Telling the Story of the Tulsa Massacre


The Tulsa race bloodbath of June 1, 1921, has gone from just about unknown to emblematic with spectacular pace, propelled by the nationwide reckoning with racism and particularly with sanctioned violence in opposition to Black Americans. That consciousness is mirrored in the spate of new tv documentaries on the event of the bloodbath’s 100th anniversary.

“Tulsa Burning: The 1921 Race Massacre” (Sunday on History), “Dreamland: The Burning of Black Wall Street” (Monday on CNN) and “Tulsa: The Fire and the Forgotten” (Monday on PBS) inform overlapping tales of the horrific day when a white mob stormed via the affluent Greenwood District of Tulsa, Okla. Triggered by a confrontation between white males planning a lynching and Black males intent on stopping it, the 16-hour spasm of violence left 100 to 300 folks lifeless and most of Greenwood, together with greater than 1,250 homes, burned to the floor.

All three sketch the historical past of Black settlement in Oklahoma, the place greater than 40 Black cities existed in the early 20th century, and the singular success of Greenwood. Each carries the story into the current, protecting the excavations carried out in 2020 searching for mass graves of bloodbath victims. Certain scenes and interview topics are uniformly current: the historian Hannibal Johnson; “The Bobby Eaton Show” on KBOB 89.9 FM; the Rev. Dr. Robert Turner giving a tour of the basement of the Vernon A.M.E. Church, the solely half that survived the conflagration.

But every has its personal model and emphasis, its personal strategy to the unthinkable materials. The PBS movie is journalistic, constructed round the reporting of The Washington Post’s DeNeen L. Brown, who seems onscreen, and narrated by NPR’s Michel Martin. It spends rather less time on the previous and extra on the persevering with points of race in Tulsa, together with instructional disparities and the protests following the police killing of Terence Crutcher, an unarmed Black man, in 2016. In the nature of the contemporary newspaper feature, it’s a touch sanctimonious. It ends with Johnson, looking uncomfortable, delivering a nominally hopeful sound bite: “We’re not there yet, we’re working on it.”

The CNN and History films both give fuller accounts of the history, and of the timeline of June 1. “Tulsa Burning,” directed by the veteran documentarians Stanley Nelson and Marco Williams, is the most polished and evocative piece of filmmaking, and the most focused thematically, using footage of the excavations as a narrative line and making the strongest link between the massacre and contemporary police shootings.

“Dreamland,” directed by Salima Koroma (and with LeBron James as an executive producer), gives the most thorough presentation of the history. It’s more forthright, for instance, on the way that Native American enslavement of Black people paradoxically led to their owning more land in the Indian Territory of Oklahoma.

That uncomfortable connection is just one of the ironies that echo through the Tulsa history. All three films note that segregation — and the economic self-reliance it produced — made the relative prosperity of Greenwood possible, in turn making the neighborhood and its residents the inevitable targets of white jealousy and rage. And a half-century later, after the neighborhood had been rebuilt, its economy was ravaged again, this time by the effects of integration.

Perhaps the saddest paradox, in the life of Tulsa and in the structures of the films, is that the only real “up” in the story — its closest thing to a happy ending — is the discovery of a mass grave in a cemetery in Greenwood last October. (The remains have not been definitely identified as those of massacre victims, and the PBS film makes the point that people who died in the influenza pandemic of 1918 were sometimes buried in mass graves.)



Source link Nytimes.com

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