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The dance grows more intimate.
From a listless, all-too-naturalistic start, the dance grows exceptionally rich, both in terms of unpredictable movement and convincingly human interaction.
Torn and tied by the performers, the insulation becomes sculptural, an ambiguous and beautiful metaphor for industrial waste, while the dance grows more and more physical, rocking out to Led Zeppelin.
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One style succeeded another; the rhythm kept changing but never faltered; the dance grew steadily more engrossing.
The dance grew more original as Ms. Luyten (in brown pants) kept slumping in the chair and sliding off it.
It was perhaps a measure of the fallen government's disconnection with its 16 million citizens that it tried to ban mapouka, even as the dance grew so popular that many young women desperately tried to gain weight -- the better to perform a dance that works best with an ample backside.
But as one odd bit followed another for no clear reason, the dances grew less interesting.
As relationships form and disintegrate, the dances grow in size; duets become vignettes for three or more.
As modern dance changes in the concepts and practices of new generations of choreographers, the meaning of the term modern dance grows more ambiguous.
The paint-by-numbers emotionalism, an unfortunate tradition in American modern dance, grows quickly wearying.
Yet dance grows in meaning when we see it within its culture.
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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