Iwájú: Review of the Breakthrough Series

Recently, the West has turned its attention to Africa for new material and we’ve got plenty. Juicy stories of past, present, and future. It has also realized the continent’s huge untapped talent and market. Some would say the inflection point was Black Panther– Marvel’s blockbuster movie- while some would still go further back to The Lion King– Disney’s highest-selling animation and highest-grossing stage-play. Regardless, both were Disney productions. It is therefore no wonder that the company was willing to take another bold step forward. This time around, The House of Mouse did not take the creative helm but sought out an independent African media outlet to partner with and produce a uniquely African cartoon for Disney Plus- its streaming site. The outlet was Kugali Media and the animation is Iwájú. It is therefore natural that Teambooktu does a review of this breakthrough series.

Kugali Media

Founded by three friends: two Nigerians, Tolu Olowofoyeku and Fikayo (Ziki) Adeola, and a Ugandan, Hamid Ibrahim, it all started from a podcast where they shared their common passion for comic books and games. This later expanded into publishing and the founding of Kugali, an Afrocentric media company. In 2017, with Kickstarter crowdfunding, they published Kugali Anthology which featured the work of top African artists from 10 different countries. This caught media attention, the BBC, and eventually Disney.

Iwájú (Yoruba word loosely meaning ‘future’)

Iwájú is a six-part animated series set in a futuristic Lagos, Nigeria.

It is Disney’s first-of-its-kind animation collaboration with an African studio. When I first heard of it, I must admit nursing a fear that the story might lose some of its originality and authenticity to pander to a wider global audience. However, from the very first scene where Tola scoots across Third Mainland Bridge to an infectious, happy-go-lucky African croon, I realized that my concerns were misplaced. If anything, they should have been for international viewers who might not be able to relate to certain scenes and slangs. From the local expressions, references, language, and parlance on display, the series is unapologetically African, unabashedly Nigerian, and indubitably Lagosian. So being all three (last I checked), the series easily resonated with me.

With the benefit of perspective, I will review Iwájú and hopefully draw it closer home for many who have watched the series and found it ‘frantically paced and hard to follow’. Of course, without revealing any spoilers.  

The Setting

Lagos of the future. A hilarious (and sometimes dystopian?) interpretation of the future socio-economic climate. It plays on the existing local and sentimental dichotomy in Lagos, namely the ‘Islanders’ and ‘Mainlanders’. Like London’s Westenders and Eastenders. The former is considered as the more affluent (or ‘aje butter’) section. While some areas aren’t exactly upscale, the Island holds the CBD and newer urban/suburban developments. The futuristic Lagos in Iwájú presents a situation where the divide is far more palpable beyond the physical. Here the Mainland has been left behind with growing resentment for the other side. This sets the stage for an interesting plot.

The Plot & Conflict

The country’s niggling problem of kidnapping forms the central plot of Iwájú. We sincerely hope it will be a thing of the past and not the future. Nevertheless, Iwájú boldly takes up this monster, largely created by deep economic inequality and greed. The world read about the Chibok girls kidnapping ten years ago with #BringBackOurGirls. Many more have happened since then- and not just by Islamic terrorists. Abduction has sadly become a private enterprise. Hence, Iwájú’s plot relevance endears itself to both young and old in the current clime.

Iwájú is a coming-of-age story of a young ‘aje butter’ girl called Tola Martins who wishes to visit the Mainland where her father was originally from. Her overprotective dad forbids her from going due to the spate of kidnappings in the country. Well, she goes anyway… with the help of her friend Kole. And you guessed it: she was abducted.

The story is just as much a tale of social imbalance as it is of crime and punishment. It greys the conflict rather than adopt the black-and-white approach expected in a children’s cartoon. No, Kugali adds more depth and controversy- to its credit.

The Main Characters

The series has a colourful cast. Starting with the main character, Tola (voiced by Simi Gbadamosi), who just turned ten. Cute, lovable, impetuous, intelligent- all wrapped in one. Any girl of her age would connect instantly. My daughter was engrossed watching her reflection on screen. She seldom sees herself in animation.

Then there’s her over-protective dad, Babatunde Martins (Dayo Okeniyi).  Aren’t we all sometimes? Guilty of shielding our kids from the harsh life we grew up in? Trying to ensure they have a ‘better life’ and never have to look back? The jury is out on whether this makes them ill-prepared for the rigours of adulthood. Well, Tunde certainly didn’t feel so. Born and raised in Ajegunle, considered the harshest neighbourhood in Lagos, he feels the need to keep Tola safe on the Island. He was raised with an aloof, tough hand- traditional African discipline- and he knows no other way to parent.

Bode DeSousa, the villain (voiced excellently by Femi Branch), whose character, like his huge frame, towers boldly over all the rest. He is given a three-dimensional character- something lacking in many a villain these days. His backstory is that of many ambitious young men who turn to a life of crime in frustration when they find the social ladder hard to climb. Throughout the series, he defends his actions, seeing himself as a victim of society and the people’s Robin Hood.

Bankole (Kole for short), the house-help and Tola’s best friend, who clearly wants her to understand social stratification and boundaries to save his job. But Tola plays naïve to such concepts. The boy’s tough life is similar to Tunde’s and Bode’s childhood. The direction it would go depends on his resolve and society’s treatment.

Otin the lizard, a much easier name to pronounce than ‘alangba‘ (Yoruba for lizard), that’s for sure! This is an ingenious choice for a pet that typefies the West African fauna. I never realized that the red-head agama lizard (Agama Africana) is only found in this part of the world until recently. Just took it for granted. If Ratatouille made us all love rats (if only for a moment!), then Otin – though a robot- gives us a similar fondness for the agama. Hats off to those who synchronised its lizard-like movement. It was near-perfect. Invented by Tola’s dad to protect her, Otin has a knack for running out of power at the wrong time. To Tunde’s chagrin, he is unable to get the lizard to morph to Ija (fight) mode!

The Supporting Cast

Happiness, Bode’s assistant. Doesn’t talk much. When she does however, we are torn over her accent. It seems to switch between East African and Hausa and she doesn’t quite sell either (though she speaks in Hausa once). So we choose to be like her and remain reticent.  The lady has a strong personality though, not one to be intimidated by the hulking figure she works for. For good reason too, as you can see.

There are other vibrant, supporting characters like Bode’s henchman, the epitome of a Lagos area boy (street bum). They got this character spot on! Not too bright. Ready to do as instructed. Then there’s Mama Kole, Uncle G- the genial driver, and the Greenwood Tech exec- Mrs. Usman (appropriately voiced by the irrepressible Ireti Doyle).

Each episode opens brilliantly with a brief backstory of one of these characters then brings us swiftly to the character’s present. Creative storytelling and screenplay by Adeola and Halima Hudson!

Language in the Series

English -mainly with a Nigerian (sometimes discernibly Yoruba) accent. Some Yoruba language. Lots of pidgin (an unschooled version of West African English). A bit like East End cockney, I guess.  Patois and contextualization are unavoidable for the setting to feel genuine. It also brings the world closer to appreciate our diversity.

Trivia, Easter Eggs & Allusions

Iwájú is a hilarious tale of things changing yet staying the same. Here we have a future with flying auto-rickshaws (or ‘keke‘ as they are called in Lagos) for low-income public transport. ‘Flying’ street hawkers. Epileptic power supply from NEPA (an acronym for Nigeria’s Electricity Board) and failed call connection even in a technologically advanced Nigeria. Clearly a brisk jibe at the state of critical sectors of the economy. A satire of some sort.

We also see people running across the road barely escaping being mowed down by a reckless motorist or motorcyclist. Shine your eye! is a popular Lagos slogan (‘stay alert’!). Then there’s Agege bread- Lagos’ bread for the masses- given the spotlight among other delicacies like puff-puff, asun and zobo. We even see satcheted water, or ‘pure water’ as it’s called, take its pride of place in Lagos lore. So many easter eggs and trivia that help define the spirit of the city.

Allegorical Significance

Iwájú is an allegorical story of our society. Let us for a moment replace the Island and Mainland in this story with the West and Third World Countries respectively.  The whole story works just as well. Tunde would represent a migrant from a developing country who has little interest in revisiting his past or helping the motherland. Neither does he have interest in letting his children know their heritage. Usually such diasporan kids seek this knowledge themselves in a trip of self-discovery. Bode would represent the disgruntled bloke in a Third World Country with an axe to grind with the West, blaming capitalism for his woes and justifying any illegal actions he metes out on it (like advanced fee fraud). So whichever perspective the series is viewed from, there is a strong message to society.

Finally…

Iwájú is not just for kids. It brings up so many social questions and leaves the viewer with a lot to take away. It doesn’t leave you with a ‘magic wand’ solution or ‘the moral of the story’ ending. No. The problems persist in Lagos of the future and in general society.

Ironically, although basically a Nigerian story- Iwájú was not aired in Nigeria on February 28^th with the rest of the world. This is because Disney+ is still not available (gasp!) in Nigeria- Africa’s largest consumer market. Dem fall my hand for there small sha. Hopefully, this will be sorted out soon. Nevertheless, there was a premiere in Lagos and, like most places, it opened to positive reviews. This breakthrough animated series also has a perfect Rotten Tomatoes score.

The good news is Iwájú will air on Disney Channel this April. Meaning it will be available in Nigeria and other parts of Africa. I recommend it for general family entertainment and it’s good fun. But don’t take my word for it. Look out for it come April 22nd.