Remarks About The Exhibit- Ajamu Kojo's Black Wall Street: A Case For Reparations

 The Montclair State University Galleries will present New York-based artist and filmmaker Ajamu Kojo’s Black Wall Street: A Case for Reparations from February 15 – April 23, 2022. The artist’s first solo museum exhibition is a sanctuary and homage to Black Americans as Kojo reimagines their past.

Black Wall Street: A Case for Reparations is Kojo’s ongoing series of large-scale paintings that capture the imagined lives of Black professionals in the Greenwood District before the 1921 Tulsa Race Massacre. The community was dubbed “Black Wall Street” for its thriving culture and wealth in spite of strong segregation laws. The portraits present a spiritually uplifting dedication to the people who called Greenwood their home over a century ago.

ABOUT THE ARTIST

Ajamu Kojo is a figurative painter and filmmaker based in Brooklyn. As a scenic artist, his projects include Law & Order, Boardwalk Empire, Vinyl, BULL and more. Alongside working on television and film productions, Kojo also develops independent film projects and fine artwork. His artwork is a critical analysis of social, political and cultural issues through slice of life, voyeurism, and storytelling. Kojo is a native of Little Rock, Arkansas. He majored in film and television production and minored in theatre arts at Howard University.

I have been able to see this fantastic exhibit. I encourage anyone who is in the New York Metropolitan area to see the exhibit and learn more about the Greenwood community and what happened there in 1921.

It is hard to believe that a normal activity, like a trip to the bathroom could be the trigger for racial unrest. Yet, in Oklahoma, a state which years earlier was opened up to African Americans as a place of sanctuary, this is exactly what happened. On May 31, 1921, Dick Rowland, a black 19-year-old shoe-shiner, attempted to take an elevator up to a segregated bathroom in a Tulsa skyscraper. As the elevator reached the designated floor, Sarah Page, the white 17-year-old operator, opened the door and screamed. Minutes later, Rowland was arrested for attempted sexual assault. 

What one could do in a busy building elevator where one person is actually operating the elevator is debatable, but that was the culture of early 20th century America. A black man alone for even seconds was a potential rapist. That evening and the next day white mobs appeared at the local courthouse with designs of lynching Rowland. In his defense, members of the black community arrived and stood to ensure a sense of justice.

Keep in mind that I just wrote a mouthful. Yet, I need to write more!  White men had to protect the "virginity" of "white womanhood". This same argument had been used before in the lynching of Leo Frank (who was Jewish) and hundreds of black men. It would be used continuously leading to famous cases including the Scottsboro Boys and the murder of Emmett Till. But, this time, black men fresh from World War I and affected by the horrors of the Red Summer of 1919 decided it was not happening in their town. The armed black men were there to hope that Rowland saw the judge, but not necessarily given freedom.  The armed white men were there to deny him of his rights, freedom and life. In this context, because they could not lynch Rowland, the white mob changed course and attacked and subsequently destroyed the black neighborhood of Greenwood. 

In the early hours of June 1st, an entire community was destroyed, with hundreds injured, more killed and at least 4,000 arrested by the Oklahoma National Guard. No whites were arrested as it was believed that the African Americans were the aggressors. Many of the African American dead were buried in mass unmarked graves. Reparations were paid to a white storeowner whose guns were stolen. No compensation from the state or insurance companies was extended to the African American community.

Historically, this event was suppressed and not found in American history textbooks for over 60 years.

Against this backdrop, the beautiful and dignified artwork of Ajamu Kojo captures the wealth, dignity and community of the people of Greenwood. As a historian, I love the secret messages embedded in his portraits. The wealth of these black families. Look for the black blood drippings from the top of the screen and the smoke rising from the bottom. The red, black and green vessel on the table. Or the use of gold, and the gold triangles that call back to ancient Egypt. One of my personal connections to Greenwood is historian John Hope Franklin. His father, Buck was a resident of Greenwood and a victim of the violence. When you read his biography, you will catch insights of the pain and legacy of this moment in time.

However, the star of today’s story is Ajamu Kojo. We have to ask him what inspired him to recapture this moment in the way that he did? He fused spirits – where did the spirits come from? What were his inspirations, historical memories, and needs to call attention to the bright history of Black Wall Street and the dark legacy of Tulsa?

His artwork, inspired by the life and testimony of Dr. Olivia Hooker, a Greenwood survivor, sends a powerful message to us all. Please learn the story of Dr. Hooker, an American hero and the rise, destruction and rise of this powerful African American community.  Black Wall Street is a story of triumph over tragedy.

The call for reparations is deserved and a century overdue! Thanks to Ajamu Kojo for reminding us to support this worthy cause.