A Dance of the Forest by Wole Soyinka

 Thinking Activity - A Dance of the Forest by Wole Soyinka

Welcome to my Blog,This blog post is a response to the thinking activity assigned by Professor Megha ma’am.  In this blog I'm trying to give general information about Wole Soyinka and about the play and also trying to give answers to two questions.

Wole Soyinka

Wole Soyinka, a renowned Nigerian playwright, poet, and essayist, made history in 1986 by becoming the first African to win the Nobel Prize in Literature. Throughout his illustrious career spanning over six decades, Soyinka has been a vocal advocate for addressing social and political issues both in Nigeria and across Africa. Born on July 13, 1934, in Abeokuta, Nigeria, Soyinka pursued his education in Nigeria, the UK, and the USA, ultimately earning a PhD in Comparative Literature from the University of Leeds.

Soyinka's literary contributions encompass a diverse range of works, including plays, poems, and essays. His plays, such as "The Lion and the Jewel" and "Death and the King's Horseman," draw heavily from traditional Yoruba culture, intertwining elements of myth and ritual to explore themes of freedom, justice, and resistance against oppressive forces.

Beyond his literary endeavors, Soyinka is recognized for his unwavering commitment to human rights and democracy in Nigeria. Despite facing imprisonment and persecution for his political activism, particularly during the Nigerian Civil War in the late 1960s, Soyinka has remained resolute in his pursuit of social justice.

In acknowledgment of his literary and political contributions, Soyinka has received numerous accolades and honors, including the Order of the Federal Republic of Nigeria, the Anisfield-Wolf Book Award, and the Julius Nyerere Prize for Literature.

Even in his later years, Soyinka continues to be an influential figure in Nigerian and global politics, literature, and culture, using his platform to advocate for positive change and inspire future generations.

A Dance of the Forest 

"A Dance of the Forests" is a play by Wole Soyinka, written in 1960 to celebrate Nigeria's independence from British rule. The play talks about Nigeria's political and social situation at that time in a funny and symbolic way. It follows a group of characters who go into a forest to mark the end of one era and the start of a new one. In this forest, they meet mythical figures from Nigerian stories like Ogun and Eshuro. These figures represent different challenges Nigeria faces, like corruption and tribalism.

Soyinka used Nigerian stories in the play because he believed African writers should use their culture in their writing. The play's themes, like corruption and social problems, are not only about Nigeria but also relevant to other countries that were once ruled by other countries. "A Dance of the Forests" is an important part of African literature because it criticizes governments that don't help their people.

The story happens in a forest where characters meet figures from Nigerian stories like Ogun and Eshu. These figures represent different parts of Nigerian society.

The main problem in the play is between two groups: the Abiku and the Forest People. The Abiku don't want change, while the Forest People want a new, fairer society. The Abiku are shown as stuck in the past and not understanding the new Nigeria.

As the story goes on, the characters face many problems that show how hard it is for Nigeria's new government. These problems include corruption and tribalism. The characters have to deal with these issues and realize that Nigeria needs to change to get better.

In "A Dance of the Forests," Soyinka uses stories and humor to talk about Nigeria's problems. The play shows how tough it is for countries that were once ruled by others to become fair and just. It's an important work in African literature because it reminds people of the need for change in politics and society.

This video is just a small piece of the play you can watch on YouTube.

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

Wole Soyinka's play "A Dance of the Forest" is a deep exploration of Africa's past, present, and future. The story revolves around a special festival organized by the Forest Head to celebrate the independence of an unnamed African country. The Forest Head invites two couples, one representing the wealthy and powerful, and the other representing the ordinary people, to witness a traditional dance performed by the dead. Additionally, he summons two deceased characters, a warrior king and a slave girl, to confront the living with their mistakes and shortcomings. However, things don't go as planned, and there's a mix-up where the living and the dead switch roles and identities, leading to confusion and disorder.

In the original ending of the play, everything seems dark and hopeless. The living characters don't learn from their mistakes, and they keep getting consumed by their own desires for power and wealth. The dead characters remain stuck in their cycles of violence and oppression. The Forest Head, feeling disappointed and angry, decides to punish everyone by wiping their memories and destroying the forest, including himself.

In my proposed alternative ending, there's a shift towards a more positive outcome. The Forest Head realizes that his plan didn't work, and he can't force anyone to confront their pasts. He also acknowledges his own role in the problems facing the forest and the world. Instead of giving up, he offers his guests a chance for redemption.

He tells them that they can stay in the forest and learn from their ancestors or return to their world with the memories of what happened. However, they must be willing to share these memories with others and work towards making positive changes. This ending focuses on reconciliation and renewal, offering hope for a better future.

The living characters are touched by the Forest Head's proposal and agree to accept it. They understand that this is a unique chance to transform themselves and the society they come from. They start to see similarities between themselves and the dead characters, realizing they're not so different after all. Choosing to remain in the forest, they commit to immersing themselves in its history, culture, and traditions. Additionally, they pledge to return to their world with a newfound understanding, determined to advocate for peace, justice, and harmony.

The dead characters are moved by the Forest Head's kindness and choose to forgive him. They recognize that he was trying to do what he thought was right and acknowledge that he too faced challenges. Letting go of their bitterness, they embrace their new roles as mentors and advisors for the living. They aspire to share their experiences as lessons, hoping to encourage future generations to learn from their past and avoid making similar mistakes.

The Forest Head is taken aback and delighted by the decisions of his guests. He feels a wave of relief and gratitude wash over him, thankful for ending his reign on a positive note. Instead of destroying the forest, he chooses to preserve it as a sacred space where both the living and the dead can interact and communicate freely. He hopes that his actions will inspire other nature spirits to join him in fostering harmony between humans and the natural world.

The play concludes with a jubilant dance, uniting all the characters in a joyful celebration of diversity and togetherness. The Forest Head leads the dance, followed by the dead characters proudly wearing their traditional attire to signify their identities. The living characters join in, donning masks that symbolize their newfound roles as learners and explorers. The music, songs, and chants echo the vibrant cultural tapestry of Africa. With this uplifting finale, the play closes with a message of optimism for Africa's future and the world at large.

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

"A Dance of the Forests" is one of Wole Soyinka's most celebrated works. It was commissioned to mark the occasion of Nigeria becoming an independent nation in 1960 after years of British colonial rule. 

The play blends traditional Yoruba cultural elements like rituals, music, dances, and storytelling styles with the English language in an innovative way. It breaks away from the conventions of typical Western drama in its plot structure, character types, language usage, and incorporation of non-verbal components like dances and rituals.

Some of the key themes explored in the play are Nigerian independence, the relationship between long-held traditions and history, and the role of artists and their work in society. Through the play, Soyinka seems to caution that just gaining political independence will not automatically solve all of Nigeria's deep-rooted problems. The people need to take responsibility for their own history of violence and injustice instead of solely blaming the colonial powers.

The play's plot does not follow a straightforward linear narrative. Instead, it has a circular, cyclical structure split into two contrasting parts. Part one is set in the present day leading up to an annual ritual festival, while part two dramatically re-enacts events from the era of a tyrannical ruler named Mata Kharibu from the past. This cyclical structure suggests how patterns of exploitation, violence and injustice tragically repeat across different eras.

The characters also defy conventional portrayal. Instead of psychologically realistic people, they represent symbolic embodiments of different traits. While vibrant characters like Demoke and Rola celebrate life, sterile bureaucratic types like Adenebi symbolize stifling order. The trickster Eshuoro represents the corrupt demagogue's insatiable thirst for power.

The diverse language ranges from earthy insults and proverbs to poetic ritualistic verses by spirit voices. This linguistic variety captures the different modes of Yoruba expression usually suppressed by the dominance of English. 

But most powerfully, the play incorporates various Yoruba ritual practices, dances, masquerades, gestures and visual spectacle - elements that are meant to be experienced viscerally on stage rather than just read as a text. For instance, the climactic totem pole ritual Demoke undergoes has expiatory and purificatory connotations drawn from Yoruba traditions.

So while officially celebrating Nigerian independence, Soyinka's play adopts a nuanced stance that does not glorify nationhood blindly. Through its dazzling melange of dramatic techniques rooted in Yoruba culture, it explores complex issues around tradition, responsibility, national identity and ultimately, the vital role artists must play in shaping a society's consciousness and self-awareness.

Words - 1700

Images - 2

Videos - 2