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    African American Museum

    New landmark slavery exhibit makes U.S. premiere at Fair Park museum

    Megan Ziots
    Sep 18, 2018 | 5:38 pm
    African American Museum, Slavery at Jefferson's Monticello: Paradox of Liberty
    Much of the exhibit focuses on Sally Hemings.
    Photo courtesy of African American Museum

    UPDATE: Due to popular demand, the exhibition has been extended through January 21, 2019, closing on Martin Luther King Jr. Day, the museum has announced.

    ---

    Dallas will have the first opportunity to explore a groundbreaking new touring exhibition, "Slavery at Jefferson’s Monticello: Paradox of Liberty," opening September 22 at the African American Museum in Fair Park.

    The exhibit uses Monticello, the home and plantation of Thomas Jefferson, to explore the dilemma of slavery and the lives of the enslaved families and their descendants. Jefferson owned over 600 slaves through the course of his lifetime.

    Visitors will view more than 300 objects, works of art, documents, and artifacts that were found at the plantation. Never-before-seen items will be on display, as well as a special feature on Sally Hemings, one of the most famous African American women in American history and mother of at least six of Thomas Jefferson’s children.

    “'Slavery at Jefferson’s Monticello: Paradox of Liberty' explores how the author of the Declaration of Independence who introduced a fledgling nation to the concept that all men are created equal could own slaves while 20 percent of Americans were also held in chains and designated 3/5 human," says T.D. Jakes, senior pastor of The Potter’s House, in a release. "How do we view such contradictory posturing through a 21st century lens? I urge people of all ages and ethnic backgrounds to come and discover the other side of American History.”

    The exhibit will give guests an in-depth perspective on the enslaved families who lived at Jefferson’s plantation and on how slavery affected their descendants. They'll also learn a bit about Jefferson’s views and actions — and inaction — against slavery at the time.

    The exhibition began as a partnership between the Thomas Jefferson Foundation at Monticello and the Smithsonian National Museum of African American History and Culture, in Washington, D.C. and traveled on a four-venue tour between 2012 and 2015. Dallas is the first city to display the updated exhibition, which includes a special emphasis on Hemings.

    According to the release, highlights of the Dallas exhibit include:

    • A featured section on Sally Hemings and her children.

    • “Picturing Mulberry Row,” a digital recreation of the lost landscape of Mulberry Row, the industrial hub of Jefferson’s plantation that describes how the plantation thoroughfare changed over the course of Jefferson’s lifetime.

    • The Getting Word film introduces some of the descendants of Monticello’s enslaved families, shares their perspectives on the role of Monticello in their family histories, and highlights the important contributions their families have made towards shaping America.

    • New descendant stories, recorded by Monticello historians through the Getting Word Oral History Project since 2012.

    • Slavery at Monticello App: Debuted in 2015, the app makes use of the most recent scholarship on Monticello’s enslaved community and the activities and livelihoods centered on Mulberry Row.

    Gayle Jessup White, Monticello’s community engagement officer who is also a descendant of Jefferson and the Hemings family, says in a release, “our sweeping American story, wonderful and woeful as it is, leaves out too many people who have been denied and disregarded, folks who should be returned to our national narrative. This exhibition breathes life into those forgotten individuals, restoring to them their humanity and their place in history.”

    "Paradox of Liberty" will be open Tuesday through Saturday from 11am-5pm. Tickets cost $10 for adults and $5 for kids 3-12. Thursdays are free for seniors aged 65 or older.

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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

    balletdancecelebritiesfilm
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