bluuebunny/crossref_metadata_2025_split huggingface dataset:
Contemporary South Asian Dance
Authors: Katrak Ketu H. 
Published: September 2018

Contemporary South Asian Dance is performed in the geographical territories of India, Pakistan, Bangladesh, Sri Lanka, and in the diaspora of South Asians in the global North and South. In the early twentieth century, migrations into Southeast Asia, parts of Africa, and the Caribbean originated from British colonization. Later, South Asians relocated to Canada, Britain, Europe, Australia, and the U.S.
Contemporary South Asian choreography is inspired by indigenous traditions, Indian classical dance styles, and is at times hindered by political and religious restrictions repressing dance expression in public.
Falla (y Matheu), Manuel de (1876–1946)
Authors: Payne Alyson 
Published: September 2018

Spanish composer Falla was the central figure of his generation, eclipsing composers such as Joaquín Turina and Joaquín Rodrigo. He blended Spanish musical nationalism, cultivated by Felipe Pedrell, Isaac Albéniz and Enrique Granados, with modernist techniques to create a style heralded as both universal and Spanish. After his death, he became a legendary national figure. Later Spanish composers, such as Cristóbal Halffter and Luis de Pablo, cite Falla as having the most profound effect on their esthetics.
Falla received his early musical training from his mother, who taught him piano in addition to the basics of music. As a boy, Falla had literary aspirations, creating several short-lived magazines with friends, such as El Burlón (1889) and El Cascabel (1890). His talent for writing would serve him well as he later authored articles on music and fashioned his own libretti. He eventually turned his creative energies toward music and, in 1896, Falla began taking trips to Madrid to study piano with José Tragó, who also taught the young composer Joaquín Turina. The two composers would eventually meet and form a mutually beneficial friendship. Taking up residence in Madrid, Falla enrolled in the Madrid Conservatory and graduated in 1899. He also began premiering piano compositions and works for small chamber groups.
Ferrari, Luc (1929–2005)
Authors: Drott Eric 
Published: September 2018

French experimental composer Luc Ferrari was one of the key figures in the development of electroacoustic music in France during the late 1950s and 1960s. In 1958 he was invited by Pierre Schaeffer, the pioneer of musiqueconcrète, to join the Groupes de recherches musicales (GRM). Ferrari developed his own distinctive approach to electroacoustic composition, which he dubbed "anecdotal music." Although he is best known for his electroacoustic compositions, Ferrari worked in a wide variety of media and techniques throughout his career.
Some of Ferrari’s early tape pieces such as Etude aux accidents (1958) and Etude aux sons tendus (1958) were consistent with the research objectives promulgated by Schaeffer, abstracting sounds from their sources in order to direct attention to their phenomenological characteristics. However, Ferrari soon developed his own distinctive approach to electroacoustic composition, which he dubbed "anecdotal music." Inaugurated in his composition Hétérozygote (1963–64), "anecdotal music" exploited the referential character of recorded sound to reintroduce a narrative dimension hitherto absent in musiqueconcrète.
Ortiz, William (1947--)
Authors: Quevedo Marysol 
Published: September 2018

Born in Salinas, Puerto Rico, William Oritz was raised in New York City. He studied composition at the Conservatory of Music of Puerto Rico under Héctor Campos Parsi and Amaury Veray. He holds a master’s degree from SUNY at Stony Brook (1976), where his professors included Billy Jim Layton and Bülent Arel, and a PhD from SUNY at Buffalo (1983), where Lejaren Hiller and Morton Feldman were his professors. Ortiz served as assistant director of Black Mountain College II, NY, also teaching composition and music theory at the school. He has held the position of chair of the department of humanities and has served as band conductor for the University of Puerto Rico at Bayamón. As a music critic he has contributed to The San Juan Star.
Among his many works Oritz has completed commissions for the Casals Festival, the Guitar Society of Toronto, the Puerto Rico Symphony Orchestra, and the New York State Council of the Arts. His approach to composition is characterized by an eclectic adoption of popular and urban music genres as part of his compositional palette. Early on he incorporated elements from urban street music, found mostly in the Latino and Black neighbourhoods of New York City and in the poorer neighbourhoods of San Juan, as reflected in Street Music (1980), Graffiti Nuyorican (1983), De Barrio Obrero a la Quince (1986), and Bolero and Hip-Hop en Myrtle Avenue (1986).
Petrassi, Goffredo (1904–2003)
Authors: Roderick Peter 
Published: September 2018

Goffredo Petrassi (b. 1904, d. 2003) was an Italian musician and composer who spent much of his working life in Rome. Alongside Luigi Dallapiccola and Giorgio Federico Ghedini he inhabited an "intermediate" generation in Italian twentieth-century modernism, spanning the gap between the flamboyant trio of Alfredo Casella, Ildebrando Pizetti, and Gian Francesco Malipiero in the 1920s and ‘30s and the avant-gardists Luigi Nono, Bruno Maderna, and Luciano Berio in the 1960s.
Petrassi grew up surrounded by the polyphonic heritage of the Italian renaissance, being born in the same village as Palestrina and studying as a teenager in Rome at the Scuola Cantorum of San Salvatore in Lauro; Weismann notes that "various manifestations of Catholic baroque art displayed on architecture, interior decoration and music … undoubtedly contributed to the formation of his taste" (Weissmann, 1957, 3). His student days were spent at the Conservatorio di Santa Cecilia, where he studied with Bustini and Casella, and produced a flourish of remarkably mature works which combined extreme contrapuntal complexity with the harmonic language of Stravinsky. In addition, Petrassi’s ability to overcome the Italian aversion to the orchestral "set-piece" (for instance, the Partita of 1932, the Concerto for Orchestra of 1933–34) led to fruitful international connections in Britain and Germany.
Tenney, James (1934–2006)
Authors: Hasegawa Robert 
Published: September 2018

American composer James Tenney produced a wide range of innovative works, including computer music, Fluxus-inspired text scores, and chance-based instrumental pieces founded on the overtone series. Tenney’s music is characterized by a fascination with sound and how listeners perceive it. In addition to his creative work, Tenney is the author of important theoretical writings on the psychology and phenomenology of musical experience. Like John Cage, Tenney intentionally avoids rhetorical gestures in his music, following his dictum that "[T]he focus should be on the sound itself and not on the ideas and emotions of the composer" (Tenney, 2005).
Tenney was born in Silver City, New Mexico, but moved to New York in the 1950s to study piano with Eduard Steuermann and composition with Chou-Wen Chung. Later studies at Bennington College and the University of Illinois brought him into contact with Carl Ruggles, Lionel Nowak, Kenneth Gaburo, and Lejaren Hiller. In works from this period, such as Seeds (1956–61), composer Larry Polansky identifies the strong influence of Anton Webern and Edgard Varèse, two of Tenney’s early inspirations.
An-sky, S. (1863–1920)
Authors: Legutko Agnieszka 
Published: September 2018

Born Shloyme-Zanvl Rappoport near Vitebsk, Belarus, S. An-sky was a Jewish Russian intellectual, political and social activist, journalist, Yiddish ethnographer, poet, writer, and dramatist, whose life and work championed modernist ideals. He could be best described as "the one who looked for new paths" (Dybbuk, Act III) until his death in 1920 in Warsaw, Poland.
Between 1912–1914, An-sky headed the Baron Horace Guenzburg Jewish Ethnographic Expedition in Volhynia and Podolia, which inspired his most famous work, The Dybbuk (Between Two Worlds, 1914–1918), arguably the greatest masterpiece of Yiddish literature. Boasting a trilingual genesis (Russian, Yiddish, and Hebrew), the play premiered in Yiddish in Warsaw thirty days after An-sky’s death in 1920, and was an instant success. Using the folk motif of dybbuk possession (a soul of the dead possessing a living body) in this play, An-sky addressed the quintessential modernist experience of transgressions. The Dybbuk portrays a passionately tragic love and the crisis of faith juxtaposed with a struggle between the individual and the collective. The background conflict between generations, genders, and classes is accompanied by a difficult transition from tradition to modernity and raises questions of religion, art, and identity. The play has transcended Yiddish literature, becoming a world classic that continues to fascinate artists and audiences around the globe in the twenty-first century.
Bagul, Baburao (1930–2008)
Authors: Jaaware Aniket 
Published: September 2018

A major inspiration to a younger generation of Marathi ‘Dalit’ authors, Baburao Bagul’s literary and critical writing is somewhat atypical of what subsequently became famous as ‘Dalit’ literature (literature of the oppressed) after 1972. Bagul was also actively involved in the discussions that would lead to the founding of the Dalit Panthers. Having published stories in magazines earlier, he published his first volume of short stories called JevhaMiJaatChorliHoti (When I Hid My Caste, 1963). He reinforced his reputation with his short story collection MaranSwasta Hot Ahe (Death is Becoming Cheaper, 1969). Most of his stories explore ‘lumpen’ characters and the ethical implications of their actions as they fight to survive the unrelenting misery and poverty of urban modernity. His characters are ones who survive (or not) in limit situations of hunger and criminality, in dwellings without any civic amenities, and often exploit or violate other characters in similar circumstances.
Dropkin, Celia (1887–1956)
Authors: Legutko Agnieszka 
Published: September 2018

Celia Dropkin, one of the greatest yet lesser-known Yiddish poets, revolutionized modern Yiddish poetry with her pioneering exploration of gender dynamics. Bold erotic motifs in Dropkin’s poetry shocked her contemporaries, while her poems, written mostly in the 1920s and 1930s, sound au courant in the twenty-first century. In her poetry, Dropkin addressed themes such as sexuality, love, artistic creativity, motherhood, and nature — as well as domination and sexual politics in man-woman relationships.
Born in Bobruisk, Belarus as Tsilye Levin, she wrote her first poems in Russian at the age of 10. After her immigration to the USA in 1912, she began writing in Yiddish, making her literary debut in 1918. She was affiliated with modernist groups formed by Yiddish poets in America, such as Di Inzikhistin [Introspectivists] and Di Yunge [The Young]. During her lifetime, she published only one volume of poetry, In heysn vint. Her children reissued the volume after her death, updating it to include her short stories and reproductions of paintings that she created later in life. Dropkin’s modernist poetry shattered cultural stereotypes about the social and gender roles imposed on men and women, making her a path-breaking poet who ‘filled the stillness of Yiddish poetry with a passionate breath’ (Yakov Glatshtayn).
Arlen, Michael (1895–1956)
Authors: Girling Anna 
Published: September 2018

Michael Arlen, although now largely forgotten, was one of the most successful novelists of the 1920s. Born Dikran Kouyoumdjian in Ruse, Bulgaria, to Armenian parents, Arlen’s family came to Britain in the early 1900s, and he attended Malvern College. He briefly studied at the University of Edinburgh before moving to London in the mid 1910s to embark on a career as a writer, initially working for A. R. Orage’s magazine, The New Age. His first publication was a collection of his pieces from the magazine, published as The London Venture in 1920. It was at this point that he began writing as Michael Arlen.
Arlen produced a steady stream of short stories and novels throughout the early 1920s, all offering a similar whimsical, romantic glimpse of young London socialites, culminating in 1924 with the publication of The Green Hat. It was an immediate success (selling 150,000 copies that year alone), and went on to become one of the bestselling novels of the 1920s, enabling Arlen to fund Noel Coward’s play, The Vortex. Arlen and his novel quickly became short hand for a popular conception of the 1920s; both are referred to in a slew of novels from the time (Michaelis, for instance, in D. H. Lawrence’s Lady Chatterley’s Lover, is thought to be based on him). Arlen moved to the USA in 1941 and continued to write until his death, experimenting with a range of genres, including science fiction, but he never again wrote anything as successful as The Green Hat.
Rabikovitch, Dalia (1936–2005)
Authors: Codish Moria 
Published: September 2018

Born in Ramat Gan, Israel, Dalia Rabikovitch was six years old when her father died in a car accident. Her family moved to kibbutz Geva, a transition that Rabikovitch later recalled as traumatic. At the age of thirteen she moved to the city of Haifa, where she was transferred from one foster family to another. Orphanhood and alienation are the fundamental experiences in her poetry, which is characterized by a lyrical, elegiac tone.
Rabikovitch is a highly regarded poet in Israel. Her work combines biblical-archaic language with simple, day-to-day semantics, and ranges from abstract to concrete. She was among those who generated the poetic shifts in Hebrew literature of the 1950s and 1960s, and her voice is one of the most influential and unique in modernist Hebrew poetry.
Wallach, Yonna (1944–1985)
Authors: Weisman Anat 
Published: September 2018

Yonna Wallach, born in Mandatory Palestine, is known as one of the most prominent and influential poets in Israeli poetry. She lived most of her life in her mother’s home in the town of Kiryat Ono. The residence was located on a street named after her late father, who was killed in the Israeli Independent War in 1948 when Wallach was four years old.
Wallach was known as an eccentric figure whose lifestyle was exceptionally extroverted, even among the bohemian circles in which she was involved. Her stormy and intense relationships with both men and women, free and open sex life, experiences with drugs, and frequent hospitalizations in psychiatric institutions are described in detail in Yigal Serna’s 1993 biography.
Her first poems appeared in 1964 and her first collection of poetry, Devarim (Words, or Things), was published in 1966. Scholars and critics were fascinated by the richness of the poems, and stressed their original and enigmatic imagism as well as their erotic, existential, metaphysical, feminist and social concerns.
Yokomitsu, Riichi (1898–1947)
Authors: Yoshikuni Hiroki 
Published: September 2018

Riichi Yokomitsu was a Japanese novelist who, as one of the founders of Shinkankaku-ha [New Sensation School], helped introduce European avant-garde literature into Japan during the interwar period and opened the door to Japanese modernist style. His stylistic innovation, opposition to the proletarian literature favored by Korehito Kurahara, and theory of the novel opened up Japanese fiction to possibilities other than realism and the I-novel.
Yokomitsu was born Toshikazu Yokomitsu in Fukushima prefecture in 1898. After attending—and later being expelled from—Waseda University, Yokomitsu started a magazine, BungeiJidai [Literary Age] in 1924 with Yasunari Kawabata, Teppei Kataoka, Yoichi Nakagawa, Toko Kon, and others. BungeiJidai, which became the major vehicle for the New Sensation School, marked the beginning of the Showa period in literature, along with the proletarian writers’ BungeiSensen [Literary Frontier], which was launched in the same year.
Zeybek, The
Authors: Shay Anthony 
Published: September 2018

The zeybek is a genre of Turkish folk dance that is closely associated with the Aegean region on the west coast of Anatolian Turkey, although it is found in other regions as well. It can be seen as an early twentieth-century attempt to "modernize" folk dance in Turkey. There are many versions of this dance: Usually, the zeybek is performed by a solo male dancer, though it can also be performed by two or more males. Although less common, there are a few female zeybek dances. There is also a Greek form of the dance, as well as an urban form—the zeibekikos—brought to Greece by Greeks from Izmir (Smyrna).
The Ottoman government sent Selim Sırrı Tarcan, one of the earliest researchers of Turkish folk dances, to Sweden in 1909 to study physical education, and there he was struck by the ways in which Swedish instructors choreographed folk dances in a "refined" way. In 1916, he choreographed the zeybek—which he called Tarcan zeybeği—to appeal to a sophisticated urban Turkish audience. However, the modernization of the zeybek dance was never fully embraced in Turkey because of the nationalistic and ethnic appeal that staged traditional folk dances had for Turkish audiences.
Alberti, Rafael (1902–1999)
Authors: Colás Cardona Silvia 
Published: September 2018

Born in Cadiz, Andalusia, and a member of what is known as the Generation of ’27, Rafael Alberti started his career as an avant-garde painter. He began to paint when his family moved to Madrid in 1917, and later in his life, he admitted to thinking of himself as a painter before a poet. He started writing poetry in 1920, publishing some of his early works in the ultraista literary review Horizontes. His first book of poems, Marinero en tierra [Sailor in Land], won the prestigious Premio Nacional de Literatura [National Prize for Literature] in 1925. Soon would follow La amante [The mistress] in 1926 and El alba del alhelí [Dawn of the Wallflower], published in 1927. All three of these works were inspired by neo-popularismo, one of the various literary trends that influenced the Generation of ’27.
The arrival of Alberti at the Residencia de Estudiantes [Student Residence] in 1924 marks a crucial moment in his life; it was at the Residencia that he met most of the members that would later form the Generation of ’27: Federico García Lorca, Salvador Dalí, Luis Buñuel, Jorge Guillén, Gerardo Diego, Pedro Salinas, Vicente Aleixandre and Dámaso Alonso, among others.
Antubam, Kofi (1922–1964)
Authors: Woets Rhoda 
Published: September 2018

Kofi Antubam was an influential and pioneering modern artist in Ghana. His realistic, narrative scenes of idealized African life, depicted in wall paintings and mosaics, influenced many artists after him. In 1957 Antubam was appointed as an official state artist following Ghana’s independence; an unsurprising development given Antubam’s firm belief that artists should contribute to national pride and development, representing Ghana in their art work as a modern nation with a unique past and culture.
Antubam received his art education at Achimota School, in Accra, and Goldsmiths College, in London. He exhibited his work both in Ghana and internationally in cities such as London, Paris, Rome, Düsseldorf, and New York. Antubam challenged contemporary African artists to use the skills honed from their European based art training as tools in painting cultural portraits of traditional African culture. A representational art style, he argued, was only a vehicle to express what lay within. Assimilation was the key concept for Antubam in the development of a national and African identity that, he argued, would remain distinct from East and West despite the assimilation of foreign elements.
Brecheret, Victor (1894–1955)
Authors: Canejo Cynthia 
Published: September 2018

Victor Brecheret was a modernist sculptor whose unique style incorporated the graceful design of Art Nouveau and Art Deco and the purity of the School of Paris. Working in São Paulo, one of the centers of the avant-garde during the earliest manifestations of modernism in Brazil, Brecheret participated in the Semana de Arte Moderna de 1922 [Week of Modern Art]—an arts festival organized by a group of modernists for the centennial celebration of Brazilian independence—which took place in the Teatro Municipal de São Paulo between 3 and 17 February, 1922. Brecheret became an important part of this intellectual group, which included the painters Anita Malfatti and Emiliano Di Cavalcanti; the poet, Menotti del Picchia; and the writers, Mario de Andrade and Oswald de Andrade. Brecheret was inspired to simplify his sculptural forms while visiting the Parisian ateliers of two noted sculptors: the Romanian, Constantin Brancusi, and the Frenchman, Aristide Maillol. As a modernist working on public monuments—such as the MonumentoàsBandeiras [Monument to the Pioneers], in Ibirapuera Park, São Paulo, 1936–1956—Brecheret was able to unite his national tendencies with his international inclinations. In working with ideas from both Brazil and Europe, Brecheret assimilates national subjects with international styles to create works that are decidedly his own. Furthermore, in choosing unusual poses or unconventional designs, he gives traditional themes a unique character.
Bunting, Basil (1900–1985)
Authors: Copestake Ian 
Published: September 2018

Basil Cheesman Bunting was a British poet, closely associated with Northern England and with late modernist poetics. A close friend of Ezra Pound’s, Bunting worked on the Transatlantic Review with Ford Madox Ford, but did not achieve widespread literary recognition until the 1950s and 60s. His most celebrated work is Briggflatts, an autobiographical long poem published in 1966.
Basil Cheesman Bunting was born in Scotswood-on-Tyne, Northumberland, on 1 March 1900, the son of Thomas Lowe Bunting, a local doctor, and Annie Cheesman, from a local mining family, and was educated at the Quaker schools of Ackworth and Leighton Park. This early pacifist background saw him arrested at 18 as a conscientious objector, and sentenced to imprisonment at Wormwood Scrubs and Winchester prisons. In the early 1920s, Bunting enrolled at the London School of Economics and began to experience London literary life. He left the School without a qualification and travelled to Paris. In 1923, while he was working on the Transatlantic Review under Ford Madox Ford, his influential friendship with Ezra Pound began.
Cecil Edwin Frans Skotnes (1926–2009)
Authors: Stephenson Jessica 
Published: September 2018

Cecil Skotnes (b. 1926, East London, Eastern Cape, South Africa; d. 2009, Cape Town, South Africa) was a print-maker, woodcarver, and educator who played a lead role in the mid to late 20th-century South African art world. Together with other young artists of the 1960s, Skotnes forged an art style with a distinctive, regional identity as well as ties to international modernism. In addition, he was a founding member of the non-racial Amandlozi Group; however, it was his role as art teacher and advocate at the Polly Street Art Centre in Johannesburg from 1952 until 1966 that was of paramount significance. Through his efforts, a generation of black urban artists were trained and were afforded a network and the patronage needed to pursue professional careers. At the time, the Polly Street Art Centre was one of the only institutions that offered black South Africans access to education in modern art media such as painting, graphics, and sculpture. Skotnes’s successful promotion of young artists in the 1950s and 1960s made Polly Street a model for other community centers that arose in the 1970s and 1980s, and many of its graduates went on to found or direct community projects such as the Community Arts Project in Cape Town and Funda in Johannesburg.