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.
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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