Hello readers,
This blog task is about the A Dance of the Forests by Wole Soyinka.
1. Proposed Alternative Ending to A Dance of the Forests by Wole Soyinka
In the original ending of A Dance of the Forests, Soyinka leaves the audience with an ambiguous, symbolic conclusion in which the cycle of history and the burden of the past weigh heavily on the future. The Forest Head departs, and the living are left to confront their inner truths, as the past and future merge in a mystical realm.
Alternative Ending Proposal:
As the play nears its conclusion, rather than maintaining the enigmatic tone, the Forest Head gathers the Dead Man and Dead Woman along with the living characters—Demoke, Rola, and Adenebi—for a final moment of reconciliation. The spirits of the past do not simply disappear; instead, they engage in a collective ritual with the living to cleanse the symbolic tree of human transgressions.
Demoke, now transformed by his spiritual journey, carves a new totem not of a heroic figure but of an anonymous, communal symbol—representing unity, humility, and shared responsibility. The Forest Head blesses the sculpture, and a golden light descends upon the stage, symbolizing hope and renewal. The play closes with a collective chant calling for a future built on truth, acceptance, and active change, signaling a break from the cyclical curse of history.
This alternative ending provides a more redemptive vision, aligning with Soyinka’s broader themes of renewal, the need to reckon with history, and the power of individual and communal transformation.
2. Note on the Play A Dance of the Forests by Wole Soyinka
(Based on the "Critical Commentary on A Dance of the Forests" document*)
Wole Soyinka’s A Dance of the Forests (1960) was written for Nigeria’s independence celebration, but rather than idealize the nation’s freedom, the play challenges the romanticism of a new beginning. It is a deeply symbolic and complex work that critiques both the colonial past and the moral failures of indigenous traditions. Soyinka explores the cyclical nature of history, warning that without self-awareness and an honest reckoning with the past, the future may repeat the same mistakes.
The play employs Yoruba mythology and dramatic allegory to stage a confrontation between the living and the dead. The Past, represented by the Dead Man and Dead Woman, reveals the hypocrisy, violence, and betrayal rooted in the nation’s heritage. Characters like Demoke (the carver), Rola (the courtesan), and Adenebi (the orator) reflect different aspects of Nigerian society—art, sexuality, and rhetoric—each flawed and implicated in the past’s legacy.
The Forest, presided over by the enigmatic Forest Head, becomes a liminal space for reflection, judgment, and possible transformation. The play’s structure resists linear storytelling, using dream sequences, flashbacks, and ritualistic elements to evoke a spiritual and psychological journey.
Critically, Soyinka presents a vision that aligns with his idea of the "Fourth Stage"—a realm of transition where death, rebirth, and existential inquiry converge. The play ultimately suggests that national progress depends not on forgetting the past but on confronting it with courage and integrity.
