aleteo lento and a deep commitment to the emotional investment of sadness as something that allows
me to be sad sad sad sad, the music makes me cry, the uncomfortability of the position makes me cry
but the lightness of this sadness in its violinistic expression, its tuc tuc tuc, my wrists and my arms and my elbows, everything kind of floats in a circular manner in a manner that puts me into this mood of deep commitment to the emotional investment of sadness its like binding a book or maybe it is not and i am forcing this concept in this thing too quickly without allowing the flow and the real fluidity of this flow of this wings from this wrists that attempt to be light but have a heavy influence of the untrained and playful body that tries attempts aims goes too fast jumps into conclusions too early tuc tuc tuc where is that circular movement that the swan swan does, not the imitation of the swan but the swan swan swan, the real one, the emotional one, the one that has the technique embodied in their body, the body of a swan, the swan that in in an aleteo lento and wavey wavey, like having a deep commitment to the emotional investment of their sadness, are they sad? or is this just a human projection on the body of a swan who really ... what they're doing they are just enjoying being a swan and not too worried about the deaths of the swans in films, in music, in ballet, or is this real swan sadness or one should say swandness? maybe swandness is a bit more adequate when we are trying to deal with this topic of a deep commitment to the emotional investment of the translation of sadness into swandness, maybe this is all what this should be about, or maybe not, is it open or is it closed, does it matter? does that matter? does the swan knows? or wan...