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Dada: Arts
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Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity — in art and more broadly in society — that corresponded to the war. [1]
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Dada Mail is ... a many-tiered art project. The initial goal was to see how far a self-taught, admittedly poor math student could take a computer program, written from scratch. The answer it seems, is very very far. The idea being played with is of a person taking on a role that doesn't seem to fit them well and flourishing. This wasn't acting, this was real life. Four Years is a Long Time.
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Dada emerged in Zurich, a city whose neutrality provided a safe haven for European artists who were opposed to the war. Dadaist ideas spread to other European cities, as well as to America. In addition to Zurich, the most important centers for Dada were Berlin, Hannover, Cologne, New York, and Paris. While each city had a distinctive Dada identity, ideas migrated from center to center, transported by artists who traveled between cities, as well as through the international distribution of avant-garde publications. This exhibition traces the history of Dada from its earliest days in Zurich and New York through its appearance in postwar Paris.
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Dada was opposed to anything which was traditional in the arts and literature. Said Tzara, "Art is going to sleep for a new world to be born. 'ART' - parrot word - replaced by DADA." Art and aesthetics are replaced with a "style of life", a new way of living.
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[C]alled Negro chants ... began to become integrated into the performances of Dada art, particularly theater and dance. The artists chose to use these chants to allow themselves freedom from fixed pitch and the tempered system and freedom from inhibition to ensure expressionism. Because the design of the group of artists was to find new methods of art to shock the public, the musique nègre, as it was called, became immensely popular and was used frequently by Ball, Huelsenbeck, and Tzara, among others. Although the other artists used these chants, it was Hugo Ball who claimed to have discovered the inherent possibilities of the primitive Negro chant as a means of providing chaos and disorder.
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