African politics through an African lens
There are no white saviors in the fascinating, and frustrating, Senegalese-French political drama Wara
This is one of a series of posts reviewing foreign television programs. The other posts are are available here
At the private school I attended from pre-kindergarten through 12th Grade Election Day was also “Fathers’ Day.” For half a day our fathers would sit in on abbreviated versions of our classes. (Mothers were not allowed; I always regretted that my mother never carried out her threat to crash it.)
The Fathers’ Day I remember most is when I was in seventh grade. In Social Studies we received a mimeographed handout (that’s how long ago it was) about Africa. I barely remember the handout. But I’ll never forget how angry it made my father. He was, himself, a history teacher. “What would an African say about this?” He asked me. “How would an African see it?”
I got a partial answer this year, thanks to Wara, a fascinating, and frustrating, political drama streaming on MHz Choice. Produced by Senegalese and French companies, the drama takes place in the very near future — 2024 — in Tanasanga, a fictional city in an unnamed West African nation.
The series is aptly summed up by Prof. Alioune Sow of the University of Florida in African Studies Review, the journal of the African Studies Association. He writes that Wara offers
a convincing, non-moralistic tale directed by young cosmopolitan directors, who are aware of the pitfalls of postcolonial politics, and who use their experiences between the Sahel and France to assemble a much-needed reflection on youth, citizenry, and democracy. …
At a time of political crisis and uncertainty in most Sahelian countries, with concerns over security, territorial sovereignty, and state integrity, Wara promotes hope by suggesting in a straightforward manner that much can be achieved by commitment and solidarity, without violence. …
Wara insists that change can happen, but only if the playbook on Sahelian politics is modified and youth is finally allowed a chance at full participation.
Before I say another word about Wara, two words of warning, neither of which should discourage potential viewers:
● The eight-episode series ends with a cliffhanger. In fact, every plot and subplot ends in a cliffhanger — including a subplot just starting in the final episode. I have been unable to find any word about whether there will be a second season.
UPDATE: When I tweeted a link to this review, I got this response from MHz Choice:
We hear Season 2 of ‘Wara’ is in the writing phase, but no premiere date has been announced.
● Unlike some international series, this one does not appear to have been made with one eye toward international sales. This is indeed an African viewpoint; of, by and for West Africa and, perhaps, France. That is one of its great strengths. There are no white saviors in Wara. In fact, there’s only one white character.
But that can make it harder for a white American to follow Wara than it is to follow a European political drama such as Borgen or even Baron Noir. It can be hard to keep track of the various factions, and who is out to get whom. One small example: Mhz Choice obligingly subtitles French signs that say “reserved for the young giraffes.” But you have to watch closely to figure out who are the young giraffes.
Never have I more wished for episode recaps and other context. But I did get a lot of help from Prof. Sow’s review. It has some spoilers, but it’s worth it.
The title character in the series is Moutari Wara (Issaka Sawadogo), a charismatic law professor. If an early scene really is how law is taught in Senegal, I hope that approach can be exported here. The other central character is Prof. Wara’s best student, Aïcha Diallo (France Nancy Goulian). She and her fellow students become activists as a result of several issues, including the arrest of science professor Mariam Shugger. It quickly becomes apparent that Prof. Shugger is not who she seems to be, and has ties both to Wara and Aïcha.
Wara had been an activist himself 20 years ago — and he suffered mightily for it. He was tortured, then exiled and, it appears, allowed to return on condition that he stay out of politics. But Aïcha and her new generation of activists draw him back in.
That sets him against the University’s rector — and his cousin — Ganka Barry (Souleymane Seye Ndiaye). Barry has deep ties to the political establishment, an establishment steeped in corruption. He works closely with the main villain here, known only as Lamine (Ibrahima M’Baye). It’s not clear who Lamine works for, most likely some sort of secret police. But whoever it is, when someone meets a bad end, odds are Lamine is behind it. Both Barry and Lamine often refer to “the boss” who remains unseen throughout the series.
Individual episodes touch on key issues in African politics. As Prof. Sow explains:
The eight episodes revisit all of the factors obstructing development in the Sahel and impeding its political emancipation, such as widespread corruption, elitism, youth disenfranchisement, and environmental issues. Most importantly, the emphasis is on the potential remedies to these impediments, revolving around the youth, its knowledge, and its energy and determination to search for and implement innovative modes of political action. …
Contrary to what is often assumed in youth discourses about social and political change, Wara asserts that establishing new ties with the older generations can produce better outcomes, since, as one of the protagonists declares, “the young man walks faster than the old man, but the old man knows the road.” …
Unfortunately, though it’s well worth the journey, Wara leaves us in the middle of the road — at least for now. And I suspect there are all sorts of subtleties and even inside jokes I’ve missed. So, how about it MHz Choice: While we hope for a second season, how about asking Prof. Sow to write a guide to the first?
