A Dance of the Forests by Wole Soyinka

This blog is written as a task assigned by Megha ma’am from the Department of English M.K.B.U. In this particular blog I am going to deal with the play “ A Dance of the Forest” by Wole Soyinka. 

Wole Soyinka

Wole Soyinka (1934-present), a Nigerian playwright and Nobel laureate (1986), is celebrated for his powerful works that often use satire to critique societal issues. While his writing sometimes adopts a humorous approach, particularly when addressing situations in modern West Africa, it invariably underscores his serious concerns about the inherent dangers of power and its potential for abuse.

Born in Abeokuta, Nigeria, Soyinka is a member of the Yoruba people. He received his education at Government College and University College Ibadan, before completing his English degree at the University of Leeds in England in 1958. Upon returning to his home country, he founded an acting company and wrote his groundbreaking play, "A Dance of the Forests," which premiered in 1960, coinciding with Nigeria's independence celebrations. This play, published in 1963, serves as a critical commentary on the newly formed nation. It challenges romanticized notions of the past, exposing the flaws in the present and suggesting that the hopes of a golden age might be illusory.

A Dance of the Forests

Wole Soyinka's "A Dance of the Forests," premiered during Nigeria's 1960 independence celebrations, sparked controversy with its critical portrayal of both the past and present. It challenged the romanticized view of pre-colonial Africa associated with the Negritude movement, urging introspection and change through the use of flashbacks and deceased characters. This approach angered the Nigerian elite, who found Soyinka's portrayal of post-colonial politics as corrupt and uninspired to be offensive. Yet, despite the criticism, the play remains influential. It offers a vision for a new Africa, one free from the lingering influence of European imperialism.

Considered Soyinka's debut and known for its complexity, "A Dance of the Forests" unflinchingly exposes societal ills. It demonstrates that neither the past nor the present are free from flaws, serving as a stark warning to newly independent Nigeria. The play was published by Oxford University Press in London and New York in 1963.

Characters

• Dead Man: A former soldier wrongly accused of treason, castrated, and reincarnated multiple times before his final death. He seeks justice for his suffering.

• Dead Woman: The pregnant wife of the Dead Man, executed unjustly on the orders of Madame Tortoise.

• Aroni: The one-legged spirit who summons the Dead instead of the ancestors requested by the living, forcing them to confront their past transgressions.

• Murete: A drunken expository tree demon who frequently clashes with other spirits.

• Eshuoro: A vengeful spirit residing in an agaba tree, seeking revenge on Demoke for harming him and killing his dedicated servant Oremole.

• Ogun: The god of metalworkers, Demoke's patron, and Eshuoro's antagonist, opposing his desire for vengeance.

• Oremole (unseen): Demoke's apprentice, killed in a jealous rage by Demoke.

• Demoke: The master woodcarver commissioned to create a totem for the gathering. He flees the village due to guilt over Oremole's death and eventually burns his creation under Eshuoro's influence. He was once a poet in the court of Mata Kharibu during the Dead Man and Woman's plight.

• Rola (Madame Tortoise): Initially claiming to flee the gathering, she is revealed as a local prostitute and the reincarnation of the manipulative Queen Madame Tortoise, responsible for the Dead Woman's execution and the death of another man by seduction.

• Agboreko: The messenger and soothsayer who, despite witnessing past suffering, remains silent during the Dead Man's condemnation.

• Adenebi: The council orator, a witness of others' suffering who avoids responsibility for his own actions, including the death of 65 lorry passengers. He was also a historian in the court of Mata Kharibu, vocally condemning the Dead Man.

• Obaneji (Forest Head): The seemingly disliked office clerk who secretly embodies the Forest Head, the ruler of the forest spirits. 

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

The scene opens after Demoke has returned the Half-Child to the Dead Woman. Eshuoro gives a yell of triumph and rushes off stage, taking his triplets with him. The Dead Man comes forward eagerly to speak.

Dead Man: At last, after so many years of shame, I have found release and can rest in peace. My spirit is free thanks to Demoke's courageous act. 

Forest Head nods in approval. 

The lights change as dawn breaks over the forest clearing. Demoke stands quietly reflecting on the night's events. Rola approaches him tentatively. 

Rola: Demoke...after all we endured together, I hoped you might still consider me as your wife. We were both forged anew in the fires of this night. 

Demoke looks at her pensively then takes her hand.

Demoke: You speak truthfully. We have been through a trial that few could comprehend. Let us walk this path together from now on and build a new life in this place.

Rola smiles and embraces Demoke as the rest of the villagers start to wake and emerge into the clearing. The Old Man hobbles over to Demoke and places a hand on his shoulder.

Old Man: You have done well my son. Our people can make a fresh start thanks to your courage. 

Agboreko surveys the industrious villagers as they begin preparing food and resuming their daily tasks. 

Agboreko: The sacrifice was not in vain. Now we must move forward with purpose and unity. There is much work to be done.

The mortar pounders, cloth beaters, wood cutters and cooks create a rhythmic backdrop as the sun rises higher in the sky. There is a sense of community and optimism for the future. Demoke picks up his hunting spear, takes Rola's hand, and leads her off into the forest as the lights fade.

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

A Dance of the Forests: Key Issues

Decolonization:

The play explores the challenges faced by newly independent Nigeria, mirroring Fanon's ideas.  Characters like Demoke and Adenebi initially avoid responsibility for past actions. However, the play encourages facing the past for a fresh start. Soyinka expresses concerns about the "enemy within" replacing colonial oppression.

Tradition and History:

The play uses Yoruba rituals to reflect on the connection between past and present. Characters relive past injustices, highlighting the danger of repeating mistakes. The Dead Man and Woman symbolize forgotten heroes, rejected by the "new" society.

The Artist and Society:

Soyinka believes artists have a social duty to expose injustices. Demoke, the carver, embodies this role, facing consequences for his actions.The play suggests a connection between the artist and the Forest Head, representing artistic influence on society.

The structure of this play

Part 1 introduces characters, their journeys, and the ignored Dead Man and Woman. Forest Father (disguised) guides them towards the gathering. Ogun and Eshuoro seek Demoke, while Demoke's father and Agboreko try to find him.

Part 2 is a flashback to the court of Mata Kharibu. Existing characters reappear as historical figures, except the Dead Man and Woman who remain unchanged. After these scenes, the play utilizes various choruses (spirits, ants, masks) for storytelling, creating a non-linear progression. Disguise and masquerade replace traditional narrative. The pace slows until Demoke intervenes to reunite the Half-Child with its mother and climbs the totem pole for atonement.

The play blends reality, a surreal beyond, rituals, and straightforward narrative. Its circular movement reflects a cycle of sin, hopefully broken by Demoke's sacrifice. Striking contrasts exist between past and present, living and dead, seriousness and humor. The author describes these contrasts as "sumptuous spectacle" alternating with "dark caricature" and "electric caves of tension" yielding to laughter and celebration. Part 1 exemplifies this with the comedic Ogun-Murete scene juxtaposed with the Old Man's worry and the secretive interactions of other characters.

LANGUAGE 

This section analyzes the speech styles used in A Dance of the Forests:

• Agboreko: Relies on proverbs to appear wise, despite lacking true wisdom. (e.g., "proverbs to bones and silence")

• Adenebi: Speaks like a narrow-minded bureaucrat. (e.g., "We perform all the formalities.")

• Rola/Madame Tortoise: Coquettish, turning vulgar when angered. (e.g., "I suppose you weren't born by one. Filth!")

• Murete: Uses colorful and graphic insults. (e.g., "You...mucus off a crab's carbuncle")

• Spirits: Speak with heightened poetic language reflecting their dignified anguish.

• Ants: Speak at length about their decimation and represent the "wretched of the earth." (e.g., "I am the victim of the careless stride")

WESTERN INFLUENCES ON A DANCE OF THE FORESTS 

While steeped in Yoruba culture, the play shows faint echoes of Western drama. The Spirits' and Half-Child's pronouncements resemble the chorus in Greek tragedies. The Half-Child, fearing a "branded womb," recalls the ghost child in Macbeth, signifying an unnatural birth. Murete combines characteristics of Ariel and Caliban from The Tempest. Similarly, Forest Father, who orchestrates events, mirrors Prospero's manipulation in the same play.

However, Soyinka diverges: Forest Father lacks Prospero's faith in a higher power. The Christian worldview is absent, unlike potential parallels between Demoke's sacrifice and Jesus'. Finally, Forest Father's creator, Soyinka, resembles Prospero, the artist as magician, using his work to challenge the audience's complacency.

SOYINKA AND POSTCOLONIALITY 

Sub-Saharan Africa faces immense challenges: civil wars, ethnic tensions, dictatorships, poverty, and natural disasters. These issues undeniably stem from colonialism's disruptive legacy. The carving up of Africa by European powers, often ignoring cultural and linguistic boundaries, sowed the seeds of modern strife. These "artificial creations" inherited crippled economies, foreign debt, and ethnic divisions. Despite these hardships, Africa boasts a rich and thriving artistic scene. Writers like Ngugi wa Thiong'o, Wole Soyinka, and others haven't been silenced. Remarkably, colonialism couldn't entirely erase Africa's vibrant indigenous cultures. Traditional rituals, celebrations, and oral traditions are alive and well, providing strong foundations for contemporary artists.

Wole Soyinka exemplifies this artistic resilience. His play, "A Dance of the Forests," blends Yoruba myths, rituals, and celebrations with elements of popular theater. Notably, he uses English, the colonizer's language, to reclaim and reinterpret African traditions.

Soyinka's work also reflects Frantz Fanon's ideas on decolonization. Fanon argues that colonialism fostered individualism, while decolonization should emphasize community. In the play, Demoke and Rola initially prioritize self-preservation over communal well-being. However, by the end, Demoke sacrifices himself for the community's sake. His final words, "we three," emphasize the shift from individual to communal responsibility.

THE POLITICS OF ENGLISH

Soyinka's use of English and his self-imposed exile in the US spark debate. Ngugi wa Thiong'o famously chose to write in Gikuyu, believing it empowered the Kenyan people. Ngugi argues that African languages challenge neo-colonial regimes and unite the working class.

Soyinka, however, aims for a broader audience. Though critical of imperialism (as seen in his Nobel speech), he wants to expose a wider world to Yoruba culture. He boasts that ordinary workers, not the elite, flocked to his plays.

However, this choice does exclude Nigerians who only know Yoruba. They miss the full impact of his work, as Ngugi argues, when culture is presented in a colonizer's tongue. Ngugi sees this as a "cultural bomb" weakening self-belief and fostering a desire to imitate the oppressor.

While Soyinka's situation isn't one of despair, his faith in Yoruba culture seems shaken. Political persecution by Nigerian regimes is undeniable, as detailed in his 1993 interview. Despite the lifting of charges (1998), he remains hesitant to return.

SOMNKA'S NATIVISM  

Some critics label Soyinka a "nativist" who prioritizes timeless themes over historical specifics. They point to his comments downplaying the role of specific historical events in his work.

However, a closer look reveals this to be an oversimplification. Soyinka draws on real historical events in plays like "A Dance of the Forests" and critiques injustice throughout history. In "Death and the King's Horseman," he avoids scapegoating the colonizer and assigns partial blame to the play's protagonist.

While Soyinka may emphasize universal themes, he doesn't entirely neglect history. A fairer criticism might be that he prioritizes broader messages over the complexities of specific historical events.

SOYINKA'S OBSCURITY

While "A Dance of the Forests" has undeniable merits, particularly in its first half and the gripping finale, it stumbles in parts. The extended speeches of exploited spirits can feel drawn-out, breaking the play's momentum.

Soyinka himself downplayed the need for complete comprehension. He aimed for "exciting theater," challenging audiences to think critically and respond intuitively rather than rely on expectations. This approach, while intriguing, might hinder the play's effectiveness in sparking social change.

However, Soyinka's courage and commitment to social justice through art remain commendable. His work avoids propaganda and sentimentality, showcasing his artistic mastery while confronting harsh realities. It's a flawed but powerful play that deserves recognition despite its unevenness.

Conclusion

A Dance of the Forests transcends Western dramatic conventions.  Soyinka explores themes of Nigerian identity, history's cyclical nature, and the artist's social role. The play's structure emphasizes repetition with its non-linear timeline and doubled characters, suggesting a continuous cycle of violence. Characterization focuses on contrasting personalities rather than psychological depth. Language and non-verbal elements like rituals and music are crucial to the play's impact, making it more powerful on stage than on paper.

Here is one YouTube video which can help you for better understanding.

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The Only Story by Julian Barnes

  The Only Story

Julian Barnes

This blog is a task given by Dr. Dilip Barad sir H.O.D. of English Department M.K.B.U. in this blog I am going to write about “The Only Story” written by Julian Barns and also write a worksheet which is given by sir. 

WORKSHEET 3

1 Analyze the context of the following quote: "Why do you cheat at crosswords?”

A. Who is the speaker and to whom is this question addressed?

Paul Roberts is the speaker and this question is addressed to Joan. 

B. What is the response given by the recipient? (ChatGPT) 

When Paul questioned Joan about her habit of cheating in crosswords, she responded with a sense of indifference, claiming it made no difference. To her, life itself held little meaning, even the "dishonesty" of manipulating the puzzles. Having already faced her own personal hell, she saw completing a crossword accurately as inconsequential in the grand scheme of things.

C. Is the reference to "cheating at crosswords" repeated in the novel? (ChatGPT)

Paul confronted Joan about cheating at crossword puzzles. Joan replied that she didn't think it mattered much in the grand scheme of life if she bent the rules a bit to complete a puzzle. She explained that she had already endured many hardships in life, so fudging a few crossword answers seemed trivial in comparison.

D. What inferences can be drawn from this reference? (ChatGPT)

In Julian Barnes's 'The Only Story,' crossword puzzles serve as more than just a recreational activity - they become a meaningful metaphor for the characters' inner lives. Joan's cheating exposes her growing disillusionment with a world where meaning feels arbitrary and happiness is elusive. 

The crosswords initially provide Joan an escape from life's harsh realities. But over time, her cheating comes to symbolize the growing divide between her youthful ideals and the mundane disappointments of adult life. The once-meaningful puzzles now epitomize the gap between her ambitions and her daily reality.

Ultimately, Barnes uses the crossword motif to underscore the existential angst of his characters. Joan's cheating hints at her grappling with the inexorable passage of time and the fading of dreams. The puzzles highlight the characters' sense of disconnection from both their surroundings and their own aspirations. 

In this way, the crosswords become a subtle yet powerful narrative device, unraveling the characters' inner turmoil and unmooring from meaning. The motif serves to underscore Barnes's central themes of existential unease, the quest for purpose, and the unpredictability of life.

2. Investigate the symbolic significance of 'crosswords' in the novel "The Only Story!"

A. Identify the speaker and the person to whom the quote is addressed. (ChatGPT)

In 'The Only Story,' Julian Barnes uses crossword puzzles as a metaphor for the evolution of Paul and Susan's romantic relationship. Solving crosswords together early on represents the joy of their initial connection - a shared interest that symbolizes their intellectual chemistry and mutual understanding.  As the relationship develops, the crosswords take on a more nuanced symbolic meaning. The puzzles mirror the deepening complexity of their bond, reflecting the challenges of true intimacy and the obstacles they face in fully knowing each other. Just as crosswords become more difficult, so too does their ability to communicate and relate as life throws adversity their way.

The crosswords come to represent Paul's changing understanding of his relationship with Susan over time. The ups and downs of solving clues parallel the highs and lows of their emotional journey together. In this way, Barnes uses crosswords as an evocative metaphor for the intricacies of human connection - the triumphs, frustrations, and ultimate endurance required to solve the puzzle of intimate relationships.

B. Write a comprehensive answer that summarizes the findings. (ChatGPT)

In 'The Only Story,' Julian Barnes employs crossword puzzles as a multilayered narrative device reflecting the complexities of human relationships. Initially a shared passion bonding Paul and Susan, the crosswords come to mirror the intricate dance of their changing connection. As their relationship transforms, so does the significance of the puzzles.  Once an expression of their unity, crosswords morph into symbols of disconnection - ciphers revealing the deepening struggles and frustrations in Paul and Susan's relationship. The very act of solving them mirrors the challenges of navigating intimacy and mutual understanding. Each puzzle charts a metaphorical journey, with the puzzle's ebbs and flows reflecting the highs and lows of Paul and Susan's emotional voyage.  

Ultimately, Barnes uses crosswords to underscore the profound intricacies of romantic bonds. More than just a recreational activity, they become reflective metaphors for the triumphs, pitfalls, and enduring nature of meaningful companionship, unveiling the complex terrain of love.

3. Analyze the following quote in the context of the novel: "The point of the story is 'safe and capable."

A. Identify the speaker and the person to whom the quote is addressed.

Susan MacLeod is the speaker and Paul Roberts is the listener.

B. Describe the significance of this quote within the context of the story. (Claude)

The quote "The point of the story is 'safe and capable'" seems to capture an important moment in Julian Barnes' 'The Only Story.' This line likely refers to a scene where Jack, on his deathbed, affirms his steadfast trust in Susan's ability to care for his vulnerable son, E.P., after Jack is gone. 

Jack's words, though spoken in a morphine-induced haze, reflect his deep confidence in Susan's competence and emotional strength. To Jack, Susan embodies safety and capability - she is someone capable of providing E.P. with the secure, nurturing environment he needs, despite his uniqueness and sensitivities. 

This powerful phrase underscores a key theme in the narrative - the significance of trust in fostering meaningful connections. Jack's unflinching belief in Susan highlights how authentic relationships thrive on mutual trust and confidence in each other's abilities. His poignant words capture a pivotal instant where he entrusts Susan with his most precious responsibility, evidencing the profound bonds trust enables.

4. Evaluate the use of the phrase "moviemaker's bromide" in the novel 'The Only Story.’

A. How many times is the phrase used in the novel?

The phrase is used two times in the novel, 'The Only Story'.

B. What is the situation when this phrase appears in the novel ? (Claude)

In 'The Only Story,' a reflective moment arises as Paul visits a mental health facility, recalling his final encounter with Susan before her death. As he remembers agonizing over whether to bid her goodbye with a kiss or by unveiling the elegance of her hidden ears, the narrative describes his emotional turmoil as a "moviemaker's bromide." 

This term seems to capture Paul's sentimental recollection of that poignant scene. The clichéd, overly dramatic details he focuses on reveal his desperate attempt to imbue the painful memory with meaning and profundity. However, the deeper complexity of human connection eludes such simplistic, formulaic portrayals. The "moviemaker's bromide" encapsulates how, in remembering Susan, Paul struggles to reconcile his rosy, romanticized vision of their relationship with the more nuanced reality of what they shared.

C. What does it signify within the context of the story? (Claude)

As he stands vigil at Susan's bedside, the man is engulfed in emotional turmoil. Initially drawn to touch her hair in a gesture of comfort, he hesitates, grappling with the enormity of her condition. Thoughts swirl – of mortality, of redemption, of how to find closure. 

The notion arises to bid farewell with a kiss - a cinematic cliché steeped in sentimentality. Yet he recognizes the artifice of such a scripted act juxtaposed with the stark realities of illness and death. 

This vignette illuminates the man's struggle to reconcile his desire for an idealized, romantic ending with the harsh truths of Susan's prognosis. It reveals the inadequacies of language and the tensions between genuine connection and sentimental platitudes in life's most difficult moments. The author deftly explores the complex landscape of human emotions when confronted with adversity and the universal longing for comfort, solace and closure.

 

Narrative pattern of the novel with the reference to the article EXPLORING NARRATIVE PATTERNS IN JULIAN BARNES' "THE ONLY STORY”:

In his novel "The Only Story," Julian Barnes employs an innovative narrative approach to explore philosophical themes of love, memory, and what it means to be human. While incorporating traditional storytelling techniques, Barnes also leverages complex literary devices like an unreliable narrator, shifting narrative perspective, and philosophical asides. 

These techniques work in concert to create a multilayered reading experience. The unreliable narrator adds an element of uncertainty in interpreting events. Shifts in narrative perspective provide different vantage points on the same story. Moments of philosophical commentary integrate conceptual depth, prompting reflection on poignant existential questions. 

Together, these devices enable Barnes to transcend straightforward linear storytelling. By blending conventional narrative with experimental literary techniques, he crafts a nuanced exploration of the human psyche, relationships, and the struggle to find meaning. Barnes' masterful command of narrative strategy deepens the impact and insights of the story, exemplifying innovative possibilities for contemporary fiction.

1. Narrative Structure:

In the novel, Barnes employs a conventional three-part structure, evocative of classic storytelling, to trace the arc of Paul and Susan's relationship. The story opens by foregrounding Dr. Johnson's definition of a novel as a "small tale about love," establishing the introspective love story to follow. 

Barnes divides the narrative into three sections, following the inception, evolution, and ultimate dissolution of Paul and Susan's romance. This familiar narrative organization provides a coherent trajectory, allowing readers to seamlessly follow the ebb and flow of their connection. 

Yet within this traditional framework, Barnes infuses nuanced explorations of complex themes like agency, culpability, and the role of fate. The conventional love story structure becomes a springboard for deeper philosophical inquiry. By integrating traditional narrative techniques with probing existential questions, Barnes creates a reading experience that satisfies desire for story while unpacking the intricacies of the human condition.

2. Narrative Trope:

Barnes' novel is structured as an extended retrospect, with Paul looking back on his former relationship with Susan from a place of hindsight and matured perspective. This reflective narrative approach enables Barnes to underscore the complexities of memory - how recollections shift over time, colored by the lens of accumulated experiences. 

By telling the story through Paul's imperfect memories, Barnes embraces the fragmented, subjective nature of reconstructing the past. The nonlinear structure mirrors the tendency of memory to amplify certain moments while obscuring others. This narrative technique adds dimensionality, highlighting the unreliability of memory even as it seeks to assemble a coherent narrative. 

Ultimately, the retrospective approach facilitates Barnes' deeper exploration of how our understanding of pivotal life events evolves as we change and gather new experiences. The novel's very structure mirrors and interrogates this complex human process of making meaning from memories. This introspective technique enriches Barnes' nuanced portrayal of love, connection, and the ever-unfolding process of comprehending our own histories.

3. Unreliable Narrator:

Barnes utilizes an unreliable narrator technique by framing the novel's central love story through the imperfect recollections of protagonist Paul. From the outset, Paul readily admits the limits of his memory, perspective, and capacity to reconstruct the past. 

This narrative choice adds layers of complexity and ambiguity. Paul's admitted unreliability forces readers to actively discern fact from biased memory or even sheer fiction. Barnes intentionally destabilizes assurance in the narration, underscoring the elusive nature of narrative truth and the inherent subjectivity of storytelling. 

By anchoring the novel in an unreliable narrator's shifting memories, Barnes calls into question the notion of singular truth. Readers must carefully interpret Paul's version of events, while acknowledging its gaps and flaws. This technique engenders critical thinking about assumption, challenges passive acceptance of narrative, and echoes the ever-shifting process of making meaning from memories. Barnes provokes deeper introspection through strategically embracing uncertainty in both the narrator and the human experience.

4. Drifting Narration:

Barnes purposefully varies the narrative perspective throughout the novel to reflect Paul's evolving psyche and emotional distance. In the beginning, Paul utilizes an intimate first person perspective, drawing the reader close as he recounts falling in love with Susan. 

As the relationship deteriorates, the perspective shifts to second person as Paul addresses the reader as "you" - a subtle indicator of his growing detachment from the relationship and his past self. Finally, in the closing sections, Paul adopts a distanced third person point of view, reflecting his complete dissociation from this formative love experience. 

Through these incremental shifts, Barnes mirrors Paul's internal descent - his loss of self, withdrawal from the relationship, and ultimate alienation from his own history. The drifting narrative voice becomes an ingenious means of charting Paul's emotional unraveling and the rupture of his identity. Barnes' inventive manipulation of narrative perspective immerses us in Paul's psychological journey and the transformative power of love.

5. Authorial Comments:

Barnes elevates "The Only Story" beyond a conventional love narrative through extensive philosophical reflection woven throughout the text. Paul's introspective ponderings on morality, purpose, and the meaning of life provide existential ballast to his personal story. 

These philosophical detours serve to universalize Paul's individual love journey. By integrating metaphysical discourse on the human condition, Barnes transcends the particularities of the story to access larger truths. The novel becomes not just a singular love story but a vessel for contemplating profound questions of existence.

This blending of the narrative and the philosophical creates a rich interplay of the emotional and intellectual. Barnes satisfies the reader’s desire for storyline while spurring rumination on life’s deepest complexities. Ultimately, this synthesis of the conceptual and the personal transforms “The Only Story” into a multilayered reading experience that engages both mind and heart. Through Paul’s tale, Barnes crafts a work of deeper resonance that contemplates love while illuminating facets of the human experience.

Here is one YouTube presentation video of my classmates which you can refer for better understanding.

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