Dance of the Forests Study

Guide
A Dance of the Forests is one of Wole Soyinka's
best-known plays and was commissioned as part of a
larger celebration of Nigerian independence. It was a
polarizing play that made many Nigerians angry at the
time of its production, specifically because of its
indictment of political corruption in the country.

After having gone to university in England, Soyinka

returned to Nigeria to write this play in 1959, submerging
himself in Yoruba folklore as a way of reconnecting with
his homeland. The play is about a group of mortals who
invoke the spirits of the dead, hoping that these wiser
spirits will help to guide them, but disappointed to
discover that the spirits are just as petty and flawed as
they are.

The play has been interpreted by many as a cautionary

tale for the Nigerian people on the occasion of their
newfound independence, to remind them to be critical and
seeking, and warning against becoming complacent. It
also provides a metaphor for not sentimentalizing
pre-colonial Africa too much and remaining vigilant. When
Soyinka won the Nobel Prize for Literature in 1986, A
Dance of the Forests was named as one of his crowning
achievements, and he was named "one of the finest
poetical playwrights that have written in English.”

A Dance of the Forests

Summary
The play begins with a Dead Man and a Dead Woman
breaking free from their burial in the soil in the middle of a
forest. They ask those that pass by to "take their case."
The Man and Woman were a captain and his wife in a
past life and were tortured and killed by an Emperor by the
name of Mata Kharibu and his Queen, nicknamed
Madame Tortoise. The Dead Man and his wife have come
to the Gathering of the Tribes, and were sent here by
Aroni, a god, with permission from the Forest Head, in
place of the forefathers that the living have requested to
join them.

Four characters come through the forest initially: Rola, a

prostitute, once known as Madame Tortoise and a queen
from the previous life; Adenebi, a court historian in the
time of the Emperor Mata Kharibu, now a council orator;
Agboreko, who was a soothsayer to Mata Kharibu in a
past life and plays the same role in this life; and finally,
Demoke, who is now a carver but was once a poet in the
court. Aroni has selected these four in order for them to
gain knowledge about their past lives and to atone for
their sins.

Another character, Obaneji, is actually the Forest Head

disguised in human form. He invites the characters to join
in a welcome dance for the Dead Man and Woman.
Eshuoro, a wayward spirit seeking vengeance for the
death of Oremole, Demoke's apprentice, comes and
interrupts the proceedings. He claims that Demoke killed
him by pulling him off the top of an araba tree they were
carving, which caused him to fall to his death. Ogun, the
god of carvers, stands up for Demoke against Eshuoro's
claim. We learn that Demoke encouraged the cutting of
the araba tree, and also that there was a great fire in
which 65 of 70 people were killed.

As the play moves forward we are taken back in time into

the court of Mata Kharibu, where we learn that the Dead
Man was a soldier who led Karibu's men. The soldier
refuses to go to war against another tribe because
Kharibu has taken the tribe leader's wife, Madame
Tortoise.

All of the characters from the earlier part of the play (but
from later in time) are seen as the court counselors of
Kharibu. They do not help the soldier, who is castrated
and given to a slave dealer. The scene ends as the
soldier's wife comes in, pregnant. It is left up to the
audience to determine how she is killed.

The forests are then smoked out by humans with a petrol

truck. The Forest Head says that he must "pierce the
encrustations of soul-deadening habit, and bare the mirror
of original nakedness." He exits knowing that he is alone
in his fight. Demoke is led to climb up a totem he built by
Eshuoro, who lights the totem on fire. Demoke falls and
joins his father and the other mortals and they discuss
what they have learned.

A Dance of the Forests

Character List
Dead Man
The Dead Man was a soldier in a former life who was
castrated for his unwillingness to go to war against a
neighboring tribe. He took issue with the motives for going
to war and so refused to participate. He was sold to a
slave-dealer and eventually killed. During the time of the
play, he has been brought back to life by Aroni to settle the
unfinished business of his ill-fated death.

Dead Woman
The Dead Woman was pregnant with the Dead Man's child
when she attempted to plead for her husband's life in the
court of Mata Kharibu. Her plea was rejected and she and
her husband were killed.
Forest Head
Forest Head is a god who attempts to have the four
characters who tortured the Dead Man and Dead Woman in
a past life remember their sins and atone for them.

Rola
Rola is a prostitute, who was once Madame Tortoise in a
past life, and queen to Mata Kharibu. She was known for
driving men to madness and is the reason the Dead
Man/Soldier was castrated and his wife killed.

Demoke
Demoke is a carver who was once a poet in a past life.
While carving an araba tree he pushed his apprentice,
Oremole, from the tree to his death. The Forest Head wants
him to see the sin he has committed and atone for it.

Adenebi
Adenebi was a court historian for Mata Kharibu who
accepts a bribe from a slave trader to sell the Soldier as a
slave, even wrongfully stating that the ship he will travel in
is not tortuous.
Agboreko
Agboreko is the Elder of Sealed Lips. In a former life, he was
a soothsayer in the court of Mata Kharibu and predicted
that the stars did not favor a victory for the king if he chose
to go to war.

Eshuoro
Eshuoro is a wayward spirit who is seeking vengeance for
the death of Oremole. He seeks Demoke as Oremole's
murderer and is vengeful and spiteful throughout the play.

A Dance of the Forests

Themes
Atonement
Atonement is a major theme of the play. The Dead Man and
Dead Woman are brought back to the land of the living so
that the four mortals who mistreated them in the past will
recognize their former sins and atone. While the mortals
spend a great deal of the play unaware of this, they
eventually realize that the purpose of the Dead Man and
Dead Woman's visitation is to teach them a lesson, and by
the end, they go through a kind of conversion,
understanding that they have sinned before.

Corrupted Power
Corrupted power is another major theme in the play,
particularly as it represented in the characters of Mata
Kharibu and Madame Tortoise. As we are taken back to the
palace of the king, we see that Madame Tortoise exploits
her beauty and her power over men in order to stir up
discord. Mata Kharibu is also corrupted by his immense
power, as demonstrated by the fact that he is demanding
that his soldiers fight against their better judgment, and the
fact that he mercilessly punishes free thinking. Wole
Soyinka tells a story that reveals to the reader that all power
is corruptible, and that just because people are given
authority does not mean that they are good or ethical
people.

Wounds & Trauma

The play depicts the ways that people carry around trauma
and wounds from the past, that everyone has some
sensitive part of their biography that haunts and hurts
them. The Forest Head knows this and attempts to bring
these wounds to light in hopes that those who have been
hurt in the past can move on.

The Past
The play does not follow an exactly linear structure, in spite
of the fact that it all takes place in the course of a day. As
we learn rather quickly, the narrative concerns the sins of
the past, and each mortal character has multiple identities,
representing both who they are in the present as well as
who they once were in the past. The present is layered onto
the past as if to suggest that nothing from our history is
ever fully gone, that we descend from patterns and events
that precede us and continue to affect us in the present.
The plot of the play concerns the ways that human beings
must overcome their pasts and learn from them.

Nature
The play takes place in a forest, and throughout, various
elements of the natural world come to life to take part in the
reckoning that is taking place with the mortals. The Forest
Head is a spirit who presides over the forest, and during the
welcoming of the Dead Man and Dead Woman, various
spirits of different natural elements are called upon to
speak their piece. These include Spirit of the Rivers, Spirit of
the Palms, Spirits of the Volcanos, and others. All of these
elements of nature are personified through verse, showing
us the connection between the human and the natural
world.

Birth
One of the unresolved features of the Dead Woman is the
fact that she was killed while pregnant with a child. She
returns to the world of the living still with a pregnant belly,
and during the welcome ritual, the fetus appears as a
Half-Child, who is caught between being influenced by the
spirit world and remaining with his mother. The Half-Child is
a tragic figure, as he was never given the relief of life, and
when he is given a chance to speak he says, "I who yet
await a mother/Feel this dread/Feel this dread,/I who flee
from womb/To branded womb cry it now/I'll be born
dead/I'll be born dead." The figure of the child is a tragic
one, standing in as the ultimate symbol for the wrongs done
to the Dead Man and Dead Woman, and the unresolvedness
of their plight.

Ritual
Another major theme, as well as a formal element of the
play, is ritual and tradition. Throughout, we see the
characters going through traditional motions in order to
understand more about their circumstances. These rituals
include the ceremony for the self-discovery of the mortals,
in which the mortals must relive their crimes, the Dead Man
and Dead Woman must be questioned, and the mortals
revealing their secret wrongs.

Another ritual that gets performed is the Dance of

Welcome, in which the spirits of the forest perform and
deliver monologues. Then the Dance of the Half-Child
determines with whom the unborn child will go. Often,
rituals, dances, and formal representations stand in for
literal events. Indeed, the entire play can be seen as a
stringing together of the different formalized rituals that
make up the narrative.
A dance of the forests
​ 1. A Dance of the Forests By Wole Soyinka Yesha Bhatt M. K. Bhavnagar, University
​ 2. Wole Soyinka - 1934 A Nigerian playwright, novelist, poet, and essayist in the
English language. He was awarded the 1986 Nobel Prize in Literature. He took an active
role in Nigeria's political history and its campaign for independence from British colonial
rule. “Much of his writing has been concerned with "the oppressive boot and the
irrelevance of the colour of the foot that wears it.”
​ 3. Most recognized play of Soyinka Performed on the celebration of independence of
Nigeria – 1960 – It got published in 1963 “it ... degraded the glorious African past and
warned Nigerians and all Africans that their energies henceforth should be spent trying to
avoid repeating the mistakes that have already been made.” Iconoclastic work that
irritated many of the elite in Soyinka's native Nigeria – demands freedom from European
imperialism Portrayal of post-colonial Nigerian politics – aimless and corrupt. A Dance of
the Forests - 1960
​ 4. Characters Gods Forest Head (Obaneji – When as human) Aroni (Forest spirit)
Eshuoro ( Forest spirit – Spirit of a tree) Ogun ( God of carving) Ghosts Dead man
(Warrior – Soldier in past life) Dead Woman (Wife of Dead Man and was pregnant in
past life) Old Man (Demoke’s father) Human Rola (Prostitute) Adenebi (Council orator)
Agboreko (Fortune-teller) Demoke (Carver) Mata Kharibu (King) Oremole (Demoke’s
student)
​ 5. This Life Rola (Prostitute) Adenebi (Court historian) Agboreko (Fortuneteller)
Demoke (Carver) Past Life Madame Tortoise (Queen) Adenebi (Court historian)
Agboreko (Fortune-teller) Demoke (Poet)
​ 6. Plot Dead man (wearing a uniform) – Dead woman (pregnant) – their soul comes out
from the grave – in the middle of the forest – both were killed – asks everyone passing
through jungle to “will you take my case?” nobody is taking their case – Mata Kharibu
killed them Gathering of tribes in forest (to call forefathers to take guidance ) – Aroni sent
Dead man and Dead woman at the gathering instead of forefathers Aroni selected
humans to attend the festival. Rola – Adenebi – Demoke Obaneji invites these
characters to gathering
​ 7. Plot Discussion (1) about current scenario and why these characters are there –
Rola (happy with the condition) – Demoke (Famous totem) – Adenebi (Wants some
peace) Murete tells about Deads and mortals to Aroni – Aroni went to search for them –
Ogun is also searching Demoke – Agboreko is also searching everybody - Eshuoro is
also searching mortals Discussion (2) Aroni planned to find out the guilty one (Demoke –
Rola – Adenebi) - Adenebi is afraid of the act of Aroni as he was also involved
Discussion (3) Obaneji and Adenebi about the lorries and fire – Revelation of past (
Political hypocrisy)
​ 8. Plot Discussion (4) Death – How would you like to die? (Past deeds – Life to death –
Becoming a reason for other’s death) Discussion (5) – Revelation of identity) (Rola –
Demoke – Adenebi is afraid) Agboreko and Old man talk about the plan of Aroni
Eshuoro complains about Forest head and deeds of human - Demoke All spirits enter
and discusses about the human Forest head took all in past
​ 9. Plot The story moves eight centuries ago – Court of Mata Kharibu – the whole story
of injustice – Madame’s behaviour and making dead man eunuch. Eshuoro and Oremole
arguments about Oremole and Demoke – Eshuoro left All spirits give speech about the
condition of forest Woman enter with half-child – symbol of incompleteness – Not alive
nor dead Questioner(Eshuoro) enters and asks Dead woman why she died – tries to ask
Dead man something but Aroni arrives and reveals that he is Eshuoro
​ 10. Plot Eshuoro tries to kill Demoke and Ogun saves him. Agboreko – Rola and Old
man (Demoke’s father) is there. Old man asks Demoke “Have you learned anything?”
Demoke did not reply Play ends.
​ 11. Themes Reparation or compensation to dead Past life – present life (deeds of
characters) Characters are waiting for punishment Dead man and woman are there to
make characters realize their pain Realization is everything Mata Kharibu – Madame
Tortoise All who have authority are not correct Corruption is everywhere - Superiority
Punishment by Mata Kharibu Powerful exploits powerless Political hypocrisy Atonement
Corrupted Power
​ 12. Themes Traumatic incidents of past Psychological effects of that incident Past
haunts and hurts Dead man and woman Demoke – realisation Aroni and Forest head
helps them to move on. Characters have multiple haunting memory of past Bad deeds
of all characters Past v/s present (mistakes) Play is all about recalling past – learning
from it – moving on from it Mortals v/s immortals “Have you learned anything?” Wounds
- Trauma The Past
​ 13. Themes The play takes place in forest Spirits and Forest head is involved Various
spirits like river, stone, palm trees, mountain visits ceremony All parts of nature talks
about activities of human which is harming nature Natural world – Human world Dead
woman got killed when she was pregnant “Half-child” A baby born who is dead from its
birth It symbolises the wrong things happened with Dead man and Dead Woman Child
has an influence of spirits but will never be able to go to the normal life of humans Nature
Birth
​ 14. Themes Tradition and ritual is at the centre Ceremony – Self-discovering
Revealing secrets and sins through ceremonial tendencies Narrative is going through
rituals only Agboreko – Half-child – Welcome dance – Questioning – Speech by Spirits –
Revelation of past The whole play is centred with gathering of tribes Ritual
 ​ 15. Wole Soyinka's dystopian/utopian vision in A Dance of the Forests A
metaphorical commentary of the sociopolitical situation in Nigeria. The structure of the
play in which Soyinka traces the past to the present to forecast a dystopian future.
Utopian past – Dystopian present –> Utopian future The hopeless past with the fruitless
present to project a bleak future Post-independence disillusionment Clash of Past
(Human atrocities) and Present (quests for a futurity that is utopian) Present is reflection
of past (Dystopian) – Future can be imagined by present (again dystopian – but one can
still hope for utopian society)
​ 16. Soyinka’s A dance of the forests: a postmodern conceptualization Re-reading of the
play - relevance in the twenty-first century Nigerian cum African society - deconstructive
reading The failure of vision and lack of cohesion in the society Demythologizes old
myths of progress - demythologizes old myths of progress Such paradox can lead to
demythologizes old myths of progress. All characters are suffering from within – The
play does not contain an idea of any progressive nation – Past is full of mistakes Murder
– reflects demythologizes old myths of progress
​ 17. A spectacle of protest against war in Soyinka’s a dance of the forests an allegory of
cosmic dimensions Half-child is newly born Nation Celebration of freedom is conducted
by recalling forefathers – In play spirits and ghosts are being called Metaphysical and
aesthetic way of presenting the things Nature – medium to find spiritual meaning of life
Ritual format to express his consciousness of sociopolitical imperatives A play offered to
a nation on the euphoric occasion of its Independence, the immediate victim of the satire
is that nation itself;
​ 18. Thank You

AUTHOR:WOLE SOYINKA
Akinwande Oluwole
Babatunde Soyinka , known
as Wole Soyinka is a
Nigerian playwright, novelist,
poet,
and essayist in the English
language. Soyinka was born
into a Yoruba family in
Abeokuta.In 1954, he
attended Government
College in Ibadan, and
subsequently University
College Ibadan and the
University
of Leeds in England. After
studying in Nigeria and the
UK, he worked with the
Royal Court Theatre in
London. He went on to write
plays that were produced in
both countries, in theatres
and on radio. He
took an active role in
Nigeria's political history and
its campaign for
independence from British
colonial
rule. In 1965, he seized the
Western Nigeria
Broadcasting Service studio
and broadcast a demand for
the
cancellation of the Western
Nigeria Regional Elections.
In 1967, during the Nigerian
Civil War, he was
arrested by the federal
government of General
Yakubu Gowon and put in
solitary confinement for two
years, for volunteering to be
a non-government mediating
actor.
Soyinka has been a strong
critic of successive Nigerian
(and African at large)
governments, especially the
country's many military
dictators, as well as other
political tyrannies, including
the Mugabe regime in
Zimbabwe. Much of his
writing has been concerned
with "the oppressive boot
and the irrelevance of the
colour of the foot that wears
it".
In Nigeria, Soyinka was a
Professor of Comparative
literature (1975 to 1999) at
the Obafemi Awolowo
University, then called the
University of life.With civilian
rule restored to Nigeria in
1999, he was made
professor emeritus.[While in
the United States, he first
taught at Cornell University
as Goldwin Smith
professor for African Studies
and Theatre Arts from 1988
to 1991 and then at Emory
University, where in
1996 he was appointed
Robert W. Woodruff
Professor of the Arts.
Soyinka has been a
Professor of
Creative Writing at the
University of Nevada, Las
Vegas, and has served as
scholar-in-residence at New
York University's Institute of
African American Affairs and
at Loyola Marymount
University in Los
Angeles, California.
In December 2017, Soyinka
was awarded the Europe
Theatre Prize in the "Special
Prize" category,
awarded to someone who
has "contributed to the
realization of cultural events
that promote
understanding and the
exchange of knowledge
between peoples".
TITTLE AND IT'S
RELEVANCE
Dance of the Forest" is a
play written by Nigerian
playwright Wole Soyinka.
Analyzing the title, it
carries significant thematic
and symbolic weight within
the context of the play. The
title "Dance
of the Forest" suggests a
central motif of dance and
the natural world.
Dance often represents a
form of expression,
communication, and ritual.
In many
African cultures, dance is a
means of conveying
stories, emotions, and
cultural
traditions. The title hints at
the importance of dance
as a vehicle for conveying
deeper
themes within the play.
The forest can be seen as
a symbol of the natural
world, filled with mystery
and
untamed forces. In African
literature, forests often
hold a symbolic
significance,
representing the unknown,
the supernatural, and the
ancestral realm. The forest
in this
context may represent the
complexities of African
traditions, histories, and
belief
systems.
The combination of
"dance" and "forest" in the
title suggests an interplay
between
culture and nature, as well
as the interaction between
traditional and modern
values.
The characters in the play
may find themselves
caught between the
traditional and the
changing world, where
dance serves as a link
between these contrasting
realms.
The title also implies a
harmony or conflict
between human culture
(dance) and the
natural environment
(forest). This tension can
be explored in the play,
reflecting the
broader African experience
of reconciling tradition with
modernity.
In summary, the title
"Dance of the Forest" by
Wole Soyinka hints at the
rich and complex
interplay of culture and
nature, tradition and
change, and the profound
symbolism that dance
holds within the context of
the play. Analyzing the title
sets the stage for a deeper
exploration
of these themes within the
text
The relevance of "Dance
of the Forest" lies in its
ability to offer insights into
complex social,
political, and cultural
issues. It serves as a
mirror to the struggles and
aspirations of African
nations during a critical
period of transition and
continues to be a valuable
work for the study of
African literature, post
colonialism, and the
human experience.
CHARACTER ANALYSIS
The guests of honor
The dead man
The dead woman
Forest
dwellers
Aroni
Murete
Eshuoro
Ogun
Obaneji
The town dwellers
Adenebi,Obaneji,Demoke,Ro
la,Agboreko
Old man, Dirge man, His
acolyte
Councilors, Beaters
Drummers
Forest criers
The questionnaire
The interpreter
Jester to Eshuoro
The triplets, The ant, Half
Child
Spirits of the Palm ,
Darkness and River
The court of Mata Kharibu
Madame Tortoise (Rola),
Court poet
(Demoke), His Novice
Mata Kharibu, Captain (the
Dead Man) and
his wife. Physician, historian
(Adenebi),
Slave dealer, Soothsayer
(Agboreko)
MAIN CHARACTERS
1)Demoke/Court Poet
Demoke is a carver who was
once a poet in a past life.
While carving an araba tree
he pushed his
apprentice, Oremole, from
the tree to his death. The
Forest Head wants him to
see the sin he has
committed and atone for his
sin. Demoke is the village
carver, as well as the Court
Poet in the Court of
Mata Kharibu. Some
scholars consider Demoke to
be the true protagonist of A
Dance of the Forests, as
carving is an essential and
sacred act in the Yoruba
tradition, aligning Demoke
with Nigerian culture.
Demoke also sets off one of
the driving conflicts in the
play when he unwisely
chooses to carve the
village idol out of the deity
Oro's sacred tree, araba.
Demoke kills Oremole, a
devotee of Eshuoro, out of
jealousy, and sets off a feud
between Eshuoro and Ogun,
Demoke's patron god. During
the Dance of the
Dead, Demoke saves the
Half-Child from Eshuoro.
Demoke is then chased up
the flaming idol tree by
Eshuoro, but is rescued by
Ogun when he falls. Despite
all he has witnessed,
Demoke is unable to
explain the significance and
has likely learned nothing
that will help the future.. In a
flashback scene, it is
revealed that Demoke was
formerly a poet in the court of
Mata Kharibu at the same
time that the dead
man and woman
experienced their greatest
suffering. In Demoke,
Soyinka explores the inability
of
humans to learn from their
mistakes or experiences, and
portrays Demoke as primarily
motivated by his
fear and ego. However,
Soyinka also allows Demoke
to have moral character, as
he seeks to end the
suffering of the Dead Woman
and return the Half-Child to
her.
2).Dead Man
The Dead Man was a soldier
in a former life who was
castrated for his
unwillingness to go to war
against
a neighboring tribe. He took
issue with the motives for
going to war and so refused
to participate. He
was sold to a slave-dealer
and eventually killed. During
the time of the play, he has
been brought back to
life by Aroni to settle the
unfinished business of his
ill-fated death.
3)Dead Woman
The Dead Woman was
pregnant with the Dead
Man's child when she
attempted to plead for her
husband's life in the court of
Mata Kharibu. Her plea was
rejected and she and her
husband were killed.
4)Forest Head
Forest Head is a god who
attempts to have the four
characters who tortured the
Dead Man and Dead
Woman in a past life
remember their sins and
atone for them. He is also the
father of Eshuoro the great
tree that Demoke vandalized.
5)Rola
Rola is a prostitute, who was
once Madame Tortoise in a
past life, and queen to Mata
Kharibu. She was
known for driving men to
madness and is the reason
the Dead Man/Soldier was
castrated and his wife
killed. Rola at first says she
has fled the village to escape
the annoying children and
extended family who
came to town for the
gathering. Later, Demoke
outs her as a local prostitute
named Madame Tortoise.
Upon this discovery, Adenebi
reveals that one of Rola's
patrons murdered another
patron and then
killed himself as a result of
her machinations. Her lack of
remorse over such events is
what links her to
the past Madame Tortoise,
the evil wife of Mata Kharibu,
who ordered the dead
woman to be killed in
front of the dead man after
he rejected her sexual
advances. This Madame
Tortoise is also responsible
for the novice—the form of
Oremole—breaking his arm
while trying to retrieve her
canary.
6)Adenebi
Adenebi was a court
historian for Mata Kharibu
who accepts a bribe from a
slave trader to sell the
Soldier as a slave, even
wrongfully stating that the
ship he will travel in is not
tortuous. He is used in the
play to represent modern day
officials who accept bribes
and do not think of the result
of their
consequences. Adenebi is an
orator for the local council
who bears witness to the
suffering of others yet
takes no responsibility for his
role. He is somewhat
complicit in the death of 65
lorry passengers, and in
his former life as a historian
in the court of Mata Kharibu,
Adenebi was vocal in his
condemnation of the
dead man.In the play we see
him as an official who
changes the capacity of a
vehicle called the chimney
of Ereko from 40 people to
70 and it results in an
accident which kills every
one except five.
7)Agboreko
Agboreko is a messenger
and soothsayer who is
charged with summoning the
dead at the behest of the
living. Agboreko is the Elder
of Sealed Lips. In a former
life, he was a soothsayer in
the court of Mata
Kharibu and predicted that
the stars did not favor a
victory for the king if he
chose to go to war.
8)Eshuoro
Eshuoro is a wayward spirit
who is seeking vengeance
for the death of Oremole. He
seeks Demoke as
Oremole's murderer and is
vengeful and spiteful
throughout the play. Demoke
says he is in the forest
because he couldn't stand to
look at his creation any
longer, but he later confesses
that he feels guilty
for killing Oremole and has
fled as a result. Demoke
eventually burns down his
own creation thanks to
the trickery of Eshuoro. This
shows just how malicious
Eshuoro is.
9)Obaneji
Obaneji is the mysterious
office clerk who keeps
meticulous records of the
villagers' lives and deeds.
The
others among the living
group in the forest
automatically dislike him.
However, it is revealed in
part two
that Obaneji is actually just a
human form of the Forest
Head, the ruler of all forest
spirits. Much like his
human form, Forest Head
prefers to let human beings
make their own choices and
learn lessons the
hard way. Forest Head
supports Aroni's choices, but
he doesn't intervene when
chaos erupts near the
play's end.
SETTING
In the context of a play,
"setting" refers to the
physical, geographical, and
environmental backdrop in
which the events of the play
take place. The setting
includes details such as the
time and place of the
story, the scenery, and the
overall atmosphere. It helps
establish the context for the
audience, providing
them with a sense of where
and when the play's actions
are occurring. The setting
can significantly
impact the mood, tone, and
themes of the play, making it
an essential element in
shaping the overall
experience for the audience.
"A Dance of the Forests" is a
play written by Nigerian
playwright Wole Soyinka.
The play is set in a
Nigerian forest and takes
place on the eve of Nigerian
independence in 1960. The
forest serves as a
symbolic and mystical
backdrop where various
characters, including
historical and mythical
figures,
interact and reflect on the
past and the future of
Nigeria. The play explores
themes of cultural identity,
colonialism, and the
challenges of nation-building
in post-colonial Africa. The
forest setting symbolizes
both the natural and spiritual
aspects of Nigerian society
and is integral to the play's
themes and
symbolism.
It Is set against the backdrop
of a forest in Nigeria. The
physical and geographical
aspects of this setting
are integral to the play's
themes and symbolism. The
forest serves as a
multifaceted backdrop:
Natural Environment:
The forest is a dense, lush,
and primeval natural
environment. It represents
the
untouched, ancient, and
mysterious aspects of nature.
This setting is significant in
the play as it reflects
the idea of returning to
Nigeria's roots and ancestral
heritage.
Cultural Significance:
The forest is also symbolic of
the cultural and spiritual
heritage of the Nigerian
people. It embodies the rich
cultural traditions, rituals, and
beliefs of the Yoruba people.
The play delves
into these cultural aspects
through its characters and
the events that unfold in the
forest.
Historical Context:
The forest serves as a stage
for the characters to engage
with their history and
confront the complex issues
of post-colonial Nigeria. It
becomes a space where they
grapple with their
identity, the impact of
colonialism, and the
challenges of the modern
world.
Environmental Concerns:
The play also touches on
environmental themes, as
the forest faces threats
from development and
exploitation. This reflects the
broader environmental
concerns in Africa and the
world.
THE PLOT
1.
Introduction: Setting the
Scene
In the opening part of the
play, the author establishes
the setting, which is usually a
forest or a village in
the case of "The Dance of
the Forests." This section
introduces the main
characters, their
relationships,
and the societal context in
which they live. It provides
essential background
information to help the
audience understand the
cultural and historical context
of the story.
2.
Conflict and Rising Action
This part of the play
introduces the central conflict
or problem faced by the
characters. In "The Dance of
the Forests," the conflict may
revolve around a cultural
dilemma, a struggle for
power, or a clash
between generations. As the
story progresses, tension
builds, and the characters
face challenges that
intensify the dramatic action.
This section includes rising
action where events unfold,
leading to a climax.
3.
Climax: Turning Point
The climax is the most
intense moment in the play,
where the conflict comes to a
head. It's the point of
no return for the characters,
and their actions and
decisions have far-reaching
consequences. In "The
Dance of the Forests," the
climax could involve a pivotal
decision, a moment of
realization, or a dramatic
confrontation that changes
the course of the story.
4.
Falling Action: Resolving the
Conflict
After the climax, the play
enters the falling action,
where the consequences of
the characters' actions
start to unfold. This section
provides closure to the
storylines and resolves the
conflicts that have been
driving the narrative.
Characters may experience
catharsis, redemption, or
tragic outcomes based on
their choices and actions.
5.
Conclusion: Resolution and
Reflection
The final part of the play
brings the story to a close. It
offers a resolution to the
conflicts and dilemmas
presented earlier in the play.
In "The Dance of the
Forests," the conclusion may
provide insights into the
broader societal or cultural
issues explored in the play. It
often leaves the audience
with something to
ponder, whether it's a moral
lesson, a reflection on human
nature, or a commentary on
society.
LITERARY DEVICES
Symbolism
i) coin purse
In the court of Mata Kharibu,
the slave dealer hands the
historian a coin purse in
exchange for his
agreement that his ship is a
worthy vessel. The coin
purse is a symbol of how
bribery and corruption
work in the course of Mata
Kharibu. People are willing to
get paid off in order to turn a
blind eye to
injustice, and the coin purse
symbolizes their greedy and
the fact that they can be
bought.
ii) out of the soil
Dead man and dead woman
come up out of the soil in the
opening of the play, which
symbolizes their
journey from the
subterranean world of the
dead to the world of the
living. It represents that they
are
not alive but also represents
that they have unfinished
business and that they came
with issues that
have been buried and that
they are literally and
figuratively bringing to light.
iii) smoking out the forest
The old man sends for a
truck to smoke out the forest
with the petrol fumes , all in
order to find his son.
This event is symbolic of the
ways that humans are willing
to disrupt and destroy nature
in order to get
what they want.
iv) dancers
The dancers symbolizes the
embodiment of ancestral
spirits and the connection to
the past. They
represent the power of
tradition, rituals and
communal identify. Through
their movements , the
dancers
convey the cyclical nature of
life and the eternal presence
of the past.
v) the drum
It is a recurring symbol in the
play signifying
communication, rhythm and
unity. It represents the
heartbeat of the community
and serves as a means of
connecting the characters to
their cultural roots
and collective
consciousness.
vi) the river
The river symbolizes
purification, transformation
and rebirth. It represents the
characters journey
towards self discovery and
the shedding of their old
selves. The river also
signifies the passage of time
and fluidity of life.
vii) the forest
This symbolizes a place of
mystery ,chaos and
primordial world. It
represents the subconscious
mind and
the dark depths of human
nature. It acts as a backdrop
for character's exploration for
their identify both
individually and collectively.
Metaphor
a)
Forest head
It is a metaphorical figure
representing the forest itself.
He and the other forest
spirits that populate the
forest are embodiments of
the natural world.
b) dead man and dead
woman
They are representation of
death and unfinished
business, inspire of being
living, breathing, moving
figures. They represent the
world of the dead and they
are figures showing the fate
of death.
c) "perhaps
I have started a new disease
that spreads quickly"
When the warrior speaks out
against the war in Mata
Kharibu's court , the
physician suggest that the
war is becoming dangerous
because he is sowing dissent
among his fellow warriors.
This pleases the
warrior , who says , "
perhaps I have started a new
disease that spreads
quickly". The disease to
which
he refers to is dissent and
rebellion among the warriors
in Mata Kharibu's army.
d) " I also have no pity for the
one who invested foolishly
- investors that is all they
ever were - to me"
The words were spoken by
Rola , the current
manifestation of Madame
Tortoise, when Adenebi
accuses
her of toying when men's
hearts and ruining them. She
suggests that her seductions
were simply
business
transactions and compares
her suitors to investors in
business ,thus she uses the
metaphor of
business to describe her
romantic attachments.
Similes
" It was smoking like a
perpetual volcano"
Obaneji and Adenebi discuss
a lorry, the chimney of Ereko
and Adenebi describes it as
"smoking like
perpetual volcano" .This is a
simile to describe the lorry
when it catches on fire , by
comparing it to a
fixture of nature , a volcano
eruption.
Imagery
It is a literary device used to
create vivid mental pictures
for the reader or audience by
appealing senses.
In the play a dance of the
forest by Wole Soyinka
imagery is used to
extensively evoke sensory
and
emotional experiences.
Incidences of imagery
include;
a.)The forest
- the plays title itself "a dance
of the forest '' suggests rich
pattern of imagery related to
the
forest. The forest is a central
metaphor in the play
representing the complexities
of Nigeria's history
culture and identity. Imagery
related to the forest is used is
used to symbolize the
various layers of
Nigerian society and the
nations quest for self
discovery
b.)Costumes and masks
-imagery is conveyed
through costumes and masks
worn by the characters.
During the welcoming of the
dead, the Forest Head
passes masks out to the
"three protagonists" and as
he calls on the spirits of
various elements of nature,
the masked figures begin a
kind of dance, and "as
each spirit is summoned, one
of the human three becomes
agitated, possessed and then
pronounces."
c)Unearthed
-The opening image of the
play is of the Dead Man and
Dead Woman literally coming
up
out of the soil after being
dead for many lifetimes. The
image reveals that the
wounded dead have come
to have their case heard so
that they may be set free
from the pain of their
previous lives. It is an
evocative image by virtue of
how supernatural it is, the
portrayal of dead individuals
coming to life
again, climbing out from
under the earth.
d.)The Figure in Red and the
Half-Child
During the more ritualistic
section of the welcoming of
the dead, a Figure in Red
plays games with and
chases the "Half-Child" of the
Dead Man and Dead Woman
around the stage. The image
signifies that
the Half-Child is caught
between the world of the
living and the world of the
dead, trapped in a liminal
space where no one can help
him.
e.)The Court of Mata Kharibu
The play starts in the forest,
but with the wave of his
hand, Aroni transforms the
playing space into the
court of Mata Kharibu. Two
thrones appear, an African
guitar starts playing, and the
court assembles
around the king and his
queen. As the stage
directions tell us, "Those not
involved in the action at any
time, freeze in one position."
The court is a more
heightened and formal
setting than the wilds of the
forest.
Irony
Irony as a stylistic device is a
situation where there' is a
contrast between reality and
expectations. In
the play a dance of the forest
by Wole Soyinka incidences
of irony include;
a.)Ogun tells Murete that he
is not Ogun when Murete is
drunk ( Irony)
Throughout the play,
characters' identities blend
and bleed. A person says
they are one person, but then
they turn out to be someone
else. Additionally, the spirits
of the forest often assume
different identities
in order to trick others and
further their own motives. For
instance, Ogun, the patron
god of carvers,
goes to visit Murete, while
Murete is drunk. He tells
Murete that he is not actually
Ogun, which creates a
situation of dramatic irony, in
that the audience knows
something that Murete
cannot recognize
because of his compromised
state.
b.)Eshuoro does not know
that he has been drawn
towards the festivities by
Forest Head and Aroni
(Dramatic Irony)
Before the welcoming dance,
Aroni and the Forest Head
discuss the fact that they will
lure the wayward
spirit Eshuoro to the
festivities. However, he has
no idea that they are doing
so, which constitutes
another instance of dramatic
irony.
c.)Warrior becomes the Dead
Man (Dramatic Irony)
In the flashback to (or
conjuring of, depending on
how you look at it) the court
of Mata Kharibu, we see
the Dead Man in his former
life as the dissenting Warrior
who Mata Kharibu has
castrated and sold into
slavery. This scene is an
instance of dramatic irony in
that the reader/audience
knows that the Warrior
will become the Dead Man
who comes back to reckon
with his former oppressors,
but the characters in
Mata Kharibu's court have no
idea that they will one day
atone for their heartless
actions.
d.)Demoke (Situational Irony)
Initially, Demoke says that he
saw a man fall down out of a
tree to his death. Ironically, it
comes to light
that the man who fell was
Oremole, Demoke's
apprentice, and Demoke was
the one who pushed him
and caused his death.
Foreshadowing
A Dance of the Forests by
Wole Soyinka is a complex
play with elements of African
folklore, politics, and
social commentary.
Foreshadowing in the play
can be revealed in several
ways:
Symbolism: Soyinka uses
symbols that foreshadow
future events or themes. For
example, the forest
itself can symbolize both the
freedom and chaos that lie
ahead.
The rising of the Dead Man
and Woman foreshadows
that someone has killed them
as they ask for their
case to be heard.
Character Dialogue:
Characters may drop hints or
make statements that allude
to what will happen later
in the play. Pay attention to
what characters say about
their intentions, fears, or
desires.
THEMES
.
1.
Atonement
Atonement is a major theme
of the play. The Dead Man
and Dead Woman are
brought back to the land
of the living so that the four
mortals who mistreated them
in the past will recognize
their former sins
and atone. While the mortals
spend a great deal of the
play unaware of this, they
eventually realize that
the purpose of the Dead Man
and Dead Woman's visitation
is to teach them a lesson,
and by the end,
they go through a kind of
conversion, understanding
that they have sinned before.
2.
Corrupted Power.
Corrupted power is another
major theme in the play,
particularly as it represented
in the characters of
Mata Kharibu and Madame
Tortoise. As we are taken
back to the palace of the
king, we see that
Madame Tortoise exploits her
beauty and her power over
men in order to stir up
discord. Mata Kharibu
is also corrupted by his
immense power, as
demonstrated by the fact that
he is demanding that his
soldiers fight against their
better judgment, and the fact
that he mercilessly punishes
free thinking. Wole
Soyinka tells a story that
reveals to the reader that all
power is corruptible, and that
just because people
are given authority does not
mean that they are good or
ethical people.
3.
Wounds and
Trauma.
The play depicts the ways
that people carry around
trauma and wounds from the
past, that everyone
has some sensitive part of
their biography that haunts
and hurts them. The Forest
Head knows this and
attempts to bring these
wounds to light in hopes that
those who have been hurt in
the past can move
on.
4.The Past
The play does not follow an
exactly linear structure, in
spite of the fact that it all
takes place in the
course of a day. As we learn
rather quickly, the narrative
concerns the sins of the past,
and each mortal
character has multiple
identities, representing both
who they are in the present
as well as who they
once were in the past. The
present is layered onto the
past as if to suggest that
nothing from our history
is ever fully gone, that we
descend from patterns and
events that precede us and
continue to affect us in
the present. The plot of the
play concerns the ways that
human beings must
overcome their pasts and
learn from them.
5.Nature
The play takes place in a
forest, and throughout,
various elements of the
natural world come to life to
take part in the reckoning
that is taking place with the
mortals. The Forest Head is
a spirit who presides
over the forest, and during
the welcoming of the Dead
Man and Dead Woman,
various spirits of
different natural elements are
called upon to speak their
piece. These include Spirit of
the Rivers, Spirit
of the Palms, Spirits of the
Volcanos, and others. All of
these elements of nature are
personified through
verse, showing us the
connection between the
human and the natural world.
6.Birth
One of the unresolved
features of the Dead Woman
is the fact that she was killed
while pregnant with a
child. She returns to the
world of the living still with a
pregnant belly, and during
the welcome ritual, the
fetus appears as a
Half-Child, who is caught
between being influenced by
the spirit world and remaining
with his mother. The
Half-Child is a tragic figure,
as he was never given the
relief of life, and when he is
given a chance to speak he
says, "I who yet await a
mother/Feel this dread/Feel
this dread,/I who flee
from womb/To branded
womb cry it now/I'll be born
dead/I'll be born dead." The
figure of the child is a
tragic one, standing in as the
ultimate symbol for the
wrongs done to the Dead
Man and Dead Woman,
and the unresolvedness of
their plight.
7.
Ritualand Tradition.
Another major theme, as well
as a formal element of the
play, is ritual and tradition.
Throughout, we see
the characters going through
traditional motions in order to
understand more about their
circumstances. These rituals
include the ceremony for the
self-discovery of the mortals,
in which the
mortals must relive their
crimes, the Dead Man and
Dead Woman must be
questioned, and the mortals
revealing their secret wrongs.
Another ritual that gets
performed is the Dance of
Welcome, in which the spirits
of the forest perform
and deliver
monologues. Then the
Dance of the Half - Child
determines with whom the
unborn child
will go .Often, rituals, dances
and formal representations
stand in for literal events.
Rationale For The Dead
Characters
In this play, the dead
characters are not
conventional, realistic
individuals but rather
symbolic figures
that represent various
aspects of Nigeria's history,
culture, and identity. Here's a
more in-depth
exploration:
1.
Ancestral Memory:
The dead characters in the
play, such as the Old Man
and the Woman,
embody the ancestral
memory of the Nigerian
people. They symbolize the
wisdom, traditions,
and collective experiences of
past generations. Their
presence serves as a
reminder of the
cultural heritage that the
living must acknowledge and
respect.
2.
Link to the Past
: The dead characters act as
a bridge between the past
and the present. They
connect the contemporary
Nigerian society with its
historical roots. This linkage
is crucial for a
nation undergoing the
process of decolonization
and redefining its identity in
the wake of
independence.
3.
Cultural Identity
: Soyinka's play explores the
complexities of Nigerian
cultural identity. The dead
characters represent the
essence of this identity and
its evolution over time. The
struggle to
define and preserve this
identity is a central theme in
the play, and the dead serve
as a symbol
of this ongoing struggle.
4.
Reckoning with History:
"A Dance of the Forests"
reflects the need for
Nigerians to confront
their history, including the
colonial legacy and internal
conflicts. The dead
characters symbolize
the unresolved issues and
unhealed wounds of the past,
which must be acknowledged
and
addressed for the nation to
move forward.
5.
The Dance Metaphor:
The title of the play, "A
Dance of the Forests,"
suggests a communal and
symbolic dance that involves
both the living and the dead.
This dance metaphor
underscores the
idea that the past is not
separate from the present;
rather, it is an integral part of
the nation's
ongoing narrative. The dance
signifies a collective effort to
reconcile with the past and
create a
harmonious future.
6.
Sociopolitical Commentary
: Soyinka uses the dead
characters to make
sociopolitical
commentary about Nigeria's
post-independence
struggles. The play delves
into the challenges of
nation-building, the search
for a national identity, and the
tensions between tradition
and
modernity.
In "A Dance of the Forests,"
the dead are not passive or
static symbols; they are
dynamic and active
elements in the narrative,
engaging with the living
characters and the audience.
Their presence
underscores the idea that a
nation's past is ever-present
and that acknowledging and
embracing it is
essential for a successful
and meaningful journey into
the future. The dead serve as
a poignant reminder
of the complexities of
Nigerian history and the
imperative of cultural
self-discovery.
REASONS WHY A DANCE
OF THE FORESTS IS AN
AFRICAN TEXT.
"A Dance of the Forests" by
Wole Soyinka is considered
an African text for several
reasons:
1.
Cultural and Mythological
Context
The play is deeply rooted in
African culture, drawing from
Yoruba mythology and
symbolism. It
incorporates elements of
Yoruba rituals, dance, and
spiritual beliefs, making it
culturally and
geographically specific to
Africa.
2.
African Characters and
Identity
The characters in the play
represent various facets of
African identity, including the
struggle to
reconcile traditional African
values with the influence of
Western colonialism and
modernization.
3.
Colonial and Post-Colonial
Themes
The play addresses the
impact of colonialism on
African societies and the
complexities of the post-
colonial period. These
themes are central to the
African experience.
4.
Use of African Languages
Soyinka incorporates African
languages and dialects into
the dialogue, reflecting the
linguistic
diversity of the continent and
contributing to its African
authenticity. A Dance of the
Forests
incorporates African words
and phrases, particularly
from the Yoruba language, to
add authenticity
and cultural depth to the play.
Here are some examples:
Ogun
: In Yoruba mythology, Ogun
is the god of iron, technology,
and war. The term "Ogun" is
mentioned in the play and
symbolizes various aspects
of Yoruba culture.
Egungun
: In Yoruba culture,
"Egungun" refers to masked
ancestral spirits. The play
includes references
to Egungun rituals and
performances.
Oriki
: Oriki are Yoruba praise
names or chants used to
honor individuals or deities.
They are a part of
Yoruba tradition and identity.
Babalawo
: A Babalawo is a Yoruba
priest or diviner who plays a
significant role in traditional
Yoruba
religion and practices. The
term is used in the play in a
cultural and religious context.
Irunmole
: In Yoruba religion, Irunmole
refers to the various deities
or spirits. The play
incorporates the
concept of Irunmole in its
symbolic and cultural
elements.
Agbada
: "Agbada" is a Yoruba word
referring to a flowing
robe-like garment often worn
by men on
special occasions. The term
is used to describe traditional
clothing in the play.
Igba
: Igba is a Yoruba term for a
calabash or gourd.
Calabashes hold cultural and
ritual significance in
Yoruba traditions and are
mentioned in the play.
These Yoruba words and
cultural references are
woven into the play to create
a sense of authenticity
and to convey the rich
cultural and spiritual tapestry
of the Yoruba people and, by
extension, African
culture. They help immerse
the audience in the African
setting and traditions that the
play explores.
5.
Historical and Cultural
Commentary
The play provides
commentary on the historical
and cultural context of
Nigeria and Africa in the
wake of
independence. It reflects the
political and cultural realities
of the time.
6.
African Playwright and
Perspective
Wole Soyinka, the
playwright, is a prominent
African literary figure who
has made significant
contributions to African
literature and drama. His
perspective and experiences
as an African
playwright are integral to the
African nature of the text.
7.
Representation of African
Struggles
The play explores the
struggles, conflicts, and
aspirations of African people
in the post-colonial era,
reflecting the broader themes
and issues faced by African
nations during this period. It
represents the
African struggle in several
ways, reflecting the historical
and cultural context of
post-colonial Africa.
Cultural Clash:
The play highlights the clash
between traditional African
values, beliefs, and rituals
and
the influence of Western
colonialism and
modernization. Characters
like the Stranger symbolize
Western culture, which
challenges and disrupts
traditional African customs
and beliefs. This clash
represents the struggle to
preserve cultural identity in
the face of external
pressures.
Quest for Identity
: Many characters in the play
grapple with issues of identity
and belonging. They are
torn between their African
heritage and the allure of
Western modernity. This
internal struggle reflects
the broader post-colonial
African identity crisis.
Colonial Oppression
: Characters like Pilkings, the
English colonial officer,
embody the oppressive force
of colonialism. The play
portrays the abuses and
injustices suffered by
Africans under colonial rule,
illustrating the struggle for
freedom and
self-determination.
Cultural Preservation:
The characters, particularly
Amope, represent the
struggle to preserve and
protect traditional African
culture. Their efforts to
perform rituals and maintain
cultural practices signify
the resistance to cultural
erasure.
Post-Independence
Challenges:
The play was performed
during Nigeria's
independence celebrations. It
addresses the challenges
and responsibilities that
come with independence.
The characters' struggles
mirror the broader challenges
faced by newly independent
African nations as they
sought to build stable
and self-determined
societies.
Complexities of Transition:
The play delves into the
complexities of transitioning
from colonial rule to
self-governance. It
emphasizes the difficulties of
reconciling the past with the
present and the
complexities of charting a
new course for Africa.
Search for Meaning:
Many characters in the play
are searching for meaning
and purpose in a changing
world. This reflects the
broader African struggle to
define its path in the
post-colonial era.
Symbolism of the Forest:
The forest in the play can be
seen as a metaphor for
Africa's journey towards
self-realization. The
characters' interactions
within the forest symbolize
the complexities of their
quest
for freedom, identity, and
cultural preservation.
8.
Symbolism and Rituals
The use of African
symbolism, rituals, and
cultural elements in the play
reflects the rich tapestry of
African traditions and
beliefs."A Dance of the
Forests" is rich in symbolism
and incorporates various
rituals, adding depth and
complexity to the play. Here
are some of the key symbols
and rituals in the
play:
The Forest:
The forest serves as a
powerful symbol in the play.
It represents the natural
world, ancestral
spirits, and African culture.
The characters' interactions
within the forest are symbolic
of their
connection to their cultural
roots.
The Forest Head:
The Forest Head is a
mythological figure who
symbolizes the spirit of the
forest. The
character's actions and
interactions with other
characters carry deep
symbolic meaning.
Masks
: Throughout the play,
masked figures make
appearances, representing
ancestral spirits and
cultural traditions. These
masks add a mystical and
ritualistic dimension to the
performance.
Dance Troupe:
The dance troupe in the play
performs traditional African
dances and rituals. Their
movements and
choreography symbolize
aspects of African culture
and spirituality.
Amope's Ritual
: Amope, a central character,
performs a ritual in which she
offers food to the Forest
Head. This ritual symbolizes
her connection to tradition
and the natural world, as well
as her desire to
protect her children from the
influence of the Stranger.
Stranger's Actions
: The Stranger, symbolizing
Western influence and
colonialism, disrupts and
challenges traditional African
rituals and customs. His
actions and presence
symbolize the clash between
cultures.
Dance of the Masks
: The play concludes with a
powerful "Dance of the
Masks," in which masked
figures
engage in a ritualistic
performance. This dance
represents the culmination of
the play's themes and
symbolizes the interplay
between tradition and
change.
Yoruba Mythology
: The play draws from Yoruba
mythology and incorporates
various Yoruba deities and
stories. These elements are
used symbolically to convey
deeper meanings and
connections to African
spirituality.
In summary, "A Dance of the
Forests" is an African text
because it is firmly grounded
in African culture,
history, and identity. It
addresses African-specific
themes and concerns,
utilizes African languages,
and is
created by an African
playwright, making it a
distinctive and important
work within the context of
African literature and theate