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Dada and activities
When World War I ended in 1918, most of the Zurich Dadaists returned to their home countries, and some began Dada activities in other cities.
The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos.
The 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, Clément Pansaers, and other French writers, critics and artists.
Dada in Ireland centered around the activities of Dermot O ' Reilly, Kevin Leeson and Brian Sheridan.
Though not a direct participant in Berlin Dada's activities, he employed Dadaist ideas in his work, used the word itself on the cover of Anna Blume, and would later give Dada recitals throughout Europe on the subject with Theo Van Doesburg, Tristan Tzara, Hans Arp and Raoul Hausmann.
Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris.
After the war, when they returned to Paris, the Dada activities continued.
Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and Philippe Soupault.
Among his final appearances in public was a 1984 interview with Schweizer Fernsehen station, in which he revisited his Dada activities.
When World War I ended in 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities.
In Zurich in 1918, he re-connected with Hans Arp and took part in several Dada activities, befriending Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and the other dadaists connected to the Cabaret Voltaire.

Dada and included
As well as the main members of Berlin Dada, Grosz, Raoul Hausmann, Höch, Johannes Baader, Huelsenbeck and Heartfield, the exhibition also included work by Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.
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 '".
Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters.
OUs contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann.
It appeared in Europe in such critical movements as Dada and then in constructive movements such as surrealism, as well as in smaller movements such as the Bloomsbury Group, which included British novelists Virginia Woolf and E. M. Forster.
Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
Jean Arp and Max Ernst formed a Cologne Dada group, and held a Dada Exhibition there that included a work by Ernst that had an axe " placed there for the convenience of anyone who wanted to attack the work ".
Richter was also the author of a first-hand account of the Dada movement titled Dada: Art and Anti-Art which also included his reflections on the emerging Neo-Dada artworks.
Two other key songs written and recorded for SMiLE -- " Cabin Essence " and " Surf's Up " -- were compiled by Carl Wilson and included on the 20 / 20 and Surf's Up LPs in more or less the same form as Wilson had intended them for SMiLE, while the song " Cool Cool Water " ( an extended track built around the SMiLE fragment " I love to say Dada ") later appeared on the Sunflower album.
Later, in 1916, while in Barcelona and within a small circle of refugee artists that included Marie Laurencin and Robert and Sonia Delaunay, he started his well-known Dada periodical 391, modeled on Stieglitz's own periodical.
Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
Works by the collective have included Dada cabaret, an interpretation of Allen Ginsberg's poem Howl, Crass ' Yes Sir I Will and an update of Dylan Thomas ' play Under Milk Wood, in which property developers move into the mythical Welsh village of Llareggub.
His initial followers included Appaji Joshi, Bhaiyyaji Dani, Babasaheb Apte, Gopal rao Yerkuntwar, Dada rao Parmarth, Balasaheb Deoras, Yadav Rao Joshi, Bhaurao Deoras, Moreshwar Munje, K. D. Joshi, Raja Bhau Paturkar, Bapu rao Bhishikar, Abaji Hedgewar, Madhukar rao Bhagwat, Vitthal Rao Patki, Bapu Rao Diwakar and K. S. Patait.
" The cinema pur film movement included Dada artists, such as Man Ray ( Emak-Bakia, Return to Reason ), René Clair ( Entr ' acte ), and Marcel Duchamp ( Anemic Cinema ).
Similar to Dada, in the 1960s, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.

Dada and public
The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921.

Dada and gatherings
Other composers such as Erwin Schulhoff, Hans Heusser and Albert Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings.
" African music and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.

Dada and demonstrations
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.

Dada and publication
Cover of the first edition of the publication Dada by Tristan Tzara ; Zurich, 1917
In the very first Dada publication, Hugo Ball describes a " balalaika orchestra playing delightful folk-songs.
Cover of the first edition of the publication, Dada.

Dada and art
Dada () or Dadaism was an art movement of the European avant-garde in the early twentieth century.
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.
According to Hans Richter, Dada was not art, it was " anti-art.
" Everything for which art stood, Dada represented the opposite.
Where art was concerned with traditional aesthetics, Dada ignored aesthetics.
If art was to appeal to sensibilities, Dada was intended to offend.
Zurich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zurich and the final two from Paris.
They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art.
The Dada movement in Italy, based in Mantova, was met with distaste and failed to make a significant impact in the art world.
Some theorists argue that Dada was actually the beginning of postmodern art.
Some died in death camps under Adolf Hitler, who persecuted the kind of " Degenerate art " that Dada represented.
Upon breaking up in July 2012, famous anarchist pop band Chumbawamba issued a statement which compared their own legacy with that of the Dada art movement.
Several notable retrospectives have examined the influence of Dada upon art and society.
Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art.
The Dadaists claimed that Dada was not an art movement, but an anti-art movement, sometimes using found objects in a manner similar to found poetry.
This tendency toward devaluation of art has led many to claim that Dada was an essentially nihilistic movement.
Given that Dada created its own means for interpreting its products, it is difficult to classify alongside most other contemporary art expressions.
However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person ( Von minimax dadamax selbst konstruiertes maschinchen ) with The Kiss ( Le Baiser ) from 1927 by Max Ernst.

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