proposed Alternative Ending for A Dance of the Forests by Wole Soyinka

As the play nears its climax, the forest trembles with an eerie silence. The spirits of the dead and the living stand at a crossroads, awaiting the final resolution of the cycle that has been played out countless times before. The Half-Child, a symbol of lost potential and an unborn future, flickers between existence and oblivion. The Dead Man and Dead Woman, their expressions heavy with sorrow, look upon the gathering with the weariness of those who have long waited for justice.

In the center of it all, Demoke, the carver, kneels before the sacred araba tree, his chisel clutched tightly in his hands. He has spent his life carving symbols of power, of history, of triumph and tragedy, but now he realizes that none of it has truly mattered. The totem he has created stands tall, yet it carries the weight of the past—of guilt, of destruction, of cycles unbroken.

The Judgment of Forest Head

Suddenly, a figure steps forward—Forest Head, the eternal observer, the force that has guided both the living and the dead to this moment. His voice, both sorrowful and knowing, echoes through the clearing.

FOREST HEAD: The dance has been danced, yet its meaning remains lost. Again, mankind refuses to see. Again, the past speaks, and again, the living turn away. Must this cycle repeat itself until the forests themselves are silent?

Demoke, exhausted but resolute, looks up. His voice, hoarse yet determined, breaks the silence.

DEMOKE: No more. If the past cannot be changed, then let the future be shaped by truth. I refuse to carve another lie.

A murmur spreads through the spirits. The Dead Woman steps forward, her voice trembling.

DEAD WOMAN: And what of those who never had a future? What of the child who was never born, never given the chance to live? Will you carve a place for them, or will they, too, be forgotten?

She gestures toward the Half-Child, whose form flickers, barely holding on to existence. The child does not speak, but its silent cry fills the air—a cry of futures lost, of stories untold, of lives erased before they could begin.

The Temptation of Eshuoro

At that moment, Eshuoro, the vengeful spirit of chaos, sees his opportunity. He steps forward, his form writhing with darkness.

ESHUORO: Then let all be erased! Let the past consume the present, and let the dance end in destruction! If mankind cannot change, then let there be nothing left to corrupt!

With a scream, Eshuoro raises his staff, and the forest shudders. The spirits cry out as darkness begins to spread. But before he can strike, another figure steps into the clearing—Ogun, the god of iron and creativity, the protector of carvers. His presence alone is enough to halt the destruction.

OGUN: No, Eshuoro. The world is not yours to destroy. As long as hands still carve, as long as minds still create, there is hope. Demoke—if you are truly ready, take this tool and shape the future.

He extends his hand, offering Demoke a new chisel. Unlike the one Demoke has used before, this chisel gleams with divine energy. It is both a weapon and a gift—the power to either continue the cycle of destruction or to break it.

Demoke takes the chisel. He approaches the araba tree, staring at the totem he has carved. He raises his hand, and for a moment, it seems he might destroy his own work. But instead, he does something no carver has done before—he reshapes it.

A New Symbol is Carved

Demoke does not erase the past, but he does not glorify it either. He carves something new—a figure of the Half-Child, not as a broken spirit, but as a bridge between the past and the future. The child’s form, no longer ghostly, takes on solidity, becoming a symbol of possibility rather than loss.

The Dead Man and Dead Woman watch in stunned silence as their child’s presence is immortalized—not as a forgotten tragedy, but as a presence that must be acknowledged. The spirits of the past, long tormented by neglect, seem to sigh in relief. One by one, they begin to fade, their restless energy finally given a place to rest.

The Half-Child looks at Demoke with gratitude before dissolving into the carving, its existence no longer one of exile, but of remembrance.

The Cycle is Broken

Forest Head watches the transformation, his expression unreadable.

FOREST HEAD: Perhaps, only perhaps, this time, the dance will not be in vain.

Eshuoro lets out a final, defiant cry before vanishing into the shadows. Ogun places a hand on Demoke’s shoulder, nodding in approval. The living, unaware of the cosmic struggle that has unfolded, begin to arrive at the clearing, drawn by the totem’s presence.

They see the carving, and for the first time, they do not turn away from the past.

As the sun rises over the forest, the drums resume—not a dance of the dead, nor a dance of judgment, but a dance of renewal. The cycle is broken, not through vengeance, but through creation.

The dance continues, but this time, the living have chosen to lead.

(Q.2).Write a note on the play 'A Dance of the Forest' by Wole Soyinka.

Wole Soyinka's 'A Dance of the Forests' is a seminal play that was first performed in 1960 as part of Nigeria's independence celebrations. This work is not only a reflection of the socio-political landscape of Nigeria at the time but also a profound exploration of themes such as identity, tradition, and the complexities inherent in postcolonial society. The structure of the play is notably unconventional, diverging from the traditional Western five-act format. Instead, it is divided into two distinct parts. The first part focuses on the interactions of the characters as they prepare for a significant festival, guided by the enigmatic figure of the Forest Father. The second part employs a flashback technique, transporting the audience to the court of Mata Kharibu, where the characters double as historical figures, thereby illustrating the cyclical nature of history and the repetition of human follies.

Central to the play are themes that resonate deeply with the Nigerian experience of independence. Soyinka delves into the process of decolonization, emphasizing the importance of acknowledging historical injustices rather than attributing all societal ills to colonial powers. The characters, particularly Demoke, Rola, and Adenebi, undergo personal transformations that mirror Nigeria's broader struggles for identity and responsibility in the wake of independence. Through their journeys, Soyinka critiques the notion that freedom from colonial rule would automatically resolve the nation's issues, suggesting instead that the newly independent Nigeria must confront its own internal conflicts and historical burdens.

Characterization in 'A Dance of the Forests' is rich and multifaceted, with Soyinka employing a method of contrast to delineate different types of characters. The dynamic characters, such as Demoke and Rola, exhibit growth and self-awareness, ultimately recognizing their roles within the community. In contrast, the more stuffy characters, like Agboreko and Adenebi, embody sterility and a lack of humor, often failing to grasp the gravity of their situations. Additionally, the play features demagogues like Mata Kharibu and Eshuoro, who represent the destructive lust for power and vengeance, further complicating the narrative landscape.

Soyinka's use of language is another critical aspect of the play, showcasing a diverse array of speech styles that reflect the characters' personalities and social standings. From the proverbs of the village elder to the graphic insults exchanged between characters, the dialogue is both vibrant and revealing. Non-verbal techniques, including rituals, music, and dance, are integral to the play, drawing heavily from Yoruba traditions and enhancing the overall theatrical experience. These elements serve to create a rich tapestry of cultural expression that is both engaging and thought-provoking.

While Soyinka's education and experiences in Western contexts have influenced his work, he remains committed to presenting the Yoruba worldview, creating a unique blend of cultural elements that challenge conventional narratives. The play features choric passages reminiscent of Greek tragedies, yet it maintains a distinctly African identity, emphasizing the importance of community and collective responsibility over individualism. This is particularly relevant in the context of postcolonial Africa, where the legacy of colonialism continues to shape societal dynamics.

In conclusion, 'A Dance of the Forests' is a complex and layered work that invites audiences to reflect on their history, identity, and the role of art in society. Through its innovative structure, rich characterization, and thematic depth, the play not only critiques the ongoing struggles in postcolonial Africa but also highlights the necessity for individuals and communities to confront their pasts and take responsibility for their futures. Soyinka's masterful blending of Yoruba traditions with contemporary issues ensures that this play remains a vital part of African literature and postcolonial discourse, resonating with audiences both within and beyond Nigeria.

Thank you...

References: 

“Unit 4 Critical Commentary on a Dance of the Forests.” The University’s Department of English and Modern European Languages Directly, Apr. 2020, www.lkouniv.ac.in/site/writereaddata/siteContent/202004120632194318nishi_Dance_of_the_Forests_9.pdf. Accessed 18 Feb. 2025.