Running Head: THE DADA MANIFESTO 1
The Dada Manifesto
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THE DADA MANIFESTO 2
Dada or Dadaism as it would later come to be called was an art movement which was conceptualized out of the horrific events of World War One in the early years of the twentieth century. This art movement that would eventually become international was initiated by a group of very talented poets and artists who were associated with the night club in Zurich Switzerland called the Cabaret Voltaire where these individuals would meet and discuss the state of politics and art that was prevalent in the world at that time.
One of these individuals that became very influential within the Dada movement itself, he became its President in 1919 was the Romanian artist Tristan Tzara who would eventually write the “The Dada Manifesto 1918” Tristan Tzara, which is a type of Ten Commandments of the lifestyle of Dada( Sandquist, T. 2006).
THE DADA MANIFESTO 3
In the writings of the “The Dada Manifesto” written by Tristan Tzara in the year of 1918 he makes reference to a philosophical question that the reader must try and interpret. Tzara states If I Shout Ideal, Ideal, Ideal, Knowledge, Knowledge, Knowledge, Boomboom, Boomboom, Boomboom, he is referring to the political solutions that were being hoisted upon Europe to try to prevent the start of World War One with the various political Ideals being developed by the European nations. Knowledge, Knowledge, Knowledge, was the abstract term that Tzara saw coming from these same European politicians in an attempt to show the nations that they were the only ones endowed with the knowledge and skills to avert the coming bloodbath on the European continent. Finally the terms Boomboom, Boomboom, Boomboom, can be a reference to the assassination of Archduke Franz Ferdinand of Austria who was shot in Sarajevo and was the event that started World War One. These references can also be said to be the thundering of the artillery guns that turned the European landscape into carnage with trench warfare.
Tzara also makes reference to the crucifixion of Christ and to the Catholic Church with his references that the latest apparition of a harlot proves the essence of God. He is referring to the church to this image of a harlot. He is also referring to the hypocrisy of the church because of its pursuit of material wealth. Tzara also references the crucifixion with his statement that the love of novelty is a pleasant sort of cross and not the type of cross that was used as an instrument of execution and torture for the man known as Jesus of Nazareth.
THE DADA MANIFESTO 4
The concept of Dada was extremely interesting since they proclaimed to be everything and nothing at once. The lifestyle of Dada encompassed the inner most passion of individuals that sought change within a society that had up to that time given them the most devastating war in the history of mankind, and they sought change from such a world and revolted from the sociological restraints that held them and all other human beings in place. The Dadaist were not only anti-war but were anti-establishment which was at that time referred to as anti-bourgeois, they could be referred to as the hippies of the early part of the twentieth century since their politics was very similar to the protesters of the Vietnam War in the nineteen sixties.
When considering what the Dada movement was able to accomplish as far as politics they really did not have to great of an effect. They voiced their opinions on various issues with intellect and passion as seen by the publication of their manifesto. Their most notable accomplishments would be in the art world. Their work in this field would become the basis of the abstract art movement that Pablo Picasso was to make famous, and Dada would also be the precursor of post modernism, and pop art that would reach its fruition in the decades to come(De Michelle, M. 2006).
De Michelle, Mario: (2006) Las Venguardias artisticas del siglo XX, Alianza Forma pp.135-137.
Tom Sandquist: DADA EAST: The Romanians of Cabaret Voltaire, London England, MIT Press, 2006
Dada, Dickerson, National Gallery of Art. Washington DC 2006, pp-99