The Igbo are a major ethnic group in Nigeria. Although originally rooted in the Southeastern region of the country, they exist across other parts of the country, particularly in metropolitan centers where they work hard as entrepreneurs to earn a living, cater for their families and alleviate communal poverty. The Igbo apprenticeship system—a Nigerian model for stakeholder capitalism—is the breeding ground for Igbo businesses and an avenue through which many successful entrepreneurs are created. Founded after the Nigerian Civil War, the system is a testament of the communal and enterprising spirit of the Igbo. In modern Lagos, as well as other parts of the country, this practice is commonplace. It involves a successful Igbo trader picking up boys from the village and grooming them in a particular trade for years until they become knowledgeable enough in the business. After completing their service, the master sets up the young men with capital and other requirements to become their own boss. That way, not only do the newly hatched entrepreneurs continue the line of business but also they become gatekeepers of the Igbo brotherhood and apprenticeship system in the long run.
Directed by Kayode Kasum, Áfàméfùnà is inspired by the Igbo apprenticeship system as it tells the fictional coming-of-age story of its titular character, Áfàméfùnà, a successful youthful businessman. Paul Nnadiekwe plays the younger, naive-looking Afam, while Stan Nze embodies the mature version of Afam. With a cast of mostly Igbo actors, the film appeals to cultural sensibilities. One cannot also help but admire the multilingualism of a supporting actor, Segun Arinze, whose character CSP Gidado speaks English, Igbo and Hausa fluently while in the interrogation room with Afam.
The story begins with a celebration that is temporarily truncated when the police arrive to take Afam for questioning over the sudden death of a friend, Paul (Alex Ekubo). Around that time, the police also subject Afam’s wife, Amaka (Atlanta Bridget Johnson), to questioning. Through interrogation and with the use of flashback as narrative technique, the couple tell the bulk of the story capturing Afam’s arrival in Lagos for nwa-boi, his journey through apprenticeship, his friendship and fallout with the deceased and the love triangle involving Paul, Amaka and Afam himself. The film projects hard work as the gateway to a prosperous and fulfilled life, while emphasizing the role of integrity in this beautiful becoming. Ultimately, character, the story suggests, is the true definition of a man. Other thematic highlights of the film are love, friendship, betrayal, greed and blackmail.
Most dialogues in Áfàméfùnà are conducted in Igbo and English, which suggests a smooth blend of traditional and modern values. The Igbo language is the vehicle through which the filmmaker unveils the history, values and proverbs of the Igbo. Odogwu (Kanayo O. Kanayo), the rich businessman from whom Afam learns the trade, plays the pedagogue and wise counselor as he regularly uses the language to teach his boys the importance of character and provide relevant background details about the Igbo apprenticeship system. One such touching allusion is the post-War reality of the Igbo during which many of them, already devastated by their humongous losses from the war, re-build their fortunes from scratch. This historical reminiscence testifies to the resilience of the Igbo.
Áfàméfùnà is an artful blend of fiction and fact, a quasi-documentary narration with the story of its protagonist highlighting the strengths of the Igba Boi system. While in service to the master, the young apprentice lives with his master at home, runs personal errands and performs domestic duties for him and his family. Through this tested-and-trusted process, the apprentice (also called “boi”) acquires lifelong skills and traits such as patience, endurance, humility, servitude and accountability.
The film acknowledges some challenges that the apprenticeship system is fraught with, the most prominent being that of dishonest and greedy apprentices whose actions may frustrate the businesses of their masters. In the film are characters like Paul who manipulates his master’s daughter into stealing from him and Obum (Chuks Joseph) who inflates the prices of goods. But then, the film does not acknowledge that the system is not all rosy for the apprentice as well. An overbearing master, for instance, may abuse the rights of the young apprentice by subjecting him to tough labor conditions and harsh disciplinary treatments. Even so, if the business of the master is not thriving as of the time of the apprentice’s expiration of service, the apprentice may not be settled. There’s a near-depiction of this business challenge when Odogwu’s goods are seized and customs officers demand an initial 10 million naira to clear them. But this plot strand only mildly tests the loyalty of Afam.
Similar to the beginning, the film ends with flute-powered sounds and dance, and a parade of cultural clothing. This projects the Igbo as a people who, in addition to their business and financial acumen, are also genial and generous, knowing when exactly to spend money and throw a party.