Witnessing Powerful Art: A Conversation with the Editors of Winter Shorts

By Ivy Wappler

IMG_20160615_095851662 (1)The FemGeniuses greeted the day with a rainy walk to the U-Bahn and a stuffy, damp subway ride. Peeling off our wet jackets, we settled in for class. This morning, we were lucky enough to sit down with the editors of Winter Shorts, the latest installment of the Witnessed Series. It was a pleasure to hear from Sharon Dodua Otoo and Clementine Burnley, co-editors of the influential collection. Otoo, a London-born artist and activist, moved to Berlin in 2006 with her three sons (she now has four). She described the motivation for the Witnessed Series as a desire to use her international connections to create momentum, shared understanding, and support for Black German activism through writing. Burnley has been in Berlin for 6 years, and writes poetry when she isn’t working for MSO Inklusiv. In 2015, MSO focused its work on youth, Black, and Queer people of color communities, collaborating with organizations like Street UnivercityJugend Theater Büro, Katharina Oguntoye’s Joliba, and the Initiative Schwarze Menschen in Deutschland. This year, they’re working with Wagenplatz Kanal, a Queer grouping within the Sinti and Roma community, a Black Trans organisation hosted by Der Braune Mob, and a youth organisation in Heidelberg.

Otoo and Burnley emphasized that Witnessed, the first English-language series about the experience of Black people in Germany, is not meant to replace anything already written in German about the Black German experience. Witnessed is, rather, a diverse collection, a reflection of the myriad experiences that comprise a Black German collective consciousness. Previous installments include The Little Book of Big Visions How to Be an Artist and Revolutionize the World edited by Otoo and Sandrine Micossé-Aikins (2012), Daima by Nzitu Mawakha (2013), Also by Mail: A Play a Olumide Popoola (2013), and The Most Unsatisfied Town by Amy Evans (2015), which is based on the deeply controversial Oury Jalloh case. The original book launch and reading of this play was a collaboration with Roses for Refugees, a project Otoo developed that sought to engage with refugees living and protesting in Oranienplatz in Kreuzberg in order to improve the policies and discourses around refugees in Germany. A catalyst for activism, Witnessed also organized and hosted youth workshops in schools, along with performances of the play.

After Otoo and Burnley discussed their work, we asked questions about the texts we read for class from Winter Shorts, including Burnley’s “Boom,” and Otoo’s “Whtnacig Pnait (Watching Paint).” I found it interesting that Otoo explained that the latter was inspired by her son’s struggles with dyslexia. The protagonist hates school, in part due to this and also his new, unfamiliar home in Germany. Still, when the boy finds himself in a magical, secret safe space for people of color, he still feels somewhat out of place. This story, Otoo shared with us, was her way of saying “Look, I’ve been listening!” not only to her son, but also to all people on the margins of the Black community, estranged by forces like ableism, cissexism, and heterosexism.

IMG_0446I loved reading fiction for a change, and these stories were no disappointment, inciting rich discussions of racism, hegemonic narratives, and the role of art in activism. For example, I asked, “What role does autobiography play in your stories? How much of your writing is rooted in personal experience?” The answers I received were far more nuanced than I expected. Otoo articulated that, for her, even if she writes about something directly from her own life, that the very act of writing it down is interpretation. She is wary of the term “autobiographical,” as it may limit the interpretations of her work. Her stories are invitations for connection and inspiration, not simply narrations of disparate, specific happenings. Burnley responded, “I can’t write what I don’t know,” explaining that even though everything she writes is fueled by something she has seen, heard, or imagined, as soon as she’s written a story down, she no longer has anything to do with it. “What is more important,” she argued, “is what the person reading the story brings to it.” For Burnley, delineations of fact and fiction matter not: “Sometimes you write a story, and it’s complete factual experience, but for me it doesn’t make a difference. It’s still a story.” These responses made it clear, then, that no matter how connected to reality stories are, what matters most is how the reader can relate to the story.

As a follow-up, Heidi raised a concern that  too often marginalized writers, especially Black women writers (the literary community she’s most studied) are assumed only to write autobiographical content, that they rarely considered to be creative. Otoo agreed and added that the literary perspective of white men seems to be the neutral perspective, rich in variation and creative freedom, while perspectives of Black women and other marginalized groups are seen as a specialized, specific and connected to the narration of their marginal experiences. She suggested that since the wealth of literature catered to the masses is written by white men, the small amount of writing done by PoC or QPOC is usually assumed to be simply nonfictional, and not creative. It seems that writers from minority groups have been affected by what Chimamanda Ngozi Adichie calls “the danger of the single story,” something that Burnley mentions in the introduction to Winter Shorts. When dominant narratives are written only by those in power, those without power suffer. Burnley actually touches on this frustration through one of her characters, Mimi, in “Boom.” Upon researching the Bab el Mandeb straits for a vacation, “Mimi was at once pleased and annoyed at the morbid romanticism of the language and the way it entirely avoided mentioning the slave trade and the more recent wars in the region” (47). Otoo, Burnley, and the writers of the Witnessed Series are all painfully aware of the danger of the single story, and aim to complicate limited narratives about the Black experience with their colorful collection of writings.

Talking to Otoo and Burnley this morning helped us see a real relationship between creating art and Black political thought. All the scholars in the room seemed to agree that this work against the danger of the single story, the Witnessed Series, is certainly political. Along these lines in the introduction to Winter Shorts, Burnley reminds readers of Toni Morrison’s insight: “If there is a book you want to read that hasn’t been written yet, then you must write it.” Burnley laments that capitalism has turned the appreciation of the arts into an elitist endeavor that many do not have resources enough to access. But she urged us today that her art, and subsequently her manifestation of political thought, is not always found in the high, abstract realm, “because we don’t always have the time or the money.” Among capitalist frameworks that commodify creativity and impose limiting structures such as genres, Burnley sees an opportunity for artful dissent. “That’s freedom for me,” she states in a matter-of-fact manner, “writing what I want.” Otoo agrees, “I like to write in a way that leaves room for interpretation…leaves room for dreaming.” Through their collections of art, Otoo and Burnley have invited their readers to dream of liberation. Through conversing with them and getting acquainted with their work, it is clear that they see art as a powerful political tool.

IMG_20160613_104425639The curation of the Witness Series, including Winter Shorts, is a glimpse into the multiplicitous nature of the Black German experience, meant to engender awareness and solidarity for their movement towards liberation. Winter Shorts does a beautiful job of showcasing the difficult everyday moments in which multiple intersections of identity manifest. Clearly, in these personal stories, rife with racially charged struggle, is where the revolution is situated. Otoo and Burnley are uniting people with these stories and inviting collaboration and change to be made. As Heidi writes in her book-jacket praise for Winter Shorts, “The revolution happens in our hearts, minds, and spirits during moments when we might least expect it.”  I want to thank both Otoo and Burnley for sharing their keen, revolutionary, and poetic minds with the FemGeniuses this morning.


WapplerIvy Wappler hails from Long Island Sound and is grateful to spend her summers in New England, and her winters in sunny Colorado. She is a Feminist and Gender Studies major, and an Environmental Issuesminor. After school, she hopes to explore environmentally and socially responsible tourism. She may also end up reforming sex education. An avid foodie, Ivy is ready to experience Berlin through its food and drink when she’s not in class. You may find her taking walks through sunny streets, seeking out farmer’s markets and green, open spaces.

Kwaheri, Nzitu!

L to R: Nzitu, Heidi, Jamile da Silva, Tina Ewokolo, and Sharon Dodua Otoo in Berlin, June 2014

L to R: Nzitu, Heidi, Jamile da Silva, Tina Ewokolo, and Sharon Dodua Otoo in Berlin, June 2014

The FemGeniuses family would like to take a moment to honor the life and work of Nzitu Mawhaka (1973-2014). Born in Arusha and raised in Cologne, Nzitu was a photographer and active member of the Initiative of Black People in Germany. Her work includes assisting theatre photographer Mara Eggert at the Schauspielhaus Hannover and acting as a photographer for Superficial – Fragile Terrains in Glass, which showed the latest work of the Finnish designer Anu Penttinen. Nzitu’s most recent position was as a Team Photographer for the “Homestory Deutschland.” Her book Daima: Images of Women of Colour in Germanya collection of selected black and white portraits of Black women, was published in 2013. Nzitu transitioned on August 8 in Berlin.

If you are interested in assisting her family with funeral costs and other expenses, please use the following information:

Phoenix e.V.
Stadtsparkasse Duisburg
IBAN: DE16350500000270007610

BIC (SWIFT): DUISDE33XXX

Reference: Nzitu Mawakha Memorial Fund
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Some Final Thoughts on the 2014 #FemGeniusesInBerlin

Celine and I

Celine and I during the Farewell Dinner at TV Tower

Writing this was especially difficult. As a result, I’m so thankful that I asked the students to write blogs throughout our time in Berlin so that you all could follow our journey as it was happening. It was wonderful. Dreamy. Exciting. Adventurous. I could go on and on, but I’ll just say that I don’t think I could have asked for a better experience teaching abroad for the first time.

I do want to “say” that, with the help of our Course Assistant and my new ace Celine Barry and Cassandra Ellerbe-Dück, I’ve decided to change the title of the course in order to more accurately communicate its goals and objectives. The course will now be titled “Hidden Spaces, Hidden Narratives: Intersectionality Studies in Berlin.” During our course, we studied the experiences of Afro-German women, migrants and refugees in Berlin, victims of Neo-Nazi terrorism and police brutality, and LGBTQI communities, to name a few. We also embarked on tours that provided information based on official, state-sanctioned narratives of Berlin so that we could juxtapose them with tours that provided information about the narratives that are often hidden from tourists on the beaten path. This change does not mean the course will radically change, but this new title will better articulate what we actually did in Berlin. I don’t know if I’ll be able to teach the course again – this depends on whether or not my proposal is accepted by the Summer Sessions Committee – but I have high hopes.

FemGeniuses Late

The FemGeniuses figuring out how not to be late! Just kidding – figuring out dinner!

Speaking of high hopes, I had high hopes that this group of students wouldn’t disappoint. I think I had such high hopes and expectations, because I know 5 of the 9 students who came with me to Berlin. Those 5 had taken at least 2 courses with me, and most have decided to either major or minor in Feminist & Gender Studies. So, we know each other pretty well. I had also received strong recommendations for the other 4 students, so I didn’t imagine that they’d cause any trouble. Well, I was 99.8% right. I only had to “discipline” the students 3 times – twice during the first week, once during the second, and none during the last week. These things were pretty minor, though, if you ask me: a bit of tardiness, a bit of over-eager loudness, and a bit of inappropriate silliness. I honestly don’t think I need to make any major changes to the course in order to mitigate such issues. Sometimes, these things just happen. Regarding attendance and tardiness, though, I did have a policy that students couldn’t miss more than 2 sessions (not days) without being penalized; however, I didn’t have a tardy policy. The students who were late quite a bit on the first two days were not malicious, but students have to realize – at some point or another – that timeliness is important. I was a few minutes lates myself a couple times – Mercury was in retrograde, after all – but I was never late to a session during which I had asked someone to give their time and energy to our course. I don’t want to seriously hurt a student for honest mistakes, only to communicate the importance of respecting the time and energy of themselves and others. As for the loudness and silliness, I’ll handle that as it comes. No big deal, really.

There are a couple other things I want to change, too, but not in response to anything that went wrong. For example, I think I could implement discussion points in this course as I do in all of my courses. I can’t, for the life of me, figure out why I didn’t. I must say that many of the folks we interacted with in Berlin were impressed by the students, as was I. And even though I don’t want to spend a lot of time grading in Berlin or even after I return home, I want to have the opportunity to evaluate student discussion so that I can help them maintain their strengths and improve their weaknesses. Our new friends in Berlin were also impressed by the great questions the students asked. I was, too. Most people who know me pedagogically know that I value good questions almost as much as anything else. So, I also think that I may ask students to develop discussion questions for each of our sessions ahead of time, like I do normally, so that I can help them craft their question-asking skills and also to acknowledge when they do so effectively. We actually did that in preparation for our first guest, Ika Hügel-Marshall, but we didn’t keep it up. We will next time. I’ll also do a better job evaluating the student blogs and student peer reviews of said blogs. I basically made revisions/edits to the blogs as I was posting them and quickly reviewed the peer reviews so that I could post the blogs promptly. In the future, however, I want to take some time to give salient feedback on the blogs so that students know what they should improve. This brings me to another significant change, “Just Us Mondays.” On Monday mornings, I want to spend time with the students for a few hours discussing all of these things, debriefing sessions, and preparing for upcoming sessions. We’ll follow that up with a group lunch before heading to one of our tours. I think they’ll like that, and so will I.

Frauenkreise

Me and the Frauenkreise Team: Iris, Nina, and Gabi

While our course was “jam packed” with seminars, tours, and visits to important sites in Berlin, that’s not going to change. We’re in Berlin for just 3 weeks, and there is so much to see and do. We aren’t there just to lounge around. We’re there to learn as much as we possibly can. And to be honest, I had more “chill time” than I even expected, so that’s pretty cool. That’s another reason why things were jam packed. We had mandatory sessions each morning and afternoon most weekdays so that we all could have our weekends free to roam the city, hang out with new friends, and things of that nature. On that note, I actually did the math. My regular classes at CC total around 58-59 hours. Our class totaled around 61-62 hours. I think that’s sufficient. I want my students to have the best, most-rewarding experience possible. And really, I want them and/or whoever is financially supporting their experience, to feel that the money was well-spent. Like I once said during the course, “If you wanted to come to Berlin to just do whatever, you could have done that on your own dime and for less money.”

At this point, I’ll note that our sessions at Frauenkreise were open to the public. That also won’t change. It was great meeting other folks in Berlin interested in intersectionality studies, and our open sessions helped us do that. The only problem is that our sessions were held at 9 am, so most folks in Berlin couldn’t attend due to their jobs. However, so that the students and I may have our evenings to roam, that’ll likely stay the same, too. The only thing I’m considering is starting the sessions at 10 am rather than 9 am. Most of our morning sessions lasted approximately 90-120 minutes. So, if we start at 10 am, that’ll leave us enough time to have lunch and head to our afternoon sessions at 2 pm, which will allow us to end our days around 3:30 or 4 pm. Of course, things don’t always go as planned – most of the time that means sessions run a little longer than planned – but I think this “new” schedule will work well, given what I learned this first time.

Carolyn

Carolyn Gammon, Katharina Oguntoye, Me, and Gabi Zekina (Frauenkreise)

Earlier, I wrote that we enjoyed juxtaposing official, state-sanctioned narratives about Berlin and Germany – via tours – with narratives about Berlin and Germany that are often hidden from tourists on the beaten path. Well, I was happy to learn about two other tours that will help us with the latter. During a non-mandatory session at Frauenkreise, I met Carolyn Gammon, author of The Unwritten Diary of Israel UngerAfter her talk, I learned that she is a Guide Coordinator for Milk & Honey Tours: Discover Jewish Europe. Sounds amazing, right? I also learned that one of Celine’s colleagues provides a tour of Berlin that focuses on Sinta-Roma history in Berlin. Again, amazing! These tours will definitely make their way to the agenda for next summer!

I can’t even begin to tell you about all of the great people and NGOs that I learned about while we were in Berlin, meaning those that we didn’t get to meet during our course. All I can say is that in order to engage all this fabulousness, I’m going to take Celine and Nicole‘s advice and incorporate more panels into our sessions. Speaking of that, structuring the course the way that I did really inspired me to attempt to team-teach more often back at home. I’ve had such talks with some of my colleagues, and Scott Krzych and I will be team-teaching a Bridge Scholars Program course this year on Critical Media Studies. However, this is something that I’d like to strive to do annually in addition to Bridge, which I also team-taught last year with Emily Chan. I’m very much a dialogue-focused teacher-scholar, so this will allow me to flourish in my strengths more, which is always a plus.

Frauenkreise Talk

After My Talk: Helen, Me, Annapoorna, Marca, Gabi, and Vicky

Last, I was asked by the Frauenkreise team to give a talk during my time there. So, I did what I love to do most and discussed mediated constructions of race and gender in “Racialized Representations of Women in U.S. Media.” This led to me being invited to actually join the team, which was wonderful. After my talk, Vicky Germain also asked if I’d be interested in recording some of my lectures in order to share them with the world. I’d actually thought about that before, but now I’m motivated to make sure to do so next year. I’m thinking that I’ll start with one session each teaching block, then I’ll post them here so that you all can take a look at my pedagogical work.

That said, I need to thank our viewers around the world for joining in our adventures! Since we started blogging for #femGeniusesInBerlin, the site has received views from Germany and the U.S., of course, but also from some places we’d never received views before, such as the U.K., Brazil, Sweden, France, New Zealand, Nicaragua, Japan, Argentina, Peru, Canada, Singapore, Norway, Turkey, Nigeria, Ireland, Australia, India, Spain, Iceland, Poland, Russia, Malaysia, South Africa, Italy, Ukraine, Croatia, Bahamas, Portugal, Tunisia, Denmark, Egypt, Netherlands, Mozambique, Phillipines, Greece, Macao, Tajikistan, Maldives, Mexico, Finland, Macedonia, Israel, and Senegal. I’m still amazed by this, and I’m hoping that my transnational work will continue to thrive in ways that I haven’t yet imagined.

Daima Crew

Me and the Daima Team: Nzitu, Me, Jamile, Tina, and Sharon

That “said,” I’d like to end by thanking my new friends and colleagues in Berlin: the Frauenkreise team (Gabriele “Gabi” Zekina, Nina Jenks, and Iris Rajanayagam), the Schwules Museum team (especially Elisaveta Dvorak), Ika Hügel-Marshall, Dagmar Schultz and Ria Cheatom, Diana Rücklicht the Lambda and Queer @ School teams, Cassandra Ellerbe-Dück, Biplab Basu of ReachOut, Olayinka Elizabeth Adekunle of the African Women & Youth Organization, Nadine Saeed of the Initiative in Memory of Oury Jalloh, Katharina Oguntoye of the Joliba Interkulturelles Netzwerk, Jamile da Silva of S.U.S.I., Andrea Ottmer of the German Society for Trans Identity and Intersexuality, Heike Radvan of the Antonio Amadeu Stiftung, Rebecca Brückmann of Free University, Josephine Apraku, Maja FiggeKristina Kuličová and Magda Albrecht of Fat Up!, Bernard Könnecke and Katarzyna “Kasia” Wojnicka of Dissens, Daniel Gyamerah of Each One Teach One, Sharon Dodua Otoo, and Hatef Soltani and Mahdiyeh Kalhori of CrossPoint TV.

Celine Pergamon Museum

Celine at the Pergamon Museum

Last but not least, I want to sincerely and wholeheartedly thank our Course Assistant Celine Barry. All you had to do was be “on call” in case we needed someone to translate for emergency purposes. However, you showed up to and participated in events, and you taught us so much more than we could have asked for. And you did it with such style and grace. We love you.

Berliners, thank you so much for sharing your time and energy with me and my students. You’ve taught us so much, and I can only hope that we gave you all as much as you gave us. I’m really looking forward to building our new relationships, and I’m positive that we’ll be working together for many years to come.

Tschüss.

Heidi

2014 FemGeniuses in Berlin Blog Index:
Also, click here to view a slideshow of the course.

The FemGeniuses Are in Berlin” by Heidi R. Lewis
The New Berlin Walking Tour” by Melissa L. Barnes
Zanele Muholi at the Schwules Museum” by Kadesha Caradine
Meeting with Ika Hügel-Marshall” by Ximena Buller
Meeting with Dagmar Schultz and Ria Cheatom” by Kaimara Herron
Lambda Berlin and Queer @ School” by Beril Mese
Meeting with Cassandra Ellerbe-Dück” by Stefani Messick
ReachOut Berlin with Biplab Basu” by Casey Schuller
The Struggle against Racism in Britain (1976-2012): Its Implications for Justice and Democracy w/ Paul Gilroy” by Nicole Tan
Our First Weekend in Berlin” by Heidi R. Lewis
Riots Reframed and Absent from the Academy: An Homage to Stuart Hall” by Melissa L. Barnes
Africa in Wedding” by Blaise Yafcak
Convergence Class with Rebecca Brückmann at Freie Universität” by Ximena Buller
Heike Radvan and the Antonio Amadeu Stiftung” by Kadesha Caradine
German Society for Trans Identity and Intersexuality” by Kaimara Herron
A Talk with Jamila da Silva e Silva of S.U.S.I.” by Beril Mese
Meeting w/ Katharina Oguntoye of Joliba Interkulturelles Netzwerk” by Stefani Messick
Nadine Saeed and Katrin Jullien of the Initiative in Memory of Oury Jalloh” by Casey Schuller
Meeting w/ Elizabeth Olayinka Adekunle of the African Women & Youth Organization” by Nicole Tan
The ‘Alternative City’ Tour” by Blaise Yafcak
Wannsee Lake, Theorizing Race and Racism, and the Carnival of Cultures: Our Second Weekend in Berlin” by Heidi R. Lewis
Berlin from Below: Dark Worlds” by Melissa L. Barnes
Meeting Sharon Dodua Otoo and Discussing the Witnessed Series” by Ximena Buller
Daniel Gyamerah and Each One Teach One” by Kaimara Herron
Dissens: Work on Masculinity, Feminism and Working with Perpetrators” by Beril Mese
Museum für Naturkunde” by Blaise Yafcak
(Emerging) Fat Activism in Germany with Fat Up!” by Nicole Tan
Dis/continuities of Racism and Whiteness from the 1950s until Today” by Kadesha Caradine
Schloss Charlottenburg” by Casey Schuller
Racialized Representations of Women in U.S. Media at Frauenkreise Berlin” by Heidi R. Lewis
Rain, Towers, Rainbows, and New Beginnings” by Stefani Messick
What the Berliners Said about the 2014 FemGeniuses in Berlin
Kwaheri, Nzitu!” by Heidi R. Lewis

To read and/or listen to the finales and view the indices and slideshows for previous FemGeniuses in Berlin, click here

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Meeting Sharon Dodua Otoo and Discussing the Witnessed Series

By Ximena Buller Machado

Big Visions

Sharon Dodua Otoo

This morning, like any other, the FemGeniuses got ready for a day of class. Some of us ate breakfast at the apartment while others went to a bakery to get fresh goods. This time, we were going to have a session with “mother, activist, writer, and editor” (in that order) Sharon Dodua Otoo. Before this session, we read excerpts from her book The Little Book of Big Visions: How to Be an Artist and Revolutionize the World (co-edited with Sandrine Micossé-Aikins for the Witnessed series),which is an edited collection of essays written by Black artists in Germany. Otoo and Micossé-Aikins also present their ideals of equality in the form of images and text. This book is for those with an interest in transforming the current art scene in Germany and who want another perspective on contemporary art. I highly recommend people reading this to take a look at Otoo’s work.

Class with Sharon

Class w/ Sharon

We started with our usual introductions, and then it was Sharon’s turn to introduce herself. However, before she did that, she read a passage of her interestingly titled novella, the things i  am thinking while smiling politely, in which she discusses the importance of names and what her surname means to her, her family, and her communities. She then told us that she considers herself, above everything, a mother. This led her to speak about the experiences her children have had at school and how, from a very early age, they learned how to defend themselves against racism. She told us that this makes her really proud, because this shows that her sons know what the problem is and who’s problem it is, meaning that racism is the responsibility of racists and not the victims. She really hopes for other children to be able to defend their selves just as her sons, but she also hopes that eventually society changes and children do not have to go through these experiences. Sharon uses such personal examples in her work in order for her audience to relate to her and become inspired.

Witnessed Notes

Witnessed

She went on to tell us about Witnessed, which she founded. She told us how this project provides a safe space for Black men and women who would like to share their stories. These artists can express themselves in the form of novels, short stories, biographies, and the like. She mentioned how so many Black German stories, books, movies, and more are out there but are unfortunately not being seen or read. Thus, she created Witnessed to allow for unique perspectives from a group of people with multiple identities to be made available to the public. In order for these works to be widely appreciated, she is attempting to distribute her work transnationally, such as in the U.S., U.K. and countries in Africa. For this reason, this is an English-language series (also her first language), but some texts are available in German. By targeting other countries, she hopes people will start discussing these texts and the issues they examine so that they eventually make their way back to Germany to inspire discussion here. She calls this “the back door method,” because she feels that if these issues are talked about in the countries, there will be pressure in Germany from the outside to support anti-racism. Although she finds it hard to distribute these works overseas, she still makes the worthwhile effort. She even told us that she is aiming to publish one book every six months!

Daima

L to R: Beril (reading Daima), Melissa, Casey, and Kadesha

One book that has moved a large audience is Nzitu Mawakha’s Daima. This is a book that contains photos of Black women, and each woman was also asked to write a text expressing their thoughts about what it is like to be a Black woman living in Germany. The diversity of thoughts and experiences is probably why so many Black women reading it may relate to and be inspired by the text. Daima also features questions posed by the women in the pictures, which provides an interesting dynamic between them and the audience. These women are often asked questions concerning their identity and are now given a chance to ask questions to those who usually do the interrogating. Sharon also told us that Daima has garnered the most responses from readers and that she has received many “thank you” messages, as well as accounts of how good this book makes readers feel.

Class with Sharon Outside

L to R: Kadesha, Celine, Heidi, Sharon Dodua Otoo, Stephanie, Melissa, Casey, Beril, Blaise, Ximena, Kaimara, and Nicole

Meeting Sharon was very empowering. Her talk was not only very thought-provoking and motivating, but it also reminded us of the importance of self-expression through art. Writing is such a powerful tool, especially if writers are able to inspire and help others. The Witnessedseries, then, is very significant for both the artists telling these stories and for the audiences reading them. I hope, just like Sharon, that more projects like Witnessed will be created in order to successfully allow for Black German voices to be heard and that they eventually help to affect change in society.

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Ximena IIXimena is an international student at Colorado College who originally hails from Peru. Next year, she will be a sophomore, and is currently considering a major in Anthropology or Sociology. She is very excited to be in Berlin taking a course with Heidi and through CC, because it has, so far, allowed for a unique learning experience.