bluuebunny/crossref_metadata_2025_split huggingface dataset:
Togni, Camillo (1922–1993)
Authors: Roderick Peter 
Published: September 2018

Camillo Togni was an Italian composer, aesthetician and pianist. Launching a career in the midst of the chaos of World War II, he played his part in the trends and polemics that emerged from Italian art music in the late 1940s, but his prominence faded into the 1960s as Italian musical modernism diversified.
A precocious talent from an early age, Togni left his hometown of Brescia aged 17, on the outbreak of war, to commence study with a string of artistic luminaries: Alfredo Casella (1883–1947) for composition, Luigi Rognoni (1913–1986) for esthetics and Benedetto Michelangeli (1920–1995) for piano. Togni’s career subsequently thrived in the heady atmosphere of postwar crisis that beset Italian music in the late forties, and he was a veteran of the numerous conferences and congresses accompanying the quasi-evangelical turn towards serialism and other high-modernist compositional techniques in Italy during this period. An early adopter of serialism (for instance, in the "Variazioni" of 1945–46), Togni demonstrated a rigorous adherence to the method combined with a block-like approach to musical texture, similar in substance to Stravinskian serial efforts and the later work of Luigi Dallapiccola (1904–1975).
Héctor Tosar (1923–2002)
Authors: Juarez Camila 
Published: September 2018

Héctor Tosar was a composer, pianist, director, and composition teacher in Uruguay, Puerto Rico, Venezuela, and the United States. One of the best-known Uruguayan composers of his generation, his works have been presented in festivals worldwide. He started studying piano with Wilhelm Kolischer, harmony with Tomás Mujica, and composition with Lamberto Baldi, and completed his studies in the United States and France where he studied composition with Aaron Copland, Arthur Honegger, Jean Rivier, and Darius Milhaud, and orchestral direction with Serge Koussevitzky, Eugène Bigot, and Jean Fournet.
The defining characteristics of his works are his use of a compositive principle based on "groups of sounds" and his search for musical communication by means of expressiveness and lyricism. His catalogue includes soloist works, mainly for piano, as well as symphonic, chamber, and vocal works, and, in his last period, compositions with new instruments, such as the synthesizer.
Vivier, Claude (1948–1983)
Authors: Bazin Paul 
Published: September 2018

Claude Vivier is perhaps the best known of all Quebec composers, both in Canada and abroad. In 1967, after being removed from the religious establishment where he was preparing to become a priest, Vivier registered at the Montreal Conservatory of Music where he studied until 1970. He first attended composer Gilles Tremblay’s classes at the conservatory, and studied piano with Irving Heller there before traveling to Europe. A number of scholarships that Vivier received from the Canadian Arts Council (CAC) brought him to Utrect (1971–72) where he studied electroacoustic composition at the Instituut voor sonologie with composer Gottfried Michael Kœnig, and also to Cologne where he became a student of Karlheinz Stockhausen.
Claude Vivier is the author of a catalogue bearing many traces of an intense journey of self-discovery. An opera, Kopernikus (1979) and three orchestral art songs (Lonely Child, 1980; Wo bist du Licht, 1981; Bouchara, 1981) are among his most affecting works. His major work for strings, Zipangu (1980), leaves an impression as lasting as his Pulau Dewata (1977) succeeds in invoking atmospheres typical of the Balinese gamelan sound world. Vivier was murdered in Paris in 1983, leaving behind a supposedly symbolic, unfinished work titled Glaubst du an die Unsterblichkeit der Seele? [Do you believe in the immortality of soul?].
Abdel Sabour, Salah (1931–1981)
Authors: Hammouda Sally 
Published: September 2018

Salah Abdel Sabour (also Abd-al Sabur) is an Egyptian writer, poet, and playwright. He is considered a pioneer of modern Arabic poetry and a prominent figure in Arabic modernism and the Arabic free verse movement.
Born in a small town in the Eastern Delta of Egypt in 1931, Abdel Sabour showed an interest in literature at a young age. He began writing verse at the tender age of thirteen. His talent reached full maturity by the 1950’s. Though his regular education enabled him to develop an appreciation for the long tradition of classical Arabic poetry, his modern sensibility was sharpened through readings in European poetry, especially that of symbolists Rilke and Baudelaire, and the English poetry of Donne, Yeats, Keats and T.S. Eliot. He was also influenced by prominent Arab Sufis such as Al-Mutanabbi, and Persian mystic poet and Sufi writer Mansur Al-Hallaj.
He graduated from the Department of Arabic Language, at the Faculty of Arts, Cairo University, in 1951. In 1957 his first collection of poetry Al-Nass Fi Biladi [People of my Country] using free verse was published, catapulting the poet into fame. It caught both readers’ and critics’ attention alike for its use of unique imagery and everyday common language. It broke away from the constricting rigid structure of Arabic classical poetry.
Dudley, Jane (1912–2001)
Authors: Phillips Geduld Victoria 
Published: September 2018

Jane Dudley, a key figure in the radical dance movement of the 1930s, was a choreographer who developed her own distinctive voice within the modern dance idiom and an educator who trained numerous dancers both in the United States and in England. An early member of the New Dance Group (NDG), she oversaw the creation of group works such as Strike (1934), while choreographing solos such as Time is Money (1934), in which she used the modern dance idiom to embody a worker’s oppression on the assembly line. A striking performer, Dudley joined the Martha Graham Company in the mid-1930s. At the same time, she continued to develop her own repertoire, in part through the Dudley–Maslow–Bales Trio, whose founders—Sophie Maslow, William Bales, and herself—remained committed to the social ideals of the 1930s long after they had abandoned the making of overtly political works. Dudley’s loyalty to NDG extended over several decades during which it became a major New York training venue, offering inexpensive classes and professional training to promising students, including many African Americans. From 1970 to 2000, Dudley directed the London School of Contemporary Dance, transforming it into one of Europe’s leading modern dance institutions.
Molodowsky, Kadya (1894–1975)
Authors: Legutko Agnieszka 
Published: September 2018

Known as ‘the first lady of Yiddish literature,’ Kadya Molodowsky published continuously between 1927 and 1974. Molodowsky earned renown as a prolific poet, prose writer, playwright, essayist, and as the co-founder and editor of such Yiddish literary magazines as Svive [Milieu] (one of the first apolitical Yiddish periodicals), and Heym [Home].
Born in Bereza Kartuska, Belarus, Molodowsky made her literary debut after surviving the Kiev Pogrom in 1920. Her first book of poetry, Kheshvendikenekht, featured ‘Froyen-lider’ (‘Women-Poems’), her most famous sequence of poems addressing the modernist struggle between the newly acquired sense of female subjectivity, and the religious and societal constraints imposed on Jewish women. Kheshvendikenekht, along with her other early volumes of poetry, Mayselekh, Dzhike Gas, and Freydke, despairingly evoked the poverty and desperate situation of the Jews in Eastern Europe. Before she emigrated to New York in 1935, she developed poetry for and about children. In 1946 she published a volume of poetry, Der melekhDovidaleynizgeblibn (widely considered her finest work), dealing indirectly yet profoundly with the loss of European Jewry in the Holocaust. Throughout her oeuvre, Molodowsky explored the issues surrounding the reconciliation of the Jewish identity with modernity.
Vaginov, Konstantin Konstantinovich Wagenheim [ВАГИНОВ, КОНСТАНТИН КОНСТАНТИНОВИЧ ВАГЕНГЕЙМ] (1899–1934)
Authors: Pavlov Evgeny 
Published: September 2018

Konstantin Konstantinovich Wagenheim Vaginov was a Russian poet and novelist affiliated at different points with a number of literary groups in Petrograd/Leningrad. While originally born in St. Petersburg, he spent most of his life in Petrograd, which occupies a central position in his writings. He is best known for his four novels in which he ironically depicts the demise of Russia’s pre-revolutionary Silver Age in the Soviet Union of the late 1920s and early 1930s.
Born on 16 April 1899 in St. Petersburg, he died in Leningrad on 26 April 1934. Vaginov grew up in the family of a high-ranking police official of German (and possibly Jewish) background. The family Russified their name after the start of World War I. Vaginov attended the Law Faculty of Petrograd University from where he was called upon to join the Red Army in 1919. Upon returning to his home city, he was active in several literary circles, including Acmeist Nikolai Gumilev’s Poets’ Guild, which he joined in 1921. He co-founded the Islanders group, in whose collected volume his poetry was first published. In 1924, Vaginov met the critic and philosopher Mikhail Bakhtin. Members of Bakhtin’s intellectual circle later served as prototypes for Vaginov’s first novel, Goat Song (1927). After 1927 Vaginov was affiliated with the avant-garde group Obedinenie real’nogo iskussta (OBERIU) and, together with its key members, participated in OBERIU’s famous evening "Three Left Hours," which he parodied in his second novel, Works and Days of Svistonov (1929). In 1931, Vaginov was subjected to a vicious attack by members of the proletarian writers’ group RAPP. His last two prose works, Bambocciada (1931) and Harpagoniana (1933, unpublished in his lifetime), explore many of the same themes as his first two novels, but irony and the carnivalesque give way to the grotesque in both. Vaginov died of tuberculosis in 1934, after a long illness.
Zacharia, Paul (1945--)
Authors: V Sanil 
Published: September 2018

Paul Zacharia, a short story writer, novelist, and essayist, introduced the notion of counter-modernity to Malayalam literature in the late 1960s. He rejected the self-definition of Western modernity and its Indian nationalist versions. Drawing upon the clarity of vernacular Biblical idioms and the intelligence of everyday rural life, Zacharia probed the fragile certainties of urban life, intellectual establishments, and religious orthodoxies. He acknowledged that ‘Jesus Christ, cinema, bars, friends, lovers, hens and dogs have given me stories.’
Zacharia was born in the village of Urulikunnam, near Kottayam, and published his first story, ‘Unni the Child’, in 1964. Zachariayude Kathakal, the collection of his short stories written up to the year 2000, won the Sahitya Akademi Award in 2006. Two of his novellas, Praise the Lord and Enthondu Visesham Pilathose? [What News, Pilate?], have been translated into English. Two short story collections are also available in English: Bhaskara Pattelar and Other Stories and Reflections of a Hen in Her Last Hour and Other Stories. Vidheyan [The Servile], a film that won best Malayalam film in 1993, was an adaptation of Zacharia’s story ‘Bhaskara Pattelarum Ente Jeevithavum.’ Zacharia has been active in print media and publishing; he was one of the founders of the Asianet television network.
Zenkevich, Mikhail Aleksandrovich (1886–1973)
Authors: Cheloukhina Svetlana 
Published: September 2018

Mikhail Aleksandrovich Zenkevich was a Russian poet and author, one of the founders of Tsekh poetov [The Guild of Poets] and the Acmeist movement—a representative of its left wing, Adamism. The association of Zenkevich and Narbut with Acmeism has often been referred to as one of a social and rather conventional nature, yet for both poets it was indisputable. Zenkevich’s first book, Dikaia porfira [Savage Purple] (1912), praised by Acmeism’s leader Nikolai Gumilev (1912), as well as by fellow poets Sergei Gorodetsky and Georgy Ivanov (1994), is on a par with Anna Akhmatova’s Vecher [Evening] (1912), Vladimir Narbut’s Alliluiia [Hallelujah] (1912), and Osip Mandelstam’s Kamen’ [Stone] (1913) for its importance to the Acmeist aesthetic.
Zenkevich’s legacy is significant and diverse. He authored twelve books of poetry, two novels, Muzhitskii Sfinks [The Peasant Sphinx] (1928) and Na strezhen’ [To the River Bend] (1994); short prose, dramatic poems—Al’timetr [Altimeter] (1991–1921, 2004) and Triumf aviatsii [The Triumph of Aviation] (1937, unpublished)—translations, and critical articles. He became one of the founders of the Russian 20th-century school of poetic translation and was the longest surviving member of Acmeism.
Jarvis, Judy (1942–1986)
Authors: Anderson Carol 
Published: September 2018

Judy Jarvis, a choreographer, dancer, and teacher, was a significant figure within the Canadian modern dance community. Following early dance studies in Toronto, she spent two years at the Mary Wigman School in Berlin, and considered Wigman her mentor. On her return to Canada, she launched a solo career, and soon opened a Toronto studio, starting a school as well as the Judy Jarvis Dance and Theatre Company. From 1967 to 1983, she worked with numerous dancers, creating and touring across Canada and to the Edinburgh Festival. In 1974, Jarvis was the first modern-dance winner of the prestigious Jean A. Chalmers Award for Choreography.
Her significant works include Bird (1967, later renamed Flight), Clouds (1972), and People…People (1974). Jarvis’s work became increasingly theatrical and difficult to categorize, contributing to the Company’s 1983 loss of funding. Jarvis disbanded her company in 1983, and spent her final years teaching dramatic arts at Madonna High School. She is remembered through the legacy of her influential teaching; through remounts, including Bird/Flight, which was performed by Denise Fujiwara in 1986, and by Gina Lori Riley Dance Enterprise in 1989 of Clouds, People…People, Three Women, and other works; and repertoire performed by the Danny Grossman Dance Company. The Judy Jarvis Foundation, established in 1988, protects Jarvis’s work.
Leyda, Jay (1910–1988)
Authors: Park-Primiano Sueyoung 
Published: September 2018

Jay Leyda’s peripatetic life and protean career cut a unique, remarkable path. The long list of roles he mined include filmmaker, photographer, critic, archivist, art dealer, translator, librettist, and educator. He is best remembered, however, as a leading historian of early and Soviet and Chinese cinemas, interests he started to develop in the vibrant art circle he helped establish in New York City in the 1930s.
Born in Detroit, Michigan, Leyda was raised by his grandmother in Dayton, Ohio. His artistic training started early; after studying photography under Jane Reece, he moved to New York City in 1929 to work as Ralph Steiner’s darkroom assistant. After a year of working for Steiner, Leyda left and supported himself by freelancing as a portrait photographer for various magazines, including Vanity Fair and Arts Weekly; in this capacity he met and photographed Alfred Barr, the first director of the Museum of Modern Art (MoMA) and the person largely responsible for establishing its film library. Leyda also secured a position as sound and recording arranger at the Bronx Playhouse, where he was exposed to repeated showings of films by internationally acclaimed directors including Sergei Eisenstein and Dziga Vertov.
Samba
Authors: Lior Mika 
Published: September 2018

Modern samba music and dance began in Rio de Janeiro’s Afro-Brazilian communities in the early 1900s and spread rapidly to international audiences through twentieth-century technologies of mass media, recording, and cinema. Rio’s samba developed from Bahian samba de roda, which has been danced and played by enslaved Africans and their descendants from the sixteenth century to the present. Modern samba differed from the circular samba de roda through its harmonic elements, the linear use of space, increased speed and footwork, and stylized upper body positions.
First brought to the US by Brazilian sensation Carmen Miranda through Hollywood films of the 1940s, samba’s numerous rhythmic variations have achieved broad global recognition in the twenty-first century. The fast-paced samba no pé singularizes Rio’s world-famous carnaval, which expanded through modern industrial fabrication of floats and costumes and through increasingly cross-national commerce while continuing to capitalize on influences from traditional Afro-Brazilian dance and percussion. The partner dance samba de gafieira has spread from its origins in Rio’s neighborhoods to nightclubs in urban locations across Brazil, North America, and Europe. Meanwhile samba reggae, a late twentieth-century reappropriation of samba within northeastern Brazil that integrates African aesthetic elements with reggae beats and steps has become emblematic of Bahian popular culture.
Vainonen, Vasily Ivanovich (1901–1964)
Authors: Scholl Tim 
Published: September 2018

Dancer and choreographer Vasily Vainonen created several signature choreographic works of the Soviet ballet repertoire of the 1930s, including composer Boris Afasiev’s The Flames of Paris (1932) and Partisan Days (1937). Vainonen made his debut as a choreographer at the cusp of a shift from the experimental works he danced in the 1920s to the drambalet (dramatized ballet) of the 1930s. His best-known works were pivotal in this transition, foreshadowing the emphasis on psychological realism and folk dance material to highlight the participation of politicized masses. Vainonen’s most celebrated works featured bravura dances, especially for men, and folklore adaptations, which highlighted the corps de ballet as a dancing collective.
Vainonen graduated from the Petrograd Dance Academy (now the Vaganova Academy of Russian Ballet) in 1919. He remained with the former Maryinsky Ballet (later, the Kirov Ballet) until 1938, working increasingly as a choreographer during the 1930s. As a dancer, Vainonen distinguished himself in character roles, including the Moor in Leonid Leontiev’s version of Petrushka (1920), the cat in Marius Petipa’s The Sleeping Beauty (1890), and folk dance divertissements in a number of nineteenth-century ballets.
Abdelké, Youssef (1951--)
Authors: Mejcher-Atassi Sonja 
Published: September 2018

Abdelké was born in Qameshli, Syria, in 1951. He graduated from the Faculty of Fine Arts in Damascus in 1976. Politically active as a member of the League of Communist Action (later renamed the Communist Labour Party), which was banned by the Syrian regime, he was imprisoned for two years and then left for France, where he continued his studies. He graduated with a diploma in etching from the École Nationale Supérieure des Beaux Arts in Paris in 1986, and obtained a PhD in Plastic Arts from the University VIII in Paris in 1989. After more than twenty-five years in exile, he returned to Damascus in 2005, where he continues to live and work today.
Abdelké gives preference to drawing over painting. He has worked in different media, but has mainly focused on charcoals on paper. His drawings show still lifes: flowers, dead fish and birds, fruit, and everyday objects such as shoes, teapots, plates, and knives, with which he manages to express human tragedy in manifold ways. Closely linked to aesthetic concerns, the works explore, in the basic media of charcoal and paper, dimensions of art that have been neglected with the introduction of Western techniques—namely perspective—into modern artistic practices in the Arab world. In particular, they draw on concepts of one dimensionality and the flat surface, features that dominated Islamic miniature painting.
Modern Ballroom Dancing
Authors: McMains Juliet 
Published: September 2018

Twentieth-century modern ballroom dancing differed from social dancing of the nineteenth century in its shift in focus from group cohesion to individual personal style. This focus on personal expression paralleled Progressive Era values that emphasized free will and individual action as a means to social progress. Through the use of the closed hold, many modern dances (including the one-step, the Castle Walk, the maxixe, the tango, and the foxtrot) brought partners into closer proximity for extended periods of time. The resulting physical contact of partners combined with the unpredictability of movement inspired by the accompanying ragtime evoked public controversy over the propriety and decency of modern dances.
From the 1910s through the 1950s, these dances were standardized by an American modern ballroom dance industry capitalizing on new means of mass production and distribution to sell ‘‘refined’’ versions of these dances (all of which were of lower-class origin) for consumption by upwardly mobile clientele. The codification of modern dances for mass dissemination, however, eliminated many of their defining modern features, particularly personal expression through improvisation. Modern ballroom dances as interpreted by the English became the basis for ballroom dance competitions exported internationally by the Imperial Society of Teachers of Dancing throughout the twentieth century.
Bourke-White, Magaret (1904–1971)
Authors: Slipp Naomi 
Published: September 2018

Margaret Bourke-White was an influential American photojournalist associated with Life Magazine. Bourke-White briefly studied at Columbia University under Photo-Secessionist Clarence White (1871–1925) before graduating from Cornell University in 1927. Opening a photography studio in Cleveland, Ohio, she specialized in industrial and commercial images that appealed to emerging modernist tastes. Widely published and highly lauded, Bourke-White achieved many firsts, including being the first woman to photograph combat zones. Her career transformed the male-dominated field of photojournalism.
In 1927 Bourke-White photographed the dark interior of the Cleveland-based Otis Steel Company utilizing magnesium flares to capture the industrial processes. The following year, Bourke-White documented the construction of the Chrysler Building in Manhattan. Both sets of photographs emphasize American industry and combine formal drama with tonal variation, aligning Bourke-White with the "machine aesthetic" of modernist art. From 1929–1935, Bourke-White photographed for Henry Luce’s Fortune magazine. For her first assignment, she took compelling images of the Swift hog processing plant. This was followed by three trips abroad to document culture and industry in Stalin’s Soviet Union. Her 1931 photo-essay in Fortune was the first on life in the USSR in a Western publication.
Cossington Smith, Grace (1892–1984)
Authors: Moore Catriona 
Published: September 2018

Grace Cossington Smith was one of Australia’s foremost female modernist artists. Having developed an enthusiasm for modern theories of color and design at the Dattilo Rubbo art school in Sydney, in 1915 she exhibited The Sock Knitter, a seated portrait of her sister Madge knitting socks for the war effort. The portrait’s tight composition and flat blocks of decorative colour, influenced by the modern British style, have led to claims that it may be Australia’s first Post-Impressionist painting.
Cossington Smith went further than most in exploring the technical challenges and pictorial effects of colour and rhythmic compositional structure. She lived an unmarried, childless and economically comfortable life devoted to art. Living in relative suburban seclusion, Cossington Smith nonetheless held regular and successful solo exhibitions and was loosely involved with Ethel Anderson’s Turramurra Wall Painters. Her broad subject matter includes city scenes as well as portraits of friends and family, religious scenes, landscapes, still lifes and flower paintings. The artist later focused loving attention on the formal and spiritual dimensions of light, as expressed in the mirrored interior spaces of her beloved home, Cossington.