A Declaration of (In)Dependence:
The Story of Sally Hemings

Project Description:
Sex. Race. Politics. Legacy. Slavery. Love. Denial. DNA.

No, this is not a new reality show on FOX Television. It is A Declaration of (In)Dependence: The Story of Sally Hemings, a dance/theatre performance by Gesel Mason Performance Projects, which combines historical and artistic perspectives on the story of the fascinating life and times of Sally Hemings and her complex relationship with Thomas Jefferson as his slave concubine. Artistic Director Gesel Mason, described by the Washington Post as “a gifted dancer and choreographer [who] searches out the hard subjects in her dances, theatrical vignettes and her poetry” is in her element, using original and historical text and combining her experience in modern dance, ballet and African to tell this convoluted and compelling story.

It was only in 1998 when DNA testing supported circumstantial evidence that Thomas Jefferson was the father of Sally’s children, a claim that has been debunked for decades. However, facts do not always equal truth, and A Declaration of (In)Dependence: The Story of Sally Hemings does not claim to settle the controversy, only to indulge our imaginations. The evening length work takes a look at the Hemings family: Sally, her sister Critta, her brother James and her mother Elizabeth, and Thomas Jefferson and his daughters: Martha and Maria. The dichotomy of Jefferson’s political and private life, the birth of a nation, the question of love vs. servitude, the impact of these complexities on their families, and Jefferson’s home, Monticello, serve as the backdrop for this performance. This is truly American history: stranger than fiction and not so far from the present.

When Artistic Director and performer Gesel Mason decided to create a dance/theater work on the subject, her research revealed that each “fact” was only a small piece of an intricate puzzle. Mason comments, “The truth is that there is just not a lot of information on Sally Hemings, who she was or what she looked like, and even less about their alleged relationship. Even the DNA evidence only proves that it was ‘a Jefferson not Thomas Jefferson’.” For every passionate point there is a zealous counterpoint. Combine the possibility with slavery in Virginia in the late 1700’s/early 1800’s, a burgeoning America, and a political icon and the story just isn’t cut and dry.   It’s between these blurred lines of truth and speculation where art fills in the blanks. “I think the truth about their relationship lies in between the possible extremes. I think they exist beyond the stereotypes about who we believe they should be”, Mason explains and adds, “Ultimately, the audience is allowed to come to their own conclusions.”

Performances and Residencies
After the sold out world premiere at Fort Wayne Performing Arts Center in Fort Wayne, IN, March 2002 and its DC premiere at Dance Place in April 2002, an encore performance was given at Dance Place, September 28 and 29, 2002. It was also performed at Gettysburg College in Gettysburg, PA and Publick Playhouse in Cheverly, MD. We have also created a 45-minute program geared toward children grades 6-12. Its relevance to Colonial, African –American, and Women’s history makes it a great supplement to middle and high school curriculums.

A residency package could include community involvement in the performance as extras, a post show discussion and a series of workshops including Identity Workshops examining stereotypes, Movement Workshops with non-dancers or students, African or Modern dance master classes, and Academic/History discussions. Residencies may be from 4 days to 10 days and range from $9,000 - $20,000. For more information call 301-887-1078.