Assignment Paper 206 - The African Literature
Representation of Yoruba Culture in Wole Soyinka’s ‘Dance of the Forest’
Name - Hina Parmar
Batch - M.A. Sem 4 (2022-2024)
Enrollment no - 40692064202221
Roll no - 10
Subject code - 22413
Paper no - 206
Paper - The African Literature
Email address - hinaparmar612@gmail.com
Submitted to - Smt.S.B. Gardi Department of English M.K.B.U.
Date of submission - 26 April 2024
About Wole Soyinka
Wole Soyinka was born on 13 July 1934 in Abeokuta, near Ibadan, Nigeria. He studied at the University of Leeds, earning his doctorate in 1973. During his time in England, he worked as a dramaturgist at the Royal Court Theatre. In 1960, he founded "The 1960 Masks" theater group and later the "Orisun Theatre Company".
Soyinka has been a professor of comparative literature since 1975 and has taught at various universities in Nigeria. He has also been a visiting professor at Cambridge, Sheffield, and Yale.
During the Nigerian civil war, Soyinka was arrested for appealing for a cease-fire and held as a political prisoner for 22 months. He has published approximately 20 works, including drama, novels, and poetry, with themes rooted in Yoruba mythology and African experiences.
His notable works include plays like "The Swamp Dwellers", "The Lion and the Jewel", and "Death and the King's Horseman", as well as novels such as "The Interpreters" and "Season of Anomy". Soyinka's poetry collections include "Idanre, and Other Poems" and "Mandela’s Earth and Other Poems".
Introduction of the play
“A Dance of the Forests” by Wole Soyinka is a rich allegory that delves into cosmic dimensions. The play intricately weaves together the past, the present, and the future, symbolically reflecting the cosmic dance of creation and destruction among the deities. This dance unfolds against the backdrop of the forest, which symbolizes the rhythm of life—a cycle of birth, growth, decay, and renewal. Soyinka visualizes this pattern as a Mobius Strip, a shape that captures the idea of continuity and interconnectedness. This form is further elaborated in his poem “Idanre,” where he portrays it as a snake devouring its own tail, signifying the end of one era and the beginning of another.
Within the narrative of “A Dance of the Forests,” the gathering of tribes for a grand feast serves as a symbolic representation of Nigeria's independence celebrations. This gathering necessitates the presence of illustrious ancestors from the past, highlighting Soyinka’s effective dramatization of the Yoruba belief in the mutual dependence of different realms of existence. To convey this, he employs recurrent symbols of gods and spirits, myth and ritual, song and dance, and mime as integral elements of the feast, creating a vibrant tapestry that reflects the cultural richness and complexity of Nigerian society.
One of the pivotal characters in the play is the Abiku child, who embodies Soyinka's belief that a newly born nation, like Nigeria, is akin to a wanderer child born with death in its soul. The Abiku child's journey serves as a poignant metaphor for the challenges and struggles faced by a nascent nation striving for identity and stability. According to Yoruba tradition, such a child must be welcomed in a special ceremony a few days after birth to affirm its place in the world, mirroring the nation's need for acknowledgment and acceptance on the global stage.
Furthermore, Soyinka emphasizes the transformative power of theater, endorsing its effective and cohesive properties. He argues that theater is uniquely capable of engaging both performers and audience in a dynamic interaction that transcends mere spectacle. Unlike painting, which is static and bound by its material form, theater possesses an inherent dynamism that facilitates change and consolidation, making it a potent medium for societal reflection and transformation.
About Yoruba Culture
The oral history of the Yoruba people traces their lineage back to Odùduwà, considered the progenitor and ancestral figure for their crowned kings. After Oduduwa's disappearance, his children spread out from Ife to establish other kingdoms, each contributing to the growth and consolidation of the Yoruba confederacy, with all kingdoms tracing their roots to Ile-Ife (Babatunde, 1992). However, after this dispersal, the original inhabitants of the land, believed to be survivors from before Oduduwa's time, turned hostile, threatening Life's existence. These marauders, donned in raffia costumes, raided towns, burned houses, and looted markets.
Enter Moremi, a pivotal figure credited with halting the marauders' advances (Babatunde, 1983). Her bravery came at a cost; she had to sacrifice her only son, Oluorogbo. Although she didn't see the immediate fruits of her sacrifice, Moremi was immortalized for her heroism. The Edi festival commemorates her bravery to this day (Fadipe, 1970).
Geographically, the Yoruba predominantly inhabit Southwestern Nigeria. They traditionally organized themselves into interconnected villages, towns, and kingdoms, each often led by an Oba (King) or Baale (a nobleman or mayor). Key Yoruba cities and towns include Ilesa, Ibadan, Fiditi, Lagos (Eko), Ota, Abeokuta, Ilorin, Ondo, Offa, Osogbo, and many others (Johnson, 1921; Fadipe, 1970). Additionally, cities like Benin, Warri, Auchi, and Okene share historical and cultural ties with the Yoruba.
The Yoruba have a rich artistic heritage, producing various forms of art like pottery, weaving, beadwork, metalwork, and mask-making. These artworks often pay homage to gods and ancestors, with the Yoruba worshiping over 401 known deities, leading to a diverse range of sculptures and artworks.
Music and dance hold a significant place in Yoruba culture, both within Nigeria and among the diaspora. They play pivotal roles in various life events, including religious festivals, royal ceremonies, and entertainment. Traditional Yoruba music primarily centers around Yoruba deities, with drums and vocals being its core components. Occasionally, metal bells and wind instruments complement these.
Given that Yoruba is a tonal language, the correct pronunciation of words with the appropriate tone is essential for conveying their intended meaning. The language has three primary tones: high, mid, and low, which heavily influence the tonal patterns in Yoruba music.
Juju music, originating in the 1920s, stands out as a prominent contemporary Yoruba music genre in Nigeria. It has its foundations in traditional Yoruba drum-centric music. Juju music is characterized by its lively rhythms played by large ensembles featuring guitars and drums. Vocal performance is central to Juju music, drawing inspiration from Yoruba poetry, proverbs, praise songs, and the musical nuances of the language.
Representation of Yoruba Culture in Wole Soyinka’s ‘Dance of the Forest’
India and Africa share a similar colonial past within the Commonwealth, yet African literature stands out for its unique vibrancy among the emerging literatures of the Commonwealth. Wole Soyinka is a prominent figure in African literature, having been honored with the Nobel Prize in Literature in 1986, making him the first African to receive this accolade. While Soyinka's literary contributions span various genres, his theatrical works are particularly acclaimed. He is deeply rooted in traditional African drama, drawing heavily from Yoruba culture as a way of life. In an interview with Appiah, Soyinka elucidates the Yoruba philosophy of life and the significance of rituals:
“We believe that there are various areas of existence, all of which interact, interlock in a pattern of continuity: the world of the ancestor, the world of the living, and the world of the unborn. The process of transition among these various worlds is a continuing one and one which is totally ameliorated. For instance, the function of ritual, of sacrifice – whether it's a ram or a chicken – the function of seasonal ceremonies, is in fact allied to the ease of transition among these various worlds”.
Wole Soyinka masterfully intertwines past and present, incorporating Western dramatic techniques he absorbed during his formative years in England. He leverages Africa's rich history to shed light on Nigeria's contemporary social, political, and economic landscape post-independence. While Soyinka amalgamates various African customs and beliefs, his primary inspiration stems from the Yoruba cultural tradition. His plays brim with Yoruba mythological figures, myths, rituals, and festivals, underpinned by the Ogun myth. According to this myth, Yoruba tragedy originates from Yoruba rituals or the "Mysteries of Ogun."
Yoruba metaphysics posits that the entire Yoruba pantheon and humanity emerged from the fragmentation of Orisa-nla, the primal deity. This separation isolated the deities from mortals, with humans perpetually haunted by the loss of their eternal essence, striving to regain their completeness.
The Yoruba people predominantly inhabit the southwestern region of Nigeria, constituting approximately 20% of the country's population. Historically believed to have migrated from the Middle East during medieval times, they are a spiritually diverse group, encompassing Christians, Muslims, and followers of traditional beliefs. Engaged primarily in commerce, media, and education, the Yoruba people hold various narratives about their origin, all tracing back to the common ancestor, "Oduduwa."
One narrative suggests Oduduwa migrated from Mecca due to his belief in deities, leading to his expulsion and subsequent settlement in Ile-Ife, where he established a dynasty further expanded by his seven sons. Another perspective portrays him as an ordinary Yoruba man who rose to prominence by defeating the existing ruling class. A third account depicts Oduduwa as a celestial being sent by God to create the earth and humanity, descending upon Ile-Ife to execute his divine mission.
Ile-Ife holds special significance as not only the ancestral homeland of the Yoruba people but also the birthplace of humanity, according to some beliefs. Oduduwa is said to have descended with sand and a cock in hand, spreading the sand across the earth to form land. These traditional beliefs have shaped the Yoruba's relationship with their homeland since its inception.
Before the advent of Christianity and Islam, the Yoruba people practiced their distinct form of religion, worshiping various deities like Sango (God of Thunder), Ogun (God of Iron), Sopona (God of Smallpox), and Yemoja, among others. These deities serve as intermediaries between God (Olodumare) and humanity. The traditional Yoruba worldview and associated rituals nourish their cultural and spiritual identity, with Yoruba metaphysics emphasizing belief in the interconnectedness of the world of the living, the world of the dead, and the world of the unborn through supernatural transitions. Wole Soyinka's works stand as a testament to his deep connection with Yoruba cosmology and philosophy. His plays, particularly "A Dance of the Forests," delve into the intricacies of Yoruba beliefs, reflecting a dynamic interplay between gods, mortals, and ancestors.
Central to Yoruba metaphysics is the belief in interconnected realms of existence: the world of the living, the world of the dead, and the world of the unborn. Transitions between these realms necessitate crossing a metaphysical gulf, with ancestors holding a revered place in Yoruba culture. Upon physical death, individuals join the ancestors in the world of the dead. As Soyinka elucidates,
"The world of the unborn, in the Yoruba world-view, is as evidently older than the world of the living as the world of the living is older than the ancestor-world.”
During egungun rituals, community members don egungun masks, physically reintroducing deceased ancestors into the realm of the living. This metaphysical concept serves as a thematic cornerstone in Soyinka's works, particularly in "A Dance of the Forests." The play unfolds a complex tapestry of interactions between gods, mortals, and the deceased, aiming for self-discovery within the context of West African spiritualism.
Soyinka's portrayal of Yoruba culture in drama aligns with two key aspects: the representation of characters across various realms of existence and a flexible, non-linear timeline reflecting Yoruba's concept of time. The play features three major deities central to Yoruba worship: Forest Head (Obatala), Ogun, and Eshu (Eshuoru). Each deity embodies distinct characteristics and powers, influencing the lives and destinies of humans.
Obatala, the supreme creator, is revered for his purity and moral standards. Eshuoru, the trickster god, symbolizes chance and mischief, challenging authority among gods and humans alike. Ogun, the god of war and iron, holds a contradictory yet revered position, embodying both creativity and destruction.
In addition to these deities, Soyinka incorporates spirits that govern the universe, resonating with the West African concept of Animism, where souls inhabit natural phenomena. These spirits convene at the Forest Father's court, reflecting a harmonious unity under the supreme deity's power.
Human characters in the play span different realms: the living, the dead, and the unborn. While the forest dwellers represent the living, ancestors from ancient times rejuvenate through ancestor worship rituals. The play culminates in a climactic battle for the possession of an unborn child, encapsulating the multifaceted nature of existence.
As Osita Okagbue observes in "Culture and Identity in African and Caribbean Theatre," for Africans, existence remains fluid and interconnected. The living evolve into ancestors, the unborn transition into the living, and ancestors can revert to the unborn. Soyinka's play encapsulates this dynamic nature of existence, oscillating between temporal time and metaphysical time, weaving past, present, and future into a cohesive narrative. Wole Soyinka's "A Dance of the Forests" serves as a profound exploration of Yoruba cosmology and culture, capturing the essence of interconnectedness across realms of existence. Through intricate character dynamics and a fluid timeline, Soyinka crafts a compelling narrative that resonates with the enduring spirit of Yoruba philosophy and spirituality.
Conclusion
In "A Dance of the Forests," characters traverse the boundaries between the living and the dead through ancestral worship rituals, embodying the fluidity of time and space intrinsic to Yoruba culture. This dynamic interplay allows gods, humans, spirits, and unborn children to coexist and interact within a constantly evolving temporal framework. Such a portrayal not only captivated Nigerian audiences, who recognized a vibrant reflection of their cultural heritage, but also resonated with those acquainted with European traditions, fostering a deeper appreciation for Yoruba metaphysics and rituals.
Wole Soyinka employs recurring symbols, such as gods and spirits, alongside myths and rituals, song, dance, and mime, weaving them into a rich tapestry of performance. The harmonious alignment of language, music, and action underscores the integral role of ritual in Yoruba culture. Soyinka's masterful integration of these elements not only pays homage to traditional culture but also solidifies a distinctive cultural identity for the nation, reinforcing the enduring significance of Yoruba heritage in the broader context of global cultural exchange.
References
Altuwaijri, Hala M. "Cosmology and Politics in Wole Soyinka's 'A Dance of the Forests'." Art, Dialogue and Outrage: Essays on Literature and Culture, New H, Ibadan.
Appiah, Anthony. “An Evening with Wole Soyinka.” Black American Literature Forum, vol. 22, no. 4, 1988, pp. 777-785. JSTOR, www.jstor.org/stable/.
Haney, William S., II. "A Dance of the Forests." Master Plots II: Drama, Revised Edition, Salem Press, 2004, eNotes.com, www.enotes.com/topics/a-dance-of-the-forests.
Okagbue, Osita. African Theatres and Performances. Routledge, 2007.
Oti, Adepeju, and Oyebola Ayeni. "Yoruba culture of Nigeria: creating space for an endangered specie." Cross-Cultural Communication, vol. 9, no. 4, 2013, pp. 23.
Soyinka, Wole. “The Fourth Stage.” Appendix to Myth, Literature, and the African World, Cambridge University Press, 1976, 1978, 1990, pp. 140-160.
Soyinka, Wole. A Dance of the Forests. Five Plays, Oxford UP, 1964.
Soyinka, Wole. Myth, Literature and the African World. Cambridge UP, 1976.
Vishnupriya, Dr. M. "A Spectacle of Protest against War in Soyinka's 'A Dance of the Forests'." International Journal of Applied Research, 2016.
Wole Soyinka – Biographical. NobelPrize.org, Nobel Prize Outreach AB 2024, Tue. 23 Apr 2024, <https://www.nobelprize.org/prizes/literature/1986/soyinka/biographical/>.
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