# Dada

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Avant-garde art movement in the early 20th century

For other uses, see [Dada (disambiguation)](/source/Dada_(disambiguation)).

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Grand opening of the first Dada exhibition: [International Dada Fair](/source/First_International_Dada_Fair), Berlin, 5 June 1920. The central figure hanging from the ceiling is an effigy of a German officer with a pig's head. From left to right: [Raoul Hausmann](/source/Raoul_Hausmann), [Hannah Höch](/source/Hannah_H%C3%B6ch) (sitting), Otto Burchard, [Johannes Baader](/source/Johannes_Baader), [Wieland Herzfelde](/source/Wieland_Herzfelde), Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), [George Grosz](/source/George_Grosz) and [John Heartfield](/source/John_Heartfield).[1]

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Dada artists, group photograph, 1920, Paris. From left to right, Back row: [Louis Aragon](/source/Louis_Aragon), [Théodore Fraenkel](https://en.wikipedia.org/w/index.php?title=Th%C3%A9odore_Fraenkel&action=edit&redlink=1) [[fr](https://fr.wikipedia.org/wiki/Th%C3%A9odore_Fraenkel)], [Paul Eluard](/source/Paul_Eluard), [Clément Pansaers](/source/Cl%C3%A9ment_Pansaers), Emmanuel Fay (cut off).
 Second row: [Paul Dermée](/source/Paul_Derm%C3%A9e), [Philippe Soupault](/source/Philippe_Soupault), [Georges Ribemont-Dessaignes](/source/Georges_Ribemont-Dessaignes).
 Front row: [Tristan Tzara](/source/Tristan_Tzara) (with monocle), [Céline Arnauld](/source/C%C3%A9line_Arnauld), [Francis Picabia](/source/Francis_Picabia), [André Breton](/source/Andr%C3%A9_Breton).

Cover of the first edition of the publication *Dada*, [Tristan Tzara](/source/Tristan_Tzara); Zürich, 1917

[Francis Picabia](/source/Francis_Picabia): left, *Le saint des saints c'est de moi qu'il s'agit dans ce portrait*, 1 July 1915; center, *Portrait d'une jeune fille americaine dans l'état de nudité*, 5 July 1915; right, *J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin*, New York, 1915[*[clarification needed](https://en.wikipedia.org/wiki/Wikipedia:Please_clarify)*]

**Dada** ([/ˈdɑːdɑː/](https://en.wikipedia.org/wiki/Help:IPA/English)) or **Dadaism** was an international [art movement](/source/Art_movement) that developed in the context of [World War I](/source/World_War_I) and its aftermath and the [Futurist movement](/source/Futurism), first established in [Zürich](/source/Zurich), [Switzerland](/source/Switzerland), and later quickly spread to [Berlin](/source/Berlin), [Paris](/source/Paris), [New York City](/source/New_York_City) and a variety of artistic centers in [Europe](/source/Europe) and [Asia](/source/Asia).[2][3][4][5] The Dada movement's principles were first collected in [Hugo Ball](/source/Hugo_Ball)'s [Dada Manifesto](/source/Dada_Manifesto) in 1916. Ball is seen as the founder of the Dada movement.[6] Other key figures in the movement included [Emmy Hennings](/source/Emmy_Hennings), [Jean Arp](/source/Jean_Arp), [Johannes Baader](/source/Johannes_Baader), [Marcel Duchamp](/source/Marcel_Duchamp), [Max Ernst](/source/Max_Ernst), [Elsa von Freytag-Loringhoven](/source/Elsa_von_Freytag-Loringhoven), [George Grosz](/source/George_Grosz), [Raoul Hausmann](/source/Raoul_Hausmann), [John Heartfield](/source/John_Heartfield), [Hannah Höch](/source/Hannah_H%C3%B6ch), [Richard Huelsenbeck](/source/Richard_Huelsenbeck), [Francis Picabia](/source/Francis_Picabia), [Man Ray](/source/Man_Ray), [Hans Richter](/source/Hans_Richter_(artist)), [Kurt Schwitters](/source/Kurt_Schwitters), [Sophie Taeuber-Arp](/source/Sophie_Taeuber-Arp), [Tristan Tzara](/source/Tristan_Tzara), and [Beatrice Wood](/source/Beatrice_Wood), among others. The movement influenced later styles like the avant-garde and [downtown music](/source/Downtown_music) movements, and groups including [Surrealism](/source/Surrealism), *[nouveau réalisme](/source/Nouveau_r%C3%A9alisme)*, [pop art](/source/Pop_art), and [Fluxus](/source/Fluxus).[7]

[Francis Picabia](/source/Francis_Picabia), *Dame!* Illustration for the cover of the periodical *Dadaphone*, n. 7, Paris, March 1920

## Etymology and naming

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There is no single agreed origin for the name **Dada**. One widely repeated story holds that [Richard Huelsenbeck](/source/Richard_Huelsenbeck) jabbed a paper knife into a dictionary, landing on the French word *dada* ("hobby horse").[8] Other accounts emphasize its infantile sound or its multilingual neutrality, aligning with the movement's internationalism.[9][10] The related label "anti‑art"—often associated with Duchamp and the readymade—denotes practices that challenge accepted definitions of art.[11][12]

## Origins and aims

Dada coalesced among émigré artists and writers in neutral [Switzerland](/source/Switzerland) during 1916, with [Hugo Ball](/source/Hugo_Ball) and [Emmy Hennings](/source/Emmy_Hennings) founding the [Cabaret Voltaire](/source/Cabaret_Voltaire_(Zurich)) as a venue for nightly performances and manifestos.[13][14] Participants framed their activity as a protest against war, nationalism, and cultural conformity, adopting strategies of nonsense, chance, and ridicule to negate prevailing aesthetic values.[15][16]

## Techniques and media

Dadaists worked across media, including [sound poetry](/source/Sound_poetry), collage and [photomontage](/source/Photomontage) (especially in [Berlin](/source/Berlin)), and the use of [found objects](/source/Found_object) and assemblage.[17][18][19] In [New York](/source/New_York_City) and [Paris](/source/Paris), [Marcel Duchamp](/source/Marcel_Duchamp)'s readymades became emblematic of Dada's anti‑art stance.[20]

## Centres and chronology

Dada's principal centres included [Zürich](/source/Zurich) (1916–), [New York](/source/New_York_City) (c. 1915 – c. 1923), [Berlin](/source/Berlin) (c. 1918 – c. 1920), [Cologne](/source/Cologne) and [Hannover](/source/Hanover) (c. 1919 – c. 1920), and [Paris](/source/Paris) (c. 1919 – c. 1924), each with distinct emphases—from performance and poetry in Zürich to politically charged photomontage in Berlin and object‑based experiments in New York.[15][21] By the mid‑1920s, Dada's energies in Paris merged into [Surrealism](/source/Surrealism), while its strategies of appropriation, performance, and institutional critique continued to inform later avant‑gardes.[22]

## Publications and images

Dada circulated through journals and small‑press publications (e.g., *Cabaret Voltaire*, *[Dada](/source/Dada_(magazine))*, *[391](/source/391_(magazine)))* posters, cards, and broadsides that combined texts, images, and typographic experiments.[21]

## History

Dada emerged from a period of artistic and literary movements like [Futurism](/source/Futurism), [Cubism](/source/Cubism) and [Expressionism](/source/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.[23]

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](/source/Modernist) artists, including [Tristan Tzara](/source/Tristan_Tzara), [Marcel Janco](/source/Marcel_Janco), and [Arthur Segal](/source/Arthur_Segal_(painter)) 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.[24]

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](/source/Dada_Manifesto). [Tzara](/source/Tzara) wrote a second Dada manifesto,[25][26] considered important Dada reading, which was published in 1918.[27] 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](/source/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.[28]

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.[29]

### Zürich

[Hannah Höch](/source/Hannah_H%C3%B6ch), *Cut with the Kitchen Knife through the Last Epoch of Weimar Beer-Belly Culture in Germany*, 1919, collage of pasted papers, 90×144 cm, [Nationalgalerie, Staatliche Museen zu Berlin](/source/Berlin_State_Museums)

The origins of the Dada movement is commonly accepted by most art historians and those who lived during this period to have identified with the [Cabaret Voltaire](/source/Cabaret_Voltaire_(Z%C3%BCrich)) (housed inside the *Holländische Meierei* bar in Zürich) co-founded by poet and [cabaret](/source/Cabaret) singer [Emmy Hennings](/source/Emmy_Hennings) and [Hugo Ball](/source/Hugo_Ball).[30]

The name *Cabaret Voltaire* was a reference to the French philosopher [Voltaire](/source/Voltaire), whose novel *[Candide](/source/Candide)* mocked the religious and philosophical [dogmas](/source/Dogma) of the day.

Ball and Hennings invited artists "whatever their orientation" and contributions "of all kinds," setting the stage for a wildly diverse output. Opening night was attended by Ball, [Hennings](/source/Emmy_Hennings), Tzara, [Jean Arp](/source/Jean_Arp), and Janco. These artists along with others like [Sophie Taeuber](/source/Sophie_Taeuber), [Richard Huelsenbeck](/source/Richard_Huelsenbeck) and [Hans Richter](/source/Hans_Richter_(artist)) 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](/source/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](/source/Shock_art), provocation, and "[vaudevillian](/source/Vaudeville) excess" to subvert the conventions they believed had caused the Great War.[31] 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*:[32]

We had lost confidence in our culture. Everything had to be demolished. We would begin again after the *[tabula rasa](/source/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[33]

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.[31] According to Ball, performances were accompanied by a "balalaika orchestra playing delightful folk-songs." Often influenced by [African music](/source/African_music), arrhythmic drumming and jazz were common at Dada gatherings.[34][35]

After the cabaret closed down, Dada activities moved on to a new gallery, and [Hugo Ball](/source/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](/source/Andr%C3%A9_Breton) and [Philippe Soupault](/source/Philippe_Soupault), created "literature groups to help extend the influence of Dada".[36]

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](/source/Sophie_Taeuber), would remain in Zürich into the 1920s.

### Berlin

Cover of *Anna Blume, Dichtungen*, 1919

"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](/source/Raoul_Hausmann), who helped establish Dada in Berlin, published his [manifesto](/source/Art_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:[37]

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](/source/Anti-art) as other groups. Their activity and art were more political and social, with corrosive [manifestos](/source/Art_manifesto) 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.[4] According to [Hans Richter](/source/Hans_Richter_(artist)), 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".[38]

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](/source/October_Revolution) in [Russia](/source/Russian_Empire), by then out of the war, [Hannah Höch](/source/Hannah_H%C3%B6ch) and [George Grosz](/source/George_Grosz) used Dada to express communist sympathies. Grosz, together with [John Heartfield](/source/John_Heartfield), Höch and Hausmann developed the [technique](https://en.wiktionary.org/wiki/technique) of [photomontage](/source/Photomontage) during this period. [Johannes Baader](/source/Johannes_Baader), the uninhibited Oberdada, was the "crowbar" of the Berlin movement's [direct action](/source/Direct_action) according to [Hans Richter](/source/Hans_Richter_(artist)) and is credited with creating the first giant collages, according to [Raoul Hausmann](/source/Raoul_Hausmann).

After the war, the artists published a series of short-lived political magazines and held the [First International Dada Fair](/source/First_International_Dada_Fair), 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.[39] As well as work by the main members of Berlin Dada (Grosz, [Raoul Hausmann](/source/Raoul_Hausmann), [Hannah Höch](/source/Hannah_H%C3%B6ch), [Johannes Baader](/source/Johannes_Baader), Huelsenbeck and Heartfield), the exhibition also included the work of [Otto Dix](/source/Otto_Dix), [Francis Picabia](/source/Francis_Picabia), Jean Arp, [Max Ernst](/source/Max_Ernst), [Rudolf Schlichter](/source/Rudolf_Schlichter), [Johannes Baargeld](/source/Johannes_Theodor_Baargeld) and others.[39] 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](/source/Entartete_Kunst)* exhibition in 1937. Despite high ticket prices, the exhibition lost money, with only one recorded sale.[40]

The Berlin group published periodicals such as *Club Dada*, *Der Dada*, *[Everyman His Own Football](/source/Jedermann_sein_eigner_Fussball)*, and *Dada Almanach*. They also established a political party, the [Central Council of Dada for the World Revolution](/source/Central_Council_of_Dada_for_the_World_Revolution).

### Cologne

In [Cologne](/source/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](/source/Eucharist) dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.[41]

### New York

[Rrose Sélavy](/source/Rrose_S%C3%A9lavy), the alter ego of Dadaist [Marcel Duchamp](/source/Marcel_Duchamp)

[Marcel Duchamp](/source/Marcel_Duchamp), *[Fountain](/source/Fountain_(Duchamp)),* 1917; photograph by [Alfred Stieglitz](/source/Alfred_Stieglitz)

Main article: [New York Dada](/source/New_York_Dada)

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](/source/Marcel_Duchamp) and [Francis Picabia](/source/Francis_Picabia) met American artist [Man Ray](/source/Man_Ray). By 1916 the three of them became the center of radical [anti-art](/source/Anti-art) activities in the United States. American [Beatrice Wood](/source/Beatrice_Wood), who had been studying in France, soon joined them, along with [Elsa von Freytag-Loringhoven](/source/Elsa_von_Freytag-Loringhoven). [Arthur Cravan](/source/Arthur_Cravan), fleeing conscription in France, was also in New York for a time. Much of their activity centered in [Alfred Stieglitz](/source/Alfred_Stieglitz)'s gallery, [291](/source/291_(art_gallery)), and the home of [Walter and Louise Arensberg](/source/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](/source/The_Blind_Man)*, *[Rongwrong](/source/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](/source/Marsden_Hartley) included an essay on "[The Importance of Being 'Dada'](https://en.wikisource.org/wiki/The_Importance_of_Being_Dada) ".

During this time Duchamp began exhibiting "[readymades](/source/Readymades_of_Marcel_Duchamp)" (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the [Society of Independent Artists](/source/Society_of_Independent_Artists). In 1917 he submitted the now famous *[Fountain](/source/Fountain_(Duchamp))*, 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[42] as one of the most recognizable modernist works of sculpture. Art world experts polled by the sponsors of the 2004 [Turner Prize](/source/Turner_Prize), Gordon's gin, voted it "the most influential work of modern art".[42][43]

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."[44] The piece is in line with the scatological aesthetics of Duchamp's neighbour, the [Baroness Elsa von Freytag-Loringhoven](/source/Elsa_von_Freytag-Loringhoven).[45] In an attempt to "pay homage to the spirit of Dada" a performance artist named [Pierre Pinoncelli](/source/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](/source/391_(magazine))* 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

[Man Ray](/source/Man_Ray), c. 1921–22, *Rencontre dans la porte tournante*, published on the cover of *[Der Sturm](/source/Der_Sturm)*, Volume 13, Number 3, 5 March 1922

Man Ray, c. 1921–22, *Dessin* (*Drawing*), published on page 43 of *Der Sturm*, Volume 13, Number 3, 5 March 1922

The French [avant-garde](/source/Avant-garde) kept abreast of Dada activities in Zürich with regular communications from [Tristan Tzara](/source/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](/source/Guillaume_Apollinaire), [André Breton](/source/Andr%C3%A9_Breton), [Max Jacob](/source/Max_Jacob), [Clément Pansaers](/source/Cl%C3%A9ment_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](/source/Erik_Satie), collaborated with [Picasso](/source/Picasso) and [Cocteau](/source/Cocteau) in a mad, scandalous ballet called *[Parade](/source/Parade_(ballet))*. First performed by the [Ballets Russes](/source/Ballets_Russes) in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's *[Le Sacre du printemps](/source/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.)[46]

The first introduction of Dada artwork to the Parisian public was at the *[Salon des Indépendants](/source/Salon_des_Ind%C3%A9pendants)* in 1921. [Jean Crotti](/source/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](/source/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](/source/Andr%C3%A9_Breton)) that heralded the split within the movement that was to produce [Surrealism](/source/Surrealism). Tzara's last attempt at a Dadaist drama was his "[ironic](/source/Ironic) [tragedy](/source/Tragedy)" *[Handkerchief of Clouds](/source/Handkerchief_of_Clouds)* in 1924.

### Netherlands

In the Netherlands, the Dada movement centered mainly around [Theo van Doesburg](/source/Theo_van_Doesburg), best known for establishing the *[De Stijl](/source/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](/source/Hugo_Ball), [Hans Arp](/source/Hans_Arp) and [Kurt Schwitters](/source/Kurt_Schwitters). Van Doesburg and [Thijs Rinsema](https://en.wikipedia.org/w/index.php?title=Thijs_Rinsema&action=edit&redlink=1) [[nl](https://nl.wikipedia.org/wiki/Thijs_Rinsema)] (a [cordwainer](/source/Cordwainer) and artist in [Drachten](/source/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](/source/Vilmos_Husz%C3%A1r) demonstrated a mechanical dancing doll and Nelly van Doesburg (Theo's wife), played [avant-garde](/source/Avant-garde) compositions on piano.

A Bonset sound-poem, "Passing troop", 1916

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](/source/Dutch_literature) Dada magazine called *Mécano* (1922–23). Another Dutchman identified by [K. Schippers](/source/K._Schippers) in his study of the movement in the Netherlands[47] was the [Groningen](/source/Groningen) typographer [H. N. Werkman](/source/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](/source/Paul_Citroen).

### Georgia

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Though Dada itself was unknown in [Georgia](/source/Georgia_(country)) 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](/source/Tbilisi), Georgia and to the Celsius temperature of a high fever [equal to 105.8 Fahrenheit]) organized along Dadaist lines. The most important figure in this group was [Iliazd](/source/Iliazd) (Ilia Zdanevich), whose radical typographical designs visually echo the publications of the Dadaists.[48][49]

After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when [Tristan Tzara](/source/Tristan_Tzara) was banned from holding seminars in Théâtre Michel in 1923, [Iliazd](/source/Iliazd) booked the venue on his behalf for the performance, "[The Bearded Heart Soirée](/source/The_Gas_Heart)", and designed the flyer.[50]

### Yugoslavia

In [Yugoslavia](/source/Kingdom_of_Yugoslavia), alongside the new art movement [Zenitism](/source/Zenitism), there was significant Dada activity between 1920 and 1922, run mainly by [Dragan Aleksić](/source/Dragan_Aleksi%C4%87) and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski.[51] Aleksić used the term "Yougo-Dada" and is known to have been in contact with [Raoul Hausmann](/source/Raoul_Hausmann), [Kurt Schwitters](/source/Kurt_Schwitters), and [Tristan Tzara](/source/Tristan_Tzara).[52][53][54]

### Italy

The Dada movement in Italy, based in [Mantua](/source/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](/source/Julius_Evola), who went on to become an eminent scholar of [occultism](/source/Occultism), as well as a right-wing philosopher.[55]

### Japan

A prominent Dada group in Japan was [Mavo](/source/Mavo). The group was founded in July 1923 by [Tomoyoshi Murayama](/source/Tomoyoshi_Murayama) and [Yanase Masamu](/source/Yanase_Masamu); they were later joined by [Tatsuo Okada](/source/Tatsuo_Okada). Other prominent artists were [Jun Tsuji](/source/Jun_Tsuji), [Eisuke Yoshiyuki](/source/Eisuke_Yoshiyuki), [Shinkichi Takahashi](/source/Shinkichi_Takahashi) and [Katué Kitasono](/source/Katu%C3%A9_Kitasono).

Dada, an iconic character from the Ultra Series. His design draws inspiration from the art movement.

In [Tsuburaya Productions](/source/Tsuburaya_Productions)'s *[Ultra Series](/source/Ultra_Series)*, an alien named Dada was inspired by the Dadaism movement, with said character first appearing in episode 28 of the 1966 [tokusatsu](/source/Tokusatsu) series, *[Ultraman](/source/Ultraman_(1966_TV_series))*, its design by character artist [Toru Narita](/source/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](/source/Chessboard) and [Go](/source/Go_(game)) 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.[56][57]

[Butoh](/source/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](/source/Tatsumi_Hijikata), one of Butoh's founders, "was influenced early in his career by Dadaism".[58]

### Russia

Dada in itself was relatively unknown in Russia; however, avant-garde art was widespread due to the [Bolsheviks](/source/Bolshevik)' revolutionary agenda. The [Nichevoki](https://en.wikipedia.org/w/index.php?title=Nichevoki&action=edit&redlink=1) [[ru](https://ru.wikipedia.org/wiki/%D0%9D%D0%B8%D1%87%D0%B5%D0%B2%D0%BE%D0%BA%D0%B8)], a literary group sharing Dadaist ideals[59] achieved infamy after one of its members suggested that [Vladimir Mayakovsky](/source/Vladimir_Mayakovsky) should go to the "Pampushka" (Pameatnik Pushkina – [Pushkin monument](/source/Pushkinskaya_Square)) on the "Tverbul" ([Tverskoy Boulevard](/source/Tverskoy_Boulevard)) to clean the shoes of anyone who desired it, after Mayakovsky declared that he was going to cleanse Russian literature.[59] For more information on Dadaism's influence upon [Russian avant-garde](/source/Russian_avant-garde) art, see the book *Russian Dada 1914–1924*.[59]

## Poetry

*[Dadaglobe](/source/Dadaglobe)* solicitation form letter signed by Francis Picabia, Tristan Tzara, Georges Ribemont-Dessaignes, and Walter Serner, c. week of November 8, 1920. This example was sent from Paris to Alfred Vagts in Munich.

Dadaists used shock, [nihilism](/source/Nihilism), negativity, [paradox](/source/Paradox), [randomness](/source/Randomness), [subconscious](/source/Subconscious) forces, [anti-poetry](/source/Anti-poetry) and [antinomianism](/source/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.[60]

In literary arts, Dadaists focused on poetry, particularly the so-called sound poetry invented by [Hugo Ball](/source/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."[61]

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](/source/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.[62]

## 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](/source/Edgard_Var%C3%A8se), [Stefan Wolpe](/source/Stefan_Wolpe), [John Cage](/source/John_Cage), and [Morton Feldman](/source/Morton_Feldman).[63] [Kurt Schwitters](/source/Kurt_Schwitters) developed what he called *[sound poems](/source/Sound_poetry)*, while [Francis Picabia](/source/Francis_Picabia) and [Georges Ribemont-Dessaignes](/source/Georges_Ribemont-Dessaignes) composed Dada music performed at the Festival Dada in Paris on 26 May 1920.[64] Other composers such as [Erwin Schulhoff](/source/Erwin_Schulhoff), Hans Heusser and [Alberto Savinio](/source/Alberto_Savinio) all wrote *Dada music*,[65] while members of [Les Six](/source/Les_Six) collaborated with members of the Dada movement and had their works performed at Dada gatherings. [Erik Satie](/source/Erik_Satie) also dabbled with Dadaist ideas during his career.[64]

## Legacy

The [Janco Dada Museum](/source/Janco_Dada_Museum), named after [Marcel Janco](/source/Marcel_Janco), in [Ein Hod](/source/Ein_Hod), Israel

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](/source/Surrealism), [social realism](/source/Social_realism) and other forms of [modernism](/source/Modernism). Some theorists argue that Dada was actually the beginning of [postmodern art](/source/Postmodern_art).[66]

By the dawn of the [Second World War](/source/Second_World_War), many of the European Dadaists had emigrated to the United States. Some ([Otto Freundlich](/source/Otto_Freundlich), [Walter Serner](/source/Walter_Serner)) died in death camps under [Adolf Hitler](/source/Adolf_Hitler), who actively persecuted the kind of "[degenerate art](/source/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](/source/Anti-art) and political and cultural movements, including the [Situationist International](/source/Situationist_International) and [culture jamming](/source/Culture_jamming) groups like the [Cacophony Society](/source/Cacophony_Society). Upon breaking up in July 2012, [anarchist](/source/Anarchist) pop band [Chumbawamba](/source/Chumbawamba) issued a statement which compared their own legacy with that of the Dada art movement.[67]

At the same time that the Zürich Dadaists were making noise and spectacle at the [Cabaret Voltaire](/source/Cabaret_Voltaire_(Z%C3%BCrich)), [Lenin](/source/Lenin) was planning his revolutionary plans for Russia in a nearby apartment. [Tom Stoppard](/source/Tom_Stoppard) used this coincidence as a premise for his play *[Travesties](/source/Travesties)* (1974), which includes Tzara, Lenin, and [James Joyce](/source/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](/source/Neo-Dada), led by [Mark Divo](/source/Mark_Divo).[68] The group included [Jan Thieler](/source/Leumund_Cult), [Ingo Giezendanner](/source/Ingo_Giezendanner), Aiana Calugar, [Lennie Lee](/source/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](/source/Retrospective) 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](/source/Museum_of_Modern_Art) in New York City mounted a Dada exhibition[69] in partnership with the [National Gallery of Art](/source/National_Gallery_of_Art) in Washington, D.C., and the [Centre Pompidou](/source/Centre_Pompidou) in Paris. The [LTM](/source/LTM_Recordings) 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.[70]

Musician [Frank Zappa](/source/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.[71]

David Bowie adapted William S. Burroughs' cut-up technique for writing lyrics. [Kurt Cobain](/source/Kurt_Cobain) also admittedly used this method for many of his Nirvana lyrics, including *[In Bloom](/source/In_Bloom)*.[72]

## 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](/source/Postmodernism), an influence on [pop art](/source/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](/source/Surrealism).[73]

### 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](/source/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](/source/Cut-up_technique) is an extension of collage to words themselves, [Tristan Tzara](/source/Tristan_Tzara) describes this in the Dada Manifesto:[74]

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

Raoul Hausmann, *ABCD* (self-portrait), a photomontage from 1923 to 1924

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](/source/Max_Ernst) used images from the First World War to illustrate messages of the destruction of war.[75] Although the Berlin photomontages were assembled, like engines, the (non)relationships among the disparate elements were more rhetorical than real.[76]

### Assemblage

The [assemblages](/source/Assemblage_(art)) 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.[77]

### Readymades

[Marcel Duchamp](/source/Marcel_Duchamp) began to view the manufactured objects of his collection as objects of art, which he called "[readymades](/source/Readymades_of_Marcel_Duchamp)". 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.'"[78] One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled *[Fountain](/source/Fountain_(Duchamp))*, 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.[79]

## Artists

- [Hugo Ball](/source/Hugo_Ball) (1886–1927), Germany, Switzerland

- [Emmy Hennings](/source/Emmy_Hennings) (1885–1948), Germany, Switzerland

- [Dragan Aleksić](/source/Dragan_Aleksi%C4%87) (1901–1958), Yugoslavia

- [Louis Aragon](/source/Louis_Aragon) (1897–1982), France

- [Jean Arp](/source/Jean_Arp) (1886–1966), Germany, France

- [Sophie Taeuber-Arp](/source/Sophie_Taeuber-Arp) (1889–1943) Switzerland, France

- [Johannes Baader](/source/Johannes_Baader) (1875–1955) Germany

- [André Breton](/source/Andr%C3%A9_Breton) (1896–1966), France

- [John Covert](/source/John_Covert_(painter)) (1882–1960), US

- [Jean Crotti](/source/Jean_Crotti) (1878–1958), France

- [Otto Dix](/source/Otto_Dix) (1891–1969), Germany

- [Theo van Doesburg](/source/Theo_van_Doesburg) (1883–1931) Netherlands

- [Marcel Duchamp](/source/Marcel_Duchamp) (1887–1968), France

- [Suzanne Duchamp](/source/Suzanne_Duchamp) (1889–1963), France

- [Paul Éluard](/source/Paul_%C3%89luard) (1895–1952), France

- [Max Ernst](/source/Max_Ernst) (1891–1976), Germany, US

- [Julius Evola](/source/Julius_Evola) (1898–1974), Italy

- [George Grosz](/source/George_Grosz) (1893–1959), Germany, France, US

- [Raoul Hausmann](/source/Raoul_Hausmann) (1886–1971), Germany

- [John Heartfield](/source/John_Heartfield) (1891–1968), Germany, USSR, Czechoslovakia, UK

- [Hannah Höch](/source/Hannah_H%C3%B6ch) (1889–1978), Germany

- [Richard Huelsenbeck](/source/Richard_Huelsenbeck) (1892–1974), Germany

- [Georges Hugnet](/source/Georges_Hugnet) (1906–1974), France

- [Marcel Janco](/source/Marcel_Janco) (1895–1984), Romania, Israel

- [Elsa von Freytag-Loringhoven](/source/Elsa_von_Freytag-Loringhoven) (1874–1927), Germany, US

- [Clément Pansaers](/source/Cl%C3%A9ment_Pansaers) (1885–1922), Belgium

- [Francis Picabia](/source/Francis_Picabia) (1879–1953), France

- [Man Ray](/source/Man_Ray) (1890–1976), France, US

- [Georges Ribemont-Dessaignes](/source/Georges_Ribemont-Dessaignes) (1884–1974), France

- [Hans Richter](/source/Hans_Richter_(artist)), Germany, Switzerland

- [Juliette Roche Gleizes](/source/Juliette_Roche) (1884–1980), France

- [Kurt Schwitters](/source/Kurt_Schwitters) (1887–1948), Germany

- [Walter Serner](/source/Walter_Serner) (1889–1942), Austria

- [Philippe Soupault](/source/Philippe_Soupault) (1897–1990), France

- [Tristan Tzara](/source/Tristan_Tzara) (1896–1963), Romania, France

- [Beatrice Wood](/source/Beatrice_Wood) (1893–1998), US

- [Mümtaz Zeki Taşkın](https://en.wikipedia.org/w/index.php?title=M%C3%BCmtaz_Zeki_Ta%C5%9Fk%C4%B1n&action=edit&redlink=1) (1915–2013), Turkey

- [Ercüment Behzat Lav](https://en.wikipedia.org/w/index.php?title=Erc%C3%BCment_Behzat_Lav&action=edit&redlink=1) (1903–1984), Turkey

### Women of Dada

The vital contributions of female artists to the Dada movement were often reduced to their personal relationships with male Dadaists; thus, they were not written about as extensively in their own right.[80] Notable mentions other than the artists below include: [Suzanne Duchamp](/source/Suzanne_Duchamp), [Elsa von Freytag-Loringhoven](/source/Elsa_von_Freytag-Loringhoven), [Beatrice Wood](/source/Beatrice_Wood), [Clara Tice](/source/Clara_Tice), and [Ella Bergmann-Michel](/source/Ella_Bergmann-Michel).

#### Emmy Hennings

[Emmy Hennings](/source/Emmy_Hennings) was a German performer, poet, and co-founder of the [Cabaret Voltaire](/source/Cabaret_Voltaire_(Zurich)) in Zurich alongside her partner, [Hugo Ball](/source/Hugo_Ball). Her origin story is portrayed in the novel *What Was Beautiful and Good*[81] by Jill Blocker, which shows her not just as a muse or side figure to the male artists around her, but as an artist in her own right—sensitive, spiritual, and ahead of her time.[81]

Suddenly my great-grandmother is on YouTube – although for a long time she was only considered an enchanted groupie.

— Julian Schütt, great-godson of Emmy Hennings[82]

Various international foundations, including the Emmy Hennings Gesellschaft[83] in Flensburg, Germany, promotes and protects her legacy.

#### Hannah Höch

[Hannah Höch](/source/Hannah_H%C3%B6ch) of Berlin is considered to be the only female Dadaist in Berlin at the time of the movement.[84] During this time, she was in a relationship with [Raoul Hausmann](/source/Raoul_Hausmann) who also was a Dada artist. She channeled the same anti-war and anti-government ([Weimar Republic](/source/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.[84]

#### Sophie Taeuber-Arp

[Sophie Taeuber-Arp](/source/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](/source/Jean_Arp), Taeuber-Arp was known in the Dada community for her performative dancing. As such, she worked with choreographer [Rudolf von Laban](/source/Rudolf_von_Laban) and was written by [Tristan Tzara](/source/Tristan_Tzara) 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](/source/The_Blind_Man)* and [Marcel Duchamp](/source/Marcel_Duchamp)'s *[Rongwrong](/source/Rongwrong)*.

## See also

- [Art intervention](/source/Art_intervention)

- *[Dadaglobe](/source/Dadaglobe)*

- [List of Dadaists](/source/List_of_Dadaists)

- [Épater la bourgeoisie](/source/%C3%89pater_la_bourgeoisie)

- [Happening](/source/Happening)

- [Incoherents](/source/Incoherents)

- *[Tête Dada](/source/T%C3%AAte_Dada)*

- [Transgressive art](/source/Transgressive_art)

- *[Destruction Was My Beatrice](/source/Destruction_Was_My_Beatrice)*, history by Jed Resula

- [Corecore](/source/Corecore)

## References

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1. ^ [***a***](#cite_ref-Naumann-1994_4-0) [***b***](#cite_ref-Naumann-1994_4-1) Naumann, Francis M. (1994). [*New York Dada, 1915–23*](https://books.google.com/books?id=SF5QAAAAMAAJ). New York: Abrams. [ISBN](/source/ISBN_(identifier)) [0-81093676-3](https://en.wikipedia.org/wiki/Special:BookSources/0-81093676-3). [Archived](https://web.archive.org/web/20181028151526/https://books.google.fr/books?id=SF5QAAAAMAAJ) from the original on 2018-10-28. Retrieved 2018-10-28.

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1. **[^](#cite_ref-FOOTNOTEElger2004[httpsbooksgooglecombooksidY0ES7-5Hp7gCpgPA6_6]_23-0)** [Elger 2004](#CITEREFElger2004), p. [6](https://books.google.com/books?id=Y0ES7-5Hp7gC&pg=PA6).

1. **[^](#cite_ref-24)** Sandqvist, Tom (2006). *Dada East: The Romanians of Cabaret Voltaire*. MIT Press. [ISBN](/source/ISBN_(identifier)) [0-262-19507-0](https://en.wikipedia.org/wiki/Special:BookSources/0-262-19507-0).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-FOOTNOTEMotherwell1951[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2021]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2021)">page&nbsp;needed</span>]]</i>&#93;</sup>_25-0)** [Motherwell 1951](#CITEREFMotherwell1951), p. [*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*].

1. **[^](#cite_ref-26)** ["Tristan Tzara: Dada Manifesto 1918"](https://www.khanacademy.org/humanities/art-1010/dada-and-surrealism/dada2/a/dada-manifesto) by Charles Cramer and Kim Grant, [Khan Academy](/source/Khan_Academy). ([Text](http://writing.upenn.edu/library/Tzara_Dada-Manifesto_1918.pdf) at upenn.edu.) [Archived](https://web.archive.org/web/20201130152553/https://www.khanacademy.org/humanities/art-1010/dada-and-surrealism/dada2/a/dada-manifesto) 2020-11-30 at the [Wayback Machine](/source/Wayback_Machine). (Text [Archived](https://web.archive.org/web/20210414175144/http://writing.upenn.edu/library/Tzara_Dada-Manifesto_1918.pdf) 2021-04-14 at the [Wayback Machine](/source/Wayback_Machine))

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1. **[^](#cite_ref-28)** Novero, Cecilia (2010). *Antidiets of the Avant-Garde*. University of Minnesota Press. p. 62.

1. **[^](#cite_ref-FOOTNOTEElger2004[httpsbooksgooglecombooksidY0ES7-5Hp7gCpgPA7_7]_29-0)** [Elger 2004](#CITEREFElger2004), p. [7](https://books.google.com/books?id=Y0ES7-5Hp7gC&pg=PA7).

1. **[^](#cite_ref-30)** Greeley, Anne. ["Cabaret Voltaire"](https://www.rem.routledge.com/articles/cabaret-voltaire). Routledge. [Archived](https://web.archive.org/web/20190731060227/https://www.rem.routledge.com/articles/cabaret-voltaire) from the original on 31 July 2019. Retrieved 31 July 2019.

1. ^ [***a***](#cite_ref-bbc2016_31-0) [***b***](#cite_ref-bbc2016_31-1) ["Cabaret Voltaire: A Night Out at History's Wildest Nightclub"](https://www.bbc.com/culture/story/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub). BBC. 2016. [Archived](https://web.archive.org/web/20190731081305/http://www.bbc.com/culture/story/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub) from the original on 31 July 2019. Retrieved 31 July 2019.

1. **[^](#cite_ref-nga.gov_32-0)** ["Introduction: "Everybody can Dada""](https://web.archive.org/web/20081102003737/http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm). [National Gallery of Art](/source/National_Gallery_of_Art). Archived from [the original](http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm) on 2 November 2008. Retrieved 10 May 2012.

1. **[^](#cite_ref-33)** Marcel Janco, "Dada at Two Speeds," trans. in Lucy R. Lippard, Dadas on Art (Englewood Cliffs, New Jersey, 1971), p. 36.

1. **[^](#cite_ref-34)** Jenkins, Ellen Jan (2011). [Andrea, Alfred J.](/source/Alfred_J._Andrea) (ed.). *World History Encyclopedia*. ABC-CLIO.

1. **[^](#cite_ref-35)** Rasula, Jed (2015). *Destruction was My Beatrice: Dada and the Unmaking of the Twentieth Century*. New York: Basic Books. pp. 145–146. [ISBN](/source/ISBN_(identifier)) [9780465089963](https://en.wikipedia.org/wiki/Special:BookSources/9780465089963).

1. **[^](#cite_ref-36)** Europe of Cultures. ["Tristan Tzara speaks of the Dada Movement"](http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00022/tristan-tzara-speaks-about-the-dada-movement.html), September 6, 1963. Retrieved on July 2, 2015. [Archived](https://web.archive.org/web/20150704150729/http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00022/tristan-tzara-speaks-about-the-dada-movement.html) 2015-07-04 at the [Wayback Machine](/source/Wayback_Machine)

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1. **[^](#cite_ref-46)** Marc Dachy, *Dada : La révolte de l'art*, Paris, Gallimard / Centre Pompidou, collection "[Découvertes Gallimard](/source/D%C3%A9couvertes_Gallimard)" (nº 476), 2005.

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1. **[^](#cite_ref-52)** Dubravka Djurić, Miško Šuvaković. *Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991*, [p. 132](https://books.google.com/books?id=c8ZbINFYdVoC&pg=PA132), MIT Press, 2003. [ISBN](/source/ISBN_(identifier)) [9780262042161](https://en.wikipedia.org/wiki/Special:BookSources/9780262042161). [Archived](https://web.archive.org/web/20200226084947/https://books.google.com/books?id=c8ZbINFYdVoC&pg=PA132&lpg=PA132) 2020-02-26 at the [Wayback Machine](/source/Wayback_Machine)

1. **[^](#cite_ref-53)** 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.](/source/G._K._Hall_%26_Co.) 1996, 41–62 [ISBN](/source/ISBN_(identifier)) [9780816105885](https://en.wikipedia.org/wiki/Special:BookSources/9780816105885)

1. **[^](#cite_ref-FOOTNOTEJovanov1999[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2021]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2021)">page&nbsp;needed</span>]]</i>&#93;</sup>_54-0)** [Jovanov 1999](#CITEREFJovanov1999), p. [*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*].

1. **[^](#cite_ref-55)** ["Julius Evola – International Dada Archive"](http://sdrc.lib.uiowa.edu/dada/dadas/evola.htm). [Archived](https://web.archive.org/web/20130316131252/http://sdrc.lib.uiowa.edu/dada/dadas/evola.htm) from the original on 2013-03-16. Retrieved 2013-02-01.

1. **[^](#cite_ref-56)** [「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!](http://m-78.jp/news/n-3812/) (in Japanese). m-78.jp. 2016-05-19. [Archived](https://web.archive.org/web/20160623003238/http://m-78.jp/news/n-3812/) from the original on 2016-06-23. Retrieved 2016-06-08.

1. **[^](#cite_ref-57)** ["Dada Celebrates Dadaism's 100th Anniversary"](http://tokusatsunetwork.com/2016/05/dada-celebrates-dadaisms-birthday/). tokusatsunetwork.com. 2016-05-19. [Archived](https://web.archive.org/web/20180916130236/http://tokusatsunetwork.com/2016/05/dada-celebrates-dadaisms-birthday/) from the original on 2018-09-16. Retrieved 2016-06-08.

1. **[^](#cite_ref-58)** Loke, Margarett (November 1987). ["Butoh: Dance of Darkness"](https://www.nytimes.com/1987/11/01/magazine/butoh-dance-of-darkness.html). *The New York Times*. [Archived](https://web.archive.org/web/20190925054359/https://www.nytimes.com/1987/11/01/magazine/butoh-dance-of-darkness.html) from the original on 2019-09-25. Retrieved 2019-09-25.

1. ^ [***a***](#cite_ref-RusDada_59-0) [***b***](#cite_ref-RusDada_59-1) [***c***](#cite_ref-RusDada_59-2) Margarita Tupitsyn; Victor Tupitsyn; Olga Burenina-Petrova; Natasha Kurchanova (2018). [*Russian Dada: 1914-1924*](https://www.museoreinasofia.es/sites/default/files/publicaciones/catalogosPDF/08_dada_ingles.imprenta.pdf) (PDF). MIT Press. [ISBN](/source/ISBN_(identifier)) [978-84-8026-573-7](https://en.wikipedia.org/wiki/Special:BookSources/978-84-8026-573-7). [Archived](https://web.archive.org/web/20200720024215/https://www.museoreinasofia.es/sites/default/files/publicaciones/catalogosPDF/08_dada_ingles.imprenta.pdf) (PDF) from the original on 20 July 2020. Retrieved 17 March 2020.

1. **[^](#cite_ref-coutinho158_60-0)** Coutinho, Eduardo (2018). *Brazilian Literature as World Literature*. New York: Bloomsbury Publishing. p. 158. [ISBN](/source/ISBN_(identifier)) [9781501323263](https://en.wikipedia.org/wiki/Special:BookSources/9781501323263).

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1. **[^](#cite_ref-morrison_62-0)** Morrison, Jeffrey; Krobb, Florian (1997). *Text Into Image, Image Into Text: Proceedings of the Interdisciplinary*. Atlanta: Rodopi. p. 234. [ISBN](/source/ISBN_(identifier)) [9042001526](https://en.wikipedia.org/wiki/Special:BookSources/9042001526).

1. **[^](#cite_ref-63)** Greenbaumon, Matthew (2008-07-10). ["From Revolutionary to Normative: A Secret History of Dada and Surrealism in American Music"](https://nmbx.newmusicusa.org/From-Revolutionary-to-Normative-A-Secret-History-of-Dada-and-Surrealism-in-American-Music/). *NewMusicBox*. Retrieved 2022-01-15.

1. ^ [***a***](#cite_ref-LTM_64-0) [***b***](#cite_ref-LTM_64-1) James Hayward. ["Festival Paris Dada \[LTMCD 2513\] | Avant-Garde Art | LTM"](https://www.ltmrecordings.com/festival_dada_paris_ltmcd2513.html). [Archived](https://web.archive.org/web/20200729021536/https://www.ltmrecordings.com/festival_dada_paris_ltmcd2513.html) from the original on 29 July 2020. Retrieved 17 March 2020.

1. **[^](#cite_ref-65)** Ingram, Paul (2017). ["Songs, Anti-Symphonies and Sodomist Music: Dadaist Music in Zurich, Berlin and Paris"](https://doi.org/10.17077%2F0084-9537.1334). *Dada/Surrealism*. **21**: 1–33. [doi](/source/Doi_(identifier)):[10.17077/0084-9537.1334](https://doi.org/10.17077%2F0084-9537.1334).

1. **[^](#cite_ref-66)** Locher, David (1999), ["Unacknowledged Roots and Blatant Imitation: Postmodernism and the Dada Movement"](https://web.archive.org/web/20070223045916/http://www.sociology.org/content/vol004.001/locher.html), *Electronic Journal of Sociology*, **4** (1), archived from [the original](http://www.sociology.org/content/vol004.001/locher.html) on 2007-02-23, retrieved 2007-04-25

1. **[^](#cite_ref-67)** ["Chumbawamba"](http://www.chumba.com/). [Archived](https://web.archive.org/web/20170613052309/http://www.chumba.com/) from the original on 13 June 2017. Retrieved 10 July 2012.

1. **[^](#cite_ref-68)** [2002 occupation by neo-Dadaists](http://www.praguepost.com/articles/2006/11/01/a-work-in-process.php) *Prague Post*. [Archived](https://web.archive.org/web/20081201235040/http://www.praguepost.com/articles/2006/11/01/a-work-in-process.php) 2008-12-01 at the [Wayback Machine](/source/Wayback_Machine).

1. **[^](#cite_ref-69)** ["Dada | National Gallery of Art"](https://www.nga.gov/exhibitions/dada). *www.nga.gov*. 2006-02-19. Retrieved 2025-08-07.

1. **[^](#cite_ref-70)** ["LTM Recordings"](http://www.ltmrecordings.com/fdrcat.html). [Archived](https://web.archive.org/web/20120114113935/http://www.ltmrecordings.com/fdrcat.html) from the original on 2012-01-14. Retrieved 2011-12-20.

1. **[^](#cite_ref-71)** [Frank Zappa](/source/Frank_Zappa), *[The Real Frank Zappa Book](/source/The_Real_Frank_Zappa_Book)*, p. 162

1. **[^](#cite_ref-72)** ["How David Bowie, Kurt Cobain & Thom Yorke Write Songs With William Burroughs' Cut-Up Technique | Open Culture"](https://www.openculture.com/2015/02/bowie-cut-up-technique.html). Retrieved 2021-10-31.

1. **[^](#cite_ref-73)** Marc Lowenthal, translator's introduction to [Francis Picabia](/source/Francis_Picabia)'s *I Am a Beautiful Monster: Poetry, Prose, and Provocation*

1. **[^](#cite_ref-74)** This article incorporates text from this source, which is in the [public domain](/source/Public_domain): ["manifestos: dada manifesto on feeble love and bitter love by tristan tzara, 12th december 1920"](http://www.391.org/manifestos/19201212tristantzara_dmonflabl.htm). 391. 1920-12-12. [Archived](https://web.archive.org/web/20110724153638/http://www.391.org/manifestos/19201212tristantzara_dmonflabl.htm) from the original on 2011-07-24. Retrieved 2011-06-27.

1. **[^](#cite_ref-75)** ["DADA – Techniques – photomontage"](https://web.archive.org/web/20110625072447/http://www.nga.gov/exhibitions/2006/dada/techniques/index.shtm). Nga.gov. Archived from [the original](http://www.nga.gov/exhibitions/2006/dada/techniques/index.shtm) on 2011-06-25. Retrieved 2011-06-11.

1. **[^](#cite_ref-76)** Willette, Jeanne. ["Dada and Photomontage | Art History Unstuffed"](https://arthistoryunstuffed.com/dada-and-the-photomontage/). Retrieved 2022-01-15.

1. **[^](#cite_ref-77)** ["DADA – Techniques – assemblage"](https://web.archive.org/web/20110716072920/http://www.nga.gov/exhibitions/2006/dada/techniques/assemblage.shtm). Nga.gov. Archived from [the original](http://www.nga.gov/exhibitions/2006/dada/techniques/assemblage.shtm) on 2011-07-16. Retrieved 2011-06-11.

1. **[^](#cite_ref-78)** "The Writings of Marcel Duchamp" [ISBN](/source/ISBN_(identifier)) [0-306-80341-0](https://en.wikipedia.org/wiki/Special:BookSources/0-306-80341-0)

1. **[^](#cite_ref-79)** ["The Readymade – Development and Ideas"](https://www.theartstory.org/definition/readymade-and-found-object/history-and-concepts/). *The Art Story*. Retrieved 2022-01-15.

1. **[^](#cite_ref-80)** Hemus, Ruth (2009). [*Dada's women*](https://monoskop.org/images/6/62/Hemus_Ruth_Dadas_Women_2009.pdf) (PDF). New Haven and London: Yale University Press. p. 3,11,57. [ISBN](/source/ISBN_(identifier)) [978-0-300-14148-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-300-14148-1). Retrieved 22 February 2025.

1. ^ [***a***](#cite_ref-Blocker-2024_81-0) [***b***](#cite_ref-Blocker-2024_81-1) Blocker, Jill (2024). [*Was schön war und gut*](https://www.muensterverlag.ch/produkt/was-schoen-war-und-gut/) [*What was Beautiful and Good*]. MünsterVerlag. [ISBN](/source/ISBN_(identifier)) [978-1916964334](https://en.wikipedia.org/wiki/Special:BookSources/978-1916964334). [At Google Books](https://books.google.com/books?id=jHNc0AEACAAJ).

1. **[^](#cite_ref-82)** Schütt, Julian (2023-12-02). ["Plötzlich ist meine Urgrossmutter auf Youtube – dabei galt sie lange nur als verzücktes Groupie"](https://www.tagblatt.ch/schweiz/kriegsprotest-ploetzlich-ist-meine-urgrossmutter-auf-youtube-dabei-galt-sie-lange-nur-als-verzuecktes-groupie-ld.2548906?_gl=1%2agjynwb%2a_gcl_au%2aMzcwNDkzNzI1LjE3MDE2Nzg5NzAuNjQ5NTgxMjkwLjE3MDE2Nzk0NDEuMTcwMTY3OTUyMg..#back-order). *St. Galler Tagblatt*.

1. **[^](#cite_ref-83)** [Emmy Hennings Gesellschaft](https://emmy-hennings-gesellschaft.de/)

1. ^ [***a***](#cite_ref-thecollector.com_84-0) [***b***](#cite_ref-thecollector.com_84-1) ["Here Are 5 Pioneering Women Of The Dada Art Movement"](https://www.thecollector.com/women-of-dada-art-movement/). *TheCollector*. 2020-11-12. Retrieved 2022-01-08.

### Sources

- [Elger, Dietmar](https://en.wikipedia.org/w/index.php?title=Dietmar_Elger&action=edit&redlink=1) [[de](https://de.wikipedia.org/wiki/Dietmar_Elger)] (2004). [Uta Grosenick](https://en.wikipedia.org/w/index.php?title=Uta_Grosenick&action=edit&redlink=1) [[de](https://de.wikipedia.org/wiki/Uta_Grosenick)] (ed.). *Dadaism*. Taschen. [ISBN](/source/ISBN_(identifier)) [9783822829462](https://en.wikipedia.org/wiki/Special:BookSources/9783822829462).

- [Gammel, Irene](/source/Irene_Gammel) (2002). *Baroness Elsa: Gender, Dada and Everyday Modernity*. Cambridge, Massachusetts: MIT Press.

- Jovanov, Jasna (1999). *Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima*. Novi Sad: Apostrof. [ISBN](/source/ISBN_(identifier)) [8671540030](https://en.wikipedia.org/wiki/Special:BookSources/8671540030).

- [Motherwell, Robert](/source/Robert_Motherwell) (1951). *The Dada Painters and Poets; an anthology*. New York: Wittenborn, Schultz. [OCLC](/source/OCLC_(identifier)) [1906000](https://search.worldcat.org/oclc/1906000).

- Lantz, Andy; Hetrick, Jay; Kriebel, Sabine; Yarborough, Tina; Archino, Sarah; Donkin, Hazel; Andrew, Nell (2016). ["Dadaism"](https://www.rem.routledge.com/articles/overview/dadaism). *Routledge Encyclopedia of Modernism*. London: Routledge. [doi](/source/Doi_(identifier)):[10.4324/9781135000356-remo26-1](https://doi.org/10.4324%2F9781135000356-remo26-1). [ISBN](/source/ISBN_(identifier)) [978-1-135-00035-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-135-00035-6).

## Further reading

- *The Dada Almanac*, ed. [Richard Huelsenbeck](/source/Richard_Huelsenbeck) [1920], re-edited and translated by Malcolm Green et al., [Atlas Press](/source/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](/source/ISBN_(identifier)) [0-947757-62-7](https://en.wikipedia.org/wiki/Special:BookSources/0-947757-62-7), [1916964338](https://en.wikipedia.org/wiki/Special:BookSources/1916964338)

- *Blago Bung, Blago Bung*, Hugo Ball's [Tenderenda](/source/Tenderenda_the_Fantast), 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](/source/Atlas_Press), [ISBN](/source/ISBN_(identifier)) [0-947757-86-4](https://en.wikipedia.org/wiki/Special:BookSources/0-947757-86-4), [1916964338](https://en.wikipedia.org/wiki/Special:BookSources/1916964338)

- [Ball, Hugo](/source/Hugo_Ball). *[Flight Out Of Time](/source/Flight_out_of_Time)* (University of California Press: Berkeley and Los Angeles, 1996)

- Blocker, Jill. *What was Beautiful and Good* (Münster Verlag, Zürich, Switzerland. 2024 [ISBN](/source/ISBN_(identifier)) [9781916964334](https://en.wikipedia.org/wiki/Special:BookSources/9781916964334))

- [Bergius, Hanne](/source/Hanne_Bergius) *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](/source/ISBN_(identifier)) [978-3-496-01000-5](https://en.wikipedia.org/wiki/Special:BookSources/978-3-496-01000-5)

- Bergius, Hanne *Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen*. Gießen: Anabas-Verlag 1989. [ISBN](/source/ISBN_(identifier)) [978-3-870-38141-7](https://en.wikipedia.org/wiki/Special:BookSources/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](/source/ISBN_(identifier)) [978-0-816173-55-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-816173-55-6).

- Jones, Dafydd W. *Dada 1916 In Theory: Practices of Critical Resistance* (Liverpool: Liverpool University Press, 2014). [ISBN](/source/ISBN_(identifier)) [978-1-781-380-208](https://en.wikipedia.org/wiki/Special:BookSources/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](/source/ISBN_(identifier)) [0-8166-3620-6](https://en.wikipedia.org/wiki/Special:BookSources/0-8166-3620-6)

- [Dachy, Marc](/source/Marc_Dachy). 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](/source/D%C3%A9couvertes_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*](http://www.artic.edu/reynolds/essays/hofmann.php), Ryerson and Burnham Libraries, The Art Institute of Chicago. [Archived](https://web.archive.org/web/20110513235907/http://www.artic.edu/reynolds/essays/hofmann.php) 2011-05-13 at the [Wayback Machine](/source/Wayback_Machine)

- Hopkins, David, *A Companion to Dada and Surrealism*, Volume 10 of Blackwell Companions to Art History, John Wiley & Sons, May 2, 2016, [ISBN](/source/ISBN_(identifier)) [1118476182](https://en.wikipedia.org/wiki/Special:BookSources/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](/source/ISBN_(identifier)) [0-8018-4845-8](https://en.wikipedia.org/wiki/Special:BookSources/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](https://www.youtube.com/watch?v=RHBw6VwY3Io) on [YouTube](/source/YouTube_video_(identifier)), Documentary by Universal Education, Presented By Kartes Video Communications, 56 Minutes

- 1971: [DADA 'Archives du XXe siècle'](https://www.youtube.com/watch?v=_FXv68H0O4g) 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](https://www.srf.ch/sendungen/sternstunde-kunst/das-prinzip-dada-3)*, Documentary by [Marina Rumjanzewa](https://en.wikipedia.org/w/index.php?title=Marina_Rumjanzewa&action=edit&redlink=1) [[de](https://de.wikipedia.org/wiki/Marina_Rumjanzewa)], [Schweizer Radio und Fernsehen](/source/Schweizer_Radio_und_Fernsehen) (*[Sternstunde Kunst](https://en.wikipedia.org/w/index.php?title=Sternstunde_Kunst&action=edit&redlink=1) [[de](https://de.wikipedia.org/wiki/Sternstunde_Kunst)]*), 52 Minutes (in German)

- 2016 [Dada Art Movement History – "Dada on Tour"](https://www.youtube.com/watch?v=2QcemEji-UU) on YouTube, Bruno Art Group in collaboration with Cabaret Voltaire & Art Stage Singapore 2016, 27 minutes

## External links

Wikimedia Commons has media related to [Dada](https://commons.wikimedia.org/wiki/Category:Dada).

Wikiquote has quotations related to ***[Dada](https://en.wikiquote.org/wiki/Dada)***.

[Library resources](https://en.wikipedia.org/wiki/Wikipedia:The_Wikipedia_Library) about
 **Dada**

- [Resources in your library](https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=Dada)

- [Resources in other libraries](https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=Dada&library=0CHOOSE0)

- [Dada Companion](https://web.archive.org/web/20161214211903/http://www.dada-companion.com/), bibliographies, chronology, artists' profiles, places, techniques, reception

- The [International Dada Archive](https://www.lib.uiowa.edu/dada/), University of Iowa, early Dada periodicals, online scans of publications

- [Dadart](http://www.dadart.com/dadaism/dada/index.html), history, bibliography, documents, and news

- [Dada audio recordings at LTM](http://www.ltmrecordings.com/fdrcat.html)

- [New York dada (magazine), Marcel Duchamp and Man Ray, April, 1921](http://bibliothequekandinsky.centrepompidou.fr/clientBookline/service/reference.asp?INSTANCE=incipio&OUTPUT=PORTAL&DOCID=0473982&DOCBASE=CGPP), Bibliothèque Kandinsky, Centre Pompidou (access online). [Archived](https://web.archive.org/web/20220519053858/http://bibliothequekandinsky.centrepompidou.fr/clientBookline/service/reference.asp?INSTANCE=incipio&OUTPUT=PORTAL&DOCID=0473982&DOCBASE=CGPP) 2022-05-19 at the [Wayback Machine](/source/Wayback_Machine).

- [Kunsthaus Zürich](https://digital.kunsthaus.ch/dadaismus/en), one of the world's largest Dada collections

- ["A Brief History of Dada"](https://www.smithsonianmag.com/arts-culture/dada-115169154/), *Smithsonian Magazine*

- [Introduction to Dada](https://www.khanacademy.org/humanities/art-1010/wwi-dada/dada1/a/introduction-to-dada), [Khan Academy](/source/Khan_Academy) Art 1010

- [National Gallery of Art 2006 Dada Exhibition](https://web.archive.org/web/20090114080143/http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm)

- [HathiTrust full-text Dadaism publications online](https://catalog.hathitrust.org/Search/Home?lookfor=%22%20Dadaism%22&searchtype=subject&ft=ft&setft=true)

- [Collection: "Dada and Neo-Dada"](https://exchange.umma.umich.edu/resources/23677) from the [University of Michigan Museum of Art](/source/University_of_Michigan_Museum_of_Art). [Archived](https://web.archive.org/web/20220319073019/https://exchange.umma.umich.edu/resources/23677) 2022-03-19 at the [Wayback Machine](/source/Wayback_Machine).

- [*Dada*](https://archive.org/details/sim_boston-phoenix_1982-02-23_11_8/page/n56/mode/1up) - a theater piece directed by James Williams

### Manifestos

- [Text of Hugo Ball's 1916 Dada Manifesto](https://en.wikisource.org/wiki/Dada_Manifesto_(1916,_Hugo_Ball))

- [Text of Tristan Tzara's 1918 Dada Manifesto](http://www.391.org/manifestos/19180323tristantzara_dadamanifesto.htm)

- [Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)](http://www.english.upenn.edu/~jenglish/English104/tzara.html)

- [Seven Dada Manifestos by Tristan Tzara](http://keever.us/tzaraseven.pdf)

- [Dada Digital Collection](https://digital.lib.uiowa.edu/islandora/object/ui%3Adada)

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 Tenderenda the Fantast The Gas Heart (1921 play) Handkerchief of Clouds (1924 play) Publications "Dada Manifesto" Cabaret Voltaire (magazine) 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 Freddie Baer 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)

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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. 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Authority control databases International GND FAST National United States France BnF data Czech Republic Spain Latvia Israel Other Historical Dictionary of Switzerland Encyclopedia of Modern Ukraine Yale LUX

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Adapted from the Wikipedia article [Dada](https://en.wikipedia.org/wiki/Dada) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Dada?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.