By Anote Ajeluorou
It was his 1960 independence play commissioned to celebrate
a new nation’s euphoric moment of freedom from colonial, British rule. But the
staging was not to be. Wole Soyinka’s vision appeared too dark for a
celebratory occasion, and the officials promptly rejected it. It remained
largely a scholarly text ever since. Until…
Fast-forward 54
years later, and the Forest of Ijegba, Abeokuta, comes alive with A Dance of the Forests. What was left
unspoken need not remain so forever. A grand vision that suffered momentary
abortion at birth need find outlet somehow. So, producers of International
Cultural Exchange programme, Zmirage crew, which has celebrated Soyinka’s
birthday in the last five years, turning it into one huge cultural carnival
that involves children (80 this year), play performances, spoken word or
poetry, a visual feast of the Nobel Laureate’s varied images, turned to the
Forest of Ijegba for theatrical re-enactment.
Indeed, Forest of
Ijegba, home of the literary icon, is a study in primordial beginnings. With
weird inscriptions about venturing vehicles being eaten alive at the entrance,
it appears a forbidden forest, with overhanging trees and twisting scrubs and
poplars, only a hermit could have conceived such a place for his abode. But
Soyinka says although conceived to be as far away from the Abeokuta city as possible,
the city has now crept close, a seeming violation of the isolation he so much
craved.
And then a pond-like
valley creeps into view that at once reveals a lawn with fruit trees that
shield a brick-walled building. Veering to the right, a circled lawn with what
looks like a well in the middle, but too wide for a well - a decoration; and
then a narrow path that leads on, the forest closing in as the path leads
further on, the 80 white-clad female custodian of the forest with the lit oil
lamps along the narrow path to the valley-stage below. Then a clearing, with
cassava plants to the left, a lone building also and you enter a descent that
leads straight to a valley that opens in a yawn right in front and to the left.
The valley is the
stage. The incline is what has been turned into terraced steps for the audience
as it undulates forward to a base that flattens out momentary and then rises
again to a hilly point just out of sight. But it’s the valley that is the stage
and the hilly rise beyond. It’s ingenious, this piece of stage carved out from
the heart of a forest. In daylight it looks ordinary enough, a valley being
transformed into what it’s not. But when the lights come on and figures begin
to move it’s as surreal as it can be, the invocation of the spirit world and
the humans acting in a daze in a celebration that traps them in a never-ending
maze between the then and now. The forest scrubs around stand sentry and eerie
in the dark and changeling stage lights to lend weird effect to the
spirit-worldly beings that alternate with humans. It’s an award-winning set
design!
It could not have
been more ingenious, having to create a real forest, as stage to enact A dance of the Forests for the 80th
birthday of the inimitable playwright, who saw his country’s checkered future
history from the prism of his creative vision from the very beginning. In 1960
Soyinka didn’t share his countrymen’s optimism in the euphoria of independence
celebration. He saw something darker, something horrible coming that needed
expiating. Had his ebullient countrymen been patient and listened or watched
the play with keener interest and taken its sinister message seriously, perhaps
they (and we all) might have wiser, taken another path that led away from the
slippery one taken and the catastrophic foreboding predicted would have passed
for happier times.
But no; they didn’t
and the augury was left unattended to. With what result? It was vintage
Soyinka, vintage village prophet seeing the unborn future and giving a warning.
And as always, the prophet would not be recognized, would be vilified and
chased away. But who remembers? Who cares 54 years down the line? Only a
community of artists and co-visioners and co-prophets; that was why the Zmirage
producers re-enacted the play, with Dr. Tunde Awosanmi (Department of Theatre
Arts, University of Ibadan) directing, as celebratory and a reminder. More as a
reminder perhaps, that the prophecy though envisioned, in typical Soyinkan
dense idiom, hadn’t passed, still haunts the country 54 years after. If
anything, the forest of Nigeria’s
political woe seems to be closing in, shutting out the possibility of real
celebration; it’s that woe that has been Kongi’s fight all his life…
Ogun State governor,
Ibikunle Amosun, was overwhelmed with joy after seeing the play. He could
barely grasp the immensity and magnificence of the play executed in all its
grandeur, and said to think Soyinka was just 26 when he wrote A Dance of the Forests!
Clearly, A Dance of the Forests is a play that
needs to tour Nigeria, or at least, parts of it, for a full exposure of the
vision to a wider populace.
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