The collectivism and immediacy of dramatic experience challenge playwrights to employ this genre in order to convey political, cultural, and sometimes philosophical or ideological messages. Hence, if a country is in a state of war, under colonialism, or undergoes a revolution, the stage functions as a platform where resistance or acceptance is presented, and where identity marking can take place. In this chapter, my intention is to focus on drama as play that is a medium through which issues of history, cosmology, and a nation’s politics are addressed. Particularly, I would like to examine A Dance of the Forests by the Nigerian Nobel laureate, Wole Soyinka. The play exemplifies how the stage can be used to present the cosmology and worldview of a culture in general, and of the Yoruba in particular, in a context that challenges the romanticised history of pre-colonial Africa and the political future of post-independent Nigeria. In 1960, the year of Nigeria’s independence from British colonization, Soyinka was awarded a Rockefeller bursary and returned to Nigeria to study African drama. He returned with a clear sense of scepticism about the political future of his country. Therefore, when he was asked to write a play that would celebrate independence, he seized this opportunity to challenge the Nigerian audience to re-evaluate their political future when the heroism and chivalry of independence fades away. Hence, the gathering of the tribes is the pre-colonial context that Soyinka used to parody the political future of Nigeria. My chapter is divided into two parts. The first part focuses on the deployment of the play in terms of presenting the peculiar cosmology and worldview of the Yoruba. A Dance of the Forests is a play that demonstrates a complex interplay between gods, mortals, and the dead while it addresses the experience of self-discovery within the context of West African spiritualism. The second part is devoted to the use of the play as a warning against a disturbed political future under the tyranny of local leaders. Soyinka used pre-colonial history to assert that tyranny and dictatorship were not restricted to colonisers, but have also been practiced during the times of African leadership.