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It is a language of 2006.
It is a language of pure expressionism.
It is a language of lusciously undulating torsos, strikingly geometric extensions and rooted-into-the-earth balances.
It is a language of movement that can be easily lost, as Balanchine saw in Diaghilev's modernist experiments and in American ballet in the 1930's.
It is a language of suggestion, of atmosphere, of small but telling details: the craggy, unreadable faces of many of the older white Afrikaners; the stern, almost imperial look of those three young white landowners on horseback; the languorous but defiant gaze of the young, black, female shop assistant, born into a system where oppression and humiliation was a given.
It has also become evident that civic humanism owes much to the reaction of the Florentine upper classes to popular uprisings in the fourteenth century and is as much an ideology of social control as it is a language of liberation from medieval hierarchies.
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It's a language of fetishised simplicity.
For modern conservatives, it's a language of resentment and contempt toward the intellectual and bureaucratic élites who want to enlarge government.
It's a language of it's own.
Adding, "It was a language of animal imagery, used to express some thoughts and to define one's position both in society, and in the world.
To some, it's a language of backwardness spoken by people who've entered the country illegally who steal American jobs; Americans who study Spanish do so mostly because they need it for work — or so the thinking goes.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.
Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com