A Dance of the Forest

A Dance of the Forest 

 Introduction : 

Wole Soyinka’s A Dance of the Forests is one of his most complex plays. Many critics have avoided analyzing it because it does not follow a clear storyline or have a main character. It was written in 1960 for Nigeria’s independence celebrations but does not glorify the past or present. Instead, Soyinka presents a dark view of history, showing that both the past and the present are filled with corruption, betrayal, and violence. He warns that the future will also be bleak if people do not learn from history. The play is not just about Nigeria but has a universal message about human nature and society.

Proposed Alternative Ending for 'A Dance of the Forests' : 

In Wole Soyinka’s A Dance of the Forests, the play ends on an ambiguous note, reflecting the cycle of human folly and the difficulty of true transformation. However, an alternative ending could present a more decisive resolution while staying true to Soyinka’s themes of history, responsibility, and renewal.

As dawn breaks, Demoke, Rola, and Adenebi find themselves still trapped in the mystical forest. Instead of merely acknowledging their past failures, they are given a final challenge by Forest Head. He demands that they actively change their ways by proving their commitment to a new order.

Demoke, still haunted by his crime, is tasked with carving a new totem not one of conquest and power but of unity and balance. As he begins, Ogun reappears, blessing his hands, indicating that art, when used for good, can heal both the artist and society. Rola, symbolizing Nigeria’s corrupt elite, is forced to confront the ghosts of her past victims.

She is given a choice: to embrace her past life as Madame Tortoise or to reinvent herself as a protector of the vulnerable. She chooses the latter, deciding to open a refuge for women exploited like she once was. Adenebi, once complicit in the suffering of his people, is made to live among them, experiencing firsthand the pain he helped inflict.

The spirits of the Dead Man and Dead Woman no longer lament; instead, they find peace, seeing the possibility of redemption. The Half-Child, representing Nigeria’s uncertain future, is finally able to be born not into a doomed world but into one where change, though slow, is possible.

Forest Head, satisfied that humanity is at least willing to try, lifts the enchantment on the forest. As the living characters emerge, they find themselves back in their world, but forever changed. The play ends with a festival where history is neither glorified nor erased but understood. The people sing, not in blind celebration, but in cautious hope.

This alternative ending retains Soyinka’s critique of post-independence Nigeria but offers a stronger possibility of progress, emphasizing that true change requires action, not just recognition.

A Note on 'A Dance of the Forests'

Wole Soyinka’s A Dance of the Forests is one of the most complex and symbolically rich plays in African literature. Written for Nigeria’s independence celebrations in 1960, the play does not offer a simple, triumphant vision of the future. Instead, it critiques the new nation’s failure to confront its historical injustices and warns against repeating the mistakes of the past.

Themes and Issues

Cyclical Nature of History

One of the play’s central themes is the cyclical nature of history. Soyinka suggests that simply gaining independence does not mean true freedom. The living characters Demoke, Rola, and Adenebi represent different aspects of society, all of whom must reckon with their past actions before they can move forward. The presence of the Dead Man and Dead Woman, spirits from the past, highlights the idea that history cannot be ignored. This aligns with the views of Frantz Fanon, who argued that decolonization is not just about removing colonial rulers but about fundamentally transforming society.

Another key theme is the role of the artist in society. Demoke, the carver, symbolizes the responsibility of the artist to tell the truth, even at personal cost. His struggle with guilt over his apprentice’s death represents the moral dilemmas that come with creation. This theme is echoed in other African works, such as Chinua Achebe’s Things Fall Apart, where Okonkwo’s downfall stems from his rigid adherence to traditional values, failing to adapt to a changing world.

Soyinka also critiques corruption and the abuse of power. Rola, once a courtesan who used her influence for personal gain, and Adenebi, a bureaucrat who turns a blind eye to suffering, reflect the self-serving tendencies of Nigeria’s new ruling class. This critique is similar to Ngugi wa Thiong’o’s A Grain of Wheat, which explores the disillusionment of post-independence Kenya.

Structure and Style : 

The play does not follow a traditional Western dramatic structure. Instead of a clear beginning, middle, and end, A Dance of the Forests moves fluidly between past and present, dream and reality. This mirrors the Yoruba worldview, where time is not strictly linear. The use of masquerade, dance, and ritual connects the play to traditional African performance arts, making it more than just a text but an immersive experience.

Soyinka’s language is rich and poetic, sometimes difficult to decipher. However, this complexity serves a purpose: it challenges the audience to engage deeply with the material. His style is reminiscent of T.S. Eliot’s Murder in the Cathedral, which also blends poetry and drama to explore themes of fate and free will.

Complexity and Critical Reception :  

Soyinka’s play is difficult to understand, and many critics have struggled to categorize it. The play does not have a single plotline or a central character, making it different from most other plays. Critics like Derek Wright have described it as 

“the most uncentered of works, there is no discernible main character or plot line, and critics have been at a loss to say what kind of play it is or if it is a play at all and not a pageant, carnival or festival”

Because of this complexity, it has not been performed often. Adebisi Ademakinwa also observed that A Dance of the Forests has “enjoyed more neglect since it was written than any other of his (Soyinka’s) plays”. This shows that the play is not widely staged or analyzed because of its difficult style.

Dystopian vs. Utopian Vision :

Most works of literature about independence show the past as glorious, the present as troubled, and the future as hopeful. However, Soyinka does the opposite. He shows that the past was full of mistakes and corruption, the present is no better, and the future will also be bleak. 

 “What Wole Soyinka depicts is a dystopian past as well as a dystopian present and future”. This means that he does not believe in an ideal past or a bright future. Instead, he shows that human nature is flawed and that people continue to make the same mistakes over and over again.

What is negritude ? Why Soyinka rejects ? 

Soyinka also rejects the idea of négritude, which glorifies Africa’s past. Instead of presenting a golden age, he argues that history is full of wars and suffering. The article says, “Soyinka rejects négritude’s glorification and idealization of the African past”. He believes that Africans should not look at their past with pride if they do not learn from its mistakes. 

“The atrocities committed by the actors in the Court of Mata Kharibu eight centuries earlier are repeated by their reincarnated selves under different circumstances in the present world”. This means that the people in the play are repeating the same wrongdoings in different ways, showing that history continues to repeat itself.

Themes of the Play : 

1. The Cycle of Human Atrocities

Soyinka’s play argues that people do not change. They keep making the same mistakes, and history repeats itself.  “Glenn A. Odom observes that what is revealed in this play of Soyinka is that ‘the future will continue to repeat the present’”. This means that the bad things happening today will happen again in the future if people do not learn from the past.

One of the most important lines in the play is spoken by the Dead Woman, who says, “A hundred generations has made no difference”. This shows that even after many years, people still behave in the same corrupt and selfish ways. This theme is reinforced by the fact that the characters in the play are reincarnations of their past selves, yet they continue to commit the same crimes.

2. Corruption and Betrayal

The play also highlights corruption and betrayal. Many of the characters in both the past and present are selfish and cause harm to others. One example is Adenebi, who was a historian in the past but encouraged war, saying, “War is the only consistency that past ages afford us”. In the present, he is a corrupt government official responsible for the deaths of 65 passengers because he approved an overloaded lorry.

Another example is Rola, also known as Madam Tortoise. In the past, she was a queen whose actions led to the deaths of the Dead Man and Dead Woman. The article states, “She is in fact likened to Helen of Troy since it is her prostitution that caused the war” . In the present, she is still a prostitute who destroys the lives of her lovers. These characters show that corruption and selfishness continue across generations.

Symbols and Structural Elements

1. The Dead Man and Dead Woman

These two spirits are sent by the supreme god, Forest Father, instead of legendary ancestors. They symbolize how the past haunts the present. The article explains, “Instead of legendary ancestors, Forest Father/Head—the supreme divinity in Soyinka’s fictionalized world, sends the living ‘two spirits of the restless dead’ referred to in the play as Dead Man and Dead Woman” . This means that instead of celebrating their past, the people must face the consequences of their history.

2. The Totem and Demoke’s Sacrilege

Demoke, a carver, is chosen to create a totem to unite the people. However, instead of carving a symbol of unity, he chooses to cut down araba, a sacred tree, which angers the gods. This act symbolizes how humans destroy what is sacred and create conflict instead of harmony.

 “Demoke’s action of carving araba (Oro’s sacred tree) is not just a sacrilege against the sacred tree, but also an affront against Eshu (the Devil himself) who lives in the tree” . This means that Demoke’s actions are not only a crime against nature but also a challenge to a powerful spiritual force.

A Warning Rather Than a Prophecy

Even though the play presents a dark vision of the past, present, and future, Soyinka does not say that disaster is certain. Instead, he warns that if people do not change, bad things will continue to happen. The article states, “By painting a dystopian past and present, and forecasting a gloomy future, Soyinka warns that the mistakes of the past and the present should be avoided for a better future” . This means that people still have a chance to change if they recognize their mistakes.

The supreme god, Forest Father, also expresses hope, saying, “hoping that when I have tortured awareness from their souls, that perhaps, only perhaps, in new beginnings…”. The unfinished sentence suggests that there is still a chance for change, but it depends on human actions. 

“Despite the acknowledgment of his ineffectuality in the affairs of the human community, Forest Father still hints at a ‘post-apocalyptic hoping’ that is informed by the lessons of the past”. This means that even though the situation looks hopeless, there is still a possibility for improvement if people learn from history.

Conclusion

Wole Soyinka’s A Dance of the Forests is not just about Nigeria but about humanity as a whole. It shows how history repeats itself because people refuse to learn from their mistakes. The play is full of symbols and complex storytelling, making it difficult to analyze. However, its message is clear: if people do not acknowledge their past, they will continue to make the same mistakes. 

Through his dark vision, Soyinka warns that the future can be different only if people change their ways. The play challenges audiences to reflect on their own society and take responsibility for their actions.

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References : 

Azumurana, S. O. (n.d.). Wole Soyinka’s dystopian/utopian vision in A Dance of the Forests. https://scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2014000200006

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

“Wole Soyinka – Biographical - NobelPrize.org.” Nobel Prize, https://www.nobelprize.org/prizes/literature/1986/soyinka/biographical/. Accessed 27 January 2025.

“Wole Soyinka | Biography, Plays, Books, & Facts.” Britannica, 10 December 2024, https://www.britannica.com/biography/Wole-Soyinka. Accessed 27 January 2025.