Austrian filmmaker Sandra Krampelhuger seems beguiled by the vibrant creative community she finds in Dakar, Senegal - ranging from fashion designers, hip-hop musicians, dancers and photographers to graffiti artists and art bloggers - and with good reason; defying the stereotype of artists as brooding, angst-ridden loners, there is a refreshing positivity and commitment to community flowing through the veins of many of the artists Krampelhuger follows. Many have traveled abroad to study and further their craft, but all intend to stay and work in Dakar, despite the obvious economic shortcomings, living the maxim "think global, act local". As one artist puts it, "I am not as useful to Europe as I am to Senegal".
Krampelhuger's film, 100% Dakar - More Than Art, simply follows the community of artists, from the pragmatic to the delightfully pretentious, briefly showing us their work, mostly allowing them to share what motivates and inspires them, what they hope to accomplish, who they are trying to reach, and what keeps them in Dakar.
A common thread running through these artists' stories is a desire to discover, develop and express Dakar's emerging cultural identity as much as their own personal creative voice. Some speak of illuminating the beauty, and not just the struggle, of the African experience. Others want their art to break free from the international stereotypes of African Art; to develop a contemporary local sensibility grounded in awareness of international trends - local, but also global, like Senegalese punk rock.
The sense of community runs deeper than simply staying true to your roots; it embodies the spirit of ubuntu, the idea that I only win if we all win. Many of the artists state a desire to make an impact, to create something meaningful and lasting for the next generation, and they put their money where their mouth is with art collectives and training hubs that encourage everyone to take part, to develop their skills and to express themselves. They are less concerned with becoming the best than with passing on the knowledge they have to those around them. Art is not seen as a luxury for the elite, but a necessary part of life for the masses.
One artist wants his clothes to reflect the tolerance he sees among the wildly diverse micro-communities of a Bus Rapide ride through the city, another describes himself as a cultural soldier, using the universal language of hip hop to start a dialogue with the youth. "We have to question the ideas our culture passes on to us. Art allows us, has always allowed us, to do that." Many are disillusioned with the corruption and nepotism they see in government, but are not sitting around waiting for things to change. They intend be the voice of the change they want to see. They hope to prompt a new generation to act differently rather than simply criticizing the former generation before turning into them.
Ultimately, Krampelhuger's film is a celebration of a thoughtful and committed community of artists who cannot tear themselves away from their roots and dedicate themselves to making an impact, first locally, then globally.
