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This research paper attempts to study and discover the patterns of myth and religious interfaces in Wole Soyinka's drama A Dance of the Forests. Soyinka has traditionally been allied to an elitist and western European canon of writing. But in A Dance we see how the European traditions of word drama and the African tradition of performance combine to form a unique combination; the aesthetics of a cultural hybridization which can be enthralling in its impact and widely documentary. Does A Dance qualify as a regional drama or does it exude resonances beyond its demographic margins? Soyinka's play can be seen as a universal drama of the human kind with an engrossing theme, the preponderance of evil and corruption in private and public spheres of existence. This paper attempts to show how the treatment of this theme and stylistic techniques employed are equally dynamic and challenging.

The politics of Cultural Revalidation and Retrieval: A peep into the Yoruba paradigm in Wole Soyinka’s A Dance of the Forests.