{'fraction_non_alphanumeric': 0.01951779563719862, 'fraction_numerical': 0.004592422502870264, 'mean_word_length': 4.416149068322981, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Living Art: Akarova and the Belgian Avant-Garde

A photograph from 1923 Brussels, now housed in the city's Archives of Modern Architecture, shows a dancer posed in front of a cloth backdrop. The dancer is balanced on her left leg, on relevé, with the right foot pulled up to a low passé. Despite her precarious posture, she stands like a living caryatid, her arms stretched wide and bent at right angles at the elbows and again at the wrists, as if to support an invisible weight. The positioning of the dancer shows a partner's understanding of the geometric imagery sewn onto the fabric screen behind her. The upright strength of her trunk and left leg augments the verticality of two white rectangles to either side of her, while her bent elbows and right knee fit her form into the architectonic frame created by an inverted L shape above and to the left of her head.