Misplaced Pages

Dada (/ˈdɑːdɑː/) or Dadaism was an anti-establishment art movement that developed in 1915 in the context of the Great War and the earlier anti-art movement. Early centers for dadaism included Zürich and Berlin. Within a few years, the movement had spread to New York City and a variety of artistic centers in Europe and Asia.

Within the umbrella of the movement, people used a wide variety of artistic forms to protest the logic, reason, and aestheticism of modern capitalism and modern war. To develop their protest, artists tended to make use of nonsense, irrationality, and an anti-bourgeois sensibility. The art of the movement began primarily as performance art, but eventually spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent toward violence, war, and nationalism and maintained political affinities with radical politics on the left-wing and far-left politics. The movement had no shared artistic style, although most artists had shown interest in the machine aesthetic.

There is no consensus on the origin of the movement's name; a common story is that the artist Richard Huelsenbeck slid a paper knife randomly into a dictionary, where it landed on "dada", a French term for a hobby horse. Others note it suggests the first words of a child, evoking a childishness and absurdity that appealed to the group. Still others speculate it might have been chosen to evoke a similar meaning (or no meaning at all) in any language, reflecting the movement's internationalism.

The roots of Dada lie in pre-war avant-garde. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works that challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movement's detachment from the constraints of reality and convention. The work of French poets, Italian Futurists, and German Expressionists would influence Dada's rejection of the correlation between words and meaning. Works such as Ubu Roi (1896) by Alfred Jarry and the ballet Parade (1916–17) by Erik Satie would be characterized as proto-Dadaist works. The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916. Ball is seen as the founder of the Dada movement.

The Dadaist movement included public gatherings, demonstrations, and publication of art and literary journals. Passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Jean Arp, Johannes Baader, Hugo Ball, Marcel Duchamp, Max Ernst, Elsa von Freytag-Loringhoven, George Grosz, Raoul Hausmann, John Heartfield, Emmy Hennings, Hannah Höch, Richard Huelsenbeck, Francis Picabia, Man Ray, Hans Richter, Kurt Schwitters, Sophie Taeuber-Arp, Tristan Tzara, and Beatrice Wood, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, pop art, and Fluxus.

Overview

This overview section duplicates the intended purpose of the article's lead section, which should provide an overview of the subject. Please merge it with the introduction, move its content to other sections, or retitle the section to give it a clear scope. (June 2022)

Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond with the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war.

Avant-garde circles outside France knew of pre-war Parisian developments. They had seen (or participated in) Cubist exhibitions held at Galeries Dalmau, Barcelona (1912), Galerie Der Sturm in Berlin (1912), the Armory Show in New York (1913), SVU Mánes in Prague (1914), several Jack of Diamonds exhibitions in Moscow and at Moderne Kunstkring, Amsterdam (between 1911 and 1915). Futurism developed in response to the work of various artists. Dada subsequently combined these approaches.

Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction".

According to Hans Richter Dada was not art: it was "anti-art". Dada represented the opposite of everything which art stood for. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend.

Additionally, Dada attempted to reflect onto human perception and the chaotic nature of society. Tristan Tzara proclaimed, "Everything is Dada, too. Beware of Dada. Anti-dadaism is a disease: selfkleptomania, man's normal condition, is Dada. But the real Dadas are against Dada".

As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in."

A reviewer from the American Art News stated at the time that "Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, a "reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide".

Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path... a systematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."

To quote Dona Budd's The Language of Art Knowledge,

Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French–German dictionary happened to point to 'dada', a French word for 'hobbyhorse'.

The movement primarily involved visual arts, literature, poetry, art manifestos, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works.

The creations of Duchamp, Picabia, Man Ray, and others between 1915 and 1917 eluded the term Dada at the time, and "New York Dada" came to be seen as a post facto invention of Duchamp. At the outset of the 1920s the term Dada flourished in Europe with the help of Duchamp and Picabia, who had both returned from New York. Notwithstanding, Dadaists such as Tzara and Richter claimed European precedence. Art historian David Hopkins notes:

Ironically, though, Duchamp's late activities in New York, along with the machinations of Picabia, re-cast Dada's history. Dada's European chroniclers—primarily Richter, Tzara, and Huelsenbeck—would eventually become preoccupied with establishing the pre-eminence of Zürich and Berlin at the foundations of Dada, but it proved to be Duchamp who was most strategically brilliant in manipulating the genealogy of this avant-garde formation, deftly turning New York Dada from a late-comer into an originating force.

History

Dada emerged from a period of artistic and literary movements like Futurism, Cubism and Expressionism; centered mainly in Italy, France and Germany respectively, in those years. However, unlike the earlier movements Dada was able to establish a broad base of support, giving rise to a movement that was international in scope. Its adherents were based in cities all over the world including New York, Zürich, Berlin, Paris and others. There were regional differences like an emphasis on literature in Zürich and political protest in Berlin.

Prominent Dadaists published manifestos, but the movement was loosely organized and there was no central hierarchy. On 14 July 1916, Ball originated the seminal Dada Manifesto. Tzara wrote a second Dada manifesto, considered important Dada reading, which was published in 1918. Tzara's manifesto articulated the concept of "Dadaist disgust"—the contradiction implicit in avant-garde works between the criticism and affirmation of modernist reality. In the Dadaist perspective modern art and culture are considered a type of fetishization where the objects of consumption (including organized systems of thought like philosophy and morality) are chosen, much like a preference for cake or cherries, to fill a void.

The shock and scandal the movement inflamed was deliberate; Dadaist magazines were banned and their exhibits closed. Some of the artists even faced imprisonment. These provocations were part of the entertainment but, over time, audiences' expectations eventually outpaced the movement's capacity to deliver. As the artists' well-known "sarcastic laugh" started to come from the audience, the provocations of Dadaists began to lose their impact. Dada was an active movement during years of political turmoil from 1916 when European countries were actively engaged in World War I, the conclusion of which, in 1918, set the stage for a new political order.

Zürich

There is some disagreement about where Dada originated. The movement is commonly accepted by most art historians and those who lived during this period to have identified with the Cabaret Voltaire (housed inside the Holländische Meierei bar in Zürich) co-founded by poet and cabaret singer Emmy Hennings and Hugo Ball. Some sources propose a Romanian origin, arguing that Dada was an offshoot of a vibrant artistic tradition that transposed to Switzerland when a group of Jewish modernist artists, including Tristan Tzara, Marcel Janco, and Arthur Segal settled in Zürich. Before World War I, similar art had already existed in Bucharest and other Eastern European cities; it is likely that Dada's catalyst was the arrival in Zürich of artists like Tzara and Janco.

The name Cabaret Voltaire was a reference to the French philosopher Voltaire, whose novel Candide mocked the religious and philosophical dogmas of the day. Opening night was attended by Ball, Tzara, Jean Arp, and Janco. These artists along with others like Sophie Taeuber, Richard Huelsenbeck and Hans Richter started putting on performances at the Cabaret Voltaire and using art to express their disgust with the war and the interests that inspired it.

Having left Germany and Romania during World War I, the artists arrived in politically neutral Switzerland. They used abstraction to fight against the social, political, and cultural ideas of that time. They used shock art, provocation, and "vaudevillian excess" to subvert the conventions they believed had caused the Great War. The Dadaists believed those ideas to be a byproduct of bourgeois society that was so apathetic it would wage war against itself rather than challenge the status quo:

We had lost confidence in our culture. Everything had to be demolished. We would begin again after the tabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.

— Marcel Janco

Ball said that Janco's mask and costume designs, inspired by Romanian folk art, made "the horror of our time, the paralyzing background of events" visible. According to Ball, performances were accompanied by a "balalaika orchestra playing delightful folk-songs." Often influenced by African music, arrhythmic drumming and jazz were common at Dada gatherings.

After the cabaret closed down, Dada activities moved on to a new gallery, and Hugo Ball left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zürich and the final two from Paris.

Other artists, such as André Breton and Philippe Soupault, created "literature groups to help extend the influence of Dada".

After the fighting of the First World War had ended in the armistice of November 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities. Others, such as the Swiss native Sophie Taeuber, would remain in Zürich into the 1920s.

Berlin

"Berlin was a city of tightened stomachers, of mounting, thundering hunger, where hidden rage was transformed into a boundless money lust, and men's minds were concentrating more and more on questions of naked existence... Fear was in everybody's bones" – Richard Hülsenbeck

Raoul Hausmann, who helped establish Dada in Berlin, published his manifesto Synthethic Cino of Painting in 1918 where he attacked Expressionism and the art critics who promoted it. Dada is envisioned in contrast to art forms, such as Expressionism, that appeal to viewers' emotional states: "the exploitation of so-called echoes of the soul". In Hausmann's conception of Dada, new techniques of creating art would open doors to explore new artistic impulses. Fragmented use of real world stimuli allowed an expression of reality that was radically different from other forms of art:

A child's discarded doll or a brightly colored rag are more necessary expressions than those of some ass who seeks to immortalize himself in oils in finite parlors.

— Raoul Hausmann

The groups in Germany were not as strongly anti-art as other groups. Their activity and art were more political and social, with corrosive manifestos and propaganda, satire, public demonstrations and overt political activities. The intensely political and war-torn environment of Berlin had a dramatic impact on the ideas of Berlin Dadaists. Conversely, New York's geographic distance from the war spawned its more theoretically driven, less political nature. According to Hans Richter, a Dadaist who was in Berlin yet "aloof from active participation in Berlin Dada", several distinguishing characteristics of the Dada movement there included: "its political element and its technical discoveries in painting and literature"; "inexhaustible energy"; "mental freedom which included the abolition of everything"; and "members intoxicated with their own power in a way that had no relation to the real world", who would "turn their rebelliousness even against each other".

In February 1918, while the Great War was approaching its climax, Huelsenbeck gave his first Dada speech in Berlin, and he produced a Dada manifesto later in the year. Following the October Revolution in Russia, by then out of the war, Hannah Höch and George Grosz used Dada to express communist sympathies. Grosz, together with John Heartfield, Höch and Hausmann developed the technique of photomontage during this period. Johannes Baader, the uninhibited Oberdada, was the "crowbar" of the Berlin movement's direct action according to Hans Richter and is credited with creating the first giant collages, according to Raoul Hausmann.

After the war, the artists published a series of short-lived political magazines and held the First International Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920. As well as work by the main members of Berlin Dada – Grosz, Raoul Hausmann, Hannah Höch, Johannes Baader, Huelsenbeck and Heartfield – the exhibition also included the work of Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others. In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition lost money, with only one recorded sale.

The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football, and Dada Almanach. They also established a political party, the Central Council of Dada for the World Revolution.

Cologne

In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.

New York

Like Zürich, New York City was a refuge for writers and artists from the First World War. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-art activities in the United States. American Beatrice Wood, who had been studying in France, soon joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, fleeing conscription in France, was also in New York for a time. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter and Louise Arensberg.

The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos. They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada' ".

During this time Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the Society of Independent Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists exhibition but they rejected the piece. First an object of scorn within the arts community, the Fountain has since become almost canonized by some as one of the most recognizable modernist works of sculpture. Art world experts polled by the sponsors of the 2004 Turner Prize, Gordon's gin, voted it "the most influential work of modern art".

As recent scholarship documents, the work is still controversial. Duchamp indicated in a 1917 letter to his sister that a female friend was centrally involved in the conception of this work: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture." The piece is in line with the scatological aesthetics of Duchamp's neighbour, the Baroness Elsa von Freytag-Loringhoven. In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in a replica of The Fountain with a hammer in January 2006; he also urinated on it in 1993.

Picabia's travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York City, Zürich, and Paris from 1917 through 1924.

By 1921, most of the original players moved to Paris where Dada had experienced its last major incarnation.

Paris

The French avant-garde kept abreast of Dada activities in Zürich with regular communications from Tristan Tzara (whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, Clément Pansaers, and other French writers, critics and artists.

Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous ballet called Parade. First performed by the Ballets Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's Le Sacre du printemps had done almost five years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.

Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)

The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu. In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the split within the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.

Netherlands

In the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing the De Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg and Thijs Rinsema [nl] (a cordwainer and artist in Drachten) became friends of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where van Doesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszár demonstrated a mechanical dancing doll and Nelly van Doesburg (Theo's wife), played avant-garde compositions on piano.

Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano (1922–23). Another Dutchman identified by K. Schippers in his study of the movement in the Netherlands was the Groningen typographer H. N. Werkman, who was in touch with van Doesburg and Schwitters while editing his own magazine, The Next Call (1923–6). Two more artists mentioned by Schippers were German-born and eventually settled in the Netherlands. These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and Paul Citroen.

Georgia

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: "Dada" – news · newspapers · books · scholar · JSTOR (March 2020) (Learn how and when to remove this message)

Though Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves Le Degré 41", or "Le Degré Quarante et Un" (English, "The 41st Degree") (referring both to the latitude of Tbilisi, Georgia and to the Celsius temperature of a high fever ) organized along Dadaist lines. The most important figure in this group was Iliazd (Ilia Zdanevich), whose radical typographical designs visually echo the publications of the Dadaists.

After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when Tristan Tzara was banned from holding seminars in Théâtre Michel in 1923, Iliazd booked the venue on his behalf for the performance, "The Bearded Heart Soirée", and designed the flyer.

Yugoslavia

In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski. Aleksić used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.

Italy

The Dada movement in Italy, based in Mantua, was met with distaste and failed to make a significant impact in the world of art. It published a magazine for a short time and held an exhibition in Rome, featuring paintings, quotations from Tristan Tzara, and original epigrams such as "True Dada is against Dada". One member of this group was Julius Evola, who went on to become an eminent scholar of occultism, as well as a right-wing philosopher.

Japan

A prominent Dada group in Japan was Mavo, founded in July 1923 by Tomoyoshi Murayama, and Yanase Masamu later joined by Tatsuo Okada. Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katué Kitasono.

In Tsuburaya Productions's Ultra Series, an alien named Dada was inspired by the Dadaism movement, with said character first appearing in episode 28 of the 1966 tokusatsu series, Ultraman, its design by character artist Toru Narita. Dada's design is primarily monochromatic, and features numerous sharp lines and alternating black and white stripes, in reference to the movement and, in particular, to chessboard and Go patterns. On May 19, 2016, in celebration to the 100 year anniversary of Dadaism in Tokyo, the Ultra Monster was invited to meet the Swiss Ambassador Urs Bucher.

Butoh, the Japanese dance-form originating in 1959, can be considered to have direct connections to the spirit of the Dada movement, as Tatsumi Hijikata, one of Butoh's founders, "was influenced early in his career by Dadaism".

Russia

Dada in itself was relatively unknown in Russia, however, avant-garde art was widespread due to the Bolsheviks' revolutionary agenda. The Nichevoki [ru], a literary group sharing Dadaist ideals achieved infamy after one of its members suggested that Vladimir Mayakovsky should go to the "Pampushka" (Pameatnik Pushkina – Pushkin monument) on the "Tverbul" (Tverskoy Boulevard) to clean the shoes of anyone who desired it, after Mayakovsky declared that he was going to cleanse Russian literature. For more information on Dadaism's influence upon Russian avant-garde art, see the book Russian Dada 1914–1924.

Women of Dada

Often overlooked when discussing the history and foundations of Dada, it is necessary to shed light on the female artists who created and inspired art and artists alike. These women were oftentimes in platonic or romantic relationships with the male Dadaists mentioned above but are rarely written past the relative ties. However, each artist made vital contributions to the movement. Other notable mentions that do not include the artists below are: Suzanne Duchamp, Elsa von Freytag-Loringhoven, Emmy Hennings, Beatrice Wood, Clara Tice, and Ella Bergmann-Michel.

Hannah Höch

Hannah Höch of Berlin is considered to be the only female Dadaist in Berlin at the time of the movement. During this time, she was in a relationship with Raoul Hausmann who also was a Dada artist. She channeled the same anti-war and anti-government (Weimar Republic) in her works but brought out a feminist lens on the themes. With her works primarily of collage and photomontage, she often used precise placement or detailed titles to callout the misogynistic ways she and other women were treated.

Sophie Taeuber-Arp

Sophie Taeuber-Arp was a Swiss artist, teacher, and dancer who produced various types of fine art and handicraft pieces. While married to Dadaist Jean Arp, Taeuber-Arp was known in the Dada community for her performative dancing. As such, she worked with choreographer Rudolf von Laban and was written by Tristan Tarza for her dancing skills.

Mina Loy

London-born Mina Loy was known for being active in the literary sector of the New York Dada scene. She spent time writing poetry, creating Dada magazines, and acting and writing in plays. She contributed writing to Dada journal The Blind Man and Marcel Duchamp's Rongwrong.

Poetry

Dadaists used shock, nihilism, negativity, paradox, randomness, subconscious forces and antinomianism to subvert established traditions in the aftermath of the Great War. Tzara's 1920 manifesto proposed cutting words from a newspaper and randomly selecting fragments to write poetry, a process in which the synchronous universe itself becomes an active agent in creating the art. A poem written using this technique would be a "fruit" of the words that were clipped from the article.

In literary arts Dadaists focused on poetry, particularly the so-called sound poetry invented by Hugo Ball. Dadaist poems attacked traditional conceptions of poetry, including structure, order, as well as the interplay of sound and the meaning of language. For Dadaists, the existing system by which information is articulated robs language of its dignity. The dismantling of language and poetic conventions are Dadaist attempts to restore language to its purest and most innocent form: "With these sound poem, we wanted to dispense with a language which journalism had made desolate and impossible."

Simultaneous poems (or poèmes simultanés) were recited by a group of speakers who, collectively, produced a chaotic and confusing set of voices. These poems are considered manifestations of modernity including advertising, technology, and conflict. Unlike movements such as Expressionism, Dadaism did not take a negative view of modernity and the urban life. The chaotic urban and futuristic world is considered natural terrain that opens up new ideas for life and art.

Music

Dada was not confined to the visual and literary arts; its influence reached into sound and music. These movements exerted a pervasive influence on 20th-century music, especially on mid-century avant-garde composers based in New York—among them Edgard Varèse, Stefan Wolpe, John Cage, and Morton Feldman. Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920. Other composers such as Erwin Schulhoff, Hans Heusser and Alberto Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during his career.

Legacy

While broadly based, the movement was unstable. By 1924 in Paris, Dada was melding into Surrealism, and artists had gone on to other ideas and movements, including Surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.

By the dawn of the Second World War, many of the European Dadaists had emigrated to the United States. Some (Otto Freundlich, Walter Serner) died in death camps under Adolf Hitler, who actively persecuted the kind of "degenerate art" that he considered Dada to represent. The movement became less active as post-war optimism led to the development of new movements in art and literature.

Dada is a named influence and reference of various anti-art and political and cultural movements, including the Situationist International and culture jamming groups like the Cacophony Society. Upon breaking up in July 2012, anarchist pop band Chumbawamba issued a statement which compared their own legacy with that of the Dada art movement.

At the same time that the Zürich Dadaists were making noise and spectacle at the Cabaret Voltaire, Lenin was planning his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).

The former building of the Cabaret Voltaire fell into disrepair until it was occupied from January to March 2002, by a group proclaiming themselves Neo-Dadaists, led by Mark Divo. The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee, and Dan Jones. After their eviction, the space was turned into a museum dedicated to the history of Dada. The work of Lee and Jones remained on the walls of the new museum.

Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dada retrospective was held in Paris. In 2006, the Museum of Modern Art in New York City mounted a Dada exhibition in partnership with the National Gallery of Art in Washington, D.C., and the Centre Pompidou in Paris. The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp, and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.

Musician Frank Zappa was a self-proclaimed Dadaist after learning of the movement:

In the early days, I didn't even know what to call the stuff my life was made of. You can imagine my delight when I discovered that someone in a distant land had the same idea—AND a nice, short name for it.

David Bowie adapted William S. Burrough's cut-up technique for writing lyrics and Kurt Cobain also admittedly used this method for many of his Nirvana lyrics, including In Bloom.

Art techniques developed

Dadaism also blurred the line between literary and visual arts:

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that laid the foundation for Surrealism.

Collage

The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life. They also invented the "chance collage" technique, involving dropping torn scraps of paper onto a larger sheet and then pasting the pieces wherever they landed.

Cut-up technique

Cut-up technique is an extension of collage to words themselves, Tristan Tzara describes this in the Dada Manifesto:

TO MAKE A DADAIST POEM
Take a newspaper.
Take some scissors.
Choose from this paper an article of the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that makes up this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are – an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.

Photomontage

The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst used images from the First World War to illustrate messages of the destruction of war. Although the Berlin photomontages were assembled, like engines, the (non)relationships among the disparate elements were more rhetorical than real.

Assemblage

The assemblages were three-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work including war objects and trash. Objects were nailed, screwed or fastened together in different fashions. Assemblages could be seen in the round or could be hung on a wall.

Readymades

Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". Duchamp wrote: "One important characteristic was the short sentence which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.'" One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled Fountain, and submitted to the Society of Independent Artists exhibition that year, though it was not displayed.

Many young artists in America embraced the theories and ideas espoused by Duchamp. Robert Rauschenberg in particular was very influenced by Dadaism and tended to use found objects in his collages as a means of dissolving the boundary between high and low culture.

Artists

• Dragan Aleksić (1901–1958), Yugoslavia
• Louis Aragon (1897–1982), France
• Jean Arp (1886–1966), Germany, France
• Sophie Taeuber-Arp (1889–1943) Switzerland, France
• Johannes Baader (1875–1955) Germany
• Hugo Ball (1886–1927), Germany, Switzerland
• André Breton (1896–1966), France
• John Covert (1882–1960), US
• Jean Crotti (1878–1958), France
• Otto Dix (1891–1969), Germany
• Theo van Doesburg (1883–1931) Netherlands
• Marcel Duchamp (1887–1968), France
• Suzanne Duchamp (1889–1963), France
• Paul Éluard (1895–1952), France
• Max Ernst (1891–1976), Germany, US
• Julius Evola (1898–1974), Italy
• George Grosz (1893–1959), Germany, France, US
• Raoul Hausmann (1886–1971), Germany
• John Heartfield (1891–1968), Germany, USSR, Czechoslovakia, UK
• Hannah Höch (1889–1978), Germany
• Richard Huelsenbeck (1892–1974), Germany
• Georges Hugnet (1906–1974), France
• Marcel Janco (1895–1984), Romania, Israel
• Elsa von Freytag-Loringhoven (1874–1927), Germany, US
• Clément Pansaers (1885–1922), Belgium
• Francis Picabia (1879–1953), France
• Man Ray (1890–1976), France, US
• Georges Ribemont-Dessaignes (1884–1974), France
• Hans Richter, Germany, Switzerland
• Juliette Roche Gleizes (1884–1980), France
• Kurt Schwitters (1887–1948), Germany
• Walter Serner (1889–1942), Austria
• Philippe Soupault (1897–1990), France
• Tristan Tzara (1896–1963), Romania, France
• Beatrice Wood (1893–1998), US
• Mümtaz Zeki Taşkın (1915-2013), Turkey
• Ercüment Behzat Lav (1903-1984), Turkey

See also

• Art intervention
• Dadaglobe
• List of Dadaists
• Épater la bourgeoisie
• Happening
• Incoherents
• Transgressive art
• Destruction Was My Beatrice, history by Jed Resula
• Corecore

References

1. World War I and Dada Archived 2017-12-01 at the Wayback Machine, Museum of Modern Art (MoMA).
2. "Dadaism in Berlin. The radical opponents of the establishment and their (Un)organised contradictions". 15 March 2013.
3. "Berlin Dada. The German Dada Artists of Berlin Club Dada Changed Modern Art. They Continue to Influence Modern Artist".
4. Francis M. Naumann, New York Dada, 1915–23 Archived 2018-10-28 at the Wayback Machine, Abrams, 1994, ISBN 0-81093676-3
5. Mario de Micheli (2006). Las vanguardias artísticas del siglo XX. Alianza Forma. pp. 135–137.
6. Trachtman, Paul. "A Brief History of Dada". Smithsonian Magazine. Archived from the original on 16 January 2017. Retrieved 14 January 2017.
7. ^ Schneede, Uwe M. (1979), George Grosz, His life and work, New York: Universe Books
8. ^ Budd, Dona (2005). The Language of Art Knowledge Cards. Pomegranate Communications. ISBN 9780764915994.
9. "Dada Performance".
10. Richard Huelsenbeck, En avant Dada: Eine Geschichte des Dadaismus, Paul Steegemann Verlag, Hannover, 1920, 1st ed. (Die Silbergäule): English translation in Motherwell 1951, p. 
11. "Dada, Tate". Archived from the original on 2014-10-26. Retrieved 2014-10-26.
12. Timothy Stroud, Emanuela Di Lallo, 'Art of the Twentieth Century: 1900–1919, the avant-garde movements', Volume 1 of Art of the Twentieth Century, Skyra, 2006, ISBN 887624604-5
13. Middleton, J. C. (1962). "'Bolshevism in Art': Dada and Politics". Texas Studies in Literature and Language. 4 (3): 408–430. JSTOR 40753524.
14. Lantz et al. 2016.
15. Ian Chilvers; John Glaves-Smith, eds. (2009). "Dada". A Dictionary of Modern and Contemporary Art. Oxford University Press. pp. 171–173. ISBN 9780199239658. Archived from the original on 2021-03-02. Retrieved 2021-02-13.
16. Dada Archived 2017-01-30 at the Wayback Machine, The art story, retrieved March 13, 2017.
17. "Anti-art, Art that challenges the existing accepted definitions of art, Tate". Archived from the original on 2017-04-05. Retrieved 2014-10-26.
18. ^ "Dada", Dawn Adès and Matthew Gale, Grove Art Online, Oxford University Press, 2009 (subscription required) Archived 2018-03-12 at the Wayback Machine
19. Roselee Goldberg, Thomas & Hudson, L'univers de l'art, Chapter 4, Le surréalisme, Les représentations pré-Dada à Paris, ISBN 978-2-87811-380-8
20. "Hugo Ball: Founder of the Dada Movement". March 2020.
21. Oxford Dictionary of Modern and Contemporary Art, Oxford University, pp. 171-173
22. ^ Richter, Hans (1965), Dada: Art and Anti-art, New York and Toronto: Oxford University Press
23. Joan M. Marter, The Grove Encyclopedia of American Art, Volume 1, Oxford University Press, 2011 Archived 2020-02-09 at the Wayback Machine, p. 6, ISBN 0195335791
24. Tzara, Tristan (1920). "VII". La Vie des Lettres (in French). Paris.{{cite book}}: CS1 maint: location missing publisher (link)
25. DADA: Cities, National Gallery of Art, archived from the original on 2008-11-02, retrieved 2008-10-19
26. ^ Fred S. Kleiner (2006), Gardner's Art Through the Ages (12th ed.), Wadsworth Publishing, p. 754
27. Hopkins, David, A Companion to Dada and Surrealism, Volume 10 of Blackwell Companions to Art History, John Wiley & Sons, May 2, 2016, p. 83, ISBN 1118476182
28. Elger 2004, p. 6.
29. Motherwell 1951, p. .
30. "Tristan Tzara: Dada Manifesto 1918" Archived 2020-11-30 at the Wayback Machine (text Archived 2021-04-14 at the Wayback Machine) by Charles Cramer and Kim Grant, Khan Academy
31. Wellek, René (1955). A History of Modern Criticism: French, Italian and Spanish criticism, 1900-1950. Yale University Press. p. 91. ISBN 9780300054514. Tzara second Dada manifesto,.
32. Novero, Cecilia (2010). Antidiets of the Avant-Garde. University of Minnesota Press. p. 62.
33. Elger 2004, p. 7.
34. Greeley, Anne. "Cabaret Voltaire". Routledge. Archived from the original on 31 July 2019. Retrieved 31 July 2019.
35. Tom Sandqvist, Dada East: The Romanians of Cabaret Voltaire, London MIT Press, 2006.
36. ^ "Cabaret Voltaire: A Night Out at History's Wildest Nightclub". BBC. 2016. Archived from the original on 31 July 2019. Retrieved 31 July 2019.
37. "Introduction: "Everybody can Dada"". National Gallery of Art. Archived from the original on 2 November 2008. Retrieved 10 May 2012.
38. Marcel Janco, "Dada at Two Speeds," trans. in Lucy R. Lippard, Dadas on Art (Englewood Cliffs, New Jersey, 1971), p. 36.
39. Jenkins, Ellen Jan (2011). Andrea, Alfred J. (ed.). World History Encyclopedia. ABC-CLIO – via Credo Reference.
40. Rasula, Jed (2015). Destruction was My Beatrice: Dada and the Unmaking of the Twentieth Century. New York: Basic Books. pp. 145–146. ISBN 9780465089963.
41. Europe of Cultures. "Tristan Tzara speaks of the Dada Movement" Archived 2015-07-04 at the Wayback Machine, September 6, 1963. Retrieved on July 2, 2015.
42. Elger 2004, p. 35.
43. Naumann, Francis M. (1994). New York Dada. New York: Abrams. ISBN 0810936763.
44. Richter, Hans (1978). Dada: Art and Anti-Art. London: Thames & Hudson. p. 122. ISBN 9780810920033.
45. ^ Dickermann, leah (2005). Dada. Washington: National Gallery of Art. p. 443. ISBN 9781933045207.
46. Dada, Dickermann, National Gallery of Art, Washington, 2006 p99
47. Schaefer, Robert A. (September 7, 2006), "Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC", Double Exposure, archived from the original on October 9, 2007, retrieved June 12, 2007
48. ^ Fountain' most influential piece of modern art Archived 2020-01-24 at the Wayback Machine, Independent, December 2, 2004
49. "Duchamp's urinal tops art survey" Archived 2020-05-09 at the Wayback Machine, BBC News December 1, 2004.
50. Duchamp, Marcel, translated and quoted in Gammel 2002, p. 224
51. Gammel 2002, pp. 224–225.
52. Marc Dachy, Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005.
53. Schippers, K. (1974). Holland Dada. Amsterdam: Querido.
54. "Iliazd". The International Dada Archive, University of Iowa Libraries. Retrieved 2022-10-26.
55. "Lidantiu faram". sdrc.lib.uiowa.edu. Retrieved 2022-10-26.
56. "Iliazd: From 41° to Dada". mcbcollection.com. Retrieved 2022-01-08.
57. "Zenit: International Review of Arts and Culture". Archived from the original on 2017-09-01. Retrieved 2017-09-01.
58. Dubravka Djurić, Miško Šuvaković. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991, p. 132 Archived 2020-02-26 at the Wayback Machine, MIT Press, 2003. ISBN 9780262042161; Jovanov Jasna, Kujundžić Dragan, "Yougo-Dada". The Eastern Orbit: Russia, Georgia, Ukraine, Central Europe and Japan, vol. IV of Crisis and the Arts: The History of Dada, general editor Stephen C. Foster, G. K. Hall & Co. 1996, 41–62 ISBN 9780816105885
59. Jovanov 1999, p. .
60. "Julius Evola – International Dada Archive". Archived from the original on 2013-03-16. Retrieved 2013-02-01.
61. 「三面怪人 ダダ」が「ダダイズム100周年」を祝福!スイス大使館で開催された記者発表会に登場! (in Japanese). m-78.jp. 2016-05-19. Archived from the original on 2016-06-23. Retrieved 2016-06-08.
62. "Dada Celebrates Dadaism's 100th Anniversary". tokusatsunetwork.com. 2016-05-19. Archived from the original on 2018-09-16. Retrieved 2016-06-08.
63. Loke, Margarett (November 1987). "Butoh: Dance of Darkness". The New York Times. Archived from the original on 2019-09-25. Retrieved 2019-09-25.
64. ^ Margarita Tupitsyn; Victor Tupitsyn; Olga Burenina-Petrova; Natasha Kurchanova (2018). Russian Dada: 1914-1924 (PDF). MIT Press. ISBN 978-84-8026-573-7. Archived (PDF) from the original on 20 July 2020. Retrieved 17 March 2020.
65. ^ "Here Are 5 Pioneering Women Of The Dada Art Movement". TheCollector. 2020-11-12. Retrieved 2022-01-08.
66. Coutinho, Eduardo (2018). Brazilian Literature as World Literature. New York: Bloomsbury Publishing. p. 158. ISBN 9781501323263.
67. Elger 2004, p. 12.
68. Morrison, Jeffrey; Krobb, Florian (1997). Text Into Image, Image Into Text: Proceedings of the Interdisciplinary. Atlanta: Rodopi. p. 234. ISBN 9042001526.
69. Greenbaumon, Matthew (2008-07-10). "From Revolutionary to Normative: A Secret History of Dada and Surrealism in American Music". NewMusicBox. Retrieved 2022-01-15.
70. ^ James Hayward. "Festival Paris Dada [LTMCD 2513] | Avant-Garde Art | LTM". Archived from the original on 29 July 2020. Retrieved 17 March 2020.
71. Ingram, Paul (2017). "Songs, Anti-Symphonies and Sodomist Music: Dadaist Music in Zurich, Berlin and Paris". Dada/Surrealism. 21: 1–33. doi:10.17077/0084-9537.1334.
72. Locher, David (1999), "Unacknowledged Roots and Blatant Imitation: Postmodernism and the Dada Movement", Electronic Journal of Sociology, 4 (1), archived from the original on 2007-02-23, retrieved 2007-04-25
73. "Chumbawamba". Archived from the original on 13 June 2017. Retrieved 10 July 2012.
74. 2002 occupation by neo-Dadaists Archived 2008-12-01 at the Wayback Machine Prague Post
75. "LTM Recordings". Archived from the original on 2012-01-14. Retrieved 2011-12-20.
76. Frank Zappa, The Real Frank Zappa Book, p. 162
77. "How David Bowie, Kurt Cobain & Thom Yorke Write Songs With William Burroughs' Cut-Up Technique | Open Culture". Retrieved 2021-10-31.
78. Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, and Provocation
79. This article incorporates text from this source, which is in the public domain: "manifestos: dada manifesto on feeble love and bitter love by tristan tzara, 12th december 1920". 391. 1920-12-12. Archived from the original on 2011-07-24. Retrieved 2011-06-27.
80. "DADA – Techniques – photomontage". Nga.gov. Archived from the original on 2011-06-25. Retrieved 2011-06-11.
81. Willette, Jeanne. "Dada and Photomontage | Art History Unstuffed". Retrieved 2022-01-15.
82. "DADA – Techniques – assemblage". Nga.gov. Archived from the original on 2011-07-16. Retrieved 2011-06-11.
83. "The Writings of Marcel Duchamp" ISBN 0-306-80341-0
84. "The Readymade – Development and Ideas". The Art Story. Retrieved 2022-01-15.

Sources

• Elger, Dietmar [de] (2004). Uta Grosenick [de] (ed.). Dadaism. Taschen. ISBN 9783822829462.
• Gammel, Irene (2002). Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, Massachusetts: MIT Press.
• Jovanov, Jasna (1999). Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima. Novi Sad: Apostrof.
• Motherwell, Robert (1951). The Dada Painters and Poets; an anthology. New York: Wittenborn, Schultz. OCLC 1906000.
• Lantz, Andy; Hetrick, Jay; Kriebel, Sabine; Yarborough, Tina; Archino, Sarah; Donkin, Hazel; Andrew, Nell (2016). "Dadaism". Routledge Encyclopedia of Modernism. London: Routledge. doi:10.4324/9781135000356-remo26-1. ISBN 978-1-135-00035-6.

Further reading

• The Dada Almanac, ed. Richard Huelsenbeck , re-edited and translated by Malcolm Green et al., Atlas Press, with texts by Hans Arp, Johannes Baader, Hugo Ball, Paul Citröen, Paul Dermée, Daimonides, Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario D'Arezzo, Adon Lacroix, Walter Mehring, Francis Picabia, Georges Ribemont-Dessaignes, Alexander Sesqui, Philippe Soupault, Tristan Tzara. ISBN 0-947757-62-7
• Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck's Fantastic Prayers, & Walter Serner's Last Loosening – three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Green. Atlas Press, ISBN 0-947757-86-4
• Ball, Hugo. Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)
• Bergius, Hanne Dada in Europa – Dokumente und Werke (co-ed. Eberhard Roters), in: Tendenzen der zwanziger Jahre. 15. Europäische Kunstausstellung, Catalogue, Vol.III, Berlin: Dietrich Reimer Verlag, 1977. ISBN 978-3-496-01000-5
• Bergius, Hanne Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen. Gießen: Anabas-Verlag 1989. ISBN 978-3-870-38141-7
• Bergius, Hanne Dada Triumphs! Dada Berlin, 1917–1923. Artistry of Polarities. Montages – Metamechanics – Manifestations. Translated by Brigitte Pichon. Vol. V. of the ten editions of Crisis and the Arts: the History of Dada, ed. by Stephen Foster, New Haven, Connecticut, Thomson/Gale 2003. ISBN 978-0-816173-55-6.
• Jones, Dafydd W. Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014). ISBN 978-1-781-380-208
• Biro, M. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota Press, 2009. ISBN 0-8166-3620-6
• Dachy, Marc. Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990)
• Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994.
• Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005.
• Archives Dada / Chronique, Paris, Hazan, 2005.
• Dada, catalogue d'exposition, Centre Pompidou, 2005.
• Durozoi, Gérard. Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005
• Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection Archived 2011-05-13 at the Wayback Machine, Ryerson and Burnham Libraries, The Art Institute of Chicago.
• Hopkins, David, A Companion to Dada and Surrealism, Volume 10 of Blackwell Companions to Art History, John Wiley & Sons, May 2, 2016, ISBN 1118476182
• Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles, 1991)
• Jones, Dafydd. Dada Culture (New York and Amsterdam: Rodopi Verlag, 2006)
• Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch. New Haven: Yale University Press, 1993.
• Lemoine, Serge. Dada, Paris, Hazan, coll. L'Essentiel.
• Lista, Giovanni. Dada libertin & libertaire, Paris, L'insolite, 2005.
• Melzer, Annabelle. 1976. Dada and Surrealist Performance. PAJ Books ser. Baltimore and London: The Johns Hopkins UP, 1994. ISBN 0-8018-4845-8.
• Novero, Cecilia. "Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art". (University of Minnesota Press, 2010)
• Richter, Hans. Dada: Art and Anti-Art (London: Thames and Hudson, 1965)
• Sanouillet, Michel. Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005
• Sanouillet, Michel. Dada in Paris, Cambridge, Massachusetts, The MIT Press, 2009
• Schneede, Uwe M. George Grosz, His life and work (New York: Universe Books, 1979)
• Verdier, Aurélie. L'ABCdaire de Dada, Paris, Flammarion, 2005.

Filmography

• 1968: Germany-DADA: An Alphabet of German DADAism on YouTube, Documentary by Universal Education, Presented By Kartes Video Communications, 56 Minutes
• 1971: DADA 'Archives du XXe siècle' on YouTube, Une émission produite par Jean José Marchand, réalisée par Philippe Collin et Hubert Knapp, Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min.
• 2016: Das Prinzip Dada, Documentary by Marina Rumjanzewa [de], Schweizer Radio und Fernsehen (Sternstunde Kunst [de]), 52 Minutes (in German)
• 2016 Dada Art Movement History – "Dada on Tour" on YouTube, Bruno Art Group in collaboration with Cabaret Voltaire & Art Stage Singapore 2016, 27 minutes

External links

• Resources in your library
• Resources in other libraries

• Dada Companion, bibliographies, chronology, artists' profiles, places, techniques, reception
• The International Dada Archive, University of Iowa, early Dada periodicals, online scans of publications
• Dadart, history, bibliography, documents, and news
• Dada audio recordings at LTM
• New York dada (magazine), Marcel Duchamp and Man Ray, April, 1921 Archived 2022-05-19 at the Wayback Machine, Bibliothèque Kandinsky, Centre Pompidou (access online)
• Kunsthaus Zürich, one of the world's largest Dada collections
• "A Brief History of Dada", Smithsonian Magazine
• Introduction to Dada, Khan Academy Art 1010
• National Gallery of Art 2006 Dada Exhibition
• Hathi Trust full-text Dadaism publications online
• Collection: "Dada and Neo-Dada" from the University of Michigan Museum of Art
• Dada - a theater piece directed by James Williams

Manifestos

• Text of Hugo Ball's 1916 Dada Manifesto
• Text of Tristan Tzara's 1918 Dada Manifesto
• Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)
• Seven Dada Manifestos by Tristan Tzara
• Dada Digital Collection

v t e Dada
New York Dada	Marcel Duchamp Francis Picabia Man Ray Beatrice Wood Louise Norton Elsa von Freytag-Loringhoven Juliette Roche Gleizes Jean Crotti
European Dada	Dragan Aleksić Louis Aragon Jean Arp Johannes Baader Alice Bailly Hugo Ball André Breton Gabrièle Buffet-Picabia Serge Charchoune Arthur Cravan Jean Crotti Otto Dix Theo van Doesburg Marcel Duchamp Suzanne Duchamp Paul Éluard Max Ernst Julius Evola George Grosz Raoul Hausmann John Heartfield Emmy Hennings Hannah Höch Richard Huelsenbeck Iliazd Marcel Janco Elsa von Freytag-Loringhoven Clément Pansaers Francis Picabia Man Ray Georges Ribemont-Dessaignes Jacques Rigaut Henri-Pierre Roché Kurt Schwitters Walter Serner Philippe Soupault Sophie Taeuber-Arp Julien Torma Tristan Tzara Jacques Vaché
Works	Bicycle Wheel Bottle Rack Fountain Dada-Review Prelude to a Broken Arm Why Not Sneeze, Rose Sélavy? L.H.O.O.Q. Tulip Hysteria Co-ordinating Rrose Sélavy Readymades of Marcel Duchamp The Gas Heart (1921 play) Handkerchief of Clouds (1924 play)
Publications	Dada Manifesto 291 (magazine) 391 (magazine) The Blind Man (magazine) Dadaglobe
Influences	Alfred Jarry Incoherents Eugène Bataille (aka Sapeck) Parade (ballet)
Influenced	Conceptual art Surrealism Nouveau réalisme Pop art Fluxus Monochrome painting Downtown music
Related	Alfred Stieglitz (photographer, art promoter) Walter Conrad Arensberg (art collector) 291 (art gallery) Galeries Dalmau Found object Anti-art Anarchism and the arts Anti-anti-art Anti-poetry Appropriation (art) Art intervention Cabaret Voltaire Noise music Épater la bourgeoisie Shock art Beatrice Wood: Mama of Dada (1993 documentary) Man and Boy: Dada (2006 opera)

Links to related articles

v t e Modernism Movements Acmeism Art Deco Art Nouveau Ashcan School Constructivism Cubism Dada Expressionism Der Blaue Reiter Die Brücke Music Fauvism Functionalism Bauhaus Futurism Imagism Lettrism Neoplasticism De Stijl Orphism Surrealism Symbolism Synchromism Tonalism Literary arts Literature Apollinaire Barnes Beckett Bely Breton Broch Bulgakov Chekhov Conrad Döblin Forster Faulkner Flaubert Ford Gide Hamsun Hašek Hemingway Hesse Joyce Kafka Koestler Lawrence Mann Mansfield Marinetti Musil Dos Passos Platonov Porter Proust Stein Svevo Unamuno Woolf Poetry Akhmatova Aldington Auden Cavafy Cendrars Crane H.D. Desnos Eliot Éluard Elytis George Jacob Lorca Lowell (Amy) Lowell (Robert) Mallarmé Moore Owen Pessoa Pound Rilke Seferis Stevens Thomas Tzara Valéry Williams Yeats Works In Search of Lost Time (1913–1927) The Metamorphosis (1915) Ulysses (1922) The Waste Land (1922) The Magic Mountain (1924) Mrs Dalloway (1925) The Sun Also Rises (1926) The Master and Margarita (1928–1940) The Sound and the Fury (1929) Visual arts Painting Albers Arp Balthus Bellows Boccioni Bonnard Brâncuși Braque Calder Cassatt Cézanne Chagall Chirico Claudel Dalí Degas Kooning Delaunay Delaunay Demuth Dix Doesburg Duchamp Dufy Ensor Ernst Gauguin Giacometti Goncharova Gris Grosz Höch Hopper Kahlo Kandinsky Kirchner Klee Kokoschka Léger Magritte Malevich Manet Marc Matisse Metzinger Miró Modigliani Mondrian Monet Moore Munch Nolde O'Keeffe Picabia Picasso Pissarro Ray Redon Renoir Rodin Rousseau Schiele Seurat Signac Sisley Soutine Steichen Stieglitz Toulouse-Lautrec Van Gogh Vuillard Wood Film Akerman Aldrich Antonioni Avery Bergman Bresson Buñuel Carné Cassavetes Chaplin Clair Cocteau Dassin Deren Dovzhenko Dreyer Edwards Eisenstein Epstein Fassbinder Fellini Flaherty Ford Fuller Gance Godard Hitchcock Hubley Jones Keaton Kubrick Kuleshov Kurosawa Lang Losey Lupino Marker Minnelli Murnau Ozu Pabst Pudovkin Ray (Nicholas) Ray (Satyajit) Resnais Renoir Richardson Rossellini Sirk Sjöström Sternberg Tarkovsky Tati Trnka Truffaut Varda Vertov Vigo Welles Wiene Wood Architecture Breuer Bunshaft Gaudí Gropius Guimard Horta Hundertwasser Johnson Kahn Le Corbusier Loos Melnikov Mendelsohn Nervi Neutra Niemeyer Rietveld Saarinen Steiner Sullivan Tatlin Mies Wright Works A Sunday Afternoon on the Island of La Grande Jatte (1886) Mont Sainte-Victoir (1887) The Starry Night (1889) Les Demoiselles d'Avignon (1907) The Dance (1909–1910) Nude Descending a Staircase, No. 2 (1912) Black Square (1915) The Cabinet of Dr. Caligari (1920) Ballet Mécanique (1923) Battleship Potemkin (1925) Metropolis (1927) Un Chien Andalou (1929) Villa Savoye (1931) Fallingwater (1936) Citizen Kane (1941) Meshes of the Afternoon (1943) Performing arts Music Antheil Bartók Berg Berio Boulanger Boulez Copland Debussy Dutilleux Falla Feldman Górecki Hindemith Honegger Ives Janáček Ligeti Lutosławski Milhaud Nono Partch Russolo Satie Schaeffer Schoenberg Scriabin Stockhausen Strauss Stravinsky Szymanowski Varèse Villa-Lobos Webern Weill Theatre Anderson Anouilh Artaud Beckett Brecht Chekhov Ibsen Jarry Kaiser Maeterlinck Mayakovsky O'Casey O'Neill Osborne Pirandello Piscator Strindberg Toller Wedekind Wilder Witkiewicz Dance Balanchine Cunningham Diaghilev Duncan Fokine Fuller Graham Holm Laban Massine Nijinsky Shawn Sokolow St. Denis Tamiris Wiesenthal Wigman Works Don Juan (1888) Ubu Roi (1896) Verklärte Nacht (1899) Pelléas et Mélisande (1902) Salome (1905) The Firebird (1910) Afternoon of a Faun (1912) The Rite of Spring (1913) Fountain (1917) Six Characters in Search of an Author (1921) The Threepenny Opera (1928) Waiting for Godot (1953) Related American modernism Armory Show Avant-garde Ballets Russes Bloomsbury Group Buddhist modernism Classical Hollywood cinema Degenerate art Ecomodernism Experimental film Film noir Fourth dimension in art Fourth dimension in literature Grosvenor School of Modern Art Hanshinkan Modernism High modernism Hippie modernism Impressionism Music Literature Post- Incoherents International Style Late modernism Late modernity List of art movements List of avant-garde artists List of modernist poets Maximalism Modernity Neo-primitivism Neo-romanticism New Hollywood New Objectivity Poetic realism Pulp noir Reactionary modernism Metamodernism Remodernism Second Viennese School Structural film Underground film Vulgar modernism ← Romanticism Postmodernism → Category v t e Avant-garde movements Visual art Abstract expressionism Art Nouveau Art & Language Conceptual art Constructivism Proto-Cubism Cubism Functionalism Bauhaus Grosvenor School Devětsil Divisionism Fauvism Impressionism Neo-Impressionism Post-Impressionism Color Field Incoherents Lyrical Abstraction Mail art Minimalism Mir iskusstva Multidimensional art Neoplasticism De Stijl Neue Slowenische Kunst Nonconformism Nouveau réalisme Orphism Performance art Pop art Process art Purism Rayonism Suprematism Temporary art Vorticism Literature and poetry Acmeism Angry Penguins Asemic writing Conceptual poetry Cyberpunk Ego-Futurism Experimental literature Flarf poetry Hungry generation Imaginism Imagism Language poets Neoavanguardia Neoteric Nouveau roman Oberiu Oulipo Slam poetry Ultraísmo Visual poetry Zaum Music By style Funk Jazz Free funk Yass Pop Rock Prog Punk Metal Others Aleatoric music Ars nova Ars subtilior Atonal music Electroacoustic music Electronic music Industrial music Experimental pop Free jazz Free improvisation Futurism Microtonal music Minimal music Drone music Music theatre Musique concrète New Complexity No wave Noise music Post-rock Rock in Opposition Second Viennese School Serialism Spectral music Stochastic music Textural music Totalism Twelve-tone technique Cinema and theatre Cinéma pur Dogme 95 Drop Art Epic theatre Experimental film Experimental theatre Modernist film Poetic realism Postdramatic theatre Remodernist film Structural film Theatre of the Absurd Theatre of Cruelty General Constructivism Dada Expressionism Fluxus Futurism Russian Futurism Cubo-Futurism Lettrism Modernism Minimalism Postminimalism Neo-minimalism Neo-Dada Neoism Postmodernism Postmodernist film Late modernism Primitivism Situationist International Social realism Socialist realism Surrealism Symbolism Russian symbolism v t e Schools of poetry Acmeism Akhmatova's Orphans Angry Penguins Auden Group The Beats Black Arts Movement Black Mountain poets British Poetry Revival Cairo poets Castalian Band Cavalier poets Chhayavaad Churchyard poets Conceptismo Confessionalists Créolité Cubo-Futurism Culteranismo Cyclic Poets Dada Deep image Della Cruscans Dolce Stil Novo Dymock poets Ecopoetry Ego-Futurism The poets of Elan Flarf Fugitives Garip Gay Saber Generation of '27 Generation of the '30s Generation of '98 Georgian poets Goliard The Group Harlem Renaissance Harvard Aesthetes Hungry generation Imaginism Imagism Informationist poetry İkinci Yeni Jindyworobaks Lake Poets Language poets Marinism Martian poetry Metaphysical poets Misty Poets Modernist poetry The Movement Négritude Neotericism New American Poetry New Apocalyptics New Formalism New York School Oberiu Objectivists Others Parnassian poets La Pléiade Précieuses Rhymers' Club San Francisco Renaissance Scottish Renaissance Sicilian School Sons of Ben Southern Agrarians Spasmodic poets Sung poetry Surrealism Symbolism Uranian poetry Zutiste Poetry portal v t e Marcel Duchamp Artworks List of works by Marcel Duchamp Portrait of Dr. Dumouchel (1910) The Bush (1910–11) Yvonne and Magdeleine Torn in Tatters (1911) Nude Descending a Staircase, No. 2 (1912) Bicycle Wheel (1913) Bottle Rack (1914) In Advance of the Broken Arm (1915) The Bride Stripped Bare by Her Bachelors, Even (1915–1923) Apolinère Enameled (c. 1916) Tulip Hysteria Co-ordinating (1917) Fountain (1917) L.H.O.O.Q. (1919) Belle Haleine, Eau de Voilette (1920–21) Why Not Sneeze, Rose Sélavy? (1921) Monte Carlo Bonds (1924) La Boîte-en-valise (1934–1966) Étant donnés (1946–1966) Films Anemic Cinema (1926) 8 × 8: A Chess Sonata in 8 Movements (1957) Related Readymades of Marcel Duchamp Anti-art Dada New York Dada The Blind Man Fountain Archive Portrait of Marcel Duchamp Alexina Duchamp (wife) Jacques Villon (brother) Raymond Duchamp-Villon (brother) Suzanne Duchamp (sister) Marcel Duchamp Prize v t e Premodern, Modern and Contemporary art movements List of art movements/periods Premodern (Western) Ancient Thracian Dacian Nuragic Aegean Cycladic Minoan Minyan ware Mycenaean Greek Sub-Mycenaean Protogeometric Geometric Orientalizing Archaic Black-figure Red-figure Severe style Classical Kerch style Hellenistic "Baroque" Indo-Greek Greco-Buddhist Neo-Attic Etruscan Scythian Iberian Gaulish Roman Republican Gallo-Roman Julio-Claudian Pompeian Styles Trajanic Severan Medieval Late antique Early Christian Coptic Ethiopian Migration Period Anglo-Saxon Hunnic Insular Lombard Visigothic Donor portrait Pictish Mozarabic Repoblación Viking Byzantine Iconoclast Macedonian Palaeologan Italo-Byzantine Frankish Merovingian Carolingian Pre-Romanesque Ottonian Romanesque Mosan Spanish Norman Norman-Sicilian Opus Anglicanum Gothic Gothic art in Milan International Gothic International Gothic art in Italy Lucchese school Crusades Novgorod school Duecento Sienese school Mudéjar Medieval cartography Italian school Majorcan school Mappa mundi Renaissance Italian Renaissance Trecento Proto-Renaissance Florentine school Pittura infamante Quattrocento Ferrarese school Forlivese school Venetian school Cinquecento High Renaissance Bolognese school Mannerism Counter-Maniera Northern Renaissance Early Netherlandish World landscape Ghent–Bruges school Northern Mannerism German Renaissance Cologne school Danube school Dutch and Flemish Renaissance Antwerp Mannerism Romanism Still life English Renaissance Tudor court Cretan school Turquerie Fontainebleau school Art of the late 16th century in Milan 17th century Baroque Baroque in Milan Flemish Baroque Caravaggisti in Utrecht Tenebrism Louis XIII style Lutheran Baroque Stroganov school Animal painting Guild of Romanists Dutch Golden Age Delft school Capriccio Heptanese school Classicism Louis XIV style Poussinists and Rubenists 18th century Rococo Rocaille Louis XV style Frederician Chinoiserie Fête galante Neoclassicism Goût grec Louis XVI style Adam style Directoire style Neoclassical architecture in Milan Picturesque Colonial art Art of the African diaspora African-American Caribbean Haitian Colonial Asian art Arts in the Philippines Letras y figuras Tipos del País Colonial Asian Baroque Company style Latin American art Casta painting Indochristian art Chilote school Cuzco school Quito school Latin American Baroque Art borrowing Western elements Islamic Moorish Manichaean Mughal Qajar Qing handicrafts Western influence in Japan Akita ranga Uki-e Transition to modern (c. 1770 – 1862) Romanticism Fairy painting Danish Golden Age Troubadour style Nazarene movement Purismo Shoreham Ancients Düsseldorf school Pre-Raphaelites Hudson River School American luminism Orientalism Norwich school Empire style Historicism Revivalism Biedermeier Realism Barbizon school Costumbrismo Verismo Macchiaioli Academic art Munich school in Greece Neo-Grec Etching revival Modern (1863–1944) 1863–1899 Neo-romanticism National romanticism Yōga Nihonga Japonisme Anglo-Japanese style Beuron school Hague school Peredvizhniki Impressionism American Hoosier Group Boston school Amsterdam Canadian Heidelberg school Aestheticism Arts and Crafts Art pottery Tonalism Decadent movement Symbolism Romanian Russian Volcano school Incoherents Post-Impressionism Neo-Impressionism Luminism Divisionism Pointillism Pont-Aven School Cloisonnism Synthetism Les Nabis American Barbizon school California tonalism Costumbrismo 1900–1914 Art Nouveau Art Nouveau in Milan Primitivism California Impressionism Secessionism School of Paris Munich Secession Vienna Secession Berlin Secession Sonderbund Pennsylvania Impressionism Mir iskusstva Ten American Painters Fauvism Expressionism Die Brücke Der Blaue Reiter Noucentisme Deutscher Werkbund American Realism Ashcan school Cubism Proto-Cubism Orphism A Nyolcak Neue Künstlervereinigung München Futurism Cubo-Futurism Art Deco Metaphysical Rayonism Productivism Synchromism Vorticism 1915–1944 Sosaku-hanga Suprematism School of Paris Crystal Cubism Constructivism Latin American Universal Constructivism Dada Shin-hanga Neoplasticism De Stijl Purism Return to order Novecento Italiano Figurative Constructivism Stupid Cologne Progressives Arbeitsrat für Kunst November Group Australian tonalism Dresden Secession Social realism Functionalism Bauhaus Kinetic art Anthropophagy Mingei Group of Seven New Objectivity Grosvenor school Neues Sehen Surrealism Iranian Latin American Mexican muralism Neo-Fauvism Precisionism Aeropittura Asso Scuola Romana Cercle et Carré The Group Harlem Renaissance Kapists Regionalism California Scene Painting Heroic realism Socialist realism Nazi art Streamline Moderne Concrete art Abstraction-Création The Ten Dimensionism Boston Expressionism Leningrad school Contemporary and Postmodern (1945–present) 1945–1959 International Typographic Style Abstract expressionism Washington Color School Visionary art Vienna School of Fantastic Realism Spatialism Color field Lyrical abstraction Tachisme Arte Informale COBRA Nuagisme Generación de la Ruptura Jikken Kōbō Metcalf Chateau Mono-ha Nanyang Style Action painting American Figurative Expressionism in New York New media art New York school Hard-edge painting Bay Area Figurative Movement Les Plasticiens Gutai Art Association Gendai Bijutsu Kondankai Pop art Situationist International Soviet Nonconformist Ukrainian underground Lettrism Letterist International Ultra-Lettrist Florida Highwaymen Cybernetic art Antipodeans 1960–1969 Otra Figuración Afrofuturism Nueva Presencia ZERO Happening Neo-Dada Neo-Dada Organizers Op art Nouveau réalisme Nouvelle tendance Capitalist realism Art & Language Arte Povera Black Arts Movement The Caribbean Artists Movement Chicano art movement Conceptual art Land art Systems art Video art Minimalism Fluxus Generative art Post-painterly abstraction Intermedia Psychedelic art Nut Art Photorealism Environmental art Performance art Process art Institutional critique Light and Space Street art Feminist art movement in the US Saqqakhaneh movement The Stars Art Group Tropicália Yoru no Kai Artificial intelligence art 1970–1999 Post-conceptual art Installation art Artscene Postminimalism Endurance art Sots Art Moscow Conceptualists Pattern and Decoration Pliontanism Punk art Neo-expressionism Transavantgarde Saint Soleil school Guerrilla art Lowbrow art Telematic art Appropriation art Neo-conceptual art New European Painting Tunisian collaborative painting Memphis Group Cyberdelic Neue Slowenische Kunst Scratch video Retrofuturism Young British Artists Superfiction Taring Padi Superflat New Leipzig school Artist-run initiative Artivism The Designers Republic Grunge design Verdadism 2000– present Amazonian pop art Altermodern Art for art Art game Art intervention Brandalism Classical Realism Contemporary African art Africanfuturism Contemporary Indigenous Australian art Crypto art Cyborg art Excessivism Fictive art Flat design Corporate Memphis Hypermodernism Hyperrealism Idea art Internet art Post-Internet iPhone art Kitsch movement Lightpainting Massurrealism Modern European ink painting Neo-futurism Neomodern Neosymbolism Passionism Post-YBAs Relational art Skeuomorphism Software art Sound art Stuckism Superflat SoFlo Superflat Superstroke Toyism Unilalianism Vaporwave Walking Artists Network Related topics History of art Abstract art Asemic writing Anti-art Avant-garde Ballets Russes Christian art Art in the Protestant Reformation and Counter-Reformation Catholic art Icon Lutheran art Digital art Fantastic art Folk art Hierarchy of genres Genre painting History painting Illuminated manuscript Illustration Interactive art Jewish art Kitsch Landscape painting Modernism Modern sculpture Late modernism Naïve art Outsider art Portrait Prehistoric European art Queer art Realism Shock art Trompe-l'œil Western painting Category

• Dada
• Avant-garde art
• Art movements
• 20th-century German literature
• Counterculture of the 1910s
• Counterculture of the 1920s
• Nonsense