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.


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


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!


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.


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.