In fact, African intellectuals, in order to counter colonial discourses andenhance Negro culture, decide to readapt the Negro creed ³Black Aesthetics´ inAfrican realities. In this respect, the Senegalese poet Léopold Sedar Senghor coinsin
egritude et Humanisme
³African Negro Aesthetics´ which is an echoof the Black aesthetic movement and whose main aim is to re-define and re-assessthe authenticity of African oral tradition. As for Soyinka, African Negro aestheticsrepresented in Yoruba tradition through mainly ³sacred Oriki (praise-chants)´ ismuch related to African philosophy. This latter which can be defined as Negrometaphysic vision is generally performed through ritual dramatic materials such assculpture, painting, poetic arts and masquerade. However, these latter oral toolsstarted to be transmitted in literature through dramatic and novel forms by African prominent writers.Among post colonial writers one can cite the aforementioned Yoruba writer Wole Soyinka. In fact, he painfully realizes that, while resisting colonialism newelites start where the departing white colonialists had left off: the process of cultural assimilation and political exploitation. Hence, he urges the African writersto become the conscience of their nations. In order to affirm his rootedness onYoruba culture and political commitment he writes literary works such as the ritualdramatic work
A Dance of the Forests
published in 1960 and the novel
in 1965. In fact, Soyinka¶s literary output, generally, try to show theessential function of Orature through the exploration of Yoruba mythology and itsritual drama. In this respect, the interest of the survey is to describe the differenttraditional artworks such as visual, poetic and performed used by Soyinka in
. Besides, the survey of these artistic devices will permit to show social and political impact on either on the characters or the audience.