bluuebunny/crossref_metadata_2025_split huggingface dataset:
Enomoto, Kenichi 榎本 健一 (1904–1970)
Authors: Fukushima Yoshiko 
Published: September 2018

A Japanese comedian, also known as Enoken, Enomoto initially created popular musical comedies in Tokyo’s downtown entertainment district Asakusa. His comedy style, containing elements from both Japanese and Western theater and popular entertainment, was a product of the modernism and liberalism of the Taishō period (1912–1926)—the age of ero-guro-nansensu (literally, erotic, grotesque, nonsense), and was erotically charged, frightfully new and nonsensical but attractive. His musical comedies led to the birth of the current-day wasei [Japanese-style] musicals.
Born in Tokyo, Enomoto became a student of the Asakusa Opera singer Yanagida Teiichi and made his stage debut in 1922 as a chorus member of the Negishi Opera Company. After the 1923 Great Kantō earthquake, he moved to Kyoto and played many minor roles in silent films. In 1929 Enomoto returned to Asakusa and joined the theater company Casino Folies specializing in Western-style revues and variety shows. In 1930 he formed his own troupe, New Casino Folies. His comic and energetic acting and amusing and speedy dialogs, inspired by Western cabaret performances and Hollywood talkies, were introduced in novelist Kawabata Yasunari’s The Scarlet Gang of Asakusa serialized in the Asahi Newspaper (1929–1930) and gained high popularity.
Geijutsu-za
Authors: Swain John D. 
Published: September 2018

The first iteration of the Geijutsu-za (Art Theater) was founded in 1913 by the actors Shimamura Hōgetsu (1871–1918) and Matsui Sumako (1886–1919) after they were expelled from Tsubouchi Shōyo’s (1859–1935) Bungei Kyōkai for fraternization. The lovers, Matsui in particular, had been acclaimed for their acting with Bungei Kyōkai, and they continued their successes at the Geijutsu-za. Unfortunately, Shimamura succumbed in November 1918 to the worldwide influenza epidemic, and a distraught Matsui committed suicide two months later. As a result of their deaths, the company disbanded until it was reformed in 1924 by one of the original members, the playwright and director Mizutani Chikushi (1882–1935). The revived company endured until 1945.
The company’s successes from 1913–1918 were the result of Shimamura’s promotional talent capitalizing on the daring charisma of Matsui. The novelty of seeing real women, banned from the Tokyo stage for almost three centuries, and Matsui’s talent and her artistic rivalry with Kawakami Sada Yakko (1871–1946), created a rich vein for Shimamura to mine. In the second Geijutsu-za offering, Matsui created a sensation playing Oscar Wilde’s Salome. The company’s third production, Shimamura’s adaptation of Tolstoy’s Fukkatsu [Resurrection] in 1914, with Matsui playing the role of Katsusha, was one of shingeiki’s greatest popular and commercial hits.
Glaspell, Susan (1876–1948)
Authors: Gainor J. Ellen 
Published: September 2018

Susan Glaspell shaped the development of American Modernism not only as an award-winning author but also as a founding member of the Provincetown Players, the groundbreaking theater company that nurtured other American modernists such as Eugene O’Neill.
Although she spent most of her career on the East Coast, Glaspell hailed from Davenport, Iowa, and attended Drake University in Des Moines. While still a teenager, she began working in journalism; after college, she joined the staff of the Des Moines Daily News, covering the State Legislature and criminal trials. Glaspell also began to write short fiction and soon decided to pursue creative writing exclusively, publishing her first novel, The Glory of the Conquered (1909), while continuing to place stories in leading magazines.
Hijikata, Yoshi (1898–1959)
Authors: Zheng Guohe 
Published: September 2018

A shingeki director and one of the most important early leaders of the modernist movement in Japanese theater, Hijikata Yoshi was the cofounder of the Tsukiji Shōgekijō and an active force in Soviet-Japanese theatrical interactions.
Born into an aristocrat family, he lost his father as an infant and grew up in the houses of his maternal and paternal grandparents. Thanks to the theater-going traditions of both families, he was exposed from an early age to theater, both traditional and its emerging modern counterparts. This led to his creation, with friends, of two amateur theatres, at the age of thirteen and eighteen. At the age of twenty one, he directed The Death of Tintagiles by Maurice Maeterlinck. His choice of this mystical piece was criticized as being detached from life and reflecting his aristocratic upbringing, a criticism that "hit my weakest spot" leaving a permanent impact on him. The impact was intensified later by the realistic and engaging stage of Hirasawa Keishichi’s Worker’s Theater. It was a sharp contrast with the theater as he had known it hither to, as rich man’s pastime. Determined to make the theater his career around this time, he became a disciple of Osanai Kaoru and together they established theater directing as a respected profession in Japan.
When his paternal grandfather died of Spanish influenza in 1918, he inherited from him the title of Count. While a college student and an apprentice director he was able to accumulate a large amount of wealth, paying off family debts. Unable to stand the Japanese theater establishment of the time and in prossession of a fortune, he left for Europe in November 1922 to study Western theater.
Little Theater Movement
Authors: Chansky Dorothy 
Published: September 2018

The Little Theater Movement comprised a web of amateur theater activities undertaken across much of the United States between 1912 and 1925. Little Theater opposed commercialism; its proponents believed that theater could be used for the betterment of American society and for self-expression. Little Theater founders and participants included playwrights, professors, liberal political activists, social workers, lawyers, heiresses, poets, actors, aesthetes, journalists, housewives, and students. They drew inspiration from the best-known work of the European Independent Theater Movement and from the design aesthetics of Adolphe Appia, Edward Gordon Craig, and Max Reinhardt. Eventually their values affected commercial theatre.
The Little Theater Movement is best known for four of its earliest companies: the Provincetown Players, the Washington Square Players, the Chicago Little Theater, and the Neighborhood Playhouse. No two of these were alike, suggesting the breadth and variety of the movement’s undertakings. The Provincetown Players started in 1915, when a group of New York-based writers and activists assembled at their summer beach haunt in Massachusetts to present short, original plays. The founders were idealist George Cram Cook and his writer wife, Susan Glaspell; the group is perhaps best known for giving Eugene O’Neill his start as a produced playwright. The Washington Square Players was also started by a group of iconoclastic New Yorkers. The WSP’s mission was not, however, the production of member-written, American plays, but rather the production of a variety of plays from many sources.
Itō, Michio (1893–1961)
Authors: Swain John D. 
Published: September 2018

Itō Michio’s creative endeavors spanned dance, theatre, and film, just as his career spanned the Pacific and the Atlantic Oceans, however, his life as a creative artist was one of World War II’s international cultural casualties. After decades of work with people such as W. B. Yeats in Ireland, the Washington Square Players and Martha Graham in New York, and the Hollywood Bowl in Los Angeles, Itō was repatriated to Japan in 1943 where he continued to teach and choreograph until his death. The first son of an old samurai family whose parents encouraged their children to pursue any avenue of interest, Michio was the elder brother by eleven years of Itō Kunio, aka shingeki theater director Senda Koreya.
Itō collaborated with Yeats on his Plays for Dancers, and is probably best known for creating the role of the Guardian of the Well in (At the Hawk’s Well) 1916. His work as a dancer and choreographer in the United States is not as well remembered because almost none of that extensive body of work was preserved. He was to choreograph the opening and closing ceremonies of the 1964 Tokyo Olympics, but did not live to see that project materialize.
Itō left Japan for Europe in 1912 to study voice. Once in Germany he became disillusioned with opera, but was entranced by the dance of Isadora Duncan, Pavlova, and Nijinsky. He decided to study modern dance, and entered the Dalcroze Institute in 1913. Much of his later work is influenced by eurythmics.
Kubo, Sakae (1900–1958)
Authors: Swain John D. 
Published: September 2018

Kubo Sakae was a leading shingeki playwright prior to World War II, and a shingeki socialist hero afterward. His greatest dramatic work is the epic Kazanbai-chi [Land of Volcanic Ash] (1937–1938) about the exploitation of peasant labor on farms in the northernmost-Japanese island of Hokkaido where he was born. His heroic status stems from his arrest in 1940 as a communist, his refusal to recant his socialist beliefs, and his imprisonment until the war’s end.
Although Kubo returned to writing and socialist activism after the war, political divisions within the socialist movement and in shingeki stymied his further success. In an act of personal despair and political theater (some say petulance) intended to jolt competing factions within the socialist movement to unite, Kubo committed suicide in 1958.
Kubo joined the Tsukiji Shōgekijō in 1926 after graduating from Tokyo University with a degree in German literature. He began translating plays from German. In 1928 Kubo joined Hijikata Yoshi’s new troupe, the New Tsukiji Company, and began writing his own works. The company produced Kubo’s first play of note in 1930. Shinsetsu Kokusenya gassen [The New Tale of the Battle of Coxinga] drew on ancient Chinese and Japanese lore.
Dovzhenko, Alexander [ДОВЖЕНКО, Олександер Петрович] (1894–1956)
Authors: Nebesio Bohdan Y. 
Published: September 2018

The Ukrainian film director, artist, and writer Alexander Dovzhenko was born in Sosnytsia (Chernihiv region) and graduated from the Hlukhiv teachers’ college in 1914. He continued his studies at the Ukrainian State Academy of Arts in Kiev (1917–1919) and in Berlin, where he worked at the Ukrainian consulate (1922–1923). Dovzhenko began his career as a cartoonist for the newspaper Visti VUTsVK in Kharkiv but switched to cinema in 1926. He wrote screenplays and directed films for the VUFKU [All-Ukrainian Photo Cinema Administration] studios in Odessa (1926–1928) and Kiev (1929–1932). To avoid being persecuted as a Ukrainian "nationalist" during Stalin’s region of terror, Dovzhenko fled to Moscow in 1932, where he continued working at the Mosfilm studio for the rest of his life.
Dovzhenko learned the filmmaker’s craft through directing two short comedies and a feature-length film titled Sumka dypkur’iera [The Diplomatic Pouch] (1927), a spy thriller. Zvenyhora (1927), an epic tale hailed by critics as the founding work of Ukrainian national cinema, established his reputation in Ukraine. The formal complexity and strong pacifist message of Arsenal (1929) brought Dovzhenko recognition in European avant-garde circles. Zemlia [Earth] (1930), whose subject was the transition to collectivized agriculture, became Dovzhenko’s best-known work and cemented his international reputation as the "poet of cinema." Dovzhenko’s silent films were criticized in the Soviet Union for their "nationalist deviations" but received praise abroad, especially in Western Europe. His final film in Ukraine, Ivan (1932), marks the transition to sound in Ukrainian cinema.
Pankhurst, Emmeline (1858–1928)
Authors: Weihman Lisa 
Published: September 2018

Emmeline Pankhurst was born Emmeline Goulden in Manchester, England. One of the most prominent activists in the suffrage movement, Pankhurst founded both the Women’s Franchise League (1883), and the Women’s Social and Political Union (WSPU, 1903). She married Richard Pankhurst (1834–1898), a barrister, in 1879, and had five children: Christabel (1880–1958); Sylvia (1882–1960); Francis Henry (1884–1888); Adela (1885–1961); and Henry Francis (1889–1910). All three of the Pankhurst daughters became political activists in socialist and suffrage organizations.
In her autobiography, My Own Story, Pankhurst writes, "Men make the moral code and they expect women to accept it. They have decided that it is entirely right and proper for men to fight for their liberties and their rights, but that it is not right and proper for women to fight for theirs" (1914: 268). Pankhurst’s work connected her with many of the leading socialist, labor, and suffrage activists of her day, including Annie Besant, Keir Hardie, William Morris, Eleanor Marx, and Emmeline Pethick-Lawrence. In 1894 Pankhurst investigated conditions at the Chorlton Workhouse, which galvanized her activism. "I thought I had been a suffragist before I became a Poor Law Guardian, but now I began to think about the vote in women’s hands not only as a right but as a desperate necessity" (ibid.: 28).
Ahmad, Yousef (1955–)
Authors: Touati Samia 
Published: September 2018

A writer, an art advisor, and an artist, Yousef Ahmad has contributed significantly to the evolution of art in Qatar. Ahmad took upon himself the responsibility to document and archive the development of art in Qatar. Ahmad has developed an innovative style of calligraphic painting, whereby numerous letters and words are transformed into abstract signs and manifest abstract arrangements. Being more inclined to create large-scale works, Ahmad depicts Arabic words in their variety of shapes with a particular focus on the construction of his composition.
In 1982, Ahmad traveled to the United States, where he received his Master of Fine Arts degree from Mills College, University of California. Following his return to Qatar, Ahmad taught art appreciation for more than twenty years at Qatar University, where he met His Excellency Sheikh Hassan bin Mohamed bin Ali Al Thani. Sharing an avid love for art with HE Sheikh Hassan, Ahmad has played an instrumental role in collecting a variety of artworks which constitute the major collections of Mathaf: Arab Museum of Modern Art and the Orientalist Museum. He also acted as the first director for Mathaf: Arab Museum of Modern Art, then named the Museum of Arab Art.
Art Students League of New York
Authors: Robbins Christa Noel 
Published: September 2018

The Art Students League (ASL) is a Manhattan art school, founded in 1875 "by artists and for artists." ASL was founded when the National Academy of Design (NAD) announced that it would temporarily suspend its studio classes. A group of ASL students used this opportunity to break out of the orbit of the conservative academy, and with the help of former NAD instructor Lemuel Wilmarth (who became the school’s first instructor and president), they announced the founding of a new school.
ASL’s primary mission is to promote and enable the creative objectives of the artists in attendance; as such the format of the school is an atelier system—a collection of semi-autonomous studios, the focus of which is determined by a professional artist who runs the studio and leads the instruction. Many of America’s best-known modern artists from the 19th and 20th centuries had a role to play in the League, including Romare Bearden, George Bellows, Thomas Hart Benton, William Merritt Chase, Thomas Eakins, Helen Frankenthaler, Hans Hofmann, Donald Judd, Lee Krasner, Jackson Pollock, Robert Rauschenberg and Mark Rothko. The ASL continues to rank among the best art schools in the United States and promote openness in terms of student admissions and artistic experimentation.
Berk, Nurullah (1906–1982)
Authors: Shaw Wendy 
Published: September 2018

An artist and writer from the Republic of Turkey, Nurullah Berk worked to promote the expression of Turkish aesthetic ideals as one of the founders of the D Group.
Berk first studied in Paris with Ernest Laurent at the École des Beaux Arts between 1924 and 1928. Upon his return to Turkey, he became a member of the recently established Society of Independent Painters and Sculptors. He spent a year in Paris studying with André Lhote and Fernand Leger, whose Cubist modernism reflected the ideas of Henri Bergson as developed by the Puteaux Group before World War I.
Returning to Turkey in 1933, Berk became one of the founders of a society of artists that promoted independent thought and modernist ideals, known as the D Group. He also participated in the state-sponsored Homeland Tours project that sent artists to the provinces between 1938 and 1943. Berk promoted the expression of Turkish aesthetics through a vocabulary of abstraction, combining flat abstraction with patterns drawn from the popular and folk traditions of Turkey.
Woman Ironing (1950) exemplifies his combination of Cubist abstraction with national identity in its idealization of the working figure of the Turkish peasant woman, with patterns derived from traditional Turkish flatwoven carpets.
El-Sigini, Gamal (1917–1977)
Authors: Radwan Nadia 
Published: September 2018

Gamal el-Sigini is a prominent Egyptian artist, best known for his sculptures and metal work. He is renowned for representing powerful patriotic subjects by using bronze, stone, copper, wood and leather. He developed the technique of using hammered red copper for executing low-reliefs inspired by ancient Egyptian art.
El-Sigini studied at the School of Fine Arts in Cairo under the sculptor Boris Frödman-Cluzel (1878–1959). After graduating in 1938, he founded a group called "The Voice of the Artist" (Sawt al-Fannān) to promote young Egyptian artists. He was a member of the Egyptian "Group of Modern Art" founded in 1947, and in 1951, he was appointed professor at the School of Fine Arts in Cairo. He became the head of the Sculpture Department of the Faculty of Fine Arts in Alexandria in 1958 until he was named director of the Sculpture Department at the School of Fine Arts in Cairo in 1964. During his career, he was commissioned to design several projects for public monuments in Egypt as well as medals for various official events.
Galatasaray Exhibitions
Authors: Shaw Wendy 
Published: September 2018

Held in Istanbul between 1916 and 1951, the Galatasaray Exhibitions were the first annual exhibitions of art established in the Ottoman Empire, remaining an important cultural event during the single-party era of the Republic of Turkey, founded in 1923. During the Great War in Europe, when the Ottoman Empire joined the Central Powers and the citizens of Entente nations left, many vacated spaces in Istanbul opened to new uses. One of these was the Italian Societa Operaia, which became the dormitory for the nearby Lycée de Galatasaray. Beginning in 1916, the main hall of this dormitory was leased every summer for an annual exhibit, which came to be known as the Galatasaray Exhibitions. Works shown at the inaugural exhibit were naturalist paintings, reflecting no awareness of contemporary modernist movements—a situation that later changed with the development of the modern nation-state of Turkey. The exhibit was juried but open to all artists, and visitors were charged admission. Several works at the 1916 exhibit received prizes from the Ministry of Education and were subsequently purchased as part of the Collection of Decorated Panels, established under the auspices of the Imperial Academy of Fine Art, which included copies of many famous European paintings.
Villanueva, María Cecilia (1964--)
Authors: Etkin Mariano 
Published: September 2018

María Cecilia Villanueva was born in 1964 in La Plata, Argentina. She studied composition with Mariano Etkin at the Universidad Nacional de La Plata, where she currently works as teacher in composition and researcher in musical analysis focused on twentieth-century music. She is considered one of the most notable figures of her generation, successfully mixing research and composition.
Villanueva’s music is a testimony to her esthetic independence. She distinguishes herself from her colleagues by the originality of her technical approaches and her rendering of very personal ideas. The expressive density of Villanueva’s music develops around a complex elaboration of materials, which, in some cases, coexist with elements of extreme simplicity. Her music has been performed in many of the main festivals and new music cycles of Europe, the United States, and Latin America. She has also received recognition for her work on numerous occasions. She was awarded the German Forum JungerKomponisten 1989 (WDR) prize in Köln, and won the Elizabeth Schneider prize in 2001 in Freiburg, as well as the Premio de la Ciudad de Buenos Aires, Argentina, 2003. She has been the recipient of several prestigious German composer residences at the AkademieSchloss Solitude, Stuttgart (1994–95), the KünstlerhofSchreyahn (1996) and the KünstlerdorfSchöppingen (2003).
Henein, Adam (1929--)
Authors: Radwan Nadia 
Published: September 2018

Born in Cairo, Egypt, Adam Henein is one of the leading contemporary sculptors of the Arab World. Throughout his career, he produced large- and small-scale pieces incorporating granite, bronze, plaster, limestone and terracotta. His work is inspired by the graceful solidity of ancient Egyptian statuary and expresses a sense of simplicity in the treatment of mass and volumes.
Henein is also a talented painter who worked to revive ancient techniques, such as working with natural pigments on papyrus sheets. Graduating from the School of Fine Arts in Cairo in 1953, he received a scholarship in 1957 to pursue his studies at the Academy of Fine Arts in Munich. In 1971, he moved to Paris, where he stayed for twenty-five years. By the time he returned to Egypt in 1996, he enjoyed international recognition. He was appointed by the Ministry of Culture to participate in the restoration of the Sphinx in Giza from 1989 to 1998. In 1996, he founded the Aswan International Sculpture Symposium.
Liu Haisu [劉海粟] (1896–1994)
Authors: Ma William H. 
Published: September 2018

Liu Haisu was a painter, art educator, exhibition organizer, and key figure in introducing Western art to China in the 20th century. As the founder of art schools in Shanghai and Nanjing—including the Shanghai Academy, the first art college in modern China—he advocated for a Western style of art education. He encouraged individual students’ creative expression, and attracted much scandalous attention when he introduced nude model drawing into his school in 1920. As an exhibition organizer, he helped introduce modern Chinese art to Europe and Asia. He was involved with many artists’ groups, including co-founding the Heavenly Horse Society, a group that promoted French salon-style exhibitions.
Born into a family of distinguished literati, Liu was trained in classical Chinese painting when he was young. After briefly studying art in Shanghai, he traveled to Japan and later Europe to view and learn about Western art. His early works reflected much of what he saw: paintings by Post-Impressionists like Paul Cézanne and Vincent Van Gogh. Returning to China, he became an active promoter of that particular type of European modernism. His later works were mostly in traditional Chinese media and techniques, but they were clearly indebted to the Post-Impressionists in the use of bold colors and expressive brushstrokes.