Assignment 206 - The African Literature
Academic Information
Name: Insiyafatema Alvani
Roll No: 11
Semester: 4 (Batch 2022-24)
Paper No: 206
Paper code: 22413
Paper name: The African Literature
Topic: A Critical Analysis of Politics and Postcolonialism in Soyinka's ‘A Dance of the Forests’
Submitted to: Smt. S.B. Gardi, Department of English, MKBU
Email Address: insiyafatemaalvani@gmail.com
Submission Date: 26th April 2024
Wole Soyinka: The Playwright, Poet, and Champion of Change:
Wole Soyinka, born Akinwande Oluwole Soyinka in 1934, is a towering figure in African literature and a global voice of dissent. Born into a Yoruba family in Abeokuta, Nigeria, he was exposed to both traditional Yoruba culture and Western influences from a young age. His education reflects this blend, attending prestigious Nigerian schools before studying English literature at the University of Leeds in England. Soyinka's prolific career has produced a wealth of creative work across genres. He is a playwright, novelist, poet, and essayist, best known for his powerful and often satirical plays. These plays tackle complex themes of politics, history, and culture, particularly within the context of postcolonial Africa. His most celebrated play, "A Dance of the Forests," critiques the pitfalls of newly independent nations and the importance of confronting the past. Other notable works include "Death and the King's Horseman," "The Interpreters," and "Aké: The Years of Childhood."
Soyinka is not just a literary giant, but also a vocal critic of injustice and authoritarian rule. His activism has led to imprisonment in his homeland and years spent in exile. This commitment to human rights and freedom struggles is reflected in his play "Mandela and De Klerk." His groundbreaking work was recognized in 1986 when he became the first African to receive the Nobel Prize in Literature. Today, he remains a respected intellectual and a powerful voice for change, inspiring generations of writers and activists worldwide. His work is not only celebrated for its depth and artistry, but also for its unique blend of African and Western influences, often drawing on Yoruba mythology and folklore. Soyinka's talent extends beyond the written word, with a strong commitment to fighting for democracy and human rights that extends far beyond his literary achievements.
Notable Works:
Wole Soyinka's prolific career has produced a vast and impressive body of work. Here are some of his most celebrated pieces across different genres:
Plays:
A Dance of the Forests (1960)
Death and the King's Horseman (1975)
The Road (1965)
Kongi's Harvest (1967)
Novels:
The Interpreters (1965)
Season of Anomy (1973)
Chronicles from the Land of the Happiest People on Earth (2021)
Poetry:
Idanre and Other Poems (1967)
Poems from Prison (1969)
Mandela's Earth and Other Poems (1988)
This list highlights just a few of Soyinka's many noteworthy works.These plays, along with many others, showcase Soyinka's talent for using satire, symbolism, and Yoruba mythology to explore political and social issues. Each piece offers a unique perspective on the complexities of African history, politics, and culture, all delivered with Soyinka's characteristic wit, depth, and passion.
Introduction of play ‘A Dance of the Forests’:
Through allegorical storytelling, Soyinka challenges conventional notions of heroism and villainy, presenting characters who defy easy categorization. In the tapestry of Nigeria's post-independence celebration, the playwright confronts pressing moral imperatives, urging audiences to heed the lessons of history lest they be condemned to repeat its errors. However, the play offers no easy answers, leaving viewers to grapple with the unresolved conflicts and unanswered questions that linger long after the curtain falls. Soyinka's vision of humanity as metaphysical and mythological imbues "Dance of the Forest" with a profound sense of existential inquiry. Through the character of Rola/Madame Tortoise, Soyinka critiques societal double standards and challenges simplistic moral judgments. Likewise, the enigmatic Forest Father, portrayed as a subprime deity, invites reflection on the nature of creation and the limits of divine knowledge. In ‘A Dance of the Forests,’ Soyinka emerges not just as a skilled storyteller but also as a moral guide, infusing his work with social and political commentary. As the characters grapple with ambiguity and uncertainty, audiences are left to ponder the fate of a nation standing at the crossroads of its own destiny.
Structure of the play:
The structure of this play is very different from the usual five-act structure of traditional Western drama. It is divided into two parts. The first part shows the characters going on adventures to get to know each other. They are led by Forest Father, who is disguised as Adenebi. They move towards the forest for the celebration of the gathering of the tribes. At the same time, Ogun and Eshuoro are looking for Demoke. They force Murete to reveal what he knows. The Old Man, Demoke's father, and Agboreko also try to find Demoke and save him. In this situation, the invited guests from the past, the Dead Man and the Dead Woman, are ignored by all the characters.
The second part is a flashback to the court of Mata Kharibu. The characters we already know play different roles from the past - except for the Dead Man and the Dead Woman, who play themselves as they were when alive. After the scenes from Mata Kharibu's court, the story becomes confusing. We see different groups like spirits, ants, and the Triplets Masque. Disguise and masquerade replace regular storytelling, and the story does not really move forward. The pace slows down, but picks up again when Demoke intervenes in the game and performs a ritual. Dawn comes, Ogun leaves, Eshuoro and his jester run away, and Agboreko and the Old Man find Demoke. The play mixes reality, something beyond reality, ritual, and straightforward narrative. The movement is circular, suggesting a cycle of sin from Mata Kharibu's time to the present, which Demoke's selfless act may break. The striking part is the contrast between past and present, living and dead, serious and funny moments. There are sudden shifts from serious to comedic scenes.
What is postcolonialism?
Postcolonialism is a field of academic study and a theoretical framework that examines the cultural, social, political, and economic legacies of colonialism and imperialism. It explores the impacts of colonial rule on colonized societies and their ongoing struggles for identity, autonomy, and socio-political equality in the aftermath of colonization. Postcolonial scholars analyze how colonial powers imposed their authority, exploited resources, imposed cultural norms, and reshaped societies, often leading to enduring inequalities, conflicts, and cultural hybridities. This interdisciplinary approach seeks to deconstruct and challenge colonial narratives, empower marginalized voices, and foster decolonization efforts in various spheres of society. The fields of postcolonial studies and literary criticism boast two prominent thinkers from India: Gayatri Chakravorty Spivak and Homi K. Bhabha. Both scholars have made significant contributions to understanding the complexities of power, representation, and identity in the wake of colonialism.
Gayatri Chakravorty Spivak:
Spivak's groundbreaking work, particularly her essay "Can the Subaltern Speak?" (1988), critiques the limitations of Western knowledge systems in representing the experiences of colonized people. She introduces the term "subaltern" to refer to marginalized groups silenced by colonial and dominant narratives. Spivak argues that even attempts to speak for the subaltern can be problematic, as they often reinforce existing power structures. Her work challenges scholars to be more conscious of their own biases and to listen for ways that the subaltern might speak on their own terms.
Homi K. Bhabha:
Bhabha, known for his book "The Location of Culture" (1994), delves into the concept of "hybridity." He argues that cultures are not static entities but constantly evolving through encounters with other cultures. Colonization, for example, created a space where colonized people adopted and adapted elements of the colonizer's culture, but also subverted and challenged them. Bhabha also explores the concept of "mimicry," where the colonized imitate the colonizer's gestures and styles, but ultimately expose the artificiality of colonial power. His work helps us understand the dynamic and fluid nature of cultural identities in a postcolonial world.
Soyinka and Postcolonialism:
Sub-Saharan Africa faces many difficulties like civil wars, social conflicts, military dictatorships, economic problems, famines, droughts and widespread diseases. These make living conditions extremely poor for many Africans. However, an important cause of Africa's current issues is its colonial past under European powers. When European countries like Britain and France created African nations, they grouped together different ethnic groups, languages and cultures within newly-drawn national borders. They did not consider the diversity they were forcing together. This caused long-lasting ethnic rivalries between groups. The European colonizers also damaged and exploited African economies for their own benefit, leaving the nations in heavy debt after independence. These crippled economies make development very difficult. Despite such immense challenges, many great African writers like Wole Soyinka have produced excellent literary works. This is because European colonialism could not completely erase the rich indigenous cultures across the African continent. Practices like seasonal rituals, New Year festivals, Yoruba mysteries, folk theater troupes, oral storytelling traditions and retellings of history have all continued strongly.
An important distinction that Franz Fanon makes between colonization and decolonisation and one which Soyinka tries to illustrate in his play 1s the fact that with decolonisation individualism should be ideally replaced by a sense of community. Fanon writes,
“The native intellectual had learnt from his [colonial] masters that the individual ought to express himself fully. The colonialist bourgeoisie had hammered into the native's mind the idea of a society of individuals where each person shuts himself up in his own subjectivity, and whose only wealth is individual thought. Now the native who has the opportunity to return to the people during the struggle for freedom will discover the falseness of this theory. The very forms of organization of the struggle will suggest to him a different vocabulary. Brother, sister, friend--these are words outlawed by the colonialist bourgeoisie, because for them my brother is my purse, my friend is part of my scheme for getting on.”
Soyinka is highly innovative in blending existing Yoruba mythology, rituals, festivals and performance traditions with elements from Western theater styles in his plays written in the English language of the former colonial rulers. His play ‘A Dance of the Forests’ explores an important idea from Frantz Fanon - that after throwing off colonial rule, a spirit of community and togetherness should ideally replace excessive individualism.
In the first part of the play, characters like Demoke and Rola are selfish and only care about saving themselves, with no sense of solidarity. But the wise figure of the Forest Father reminds them to cooperate. However, at the end of the second part Demoke willingly risks his life to undergo the expiation ritual on behalf of the community. He tells his father, “We three who lived many lives in this one night, have we not done enough? Have we not felt enough for the memory of our remaining lives?” Demoke does not speak,solely for himself; he includes Rola, Adenebi, and himself in his words, referring to "we three of the community." This emphasizes that his perspective is not about individual experiences but rather represents the collective voice of the community. In summary, despite Africa's colonial legacy leaving difficult conditions, its cultural traditions flourished and provided inspiration for Soyinka. His innovative play blends Yoruba and Western traditions while also depicting Fanon's vision of moving from individualism to a community spirit after decolonization.
Watch this video for better Understanding
Dance of Forests as Postcolonial Play:
Nigeria became independent on October 1, 1960. Before that, there wasn't a country called Nigeria. It was put together by the British, who combined four different provinces they controlled during colonial times. These provinces were merged to create what we now call Nigeria. Nigeria has many ethnic groups, but the main ones are the Hausa, Fulani, Yoruba, and Ibo. Wole Soyinka, who won the Nobel Prize in 1986, is from the Yoruba tribe. The Yoruba people have a rich culture, traditions, and myths. Soyinka uses this history, mythology, and the uncertain politics of Nigeria in his play ‘A Dance of the Forests.’ A noted African critic Achebe says:
"Nigeria is one of the most disorderly nations in the world… most corrupt, insensitive, inefficient places under the sun… It is dirty, callous, noisy and vulgar.”
Thinkers and writers were uncertain if Nigeria could remain a united nation after gaining independence. They feared that social problems like corruption, promiscuity, and irresponsibility, which were widespread among both the people and the ruling class, could threaten its stability. The survival of Nigeria depended on the moral strength of its people. Wole Soyinka portrays this reality in "A Dance of the Forests," a play performed to mark Nigeria's independence. Divided into three parts, it is a complex play with a complicated structure. The story moves back and forth between the present and the past, adding depth to its portrayal of Nigerian society. In the early 20th century, as nationalist movements swept through colonized nations, many countries gained independence. However, this transition brought uncertainty about the form of government and economic system they should adopt. Writers felt a responsibility to guide their people through this period of change, and Wole Soyinka's "A Dance of the Forests" is one such attempt. Soyinka emphasizes that freedom is precious but must be accompanied by competence to be truly beneficial. Incompetence, frivolity, and corruption can worsen conditions even after independence. Nigeria, Soyinka argues, should build its post-independence era on the solid foundation of traditional values.
Wole Soyinka's ‘A Dance of the Forests’ emerges as a seminal postcolonial theatrical work, intricately chronicling Nigeria's intricate journey towards independence and its aftermath. Soyinka's masterful storytelling prowess is evident in his deft interweaving of allegory and symbolism, enabling him to confront the multifaceted realities of postcolonial Africa with profound nuance. Through the intricate tapestry of characters and events, Soyinka offers a searing critique of the enduring effects of colonialism on African societies, illuminating the arduous struggle for identity, autonomy, and cultural renaissance. The allegorical portrayal of historical figures and mythical beings serves as a poignant mirror, reflecting the complex socio-political landscape of Nigeria and urging audiences to grapple with the formidable challenges of nation-building in the wake of colonial subjugation.
Furthermore, the play presents a profound commentary on the dynamics of power, morality, and the quest for true liberation. Soyinka's incisive exploration of themes such as corruption, despotism, and societal double standards resonates profoundly within the postcolonial context, catalyzing introspection and dialogue around the intricacies that permeate contemporary societies. ‘A Dance of the Forests’ stands as a powerful testament to Soyinka's unwavering commitment to social and political critique, offering a compelling narrative that continues to spark discourse and introspection within the postcolonial realm. Through his masterful storytelling, Soyinka confronts the multifarious realities and challenges arising from colonial legacies, solidifying the play's status as a quintessential postcolonial work of enduring relevance.
The Significance of Ancestors and Confronting the Past:
In "A Dance of the Forests," Soyinka vividly illustrates this point by summoning the dead ancestors to join a tribal gathering with the living characters. The presence of ancestors holds rich ideals for Africans, yet ironically, the living characters view them as unwelcome guests at the feast. Soyinka subtly warns Africans that ignoring their past could lead to a dark future. At the same time, he suggests that Nigerians shouldn't solely blame their past for present discomforts. They must take responsibility to shape their future properly. The characters in ‘A Dance of the Forests’ come from different worlds: the living beings like Demoke, Adenbi, Agbereko, and Rola; the dead ancestors; historical figures like Mata Kharibu and Madam Tortoise representing ancient Nigeria; elements of the natural world like the forest-head and spirits of trees and rivers; and supernatural beings like Eshuoro and Ogun. This diverse cast contributes to the complexity of the play, with its archetypal characters, multiple themes, complicated symbolism, and multi-dimensional technique.
Characters with Dual Roles and the Tribal Gathering:
Some characters play double roles, reflecting the play's complexity. In part I, characters like Adenbi, Agbereko, Demoke, and Rola represent contemporary Nigerian citizens. In part III, the "play within a play," these same actors take on different roles, such as Demoke becoming the Court Poet and Rola becoming Madame Tortoise. The central event of the play is the elaborate gathering of tribes, with Demoke tasked with carving a totem pole to mark the occasion—a symbolic act of regeneration for the entire community.
As the play starts, some characters from the present time, like Adenebi, Demoke, Obaneji, and Rola, aren't happy to see the Dead Man and the pregnant Dead Woman who've been invited. They feel these dead guests don't belong there. Even the Dead Man and the pregnant woman regret being there, feeling out of place in the modern world. Instead of helping the modern people, the dead start talking about their own problems. And the modern folks don't want to deal with the guests from the past, leading to a big mess with no connection between the past and present. Then the play shifts back eight centuries to a time when King Mata Kharibu ruled with cruelty. His queen, Madame Tortoise, was taken from her husband against her will. When Mata Kharibu orders the army captain to fight an unfair war, the captain refuses. So, Mata Kharibu threatens to punish him and the other soldiers. This shows how bad rulers might come if things don't change. In Mata Kharibu's time, doing the right thing was rare.
Corruption, Morality, and Women's Roles:
The Historian convinces the captain to fight the unjust war just to please the king. Soyinka, through Madame Tortoise, warns that if things stay corrupt, women will suffer. Madame Tortoise even tries to tempt the captain with promises of romance, showing how morals could decline. Soyinka says we need to stop this to protect women's roles in society. Women should focus on family and rebuilding Africa. Bribery and corruption are serious problems in societies worldwide. In the play, there's a scene where Mata Kharibu wants to sell soldiers to a slave-trader. The trader tries to fit too many soldiers on a boat, risking their lives. When the Court Historian objects, the trader bribes him with money, and he gives in. This corruption could tear Nigeria apart. In the end, the grand gathering of tribes turns out to be a disappointment. There's a big difference between dreams and reality, between what's practiced and what's ideal. To make their dreams come true, people need to fight against the bad forces. Soyinka suggests that Africans need to bridge the gap between ugly realities and high ideals. They must show high morals, generosity, selflessness, and tolerance. Only then will independence truly mean something. Soyinka's message isn't just for Nigerians; it's universal. It's especially important for people in third world countries who want to build a better post-independence future that's prosperous, fair, and peaceful.
Conclusion:
In conclusion, "A Dance of the Forests" stands as a powerful testament to Wole Soyinka's mastery of political and postcolonial storytelling. Through its allegorical narrative and richly drawn characters, the play delves deep into the complexities of Nigeria's post-independence journey. Soyinka challenges traditional notions of heroism and villainy, urging audiences to grapple with the moral imperatives of their time. By exposing societal double standards and highlighting the lasting impact of colonialism, the play serves as a stark warning against the dangers of corruption and despotism in the newly liberated nation. Yet amidst these challenges, Soyinka celebrates Nigeria's cultural heritage and calls for a collective effort in nation-building. "A Dance of the Forests" remains a poignant reflection on the legacy of colonialism and the ongoing quest for true independence, resonating with audiences far beyond its original context.
[Words - 3,412, Images - 4, Video - 1]
Works Cited:
Ahmed, Haseeb. “(PDF) Exploring History, Myth and Politics: A Study of Soyinka's A Dance of the Forests.” ResearchGate, 22 November 2017, https://www.researchgate.net/publication/321212466_Exploring_History_Myth_and_Politics_A_Study_of_Soyinka's_A_Dance_of_the_Forests. Accessed 26 April 2024.
Britannica, The Editors of Encyclopaedia. "Wole Soyinka". Encyclopedia Britannica, 9 Apr. 2024, https://www.britannica.com/biography/Wole-Soyinka. Accessed 26 April 2024.
Dr. Datta, Sawant G. “(PDF) Perspectives on Post-colonial Theory: Said, Spivak and Bhabha.” ResearchGate, 1 February 2015, https://www.researchgate.net/publication/271633479_Perspectives_on_Post-colonial_Theory_Said_Spivak_and_Bhabha. Accessed 26 April 2024.
Usman Anjum, Raja Muhammad. “Dance of Forest as Post Colonial Play.” Academia.edu, 9 November 2017, https://www.jstor.org/stable/25112534. Accessed 26 April 2024.
No comments:
Post a Comment