A Dance of the Forests

 Hello!

This blog is a response to the task given by Megha ma'am Trivedi as an assignment because we are having African literature in our syllabus .

Introduction; Wole Soyinka is a prominent Nigerian playwright, poet, and essayist, celebrated for his contributions to African literature and theater. Born in 1934, Soyinka's works often explore themes of Nigerian history, colonialism, and the clash between tradition and modernity. He became the first African laureate of the Nobel Prize in Literature in 1986.

"A Dance of the Forests" is one of Soyinka's notable plays, written in 1960 to commemorate Nigeria's independence. Set in a mythical forest, the play intertwines Yoruba mythology with contemporary Nigerian politics, reflecting on the country's journey to self-governance. Through vibrant characters, ritualistic dances, and symbolic imagery, Soyinka crafts a complex narrative that delves into the complexities of postcolonial identity and the struggle for national unity.

Characters: Eshuoro: A central figure representing the Forest Father in Yoruba mythology. Eshuoro embodies the spirit of the forest and serves as a guide to the other characters.

Demoke: The protagonist of the play, Demoke is a young man who undergoes a transformative journey. He represents the new generation of Nigerians grappling with the challenges of post-colonial identity and nationhood.

Rola: Demoke's companion, Rola symbolizes innocence and purity. She accompanies Demoke on his journey and serves as a contrast to the other characters' cynicism and disillusionment.

Ogun: A deity in Yoruba religion associated with iron, warfare, and craftsmanship. Ogun plays a significant role in the play, symbolizing both destruction and creation.

Agboreko: An elderly character who serves as a voice of wisdom and tradition. Agboreko represents the older generation's attachment to traditional beliefs and customs.

Murete: A mysterious character who enters the narrative later in the play. Murete's identity and motivations are ambiguous, adding an element of mystery to the story.

Forest Spirits: Various spirits and mythical creatures inhabit the forest, contributing to the play's surreal and symbolic atmosphere.

Here are two questions which we are supposed to answer in this blog.

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

Ending 1: Acceptance and Reconciliation (Detailed Description and Example)

This ending emphasizes acceptance of responsibility, reconciliation between characters, and the potential for community rebuilding. Demoke, acknowledging his actions and the child's suffering, returns the child to the Dead Woman. This signifies his acceptance of responsibility for the past tragedy. Eshuoro celebrates Demoke's decision, suggesting a potential reconciliation between the two opposing forces. Ogun, representing justice and change, intervenes and leads Demoke away from the totem, potentially offering guidance and protection. Rola, having witnessed the ordeal, approaches Demoke with a changed demeanor, implying a shared understanding and the possibility of forgiveness. Their decision to stay together signifies a commitment to rebuild their lives and possibly their relationship.

The village community, devastated by the events, unites to rebuild, singing a collaborative song about overcoming adversity. This symbolizes a sense of hope and the potential for renewal despite the past tragedies.

Example: 

As Demoke gently places the child in the arms of the Dead Woman, a tear rolls down his cheek. Eshuoro, for the first time, acknowledges Demoke with a nod. Ogun guides Demoke away from the silent crowd, placing a hand on his shoulder as they disappear into the forest. Meanwhile, Rola approaches Demoke, her eyes filled with understanding. They embrace, a silent promise of a new beginning. The community, united in their grief and hope, raise their voices in song as they rebuild their homes and their lives.

Ending 2: Sacrifice and Redemption (Detailed Description and Example)

This ending explores themes of sacrifice, redemption, and the cycle of violence.

As Demoke hesitates with the child, torn between returning it and seeking redemption, Ogun appears. Ogun, representing a potentially violent path to liberation, offers Demoke a gun and cutlass. The dawning light symbolizes the potential for a new beginning, but also the possibility of bloodshed. Eshuoro's act of setting the totem on fire can be interpreted as a desperate attempt to break the cycle of vengeance, or a way to exact revenge on Ogun. Ogun catching the falling Demoke is ambiguous, leaving the audience to question whether it signifies salvation or further conflict.

Example:

Dawn breaks, casting an ominous light on the scene. Demoke stands frozen, the child in his arms. Ogun emerges from the shadows, handing Demoke a gun and cutlass. Their eyes meet, a silent understanding passing between them. Eshuoro, in a fit of rage, sets the totem ablaze. As the flames rise, Ogun leaps forward, catching Demoke just as he loses consciousness. The play ends with the image of Ogun holding Demoke, the fate of both characters and the village hanging in the balance.

Ending 3: Forgiveness and Healing (Detailed Description and Example)

 This ending focuses on themes of forgiveness, healing from the past, and finding peace. Demoke confronts Forest Head, the ultimate authority figure, demanding answers and seeking understanding. Forest Head reveals the complex and inescapable nature of the cycle of suffering and betrayal, offering a sense of tragic acceptance. Aroni, representing death and the passage of time, leads the Dead Man away, suggesting the possibility of release and letting go of past grievances. Demoke, with a newfound understanding, seeks forgiveness from the Dead Woman, acknowledging his part in her suffering. He attempts to build a new life in the village, symbolizing the potential for personal healing and moving forward.

Example:

Demoke stands before Forest Head, his voice shaking with a mixture of anger and despair. Forest Head speaks, revealing the interconnected web of past and present, the weight of history that binds them all. Aroni appears, leading the Dead Man away, his gaze lingering on Demoke for a moment. Demoke approaches the Dead Woman, his head bowed. He whispers words of apology, the weight of his actions heavy on his heart. As the sun rises, Demoke joins the village community, offering his skills and strength to help rebuild. The play concludes as Demoke starts anew, carrying the weight of the past but with a glimmer of hope for the future.

Ending 4: Defiance and Uncertainty (Detailed Description and Example)

This ending emphasizes themes of defiance, challenging authority, and the unknown consequences of such actions. Demoke, refusing to conform to the established patterns and accept his predetermined fate, chooses to defy Forest Head and keep the child. This act of defiance throws the future into uncertainty, leaving the audience to contemplate the potential consequences. The open-ended nature of the ending allows for different interpretations

2) Write a note on the play 'A Dance of the Forest' by Wole Soyinka.  (Refer this document -  CRITICAL COMMENTARY ON A DANCE OF THE FORESTS)

In Wole Soyinka's play "A Dance of the Forests," the narrative explores the complexities of decolonization through the experiences of characters who grapple with their roles in historical injustice and societal change. The play mirrors Nigeria's journey towards independence, portraying characters who initially evade responsibility for their actions but eventually confront their culpability. Soyinka presents a nuanced view of decolonization, acknowledging both its transformative potential and the persistence of societal ills post-independence.

The play's structure deviates from traditional Western drama, divided into two parts that juxtapose the past and present, the living and the dead. Through this structure, Soyinka highlights the cyclical nature of history and the need to reconcile with the past in order to move forward.

Characterization in the play contrasts between those who embody vitality and creativity, often at odds with societal norms, and those who represent stagnation and corruption. Themes of tradition, history, and societal responsibility are explored through dialogue, which varies in tone and style to reflect the diverse personalities and social contexts of the characters.

Non-verbal techniques such as ritual, music, and dance are integral to the theatrical experience, drawing from Yoruba tradition to evoke emotion and convey meaning beyond words. Through these elements, Soyinka creates a rich and immersive theatrical experience that encourages reflection on the complexities of post-colonial African society.

Ritual Dance and Cleansing: Stage directions depict Eshuoro and his jester performing the "Dance of the Unwilling Sacrifice," while villagers dance in the background. Despite Ogun's intervention to save Demoke, Eshuoro continues dancing until dawn, signifying a cleansing ritual.

Influence of Western Drama: Soyinka's familiarity with Western drama is evident, although he prioritizes showcasing Yoruba culture. Elements such as choric passages and character parallels with Greek tragedies and Shakespearean plays are observed.

Postcolonial Themes: The play reflects Nigeria's journey to independence, blending Yoruba tradition with Western dramatic influences. Soyinka critiques colonial disruption of African history and its enduring impact on society. Decolonization necessitates communal solidarity, as portrayed through characters' evolving sense of responsibility.

Language and Exile: Debates arise over Soyinka's use of English in his works and his exile in the United States. While some criticize his choice of language and exile, others commend his efforts to spread awareness of Yoruba culture globally.

Nativist Tendencies: Soyinka's nativist tendencies reflect his inclination towards metaphysical exploration over historical specificity. However, his plays draw from actual historical events, challenging oppressive systems and advocating for societal change.

Critique of Obscurity: Despite its merits, "A Dance of the Forests" faces criticism for its obscurity, particularly in the latter part of the play. Soyinka defends his artistic vision, aiming to provoke thought and emotional engagement rather than adhering to conventional narrative structures.

Characterization and Themes: The play's characterization does not rely on psychological realism but contrasts between characters embodying different traits. Themes of Nigerian independence, tradition versus history, and the artist's role in politics are explored.

Dramatic Techniques: Language and non-verbal techniques, such as rites, rituals, music, and dance, are employed to create a powerful theatrical experience. Soyinka's language is rich with wit and insult, while non-verbal elements add to the spectacle of the play when staged.

Overall Impact: Soyinka's drama navigates complex themes of history, tradition, and societal change, blending Yoruba ritual with English language to create thought-provoking theatrical experiences. Despite criticism, his works remain influential in African and global theater.

Conclusion: Ultimately, the true ending of "A Dance of the Forests" remains open to individual interpretation. Each ending highlights different aspects of the conflict, characters, and themes, leaving the audience with a lasting impression of the play's complexity and profoundness.

Thank You!

The Joys of Motherhood

Hello!

This blog is a response to a task assigned by Megha madam as we are having the African literature in our syllabus of  M.A part two, we were assigned to give answers of any two questions among some questions given by ma'am From unit named The Joys of Motherhood in google classroom.

 1) “The most celebrated female character in African creative writing is the African mother.” by Marie A. Umeh according to this, is the character of Nnu Ego celebrating motherhood or not? Explain.

2) “The title of Emecheta's novel is patently ironic, for it would seem that there are few joys associated with motherhood after all.” Explain.

Buchi Emecheta is one of the most important female writers to emerge from Nigeria. She is distinguished for her vivid description of female subordination and conflicting cultural values in modern Africa. In Emecheta’s The Joys of Motherhood Nnu Ego, the protagonist, has to suffer as a wife both in the tribal environment in which she was born and the urban community in which she is compelled to live the rest of her life. Nnu Ego has to suffer because these two environments have different cultures. She falls a victim of the tension of the collision of these two conflicting cultures. This collision occurs between the institutions of the traditional Ibo society and the institution of Western Europe. The hardships that Nnu Ego experiences are the result of the clash between the Ibo traditions and the colonized Lagos. It is a clash of traditions, values and priorities. Nnu Ego is victimized because of what the village (Ibuza) community demands her to do, on the one hand, and what the rules of a European political regime requires her to be. She finds herself in a predicament as she has to assume different roles in accordance with the values of the surrounding communities in which she has to live. She escapes from Ibuza because she is not accepted as a wife who cannot produce children. She flees to the distant city of Lagos to start a new life with another husband with the hope of fulfilling her dream of carrying children. This dream is rooted in the cultural values of the Ibo society where motherhood is the primary source of female self- esteem and public status. In Lagos Nnu Ego fulfills her dream of motherhood and begets a lot of children but the pleasures associated with motherhood are negated by the difficult economic conditions of her new urban community and its norms and values. She has to work day in and day out as a street-side peddler to sustain her children because her husband is away working for the colonizers most of the time. Nnu Egos has to adapt to the system that is devastating to maintain her role as a traditional wife and mother regardless of the fact that this system works against the success of that role and ends up with contributing to her subjugation

Taking Nnu Ego as a model of the African woman who is torn between two cultures, the present study attempts to answer the following questions: In what ways are Nnu Ego’s experiences and responses to events in her life representative of the condition of the Nigerian woman under colonization? To what extent do cultural expectations contribute to her plight? How does Emecheta provide a true representative of the Nigerian woman conditions? Is Nnu Ego representing the state of affairs for all African women or only the Nigerian women? How does Nnu Ego convey her message about the condition of the Nigerian woman through her own experiences? How is Nnu Ego is victimized by her first husband, her father and the community in Ibuza because of her inability at child producing? How far she is also victimized by her second husband, the colonizing economic, social and cultural systems as well as by her own children? To what extent Nnu Ego’s adherence to the traditions of her Ibo culture contribute in victimizing her? Nnu Ego’s journey through life is characterized by a number of continual tragedies that reflect the tragedies of the modern African woman in general and the Nigerian in particular. In her struggle, Nnu Ego represents the Nigerian woman’s struggle in defending her female status. Emechta uses her personal experience as a Nigerian woman to express her contempt toward female subjugation underscoring the oppressive systems perpetuated by Nigerian culture. As Nadaswaran points out “In this novel Emecheta demonstrates how the traditional point of view of a woman’s role in precolonial Nigerian was not applicable during the colonial period… As the Nigerian society changes, women are still expected to play traditional roles as wives, economic provider and nurtures. This change brings about many problems for them”. (Nadaswaran.2012, p.146) In The Joys of Motherhood, Emecheta wants to underscore what it means to be a woman and a mother in the Nigerian society during the 1940s. She wants to explore the dilemma of the rural and urban woman whose efforts to come to terms with the situation in which she finds herself is overwhelming. Emecheta uses her personal experiences as a Nigerian woman whose life is distorted as a result of living between two cultures. “Emecheta lives between two cultures. Her African culture makes her portray females as traditionally subordinate but, on the other hand, she is exposed to western values which influences how she portrays her female characters”. (Chikodili. 2011, p.24)

The Most celebrated female character

The Most celebrated female character in African creative writing is the African mother. Anglophone African writers from the sub-Saharan area esteem her as the epitome of love, strength and affection. This image of the African mother for the most part reflects traditional African societies' mores. African societies highly regard African women for their reproductive ability, and African writers similarly portray African women in roles where they are protecting, comforting and nourishing their children. Accordingly, two predominant images of the African woman as mother dominate African creative writing. The first holds the African mother as a supreme symbol. This in1age of the African mother as supreme is found in the novel Things Fall Apart by Chinua Achebe. Achebe points out that when there is misfortune and sorrow a man finds refuge in his motherland. Achebe contends that "it is to a mother to whom one turns, of whom one speaks of when nostalgia grips . . . when distress clouds the vision of the moment . . . when there is sorrow and bitterness . . . the mother is there to protect you and that is why we say Mother is Supreme." 1 In this novel, Achebe establishes the mother image as representative not only of maternal love, protection and comfort, but also of power and respect. The second portrayal of the African woman as mother depicts her as an all-suffering , self-sacrificing victim. Take Ama, the mother in Christina Aidoo's short story, "No Sweetness Here," as a case in point. According to Aidoo, the typical mother is one who sacrifices herself for her children. Other views of motherhood in African writing depict the African mother as the symbol of security and dignity. In Buchi Emecheta's novel, The Joys of Motherhood, one witnesses the collapse of these glorifying images of the African Mother. As a literary artist preoccupied with promoting change, author Emecheta, an iconoclast, breaks away from the prevalent portraitures in African writing in which motherhood is honorific. Children do not always maintain strong and loving ties with their mothers throughout adulthood. As Emecheta states in her novel, "the joy of being a mother is the joy of giving all to your children." 

Nnu Ego, the protagonist in the novel, is an offspring of Agbadi, a great chief and elephant hunter, and the proud Ona, who remains the great love of Agbadi's life although she refuses to become one of his wives. Because Nnu Ego, the reincarnation of a slave girl who has come back to live her life again, is barren in her first marriage, she is returned to her father's village. The old chief is reluctant to see her marry a second time but he relents and allows Nnu Ego to marry Nnaife Owulum, a man she has never seen and does not know. Nnaife Owulum lives in Lagos where he is employed as a laundryman in the home of an English family. Upon arriving in Lagos, Nnu Ego is disappointed with her spouse because of his obesity and his servility before Dr. and Mrs. Meers, his employers. In any event, Nnu Ego remains with her husband and bears him nine children of whom seven live: three boys and four girls. When she despairs because of a loveless marriage, she draws comfort from the fact that Nnaife is responsible for her seemingly esteemed position as norther. Upon the birth of their first son, Oshia, she reflects: "She was now sure, as she bathed her baby son and cooked for her husband, that her old age would be happy, that when she died there would be somebody left behind to refer to her as 'mother' " (p. 54).

The basic narrative lends itself toward neo-feminism. The main female characters struggle to shed the conditioning which forces them to act out roles that bring little fulfillment. Like the African-American dramatist, Ntozake Shange, Emecheta has two of her characters-Nnu Ego and Adaku-evoke radical feminist ideologies in their quests for abundant life. 5 After experiencing both the joys and pains of motherhood, Nnu Ego realizes that children do not always bring fulfillment. Nnu Ego ruminates, "God, when will you create a woman who will be fulfilled in herself, a full hunlan being not anybody's appendage?" (p. 186). What Emecheta does is to present an African woman's reaction to a universal problem: children often fail to honor their parents. In voicing this idea through the traditionalist, Nnu Ego, Emecheta emphasizes the fact that women have the social responsibility to criticize and participate in the social order. Structurally, this text is more complicated than her earlier works. Her artistic growth as a writer, demonstrated in her prolific use of literary devices such as flashback, interior monologue and Bildungsroman, is stylistically exciting. For example, Emecheta employs the technique of the Bildungsroman-novel of formation-to underscore the development of the protagonist's mind and character as she nlatures and recognizes her role in life. She also skillfully uses flashbacks to weave together crucial information central to the development of the plot and to the full understanding of her characters' relationships to both the external and spirit worlds. The result mirrors working-class Ibuza men and women from the beginning of the twentieth century to the 1960's providing sport for their gods. 6 Additionally, what makes the novel stylistically refreshing is the air of social realism brought about by the author's use of the English language. Emecheta is careful to select the manner of speech which authentically represents each character in his particular environment.

"I was born alone, and I shall die alone. What have I gained from all this? Yes, I have many children, but what do I have to feed them on? On my life. I have to work myself to the bone to look after them. I have to give them my all. And if I am lucky enough to die in peace, I even have to give them my soul. They will worship my dead spirit to provide for them: it will be hailed as a good spirit so long as there are plenty of yams and children in the family, but if anything should go wrong, if a young wife does not conceive or there is a famine, my dead spirit will be blamed. When will I be free?" (pp. 186-7)

Introspective characters of African women are rare primarily because the situational novel, which is concerned with external events, looms large in African creative writing. 7 For the most part, African writers-male and female-tend to approach their characters "objectively," describing their external reactions to their circumstances without attempting to probe their minds in order to illuminate the psychological forces that motivate their actions. In The Joys of Motherhood, however, one is eased right into Nnu Ego's subconscious mind and into her thoughts. For example, in explaining her temporary nervous breakdown following the loss of her first son, Ngozi, Nnu Ego laments, "But I am not a woman any more! I am not a mother any more. The child is there, dead on the mat. My chi has taken him away from me. I only want to go in there and meet her... " (p. 62). Here Nnu Ego puts forth traditional Igbo ideas as well as the role of one's chi in the psyche of an Igbo person.

The Indian couple allegedly used dumbbells as murder weapons. Despite their academic backgrounds, both claim their children will return from the dead.(Pundir) and Tirupati: The couple who bludgeoned their two college-going ..

I am a prisoner of my own flesh and blood. Is it such an enviable position? The men make it look as if we must aspire for children or die. That's why when I lost my first son I wanted to die, because I failed to live up to the standard expected of me by the males in my life, my father and my husband-and now I have to include my sons. But who made the law that we should not hope in our daughters? We women subscribe to that law more than anyone. Until we change all this, it is still a man's world, which women will always help to build. (p. 187)

When he came to know that Nnu Ego had left for Logos, he consoled himself as, “Let her go, she is as barren as a desert.” (39) One of the eldest wives of Agbadi eldest mother of Nnu dies from the strain  of pretending to  be a ‘complete  woman”. Interestingly, the  predicament  of wives and mothers ware not cramped to any specific generation.  The very first encounter with her husband  gave  horrendous  shock  as  she  describes  him  as  a  “pregnant  cow”.  Her  husband asked his  connubial rights at the  very first  night and raped her without giving  a choice to change  her  mind.  In  Emecheta’s  novels,  rape  is  a  recurring  narrative  and  that becomes a symbol of manhood. The male characters controlled their wives in the name of tradition. She robustly contends that sexual enjoyment is as essential for women and as for men.

Without motherhood, Nnu Ego feels empty and struggled very hard to be a mother. Emecheta wants to transmit the point that bearing more than five or six children do not mean that  a mother  is going  to be  prosperous in  her old  age. She  examines the  institution of motherliness, unpleasant experiences mixed up in motherliness, and its shock on the minds of the Nigerian women. According to Katherine Frank, "The  complete futility of motherhood that we find in The Joys of Motherhood is the most heretical and radical aspect of Emecheta's vision of the African Women "The chapter  titles, "The Mother,"  "The Mother's  Mother," "The Mother's Early Life," "First Shock of Motherhood," “A Mothers Investment”, ‘A Failed Woman” etc., describes the ups and down in the destiny of Nnu Ego. The author has ended the novel by giving ironical title to its chapter as “The Canonized Mother”. Nnu  Ego had  to experience patriarchal slavery throughout her life and died in solitude. All mothers, Ona, Akadu and Nnu Ego, have been victimized in the patriarchal  and traditionally strong Ibo society.  But  Emecheta’s  Nnu  Ego  challenges  the  conservative  conception  that  producing numerous children will give a woman much ecstasy.

Conclusion : 

Buchi Emecheta's novel "The Joys of Motherhood" challenges traditional portrayals of African motherhood, particularly the glorification of motherhood as the ultimate source of joy and fulfillment. Through the protagonist Nnu Ego, Emecheta explores the complexities and hardships faced by women in navigating societal expectations, cultural clashes, and the oppressive systems perpetuated by Nigerian culture. Nnu Ego's journey reflects the struggles of African women under colonization, the victimization she faces due to cultural expectations, and the disillusionment she experiences as a mother. Emecheta's narrative highlights the futility of traditional roles imposed on women and critiques the patriarchal norms that constrain their lives. Ultimately, Nnu Ego's story serves as a poignant commentary on the challenges faced by African women striving for autonomy and fulfillment in a society marked by inequality and oppression.

Thank You!