We are all sitting at the table with Solange Knowles, together in complete solace and serenity like it’s one big ass family reunion. A sense of healing and beatitude has come over us. The flow of this feeling is reminiscent to those “till the sun comes up” conversations with cousins during the holidays or happy hour with friends talking mad productive & constructive shit about life and the world. A feeling of being re-centered, aligned, aware, and most importantly ready. Solange Knowles’s destined project, A Seat At The Table is more than just an album it is an aforethought psychological masterpiece.
— Black Girl In Om (@blackgirlinom) October 1, 2016
Audio to visual, promotion to production the intention and detail behind #ASeatAtTheTable hit damn near all of our senses. In a hypothetical world, we would have been able to even taste it at the release dinner, but that’s beside the point and there is no way all of #blacktwitter would fit. Moments after the album was released, poly-chronic visuals were also shared for “Don’t Touch My Hair” and “Cranes In The Sky” . If you have been following Solange and her journey via social media, you know that this is her. All her and we’re all here for it.
Six Attributes From “Cranes In The Sky” and “Don’t Touch My Hair”
The movement was delicate, imperfect, intricate, loose, contemporary, and its own.
(Oh yeah, Lil CeCe killed it too.)
The back and forth between self and community, a representation of their importance and correlation.
The inspirational work of Lynette Yiadom-Boakye’s.
African American-inspired hairstyles (that have been culturally appropriated and exploited).
The breathtaking wardrobe, location, and placement selection. One of which some southwest side Houstonian should be familiar with.
The fun and the freedom.
“What you say to me?”