Dadaism History
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Dadaism (which derived from baby-speaks about the syllables "hobby-horse") was a radical international movement in the literature and art, launched by a group of young artists and authors, including the ball, Hoddis, Huelsenbeck, the arp, and Tzara (qq.v.), with the Voltaire cabaret in Zurich at the beginning of 1916. After a series of evenings of provocation of scandal, and publications (Hobby-horse) financed by Tzara, the movement was duplicated in 1919 in German French, American, and several groups. In Paris, the Breton one, Aragon, Eluard (qq.v.), Tzara, the Philippe Soupault, and others whose core was the Littérature newspaper, organized exposures and evenings of public (leading to the Gaveau Room in 1920). This group dissolved because of the dissension interns in 1922; a section, carried out by Breton, made a jump with the surrealism (q.v.). The group of New York, which included Duchamp, ray of man, and Picabia (newspaper: The man plugs), was in activity mainly in visual arts. In Germany the principal group in Berlin, which included Huelsenbeck, Wieland Herzfelde (B 1896) and Mehring (q.v.) (newspapers: Club of Hobby-horse and DER Hobby-horse), organized demonstrations of left. The group of Cologne, around maximum Ernst, of arp, and Baargeld (newspaper: The Schammade matrix) was mainly interested by painting; while in Hannovre a ramification of Hobby-horse called "Merz" developed around the editor, of Steegmann, and Kurt Schwitters, the painter and poèt.
The posterior development of Dadaism showed two principal tendencies: a art-directed group (including almost the whole quota of Paris as well as the arp and Schwitters), of which the members with few exceptions turned to the surrealism after 1923; and a politically active group, which soon adopted Communism, to which much Berlin Dadaists and late Aragon and Eluard and, during a certain time, Breton belonged.
The point of starting Hobby-horse was "a dislike with all the forms of modern civilization" (Tzara) precipitated by the war; its objectives were the relativization of all the values there ("exists nothing but simultaneity, even in values." [ Heulsenbeck ]), a complete cut with the tradition ("we do not want to be pointed out that whoever existed before us." [ Tzara ]), the systematic destruction of the culture ("we must break the cultural ideology of the Germans for them." [ Huelsenbeck ]) and of civilization ("crash all, then you become his Master." [ Aragon ]). The absence of all was the watchword. Spirit, relativity, spontaneity, and primitivity revolutionary arranged as positive values.
The means used were, on the one hand, the mining of the existing cultural forms, including the expressionism (q.v.), and, other, the introduction of the principles envisaged to widen the limits of art - some of them new, others adopted of the futurism (q.v.). Among the latter were the principles which influenced the course of Dadaism as a whole: for example music of noise (din) (Marinetti [ q.v ]), which reappeared in the concrete one of music; technique of joining (Schwitters, Picasso); literary technique of the "simultaneity" which more entirely was developed in the novels of Joyce, DOS Passos, and Döblin (qq.v.); the "automatique one, "C-with-D., exposure nonrationally ordered materal subconscious (Breton, arp), carried further by surrealism; and later, after the liquidation of syntax, the complete elimination of the significance of the words in favour of their noises (Klanggedichte, by Schwitters and others), and production of certain comic effects by stacking to the top of the nonsense
