There can never be enough tellings and retellings of what happened to Black Wall Street in the 20th century, not just in Tulsa, but also nationwide. Silence perpetuates abuse. When history books make the evisceration of black affluence invisible, that means it can remain unseen when it happens today. There’s been a push in recent years to make this story heard, from Jacob Fred Jazz Odyssey’s “Race Riot Suite” to Jennifer Latham’s hit young adult novel “Dreamland Burning.” Singer and composer Alicia Hall Moran, herself the daughter of a black financier, created this staged concert in collaboration with her husband, jazz pianist Jason Moran (artistic director of jazz at the Kennedy Center) and historian Gene Alexander Peters (co-director of the Slave Relic Museum in South Carolina). It’s a performance piece featuring Moran, a noted mezzo-soprano, and six musicians in a wide-ranging, many-layered exploration of the past, present, and future of money and blackness, drawing on sources including Black Enterprise Magazine from the 1980s, studies of 18th-century New York, and documents from the Tulsa Race Riot in 1921.
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