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| Der Dada | |
|---|---|
| Name | Der Dada |
| Founded | 1916 |
| Founder | Hugo Ball; Emmy Hennings |
| Location | Zürich, Berlin, Hannover |
| Movements | Dada |
Der Dada was a multilingual avant-garde periodical associated with the Dada movement that emerged during World War I and the interwar years. The journal served as a platform for experimental poetry, manifestos, visual collages, and performances linked to key figures in Zürich, Berlin, Hannover, and Paris. It connected artistic networks across Europe and the United States, fostering exchanges among writers, painters, composers, and critics associated with radical modernist circles.
The periodical arose amid wartime exile and artistic reaction to the First World War, drawing contributors from the Cabaret Voltaire scene and émigré communities in Zürich, later spreading to Berlin and Hannover. Early issues reflected debates held alongside performances at venues such as Cabaret Voltaire, interactions with émigrés from the Bauhaus, and correspondence with artists resident in Paris and New York City. The editorial practice was shaped by earlier avant-garde precedents including Futurism, Expressionism, and contacts with expatriate writers from Russia and Italy, as well as by contemporaneous periodicals like Cabaret Voltaire (magazine), Die Aktion, and Lacerba.
Contributors included poets, painters, and performers linked to influential personalities such as Hugo Ball and Emmy Hennings, alongside collaborators whose networks connected to Tristan Tzara, Marcel Janco, Hans Arp, Kurt Schwitters, Raoul Hausmann, Richard Huelsenbeck, Georges Ribemont-Dessaignes, Sophie Taeuber-Arp, Max Ernst, Man Ray, Fernand Léger, André Breton, Paul Éluard, Louis Aragon, Jean Cocteau, Pablo Picasso, Aleksandr Rodchenko, Vladimir Mayakovsky, Natalia Goncharova, Wassily Kandinsky, Paul Klee, Ernst Ludwig Kirchner, E. E. Cummings, T. S. Eliot, Ezra Pound, William Carlos Williams, H. D. (Hilda Doolittle), Arthur Cravan, Arthur Rimbaud, Stéphane Mallarmé, Friedrich Nietzsche, Hermann Hesse, Bertolt Brecht, Helene von Wedel, Hannah Höch, John Heartfield, George Grosz, Otto Dix, Casimir Malevich, Aleksandr Rodchenko, Igor Stravinsky, Arnold Schoenberg, Erik Satie, Diego Rivera, Frida Kahlo, José María Sert, Alfred Stieglitz, Martha Graham, and critics linked to institutions such as the Museum of Modern Art, Galerie Dada, and avant-garde salons in Montparnasse.
The journal published manifestos, collages, photomontages, sound-poetry scripts, and translations that dialogued with texts like the Dada Manifesto (Tzara), pamphlets circulated at Cabaret Voltaire, and pamphlets exchanged with groups at the Center for Contemporary Art and small presses in Berlin and Paris. Issues reprinted and responded to passages from The Waste Land, declamations by Hugo Ball, and essays circulated among editors of Der Sturm, Merz, and Transition (magazine). Editorial strategies echoed manifestos distributed at events such as the Zurich Dada Fair and screenings at the Urania and program notes from concerts at the Schauspielhaus.
Artists and writers used collage, photomontage, chance operations, and sound poetry integrating techniques associated with Collage, Photomontage, Readymade, and performance practices performed in spaces like Cabaret Voltaire and the Tinguely-linked kinetic workshops. Graphic experiments referenced typographic innovations seen in Futurist typographical poems and the layout aesthetics of Die Aktion, while visual compositions echoed practices familiar from Constructivism, Surrealism, Cubism, and Expressionism. Musical experiments corresponded with developments by Arnold Schoenberg, Igor Stravinsky, John Cage, and staged collaborations resembled productions at the Théâtre de l'Œuvre and Comédie des Champs-Élysées.
The periodical operated in a volatile context shaped by the aftermath of the First World War, revolutions in Russia, economic crises in Weimar Republic, and political struggles in Italy and Spain. Contributors engaged with debates provoked by events such as the October Revolution, the Spartacist uprising, the Treaty of Versailles, and later responses to rising movements like Fascism and National Socialism. Cultural intersections involved exchanges with labor strikes, student movements, and intellectual debates in salons patronized by collectors associated with the Kaufmanns and institutions like the Kunsthaus Zürich.
Reception ranged from scandalized reviews in Neue Zürcher Zeitung and polemics in Berliner Tageblatt to sympathetic coverage in avant-garde circles around Galerie Tanner and collectors linked to Peggy Guggenheim and Alfred Stieglitz. The journal influenced later practices in Fluxus, Concrete poetry, Situationist International, Pop Art, Conceptual art, and contemporary sound art, with archival holdings later acquired by institutions such as the Museum of Modern Art, the Museum Ludwig, the Stedelijk Museum, the Tate Modern, the British Library, and the Bibliothèque nationale de France. Its techniques and manifestos continue to inform scholarship at universities including University of Oxford, Columbia University, Sorbonne University, Humboldt University of Berlin, and research projects funded by organizations like the Getty Foundation and the European Research Council.
Category:Dadaism Category:Avant-garde periodicals