Dada - Saylor · PDF fileanarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism. ... papers, 90x144 cm, ... Huelsenbeck gave his first Dada

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Dada

Cover of the first edition of the publication Dadaby Tristan Tzara; Zurich, 1917

Dada (English pronunciation: /ˈdɑːdɑː/) or Dadaism is a culturalmovement that began in Zurich, Switzerland, during World War I andpeaked from 1916 to 1922.[1] The movement primarily involved visualarts, literature—poetry, art manifestoes, art theory—theatre, andgraphic design, and concentrated its anti-war politics through arejection of the prevailing standards in art through anti-art culturalworks. Its purpose was to ridicule what its participants considered to bethe meaninglessness of the modern world. In addition to beinganti-war, dada was also anti-bourgeois and anarchist in nature.

Dada activities included public gatherings, demonstrations, andpublication of art/literary journals; passionate coverage of art, politics,and culture were topics often discussed in a variety of media. Themovement influenced later styles like the avant-garde and downtownmusic movements, and groups including surrealism, Nouveau réalisme,pop art, Fluxus and punk rock.

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a preludeto postmodernism, an influence on pop art, a celebration of antiart to be later embraced foranarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.—Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation

Overview

It's too idiotic to be schizophrenic.

— Carl Jung on the Dada productions.[2]

Dada was an informal international movement, with participants in Europe and North America. The beginnings ofDada correspond to the outbreak of World War I. For many participants, the movement was a protest against thebourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, andagainst the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war.[3]

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Hannah Höch, Cut with the Dada Kitchen Knifethrough the Last Weimar Beer-Belly CulturalEpoch in Germany, 1919, collage of pasted

papers, 90x144 cm, Staatliche Museum, Berlin

Many Dadaists believed that the 'reason' and 'logic' of bourgeoiscapitalist society had led people into war. They expressed theirrejection of that ideology in artistic expression that appeared to rejectlogic and embrace chaos and irrationality. For example, George Groszlater recalled that his Dadaist art was intended as a protest "against thisworld of mutual destruction."[4]

According to its proponents, Dada was not art, it was "anti-art".Everything for which art stood, Dada represented the opposite. Whereart was concerned with traditional aesthetics, Dada ignored aesthetics.If art was to appeal to sensibilities, Dada was intended to offend.Through their rejection of traditional culture and aesthetics, theDadaists hoped to destroy traditional culture and aesthetics.

As Hugo Ball expressed it, "For us, art is not an end in itself ... but it isan opportunity for the true perception and criticism of the times we livein."[5]

A reviewer from the American Art News stated at the time that "Dadaphilosophy is the sickest, most paralyzing and most destructive thingthat 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 insanespectacle of collective homicide."[6]

Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwareconomic and moral crisis, a savior, a monster, which would lay waste to everything in its path. [It was] a systematicwork of destruction and demoralization... In the end it became nothing but an act of sacrilege."[6]

History

ZurichIn 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber,and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing theirdisgust with the war and the interests that inspired it.Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did notoriginate fully in a Zurich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe,particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Marcel &Iuliu Iancu, Arthur Segal, and others) settled in Zurich. In the years prior to World War I similar art had already risenin Bucharest and other Eastern European cities; it is likely that DADA's catalytic was the arrival at Zurich of artistslike Tzara and Janco.[7]

Having left Germany and Romania during World War I, the artists found themselves in Switzerland, a countryrecognized for its neutrality. Inside this space of political neutrality they decided to use abstraction to fight againstthe social, political, and cultural ideas of that time. The dadaists believed those ideas to be a byproduct of bourgeoissociety, a society so apathetic it would rather fight a war against itself than challenge the status quo.[8]

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

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The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall[9] on July 14, 1916, Ballrecited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dadawritings, which was published in 1918. Other manifestos followed.A single issue of the magazine Cabaret Voltaire was the first publication to come out of the movement.After the cabaret closed down, activities moved to a new gallery and Hugo Ball left for Bern. Tzara began arelentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soonemerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at theSpiegelgasse 1 in the Niederdorf.Zurich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with fiveeditions from Zurich and the final two from Paris.When World War I ended in 1918, most of the Zurich Dadaists returned to their home countries, and some beganDada activities in other cities.

Berlin

Cover of Anna Blume, Dichtungen, 1919

The groups in Germany were not as strongly anti-art as other groups.Their activity and art was more political and social, with corrosivemanifestos and propaganda, satire, public demonstrations and overtpolitical activities. It has been suggested that this is at least partiallydue to Berlin's proximity to the front, and that for an opposite effect,New York's geographic distance from the war spawned its moretheoretically-driven, less political nature.

In February 1918, Huelsenbeck gave his first Dada speech in Berlin,and produced a Dada manifesto later in the year. Hannah Höch andGeorge Grosz used Dada to express post-World War I communistsympathies. Grosz, together with John Heartfield, developed thetechnique of photomontage during this period. The artists published aseries of short-lived political magazines, and held the FirstInternational Dada Fair, 'the greatest project yet conceived by theBerlin Dadaists', in the summer of 1920.[10] As well as the mainmembers of Berlin Dada, Grosz, Raoul Hausmann, Höch, JohannesBaader, Huelsenbeck and Heartfield, the exhibition also included workby Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter,Johannes Baargeld and others.[10] In all, over 200 works wereexhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi'sEntartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition made a loss, with only one recordedsale.[11]

The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football , and DadaAlmanach.

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CologneIn Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsenseand anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participantswalk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibitionon grounds of obscenity, but it was re-opened when the charges were dropped.[12]

Marcel Duchamp, Fountain, 1917. Photograph byAlfred Stieglitz

New York

Like Zurich, New York City was a refuge for writers and artists fromWorld War I. Soon after arriving from France in 1915, MarcelDuchamp and Francis Picabia met American artist Man Ray. By 1916the three of them became the center of radical anti-art activities in theUnited States. American Beatrice Wood, who had been studying inFrance, soon joined them, along with Elsa von Freytag-Loringhoven.Arthur Cravan, fleeing conscription in France, was also present for atime. 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 theiractivities Dada, but they did not issue manifestos. They issuedchallenges to art and culture through publications such as The BlindMan, Rongwrong, and New York Dada in which they criticized thetraditionalist basis for museum art. New York Dada lacked thedisillusionment of European Dada and was instead driven by a sense ofirony 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'".

Rrose Sélavy, the alter ego of famedDadaist Marcel Duchamp.

During this time Duchamp began exhibiting "readymades" (found objects) suchas a bottle rack, and got involved with the Society of Independent Artists. In1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to theSociety of Independent Artists show only to have the piece rejected. First anobject of scorn within the arts community, the Fountain has since become almostcanonized by some. The committee presiding over Britain's prestigious TurnerPrize in 2004, for example, called it "the most influential work of modernart."[13] In an attempt to "pay homage to the spirit of Dada" a performance artistnamed Pierre Pinoncelli made a crack in The Fountain with a hammer in January2006; he also urinated on it in 1993.

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

By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (seeNeo-Dada for later activity).

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ParisThe French avant-garde kept abreast of Dada activities in Zurich 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, ClémentPansaers, 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 late19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous balletcalled Parade. First performed by the Ballets Russes in 1917, it succeeded in creating a scandal but in a differentway than Stravinsky's Le Sacre du Printemps had done almost five years earlier. This was a ballet that was clearlyparodying 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 soonissued manifestos, organized demonstrations, staged performances and produced a number of journals (the final twoeditions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)[14]

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

NetherlandsIn the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing theDe Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poemsfrom many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburgbecame a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where VanDoesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàrdemonstrated a mechanical dancing doll and Nelly Van Doesburg (Theo's wife), played avant-garde compositions onpiano.Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was onlyrevealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazinecalled Mécano.

GeorgiaAlthough Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets calledthemselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever)organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographicaldesigns visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaistson publications and events.

YugoslaviaIn Yugoslavia there was heavy Dada activity between 1920 and 1922 run mainly by Dragan Aleksic and includingMihailo S. Petrov, Zenitist's two brothers Ljubomir Micic and Branko Ve Poljanski. Aleksic used the term"Yugo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.[15]

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TokyoA prominent Dada group in Japan was MAVO (JA), founded by Tomoyoshi Murayama and Masamu Yanase (DE,JA). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi (JA) and Katsue Kitasono.

Poetry; music and soundDada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwittersdeveloped what he called sound poems and composers such as Erwin Schulhoff, Hans Heusser and Albert Saviniowrote Dada music, while members of Les Six collaborated with members of the Dada movement and had theirworks performed at Dada gatherings. The above mentioned Erik Satie dabbled with Dadaist ideas throughout hiscareer although he is primarily associated with musical Impressionism.In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." Africanmusic and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.

Legacy

The Janco Dada Museum, named after MarcelJanco, in Ein Hod, Israel

While broad, the movement was unstable. By 1924 in Paris, Dada wasmelding into surrealism, and artists had gone on to other ideas andmovements, including surrealism, social realism and other forms ofmodernism. Some theorists argue that Dada was actually the beginningof postmodern art.[16]

By the dawn of World War II, many of the European Dadaists hademigrated to the United States. Some died in death camps under AdolfHitler, who persecuted the kind of "Degenerate art" that Dadarepresented. The movement became less active as post-World War IIoptimism led to new movements in art and literature.

Dada is a named influence and reference of various anti-art andpolitical and cultural movements including the Situationist International and culture jamming groups like theCacophony Society.

At the same time that the Zurich Dadaists made noise and spectacle at the Cabaret Voltaire, Vladimir Lenin wrotehis revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for hisplay Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer DominiqueNoguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).

The Cabaret Voltaire fell into disrepair until it was occupied from January to March, 2002, by a group proclaimingthemselves Neo-Dadaists, led by Mark Divo.[17] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar,Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. Thework of Lee and Jones remained on the walls of the museum.Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dadaretrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dadaexhibition in conjunction with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris.

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Art techniques developed

CollageThe dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces ofpaper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. toportray aspects of life, rather than representing objects viewed as still life.

PhotomontageThe Dadaists - the "monteurs" (mechanics) - used scissors and glue rather than paintbrushes and paints to expresstheir 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 usedimages from World War I to illustrate messages of the destruction of war.[18]

Raoul Hausmann ABCD(Self-portrait) A

photomontage from1923-24

Assemblage

The assemblages were three-dimensional variations of the collage - the assembly ofeveryday objects to produce meaningful or meaningless (relative to the war) pieces ofwork including war objects and trash. Objects were nailed, screwed or fastened togetherin different fashions. Assemblages could been seen in the round or could be hung on awall.[19]

Raoul HausmannMechanischer Kopf(Der Geist unsererZeit) (Mechanical

Head [The Spirit ofOur Age]), c. 1920

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 theminto 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 themind of the spectator towards other regions more verbal. Sometimes I would add a graphicdetail of presentation which in order to satisfy my craving for alliterations, would be called'readymade aided.'" [20] One such example of Duchamp's readymade works is the urinal thatwas turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society ofIndependent Artists exhibition that year.[8]

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References[1] de Micheli, Mario(2006). Las vanguardias artísticas del siglo XX. Alianza Forma. p.135-137[2] Melzer (1976, 55).[3] Richter, Hans (1965), Dada: Art and Anti-art, Oxford Univ Press[4] Schneede, Uwe M. (1979), George Grosz, His life and work, Universe Books[5] DADA: Cities (http:/ / www. nga. gov/ exhibitions/ 2006/ dada/ cities/ index. shtm), National Gallery of Art, , retrieved 2008-10-19[6] Fred S. Kleiner (2006), Gardner's Art Through the Ages (12th ed.), Wadsworth Publishing, pp. 754[7] Tom Sandqvist, DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.[8] , http:/ / www. nga. gov/ exhibitions/ 2006/ dada/ cities/ index. shtm[9] DADA Companion -- Cabaret Voltaire (http:/ / www. dada-companion. com/ cabaret/ )[10] Dada, Dickermann, National Gallery of Art, Washington, 2006 p443[11] Dada, Dickermann, National Gallery of Art, Washington, 2006 p99[12] Schaefer, Robert A. (September 7, 2006), "Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC" (http:/ / www.

doubleexposure. com/ DadaExhibit. shtml), Double Exposure,[13] "Duchamp's urinal tops art survey" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 4059997. stm), BBC News December 1, 2004.[14] Marc Dachy, Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, "Découvertes" n° 476 , 2005.[15] (http:/ / books. google. com/ books?id=c8ZbINFYdVoC& pg=PA132& lpg=PA132& dq=Yugo-Dada& source=bl& ots=wkZIUoT3bQ&

sig=jU2Bh9Eu9uZh6u-HRFYnC8PEdhU& hl=en& ei=ssJdSo_cFI66Nazp_b8C& sa=X& oi=book_result& ct=result& resnum=1)ImpossibleHistories Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, Edited by Dubravka Djuric andMisko Suvakovic, pp.18, 71,132, retrieved July 15, 2009

[16] Locher, David (1999), "Unacknowledged Roots and Blatant Imitation: Postmodernism and the Dada Movement" (http:/ / www. sociology.org/ content/ vol004. 001/ locher. html), Electronic Journal of Sociology 4 (1), , retrieved 2007-04-25

[17] 2002 occupation by neo-Dadaists (http:/ / www. praguepost. com/ articles/ 2006/ 11/ 01/ a-work-in-process. php) Prague Post[18] DADA - Techniques-photomontage (http:/ / www. nga. gov/ exhibitions/ 2006/ dada/ techniques/ index. shtm)[19] DADA - Techniques -assemblage (http:/ / www. nga. gov/ exhibitions/ 2006/ dada/ techniques/ assemblage. shtm)[20] "The Writings of Marcel Duchamp" ISBN 0-306-80341-0

Bibliography• The Dada Almanac, ed Richard Huelsenbeck [1920], 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, TristanTzara. ISBN 0-947757-62-7

• Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck's Fantastic Prayers, & Walter Serner'sLast 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)• 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.• Jovanov, Jasna. Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima, Novi Sad/Apostrof 1999.• Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, Découvertes n° 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 ArtInstitute of Chicago.

• Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles,1991)

• Jones, Dafydd. Dada Culture, NY and Amsterdam, Rodopi, 2006• Lemoine, Serge. Dada, Paris, Hazan, coll. L'Essentiel.

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• 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.• 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.

External links• Dada (http:/ / www. dmoz. org/ Arts/ Art_History/ Periods_and_Movements/ Dada/ / ) at the Open Directory

Project• Dada art (http:/ / www. peak. org/ ~dadaist/ Art/ index. html) - includes images showing the characteristics of

Dada• The International Dada Archive (http:/ / www. lib. uiowa. edu/ dada/ index. html) - includes scans of publications• Dadart (http:/ / www. dadart. com/ dadaism/ dada/ index. html) - includes history, bibliography, documents, and

news• Dada magazine (http:/ / www. ossilegium. com/ dada/ one/ ) translated into English and remastered for the

internet.Manifestos• Text of Hugo Ball's 1916 Dada Manifesto• 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)

Article Sources and Contributors 10

Article Sources and ContributorsDada  Source: http://en.wikipedia.org/w/index.php?oldid=423318088  Contributors: 1717, 208.60.196.xxx, A-giau, A.K.A.47, ANGOR, Abdullais4u, Accosta2, Additionalupdates, Afeller08,Afitillidie13, Ahoerstemeier, Ahunt, Airuando, Ajkovacs, Aksi great, Al Silonov, Alansohn, Algabal, Alison, Aloneyouaregeek, Alphachimp, Alsandro, AnakngAraw, Andre Engels, Angr,Antandrus, Apollinaireenamered, Arctic Fox, Armando Navarro, Arthur Hollerman, Ashsechler, Atchernev, Atlant, Avono, AxelBoldt, BD2412, Barkingdoc, Bassbonerocks, Bdesham,Beardless, Bearian, Ben Applegate, Ben42, BenB4, Bennyj600, Bermann, Bhadani, Biggins, Bill Martin 68, BirgitteSB, Blueboy96, Blueguy76, Bluewiki3, Bobbillybob, Bobo192, Bodnotbod,Bogdanb, Bookuser, Bootstoots, Borat fan, Borgx, Btotheill, Bubba hotep, Buchanan-Hermit, Buddhagirl123, Bus stop, Butros, Camembert, Camw, Can't sleep, clown will eat me, CaptainYankee, Carbuncle, Celithemis, Christian List, Ciacchi, ClassA, Clgippri, Cliptandflipt, Cold Light, CommonsDelinker, Conversion script, Coren, Corvus cornix, Crusio, Cura, Curps, Cutler,Cwann88, Cyde, DVD R W, DW, Da monster under your bed, Damicatz, Damifb, Daniel.Julius, Darth Panda, David Gale, David Gerard, Dbachmann, Deborahjay, Dennis Bratland, DerHexer,Detruncate, DionysosProteus, Discospinster, Dlohcierekim, DonDaMon, Donald Albury, Dr.K., Drmies, Duchamps comb, Duggimon, Dum92dum, Dustyhodges, Dylan Lake, Ebear422, Eddietejeda, Edorfbir, Edward, Elian, Elkman, EmmDoubleEw, Emote, EnSamulili, Ensiform, Erianna, Eric-Wester, Escha, Evercat, Everdon, Evets70, Explicit, FF2010, Faisalhafsamaria, Favonian,Feefer30, Felix.bunke, Foregone conclusion, Franciselliott, Frankie0607, Freshacconci, Frightwolf, Frost boy, FuegoFish, Gary King, Garygates, Garzo, Gavrilis, Geoffspear, Glenn,Glycerinester, Golbez, Gonzonoir, Greatgavini, Gregbard, Gutza, Guybrush122, Gwernol, Hackerb9, Hadal, HalfShadow, HamburgerRadio, Hans Dunkelberg, HarveyHenkelmann, Hephaestos,Hersfold, Heydude, HisSpaceResearch, Hmains, Hoary, Horvat Den, Husky, Hyacinth, I has an account, IBluefoot, Icarus3, Idolatrous Gaybrielle, ImperatorExercitus, Infrogmation, Irishguy,Isnow, Ixfd64, J.delanoy, JHMM13, JPilborough, JSarek, Ja 62, Jahsonic, JamesX, Jannetta, Jared Towler, Jauhienij, Jeffrey Mall, JenJen1138, JillandJack, Jleedev, JoeSmack, Joopercoopers,Josh Parris, Jrdioko, Justin Foote, Jvol, KF, KGasso, Kaiva Lucain, KapilTagore, KathrynLybarger, Kedi the tramp, Kevincof, Kokiri, Konstable, Korg, Kotjze, Kuhny, Kuhny007, Kyphe,KyraVixen, Lennie, LeonardoRob0t, Lexor, Lightmouse, Lights, Lir, Listing Port, LombrizFeliz, LoonyLeif, Lowellian, Luna Santin, Lupin, MadGeographer, Maddie!, Magister Mathematicae,Malo, Mandarax, Mani1, Marchhare20, Marek69, Marina T., Martarius, MattBattison, Mattisse, Mav, McSly, Menchi, Mercifull, Metatron, Mettimeline, MichaelMaggs, Mirv, Miss AnneThropic, Modemac, Modernist, Moreschi, MrButthole, MrWhiff, Mujinga, My76Strat, NHRHS2010, NSR77, Nagelfar, Nakon, NawlinWiki, Newton2, Nhyty, Nihiltres, Nikai, Nitsu, Nlu,Nmynott, Nolelover, Nothf, Nuttycoconut, OLYMPUS master, Ohnoitsjamie, Olivier, Omicronpersei8, Onorem, Optim, Otto4711, Pansie, Paranoid, Patchen, Pathoschild, Peace and Passion,Peruvianllama, Pharaoh of the Wizards, Philthecow, PierceG, Piet Delport, Pink!Teen, Planetneutral, Player 03, Playtime, Plightstone, Popageorgio, PrestonH, Psantora, Pyrospirit, RM241,Radical Mallard, Rakkar, Rasmus Faber, RatOmeter2, Raven in Orbit, RcktScientistX, Reedy, Reinderien, RepublicanJacobite, Reswik, Retiredbanker, RexNL, Rich Farmbrough, Ridernyc,Rising*From*Ashes, Rjstott, Rjwilmsi, Rob zappa, Robearsn, Robertisonline, Rodeosmurf, Roguenine2000, Roland Kaufmann, RoyBoy, Royboycrashfan, Ruse1966, Ryano, SBKT, Saberfreak,Sam Blacketer, Samir, Samwb123, SchuminWeb, Sethmahoney, Setwisohi, Sheepdontswim, Shinmawa, Sirjlu, Sjtaunton, SlackerMom, Slrrrrrrrrrr, Sluzzelin, Smazian, Snoyes, Soleado, Sparkit,SpeedyGonsales, Spellmaster, Spencerk, Spinster, Steipe, Stephen Burnett, Stephen Games, Sternmusik, SteveHopson, Steven J. Anderson, Stirling Newberry, Suffusion of Yellow, Suitov,Sunnan, Superp, SusanLesch, Sweetmoose6, Tarquin, Taxisfolder, Tempodivalse, Terceroespacio, The Absinthist, The Ogre, The Wordsmith, TheBlazikenMaster, Thehelpfulone,Theoldanarchist, Thomfilm, ThrashWeller, Tibtg, Tickle me, Tide rolls, Tigrosupremo, Timmeh, Tiptoety, Tlogmer, Toddst1, Tony1, Tothebarricades.tk, Totnesmartin, Treybien, Tycho,Tyrenius, Unyoyega, Use the force, Vagary, Valueyou, Vginders, Vianello, Vifinez, Vocaro, Wandering Ghost, Wanli2, Wayland, Webb Traverse, Weichei, Weregerbil, WhisperToMe,Wickethewok, Widders, Wiki alf, William M. Connolley, Wipfeln, Woohookitty, Worldtraveller, Woseph, Wvkevin, Wylcai, Xezbeth, Yamamoto Ichiro, Zazzafunk, Тиверополник, 797anonymous edits

Image Sources, Licenses and ContributorsImage:Dada1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Dada1.jpg  License: unknown  Contributors: Sparkit, Stan ShebsImage:Hoch-Cut With the Kitchen Knife.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hoch-Cut_With_the_Kitchen_Knife.jpg  License: unknown  Contributors:Licensedlunacy, Mechamind90, Modernist, OfOrebOrOfSinai, Sparkit, 1 anonymous editsImage:An Anna Blume.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:An_Anna_Blume.jpg  License: unknown  Contributors: Franciselliott, Mechamind90, Modernist,OfOrebOrOfSinai, PollyFile:Duchamp Fountaine.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Duchamp_Fountaine.jpg  License: Public Domain  Contributors: Abiyoyo, DarkEvil, Eusebius, IgnacioIcke, Infrogmation, Mircea, Piero, Progettualita, Ronaldino, Talmoryair, Yann, 7 anonymous editsImage:RroseSelavy.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:RroseSelavy.jpg  License: Public Domain  Contributors: Man RayImage:En hod dada museum.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:En_hod_dada_museum.jpg  License: Public Domain  Contributors: User:Use the forceImage:ABCD-Hausmann.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:ABCD-Hausmann.jpg  License: unknown  Contributors: Franciselliott, Fuzzy510, Skier DudeFile:MechanicalHead-Hausmann.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:MechanicalHead-Hausmann.jpg  License: unknown  Contributors: Explicit, Franciselliott

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