A Dance of the Forests

 A Dance of the Forests by Wole Soyinka  

This blogpost is a part of Thinking Activity on Wole soyinka's play A Dance of the forest assign by Megha Ma'am, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.

Wole Soyinka: A Literary and Political Icon

Akinwande Oluwole Babatunde Soyinka, popularly known as Wole Soyinka, is a Nigerian playwright, poet, novelist, and political activist. Born on July 13, 1934, in Abeokuta, Nigeria, Soyinka is one of Africa’s most celebrated literary figures. In 1986, he became the first African writer to be awarded the Nobel Prize in Literature, a recognition of his profound contributions to world literature. His works often engage with themes of history, mythology, postcolonial identity, and political corruption.

Wole Soyinka

plays

A Dance of the Forests (1960) – Written for Nigeria’s independence celebrations, this play critiques both colonial history and post-independence leadership, warning against repeating past mistakes.

The Strong Breed (1963) – A symbolic drama about sacrifice and renewal, exploring themes of ritual cleansing and social responsibility.

Kongi’s Harvest (1965) – A political satire that criticizes dictatorship and the abuse of power in postcolonial Africa.

Death and the King’s Horseman (1975) – One of his most famous plays, based on a real historical event where British colonial authorities intervened to stop a ritual suicide, causing a cultural and moral crisis.

The Road (1965) – A philosophical play that explores fate, death, and spirituality through the experiences of a group of Nigerian drifters.

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

Alternative Ending: The Dance of Redemption

As the play nears its conclusion, instead of the living rejecting the Dead Man and Dead Woman, they are forced to witness a final, transformative vision created by Forest Head. The spirits of the forest gather around the totem, which suddenly comes alive, revealing scenes from both past and future. The living characters—Demoke, Adenebi, Rola, and others—see their future selves trapped in an endless cycle of violence, corruption, and decay unless they acknowledge their past mistakes.

Demoke, now fully aware of his crime against Oremole, stands before Ogun and begs for atonement. Instead of punishing him, Ogun tells Demoke that true redemption lies in carving not for power or pride, but for the spirit of the people. He is given the choice to either destroy the totem, erasing history, or let it stand as a reminder of past sins. Demoke hesitates but ultimately decides to leave it untouched, symbolizing a willingness to confront history rather than erase it.

Meanwhile, Rola is forced to face the spirits of those she manipulated and betrayed. Rather than succumbing to shame, she breaks down in tears, realizing for the first time that she has been a puppet of her own desires. She renounces her past ways and decides to retreat into the forest, becoming a wandering storyteller who warns others of repeating history’s mistakes.

Adenebi, exposed as a hypocrite, is cursed by the spirits to forever hear the voices of those who perished due to his selfish actions. He flees into the darkness, haunted by the voices, forever unable to escape his guilt.

Finally, Forest Head declares that the dead will now return to their realm, but they leave behind one final warning: "If the living continue to silence the past, they will only invite its return." The Half-Child, representing the unborn future, steps forward and whispers, "The choice is yours."

As the spirits vanish, the totem begins to glow, and the forest itself starts to shift—turning from a place of judgment into one of renewal. The characters are left standing in silence, realizing that they must now decide their own future.

The play ends with a single drumbeat, signaling a new beginning—whether for better or worse remains unknown.

A Critical Note on A Dance of the Forests by Wole Soyinka

Wole Soyinka’s A Dance of the Forests is a complex and highly symbolic play that was first performed in 1960 as part of Nigeria’s independence celebrations. Unlike other works that glorified pre-colonial African history or celebrated independence with optimism, Soyinka’s play offered a stark and cautionary perspective. He challenges the idealized view of the past and warns that without self-examination, the newly independent nation is at risk of repeating its historical mistakes. Through a mixture of myth, history, and political allegory, A Dance of the Forests serves as both a critique of Nigeria’s past and a warning for its future.

One of the central themes of the play is the cyclical nature of history. Soyinka suggests that societies, especially postcolonial ones, are prone to repeating the same injustices and failures unless they confront their past honestly. This is reflected in the structure of the play, where the past and present merge. The living characters—Demoke, Rola, and Adenebi—are confronted with figures from history, such as the Dead Man and the Dead Woman, who represent forgotten or ignored historical truths. Instead of welcoming them, the living characters attempt to reject their past, symbolizing a society that refuses to learn from its history. By portraying the past as something that cannot be escaped, Soyinka urges the audience to acknowledge history rather than romanticize or erase it.

The play also explores the intersection of politics and culture in a newly independent Nigeria. At the time of independence, there was an expectation that once colonial rulers left, the nation would naturally progress toward prosperity and justice. However, Soyinka, through characters like Adenebi (a corrupt historian) and Rola (a manipulative woman who embodies self-interest), highlights the dangers of internal corruption. He suggests that the problem is not just colonial oppression but also the moral failures of Nigerian leaders and citizens themselves. This aligns with Frantz Fanon’s ideas in The Wretched of the Earth, where he warns that the newly independent elite often replaces colonial rulers without changing the oppressive structures of power. Soyinka critiques this phenomenon by showing how the living characters, despite gaining independence, still exhibit greed, betrayal, and dishonesty.

Another major aspect of the play is the use of Yoruba mythology and ritual. Unlike Western plays that rely on linear storytelling and psychological character development, A Dance of the Forests is structured around ritual, dance, and spiritual symbolism. Characters like Forest Head, Ogun, and Eshuoro are drawn from Yoruba religious beliefs and serve as forces guiding or testing the human characters. Forest Head, in particular, acts as a divine figure who oversees the judgment of the living, ensuring that they face the consequences of their actions. The presence of rituals, such as Demoke’s final act of expiation, aligns the play with traditional African storytelling, where myth and reality are intertwined. This emphasis on indigenous traditions also positions Soyinka within the postcolonial debate—he seeks to create a uniquely African dramatic form rather than imitating Western theatrical conventions.

The role of the artist in society is another critical theme in the play, embodied by Demoke, the carver. As an artist, Demoke struggles with his past sins, particularly his responsibility for the death of his apprentice, Oremole. His journey mirrors Soyinka’s view that artists must not only create but also confront the truth, even when it is uncomfortable. Through Demoke, Soyinka presents the artist as someone who carries both the burden of the past and the responsibility of shaping the future. His act of climbing the totem pole at the end of the play, despite the risks, symbolizes the artist’s duty to engage with history and challenge corruption. This theme reflects Soyinka’s own life, as he often used his art to criticize political leaders and expose social injustices.

Another distinctive aspect of A Dance of the Forests is its experimental structure and use of language. Unlike traditional Western drama, which follows a clear three- or five-act structure, Soyinka’s play is fragmented and moves fluidly between different times and spaces. The past and present are interwoven, and characters appear in multiple forms, emphasizing the cyclical nature of human folly. The language of the play also varies—some characters speak in bureaucratic jargon, others use poetic and ritualistic dialogue, and there are moments of satire and dark humor. This variety reflects the complexity of Nigerian society, where multiple traditions, languages, and worldviews coexist.

From a postcolonial perspective, A Dance of the Forests is a powerful critique of both colonialism and the failures of post-independence leadership. While some postcolonial writers, like Ngugi wa Thiong’o, advocate for writing in indigenous languages to resist imperial influence, Soyinka chose to write in English. This decision has been debated—some argue that it limits his ability to connect with Nigerian audiences, while others see it as a strategic way to engage a global readership. Nonetheless, Soyinka’s use of English does not diminish the play’s deep engagement with Yoruba traditions and African philosophical thought. He blends indigenous storytelling methods with modern political concerns, creating a theatrical form that is both deeply rooted in African culture and accessible to international audiences.

Despite its brilliance, the play has also been criticized for its complexity and obscurity. Some critics argue that Soyinka’s use of symbolism and non-linear narrative makes the play difficult to understand. Indeed, the second half of the play, which features abstract choric passages from spirits and a surreal sequence involving the Half-Child, can be challenging to follow. However, Soyinka himself defended this approach, arguing that his plays were not meant to provide simple messages but to challenge the audience to think critically. He believed that theater should not just entertain but provoke, making people question their assumptions about history, power, and justice.

In conclusion, A Dance of the Forests is a groundbreaking work that remains relevant today. It forces audiences to confront uncomfortable truths about history, corruption, and human nature. By blending mythology with political critique, Soyinka creates a play that is both timeless and deeply specific to Nigeria’s postcolonial reality. Although its complexity may make it challenging for some audiences, its message about the dangers of forgetting the past and failing to take responsibility for the future is universal. Through its rich symbolism, innovative structure, and powerful themes, A Dance of the Forests stands as one of the most significant plays in African literature, urging us to reflect on history not as a distant memory but as an ever-present force shaping our world.

Words: 1667

Images: 2

References:

Soyinka, Wole. A Dance of the Forests. Oxford University Press, 1963.