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Dada () or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zürich, Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.〔Mario de Micheli (2006). ''Las vanguardias artísticas del siglo XX.'' Alianza Forma. p.135-137〕 The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.〔(Anti-art, Art that challenges the existing accepted definitions of art, Tate )〕 Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.〔(Dada, Tate )〕 At least two works qualified as pre-Dadaist, ''a posteriori'', had already sensitized the public and artists alike: ''Ubu Roi'' (1896) by Alfred Jarry, and the ballet ''Parade'' (1916–17) by Erik Satie.〔Roselee Goldberg, Thomas & Hudson, ''L'univers de l'art'', Chapter 4, ''Le surréalisme'', ''Les représentations pré-Dada à Paris'', ISBN 978-2-87811-380-8〕 The roots of Dada lay in pre-war avant-garde. Cubism and the development of collage, combined with Wassily Kandinsky’s theoretical writings and abstraction, detached the movement from the constraints of reality and convention. The influence of French poets and the writings of German Expressionists liberated Dada from the tight correlation between words and meaning.〔(Dawn Ades, ''Early History: Zurich, 1914–18'', MoMA, Grove Art Online, Oxford University Press, 2009 )〕 Avant-garde circles outside of France knew of pre-war Parisian developments. They had seen (or participated in) Cubist exhibitions held at Galería Dalmau, Barcelona (1912), Galerie Der Sturm in Berlin (1912), the Armory show in New York (1913), SVU Mánes in Prague (1914), several Jack of Diamonds exhibitions in Moscow and at De Moderne Kunstkring, Amsterdam (between 1911 and 1915). Futurism developed in response to the work of various artists. Dada subsequently combined these approaches.〔(Dawn Ades, ''Barcelona and developments in Zurich, 1916–20'', MoMA, Grove Art Online, Oxford University Press, 2009 )〕 Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, George Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, Hans Richter, and Max Ernst, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau Réalisme, pop art and Fluxus. ==Overview== 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. Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction." According to Hans Richter Dada was not art: it was "anti-art."〔 Dada represented the opposite of everything which art stood for. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend. As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in." A reviewer from the ''American Art News'' stated at the time that "Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, a "reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide." Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path... (was ) a systematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."〔 To quote Dona Budd's ''The Language of Art Knowledge'', Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada', a French word for 'hobbyhorse'.〔Budd, Dona, ''The Language of Art Knowledge'', Pomegranate Communications, Inc.〕The movement primarily involved visual arts, literature, poetry, art manifestos, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dada」の詳細全文を読む スポンサード リンク
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