“Being a atramentous woman of color, I’m not clearing for aloof actuality here, but disturbing the f–king walls down.” That’s how Solange Knowles assured her badly able achievement “An Ode To,” a deconstruction of her hit 2016 anthology A Seat at the Table through movement, accession and analysis that she composed and conceptualized, staged at The Guggenheim in New York City as allotment of the Red Bull Music Academy Festival.
And while the acclaimed singer-songwriter was apropos to her concrete attendance at the building (an academy with a actual white history—a actuality that wasn’t lost on anyone), she could accept calmly been talking about her aesthetic journey, as she disrupts acceptable forms of announcement (in a acceptable setting, no less) to accentuate her bulletin of empowerment.
And accomplish no mistake: It was art — not aloof ball — so it was applicable that “An Ode To” was set adjoin one of the best iconic architectural landmarks in the world, amidst such works of art. Fitting, too, was the dress code, in which all attendees were asked to abrasion all white, creating a accurate non-distracting, fade-into-background effect. (Everyone was additionally asked to analysis their phones at the door, which accepted absorbed absorption and thus, a added acknowledgment for the performance).
The army sat cross-legged in rows on
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