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The International

Journal
the HUMANITIES

Volume 5

A Dance of the Forests as the Inflection of Wole Soyinkas SocioPolitical Concern

Adebisi Ademakinwa

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A Dance of the Forests as the Inflection of Wole Soyinkas

Socio-Political Concern
Adebisi Ademakinwa, University of Lagos, Nigeria
Abstract: We are treating "A Dance of the Forests" for many reasons. Firstly, the play was written during Soyinkas formative years as a playwright, and it is one of his masterpieces. Secondly, it brings to the stage many fundamental issues of
national interest. Thirdly, the play, written in the 1960s, codifies Soyinkas sociopolitical commitment that is still strong
even in his most recent works. We also see the plot and characterisation as signposts necessary toward understanding
Soyinkas dramaturgy. In essence, we discover that "A Dance of the Forests" remains one of the few plays in which the entire
cosmos is taken up for scrutiny and it remains evergreen in its incisive insight, especially on the past, present and future of
the Nigeria nation in particular. We discover that the play still has a lot of relevance to the Nigerian situation of this century.
Keywords: Independence, Angry, Oppression

A Dance of the Forests, a play written by Wole

Soyinka in 1960, has enjoyed more neglect since it
was written than any other of his plays. The so-called
complexity of the play has been principally responsible, thus, since it was performed for the Independence Celebration in 1960, only feeble attempts have
been made to perform it, the most successful one
being the production of Mr. Inih Ebong, the then
director of the Calabar University Theatre, University
of Calabar. As Inih Ebong comments in the 1982
production brochure:
To the best of our knowledge, the play has only
been produced once, directed by Wole Soyinka
himself, and performed by the 1960 Masks on
Nigerias attainment of Independence.
Calabar University Theatre, is today, proud to
become the second producer of A Dance of the
Forests, more than twenty years after it was first
produced
Since 1980, however, there has been no prominent
record of any successful production of the play and
theatre directors and Soyinkas audience seem, according to Ukala (8):
to be more profoundly worried by the nature
and use of the dance and music in the play. It
is held by some that these complicate the play
beyond comprehension.
Amongst Soyinkas plays, therefore, A Dance of the
Forests appears to be the most anomalous. There is
a guiding concept that needs to be put into consideration and, in fact, the play is about one of the most
philosophical and introspective among Soyinkas

plays, but once one digests this concept, the play

becomes easier to understand.
In this play, as in the subsequent ones, Soyinkas
socio-political concern takes centre stage and this is
responsible for his dramaturgical approach. Running
through many of Soyinkas old and new plays;
Kongis Harvest, A Play of Giants, The Jero Plays,
The Swamp Dwellers, The Beatification of Area Boy,
From Zia with Love, King Baabu is the motif of
symbolism. The characters and plots act as symbols
highlighting Soyinkas constant concern with the
abnormal socio-political situations in Nigeria.
The play also provides an insight into the history
of the entire cosmos and the consequence of past
actions and inactions of man within the revolving
structure of history. These are intricately woven into
the domineering issues of fear and leadership in the
play.
Moreover, the play juxtaposes the socio-political
situation beyond the context of Nigerias independence to spy into the future, thereby reinforcing the
theme of fear. There is, therefore, the gloomy foreboding of the Nigeria Civil War and the advent of
cacodemic dictatorship which took Nigeria by storm
in the 1980s and 1990s, the atrocities of which
render Mata Kharibus in A Dance of the Forests
inconsequential. One must hasten to draw the rein;
however, the play is not a reference to the Nigerian
situation alone, but is in the words of James Gibbs
(25) a general thing.
One should also understand that a large part of
this play was taken from an earlier work. James
Gibbs (15) maintains that A Dance of the Forests
was actually drawn from The Dance of the African
Forests which is a vitriolic anti-apartheid play.

THE INTERNATIONAL JOURNAL OF THE HUMANITIES,

VOLUME 5, 2007
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THE INTERNATIONAL JOURNAL OF THE HUMANITIES, VOLUME 5

Thus, as widely ranged as Soyinkas plays could

be, he deliberately presents the true picture of the
situations in either the satiric realm or in outright
castigation of the negative aspects of the sociopolitical circumstance.
A Dance of the Forests seeming complexity stems
from Soyinkas experimentation with classical form
distilled in romanticism. The imaginative outputs as
well as the metaphysical ambience make the play
what it is. One could also see that the play is an exemplification of Soyinka making an attempt at classical poetics, using the African situation as the tool.
The plot is symbolic enough-in the play as in the
Grecian tragedies, we see the living as the protagonists and the gods, both major and minor, as the antagonists.
The conflict lies in the variegated hunts of one
character by another. The living are hunting the
Dead, even smoking them out with petrol fumes, and
the gods are hunting the Living; Eshuoro versus
Demoke, hence Ogun and the major gods represented
by Forest Head hunting the whole lot into one big
gathering, using their conscience for the purpose.
And this is the climax. There is, as Gibbs (16)
maintains, in the sphere of language, a staccato
Beckettian in the opening exchanges of the Dead
Man and the Dead Woman.
The plot or action is used by Soyinka to satirise
the whole history of all homo sapiens; cutting
through their past down to the present and illuminating the future. Thus, the protagonists in both contexts
are people who have completed a whole generation
circle and are at crux of an expiring generation just
as Nigeria at that time had just come to the end of
an era in Colonialism and was about to be launched
into another era, that of post-colonialism.
Perhaps we should examine the similarity of the
social atmosphere of the period to that of the play in
order to understand the symbolism of the plot line.
Just prior to Nigerian Independence of 1960, there
was a mighty exodus of people from Europe and the
United States back to Nigeria. This crop of people
had no tinge of a salubrious objective: they came,
determined to grab the posts just left by the whites
in all the establishments. The euphoria was great and
a festive mood pervaded the nation.
Ironically, people like Soyinka saw nothing euphoric about the occasion. They rather believed that
people needed to understand the true situation of
things. They even believed that the occasion called
for nothing joyous but deep reflection.
Therefore, the situation in A Dance of the Forests
is a bitter twist to the whole inebriation of the festivities and a gross condemnation of misplaced hope
and aspiration believed to be the magic wand which
solves all the economic, social and political problems
in the society.

Soyinka believes that oppression and destruction

are not the prerogative of a generation, but an eternal
phenomenon and he uses the play to re-examine the
possibility for change. This possibility explains the
symbolic presence of the Half-Child in the play.
The history of African society and, to some extent,
that of the world have, however, proved Soyinka
right in his theory on the eternity of fear, repression
and oppression since the so-called Independence
of African States.
The trouble at Mata Kharibus court is instructive
enough. The Warrior refuses to go to war to recover
the Queens trousseau from her former husband. The
argument between him and the physician underlines
the problem of the contemporary world.
Warrior: It is an unjust war. I cannot lead my
men into battle merely to recover the trousseau
of any woman.
Physician: Ah. But do you not see? It goes further than that. It is no longer the war of the
queens wardrobe. The war is now an affair of
honour.
Warrior: An affair of honour? Since when was
it an honour for a king to steal the wife of a
brother chieftain. It seems her rightful husband
does not consider our new Queen worth a
battle. But Mata Kharibu is so bent on bloods
that he sends him a new message. Release the
goods of this woman I took from you if there
will be peace between us. Is this the action of
a ruler who values the peace of his subjects?
(54)
Many events in the history of Europe and African
kingdoms are reminiscent of this. America as the
great power went to the Iraqi war on the flimsy excuse that the Iraqi possessed the so-called Weapon
of Mass Destruction which America and its allies
have and which it knew Iraqis did not have. Thousands of Iraqis have since died as a direct result of
the war and subsequent sectarian violence that erupted thereafter. The unjustifiable nature of destructive
war is greatly highlighted in the play.
Historian: Nations live by strength; nothing
else has meaning. War is the only consistency
that past ages afford us. It is the legacy we new
nations seek to perpetuate. Patriots are grateful
for wars. Soldiers have never questioned
bloodshed. The cause is always the accident,
your majesty, and war is the Destiny.
Mata Kharibu: He has taken 60 of my best soldiers with him.
Historian: Your Highness has been too lenient.
Is the nation to ignore the challenge of greatness because of the petty-mindedness of a few
cowards and traitors? (57)

ADEBISI ADEMAKINWA

Although the Nobel Laureate has matured as a poet,

a theatre director, a novelist and in many more areas,
up till now he seems to have chosen the instrument
of drama as his most favoured outlet, certainly more
than any other literary form, for the expression of
his concerns, feelings and the criticism of his immediate social set-up. He does not hesitate; however,
to get physically involved in drastic actions when he
believes that these would change the society for the
better.
To the authority, therefore, he is a truculent individual who does not compromise himself with
handed down truths. Most of his plays show him as
a critic of the negative aspects of the society and
most of the time, he satirically criticises the quagmire
of Nigerias situation principally engendered by its
leadership.
According to Dapo Adelugba in an interview in
the year 1994, it was due to his constant stance that
in the 1950s and 1960s he was dubbed in broad
international term a member of the Angry Young
Men Movement. The group to which the late equally
versatile British Playwright, John Osborne (19291994) belonged.
He is dubbed angry, according to Adelugba, because characters in Osbornes play Look Back in
Anger are:
Similar to Soyinkas angry characters such as
Igwezu in the Swamp Dwellers, a work which in
1958 was part of a Sunday evening programme of
readings at the Royal Court Theatre.
His characters are equally drawn symbolically;
most especially to underline the negative values in
the society, thus, A Dance of the Forests critically
examines a set of undiscovered identities. Just as in
1960 Independence Celebration in Nigeria, we have
the great festival in the play; the people want their
ancestors to crown the occasion by deluding them
with unreserved encomium for their achievements.
In A Dance of the Forests, the curricula vitae of the
invitees are given in explicit term by the Forest Crier.
when the spells are cast and the dead are
invoked by the living, only may resume body
corporeal as are summoned When the understreams that whirl them endlessly completed a
circle.
The wish of the living is thwarted and the dramatic
irony becomes highlighted by the Crier this selection is by the living simply because the living
never selects the calibre of ancestors forced upon
them; the major gods, Aroni and Forest Father do.
The deeds of many of them will hardly stand the
scrutiny and the accusation of the dead. Adenebi, the
Council Orator is an insensitive and cunning politician who is as unscrupulous in the present generation
as he is in the Court of Mata Kharibu. His actions in

both lifetimes are the same. The vitiated, pretentious

court historian who helps in the selling of the Warrior
into slavery is the same in deeds and behaviours as
the Council Orator who sends 70 lives into death in
the dangerous vehicle called incinerator.
Rola is a classy whore, but in the court of Mata
Kharibu, she is the Queen. That she comes down to
the present generation as a standardised whore and
her subsequent roles in the play baffle one. She kills
many people in the court of Mata Kharibu and many
more died because of her, paradoxically, she is the
only substantial woman in the play. However, apart
from her exposition as Madame Tortoise and her
deed of filling the graveyard with her lovers, through
what method we are not told, she seems to have a
flat character in the present generation. There is also
a profound dearth of interaction between Mata
Kharibu and the Queen.
Demoke is the artist, both in the present and the
past generations. He carves the totem for the tribe
and he is the court poet in the court of Mata Kharibu.
He combines a dual nature; that of creativity and
destruction. The credibility of the destructive nature
of Demoke is, however, dented in the court of
Kharibu. One would have thought that with the ample
opportunities he has with the Queens canary, he
would demonstrate his destructive tendency in conformation with his characterisation by doing something to his novice as he does to Oremole, his apprentice. One may be forced to accept the solution
proffered by Durosimi Jones (28) that Demokes
contempt of the Queen, revealed in his asides satisfies this other nature.
It is crystal clear that the characterisations in the
play are sometimes not rounded while some characters are sometimes too difficult to fathom in the
concept of the play. Thus, Mata Kharibu, despite all
his tyranny and utter disregard for the sanctity of
human life is nowhere represented by link to the
present generation as are his Queen, Soothsayer,
Court Historian and many others. There is no doubt,
however, that the court exhibits the gradual erosion
of humanity in a highly controlled authoritarian society. The political implication of the court is clear.
Mata Kharibu is a mythical king who , according to
Adrian Roscoe (222) represents the glorious history
to which the living look back with nostalgia, but
Soyinka sees Africas past as a sadly inglorious one
because:
In this shrine of historic magnificence, in this
reign to which living Africans look back with
pride, we find a whore as queen, and a king
unrivalled in barbaric ferocity; a king who
brook no opposition to his every whim, who
fears, like all tyrants, the independent mind,
and will sell into slavery even his most devoted
subjects.

THE INTERNATIONAL JOURNAL OF THE HUMANITIES, VOLUME 5

Soyinka equally condemns the traumatic historical

experience of slave trade. The actions of Mata
Kharibu in the context of slavery and the Dead Mans
tale of woe based on this context underlines Africas
inglorious past pointing an accusing finger towards
the present and the future.
In A Dance of the Forests, one must admit, however, that there is a phenomenal juxtaposition of
themes, stage actions, mime and play -within- a
play to create a complex African total theatre. All
this must have been responsible for the mere
presentation of the silhouettes of the characters. The
actions in part II of the play seem to confirm this
observation, especially, as Gerald Moore (64) also
notes, the actions described rather than verbalised such that we get an over-all impression of
a synopsis of symbolic ballet than a self- sufficient dramatic text
The HalfChild, for example, is very difficult to
place in the dramaturgical set-up of the play. One
can only agree to James Gibbs (67) postulation on
the multiplicity of vision by the author with the explanation that Soyinka draws on Yoruba idioms,
modes of discourse, rites, rituals, gestures, traditions
and rhetoric, but his stage-directions represent little
more than jottings, and even Soyinkas production
of the play at the time of Independence was unable
to clarify the obscurities inherent in this theatrical
hybrids. The complex status of the Half-Child underlines the conclusion of Dapo Adelugba (70) who
says that even if A Dance of the Forests, due to its
obscurities, is not a play at all, it could be the vanguard of a series of experiments in a new form of
drama yet to be born , and if we agree it is not a play,
it is an eminently sophisticated pageant.
Due to these obscurities, one can view A Dance
as a play written during the formative years of
Soyinka; he was only 26 years old then. Nowhere in
any of his mature works has it been found such am-

algamation of so many themes and characters; difficult, jaw breaking syntax as in this play. The play is
full of quasi-Shakespearian verses such as Unveil,
unveil, the phantasmagoria of protagonists from the
dead, in approximate duplicate of action
etc. (26).
Nowhere have proverbs been dragged into play
with such intensity as in this play there is even a repository of such with his gnomic proverbs and hyperboreal refrain: Oro cried last night and Bashiru
vanished from his bed. Do you still wonder what
became of your friend? Proverbs to bones and silence.
The play, in short, is a far cry from other plays
with traditional set-up such as Death and the Kings
Horseman, even in form. However, as committed as
Soyinka is on the socio-political front even in his
older plays such as The Swamp Dwellers, Kongis
Harvest, The Play of the Giants, The Jero Plays etc.,
his recent plays have not been deficient in their expression of fear on the socio-political situations of
Nigeria and the world in general.
His most recent work such as From Zia with Love
and King Baabu dramatically satirise the political
dispensation similar to that of any African country
where corruption and other vices have become the
accepted norm. Even in plays seemingly harmless
as The Beatification of Area Boys, Soyinka still
presents the domineering sense of physical danger
premised on the precarious situation constituted by
unemployed youths in the society.
The feral consequence of this crop of people who
have become lay-abouts due to social disequilibrium
is an unbowdlerised indictment on the chaotic political situation prevalent in Africa today. In Soyinkas
view, this stems from selfish politics traceable not
only to African leaders, but the grip of economic
colonialism of the contemporary world.

References
Adelugba, Dapo. An interview with the theatre guru shortly after the death of the renowned British playwright, John Osborne
in 1994.
Adelugba Dapo. Nationalism and the Awakening National Theatre of Nigeria, an unpublished thesis submitted for the
degree of Master of Art in Theatre Arts, University of California, 1964.
Gibbs, James. (ed) Critical Perspectives on Wole Soyinka. Bruce Kings (General Editor) London: Heinemann, 1980.
Jones, Eldred Durosimi (ed) African Literature Today (Drama in Africa) 8. London: Heinemann Books, 1978
Moore, Gerald. Wole Soyinka. London: Evans, 1971.
Roscoe, Adrian. Mother is Gold, London: Cambridge University Press, 1971.
Soyinka, Wole. A Dance of the Forests in Collected Plays. London: Oxford University Press, 1973.
Ukala, Sam. Dance and Music in Wole Soyinkas A Dance of the Forests in Iroro-A Journal of Arts and Social Sciences,
Edo State, University of Ekpoma, Vol.5 Nos.1 and 2, June 1993.

ADEBISI ADEMAKINWA

About the Author

Dr Adebisi Ademakinwa
I worked for two years as a journalist.I have written eight plays, one of them " Osusu :the Story of Creation"
won a Longman award in 2002 in a nation-wide creative writing competition.I have also directed many stage
plays while I have acted, and stage managed plays under almost all the known theatre directors in Nigeria.I was
a lecturer in the Department of European Studies, University of Ibadan. At present, I teach in the Department
of European Languages and I also teach Theatre courses in the Department of Creative Arts, University of Lagos,
Nigeria.

THE INTERNATIONAL JOURNAL OF THE HUMANITIES

EDITORS
Tom Nairn, RMIT University, Melbourne.
Mary Kalantzis, University of Illinois, Urbana-Champaign, USA.

EDITORIAL ADVISORY BOARD

Patrick Baert, Cambridge University, UK.
David Christian, San Diego State University, California, USA.
Bill Cope, University of Illinois, Urbana-Champaign, USA.
Mick Dodson, Australian National University, Canberra, Australia.
Hafedh Halila, Institut Suprieur des Langues de Tunis, Tunisia.
Ted Honderich, University College, London.
Paul James, RMIT University, Australia.
Moncef Jazzar, Institut Suprieur des Langues de Tunis, Tunisia.
Eleni Karantzola, University of the Aegean, Greece.
Bill Kent, Monash Centre, Prato, Italy.
Krishan Kumar, University of Virginia, USA.
Ayat Labadi, Institut Suprieur des Langues de Tunis, Tunisia.
Greg Levine, Macquarie University, Sydney, Australia.
Fethi Mansouri, Deakin University, Melbourne, Australia.
Juliet Mitchell, Cambridge University, UK.
Nikos Papastergiadis, University of Melbourne, Australia.
Robert Pascoe, Victoria University, Melbourne, Australia.
Scott Schaffer, Millersville University, USA.
Jeffrey T. Schnapp, Stanford University, USA.
Gayatri Chakravorty Spivak, Columbia University, USA.
Giorgos Tsiakalos, Aristotle University of Thessaloniki, Greece.
Siva Vaidhyanathan, New York University, USA.
Hortensia Beatriz Vera Lopez, University of Nottingham, UK.
Chris Ziguras, RMIT University, Australia.

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Associate Editors and Journal Profile
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