Editing Dada (section)

==History==
Dada emerged from a period of artistic and literary movements like [[Futurism]], [[Cubism]] and [[Expressionism]]; centered mainly in Italy, France and Germany respectively, in those years. However, unlike the earlier movements Dada was able to establish a broad base of support, giving rise to a movement that was international in scope. Its adherents were based in cities all over the world including New York, Zürich, Berlin, Paris and others. There were regional differences like an emphasis on literature in Zürich and political protest in Berlin.{{sfn|Elger|2004|page=[https://books.google.com/books?id=Y0ES7-5Hp7gC&pg=PA6 6]}}

Prominent Dadaists published manifestos, but the movement was loosely organized and there was no central hierarchy. On 14 July 1916, Ball originated the seminal [[Dada Manifesto]]. [[Tzara]] wrote a second Dada manifesto,{{sfn|Motherwell|1951|p={{page needed|date=March 2021}}}}<ref>[https://www.khanacademy.org/humanities/art-1010/dada-and-surrealism/dada2/a/dada-manifesto "Tristan Tzara: Dada Manifesto 1918"] by Charles Cramer and Kim Grant, [[Khan Academy]]. ([http://writing.upenn.edu/library/Tzara_Dada-Manifesto_1918.pdf Text] at upenn.edu.) {{Webarchive|url=https://web.archive.org/web/20201130152553/https://www.khanacademy.org/humanities/art-1010/dada-and-surrealism/dada2/a/dada-manifesto |date=2020-11-30 }}. (Text {{Webarchive|url=https://web.archive.org/web/20210414175144/http://writing.upenn.edu/library/Tzara_Dada-Manifesto_1918.pdf |date=2021-04-14 }})</ref> considered important Dada reading, which was published in 1918.<ref>{{Cite book|url=https://archive.org/details/historyofmodernc0000well|url-access=registration|page=[https://archive.org/details/historyofmodernc0000well/page/91 91]|quote=Tzara second Dada manifesto,.|title=A History of Modern Criticism: French, Italian and Spanish criticism, 1900-1950|last=Wellek|first=René|date=1955|publisher=Yale University Press|isbn=9780300054514}}</ref> Tzara's manifesto articulated the concept of "Dadaist disgust"—the contradiction implicit in avant-garde works between the criticism and affirmation of modernist reality. In the Dadaist perspective modern art and culture are considered a type of [[fetishization]] where the objects of consumption (including organized systems of thought like philosophy and morality) are chosen, much like a preference for cake or cherries, to fill a void.<ref>{{cite book |last1=Novero |first1=Cecilia |title=Antidiets of the Avant-Garde |date=2010 |publisher=University of Minnesota Press |page=62}}</ref>

The shock and scandal the movement inflamed was deliberate; Dadaist magazines were banned and their exhibits closed. Some of the artists even faced imprisonment. These provocations were part of the entertainment but, over time, audiences' expectations eventually outpaced the movement's capacity to deliver. As the artists' well-known "sarcastic laugh" started to come from the audience, the provocations of Dadaists began to lose their impact. Dada was an active movement during years of political turmoil from 1916 when European countries were actively engaged in World War I, the conclusion of which, in 1918, set the stage for a new political order.{{sfn|Elger|2004|page=[https://books.google.com/books?id=Y0ES7-5Hp7gC&pg=PA7 7]}}

===Zürich===
[[File:Hoch-Cut With the Kitchen Knife.jpg|thumb|[[Hannah Höch]], ''Cut with the Kitchen Knife through the Last Epoch of Weimar Beer-Belly Culture in Germany'', 1919, collage of pasted papers, 90×144&nbsp;cm, [[Berlin State Museums|Nationalgalerie, Staatliche Museen zu Berlin]]]]

There is some disagreement about where Dada originated. The movement is commonly accepted by most art historians and those who lived during this period to have identified with the [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] (housed inside the ''Holländische Meierei'' bar in Zürich) co-founded by poet and [[cabaret]] singer [[Emmy Hennings]] and [[Hugo Ball]].<ref>{{cite web |last1=Greeley |first1=Anne |title=Cabaret Voltaire |url=https://www.rem.routledge.com/articles/cabaret-voltaire |publisher=Routledge |access-date=31 July 2019 |ref=rem |archive-date=31 July 2019 |archive-url=https://web.archive.org/web/20190731060227/https://www.rem.routledge.com/articles/cabaret-voltaire |url-status=live }}</ref> Some sources propose a Romanian origin, arguing that Dada was an offshoot of a vibrant artistic tradition that transposed to Switzerland when a group of Jewish [[modernist]] artists, including Tristan Tzara, [[Marcel Janco]], and [[Arthur Segal (painter)|Arthur Segal]] settled in Zürich. Before World War I, similar art had already existed in Bucharest and other Eastern European cities; it is likely that Dada's catalyst was the arrival in Zürich of artists like Tzara and Janco.<ref>Tom Sandqvist, ''Dada East: The Romanians of Cabaret Voltaire'', London MIT Press, 2006.{{page needed|date=July 2019}}</ref>

The name ''Cabaret Voltaire'' was a reference to the French philosopher [[Voltaire]], whose novel ''[[Candide]]'' mocked the religious and philosophical [[dogma]]s of the day. Opening night was attended by Ball, Tzara, [[Jean Arp]], and Janco. These artists along with others like [[Sophie Taeuber]], [[Richard Huelsenbeck]] and [[Hans Richter (artist)|Hans Richter]] started putting on performances at the Cabaret Voltaire and using art to express their disgust with the war and the interests that inspired it.

Having left Germany and Romania during [[World War I]], the artists arrived in politically neutral Switzerland. They used abstraction to fight against the social, political, and cultural ideas of that time. They used [[shock art]], provocation, and "[[vaudeville|vaudevillian]] excess" to subvert the conventions they believed had caused the Great War.<ref name="bbc2016">{{cite news |title=Cabaret Voltaire: A Night Out at History's Wildest Nightclub |url=http://www.bbc.com/culture/story/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub |access-date=31 July 2019 |publisher=BBC |date=2016 |archive-date=31 July 2019 |archive-url=https://web.archive.org/web/20190731081305/http://www.bbc.com/culture/story/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub |url-status=live }}</ref> The Dadaists believed those ideas to be a byproduct of bourgeois society that was so apathetic it would wage war against itself rather than challenge the ''status quo'':<ref name="nga.gov">{{cite web|title=Introduction: "Everybody can Dada"|url=http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm|publisher=[[National Gallery of Art]]|access-date=10 May 2012|archive-url=https://web.archive.org/web/20081102003737/http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm|archive-date=2 November 2008|url-status=dead|df=dmy-all}}</ref>

{{blockquote|quote=We had lost confidence in our culture. Everything had to be demolished. We would begin again after the ''[[tabula rasa]]''. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.|source=Marcel Janco<ref>Marcel Janco, "Dada at Two Speeds," trans. in Lucy R. Lippard, Dadas on Art (Englewood Cliffs, New Jersey, 1971), p. 36.</ref>}}

Ball said that Janco's mask and costume designs, inspired by Romanian folk art, made "the horror of our time, the paralyzing background of events" visible.<ref name=bbc2016 /> According to Ball, performances were accompanied by a "balalaika orchestra playing delightful folk-songs." Often influenced by [[African music]], arrhythmic drumming and jazz were common at Dada gatherings.<ref>{{Cite book|title=World History Encyclopedia|last=Jenkins|first=Ellen Jan|publisher=ABC-CLIO|year=2011|editor-last=Andrea|editor-first=Alfred J.}}</ref><ref>{{Cite book|title=Destruction was My Beatrice: Dada and the Unmaking of the Twentieth Century|last=Rasula|first=Jed|publisher=Basic Books|year=2015|isbn=9780465089963|location=New York|pages=145–146}}</ref>

After the cabaret closed down, Dada activities moved on to a new gallery, and [[Hugo Ball]] left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the art and literature review ''Dada'' beginning in July 1917, with five editions from Zürich and the final two from Paris.

Other artists, such as [[André Breton]] and [[Philippe Soupault]], created "literature groups to help extend the influence of Dada".<ref>Europe of Cultures. [http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00022/tristan-tzara-speaks-about-the-dada-movement.html "Tristan Tzara speaks of the Dada Movement"], September 6, 1963. Retrieved on July 2, 2015. {{Webarchive|url=https://web.archive.org/web/20150704150729/http://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00022/tristan-tzara-speaks-about-the-dada-movement.html |date=2015-07-04 }}</ref>

After the fighting of the First World War had ended in the armistice of November 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities. Others, such as the Swiss native [[Sophie Taeuber]], would remain in Zürich into the 1920s.

===Berlin===
[[File:An Anna Blume.jpg|thumb|Cover of ''Anna Blume, Dichtungen'', 1919]]

"Berlin was a city of tightened stomachers, of mounting, thundering hunger, where hidden rage was transformed into a boundless money lust, and men's minds were concentrating more and more on questions of naked existence... Fear was in everybody's bones" – Richard Hülsenbeck

[[Raoul Hausmann]], who helped establish Dada in Berlin, published his [[art manifesto|manifesto]] ''Synthethic Cino of Painting'' in 1918 where he attacked Expressionism and the art critics who promoted it. Dada is envisioned in contrast to art forms, such as Expressionism, that appeal to viewers' emotional states: "the exploitation of so-called echoes of the soul". In Hausmann's conception of Dada, new techniques of creating art would open doors to explore new artistic impulses. Fragmented use of real world stimuli allowed an expression of reality that was radically different from other forms of art:{{sfn|Elger|2004|page=[https://books.google.com/books?id=Y0ES7-5Hp7gC&pg=PA35 35]}}
{{blockquote|quote=A child's discarded doll or a brightly colored rag are more necessary expressions than those of some ass who seeks to immortalize himself in oils in finite parlors.|source=Raoul Hausmann}}

The groups in Germany were not as strongly [[anti-art]] as other groups. Their activity and art were more political and social, with corrosive [[art manifesto|manifestos]] and propaganda, satire, public demonstrations and overt political activities. The intensely political and war-torn environment of Berlin had a dramatic impact on the ideas of Berlin Dadaists. Conversely, New York's geographic distance from the war spawned its more theoretically driven, less political nature.<ref>{{Cite book|title = New York Dada|last = Naumann|first = Francis M.|publisher = Abrams|year = 1994|isbn = 0810936763|location = New York}}</ref> According to [[Hans Richter (artist)|Hans Richter]], a Dadaist who was in Berlin yet "aloof from active participation in Berlin Dada", several distinguishing characteristics of the Dada movement there included: "its political element and its technical discoveries in painting and literature"; "inexhaustible energy"; "mental freedom which included the abolition of everything"; and "members intoxicated with their own power in a way that had no relation to the real world", who would "turn their rebelliousness even against each other".<ref>{{cite book|first =Hans |last =Richter|title =Dada: Art and Anti-Art|location = London|publisher = Thames & Hudson |date =1978 |page = 122|isbn = 9780810920033}}</ref>

In February 1918, while the Great War was approaching its climax, Huelsenbeck gave his first Dada speech in Berlin, and he produced a Dada manifesto later in the year. Following the [[October Revolution]] in [[Russian Empire|Russia]], by then out of the war, [[Hannah Höch]] and [[George Grosz]] used Dada to express communist sympathies. Grosz, together with [[John Heartfield]], Höch and Hausmann developed the [[wikt:technique|technique]] of [[photomontage]] during this period. [[Johannes Baader]], the uninhibited Oberdada, was the "crowbar" of the Berlin movement's [[direct action]] according to [[Hans Richter (artist)|Hans Richter]] and is credited with creating the first giant collages, according to [[Raoul Hausmann]].

After the war, the artists published a series of short-lived political magazines and held the [[First International Dada Fair]], 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.<ref name="Dada, Dickermann p443">{{cite book|title =Dada|last = Dickermann|first = leah|publisher = National Gallery of Art|location = Washington|date =2005 |page =443|isbn =9781933045207}}</ref> As well as work by the main members of Berlin Dada (Grosz, [[Raoul Hausmann]], [[Hannah Höch]], [[Johannes Baader]], Huelsenbeck and Heartfield), the exhibition also included the work of [[Otto Dix]], [[Francis Picabia]], Jean Arp, [[Max Ernst]], [[Rudolf Schlichter]], [[Johannes Theodor Baargeld|Johannes Baargeld]] and others.<ref name="Dada, Dickermann p443"/> In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi's ''[[Entartete Kunst]]'' exhibition in 1937. Despite high ticket prices, the exhibition lost money, with only one recorded sale.<ref>Dada, Dickermann, National Gallery of Art, Washington, 2006 p99</ref>

The Berlin group published periodicals such as ''Club Dada'', ''Der Dada'', ''[[Jedermann sein eigner Fussball|Everyman His Own Football]]'', and ''Dada Almanach''. They also established a political party, the [[Central Council of Dada for the World Revolution]].

===Cologne===
In [[Cologne]], Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a [[Eucharist|communion]] dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.<ref>{{Citation
|last=Schaefer
|first=Robert A.
|date=September 7, 2006
|title=Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC
|periodical=Double Exposure
|url=http://www.doubleexposure.com/DadaExhibit.shtml
|access-date=June 12, 2007
|archive-url=https://web.archive.org/web/20071009091858/http://www.doubleexposure.com/DadaExhibit.shtml
|archive-date=October 9, 2007
|url-status=dead}}</ref>

===New York===
[[File:Label for the Belle Haleine cropped.png|thumb|upright|[[Rrose Sélavy]], the alter ego of Dadaist [[Marcel Duchamp]]]]
[[File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|thumb|[[Marcel Duchamp]], ''[[Fountain (Duchamp)|Fountain]],'' 1917; photograph by [[Alfred Stieglitz]]]]
{{Main|New York Dada}}

Like Zürich, New York City was a refuge for writers and artists from the First World War. Soon after arriving from France in 1915, [[Marcel Duchamp]] and [[Francis Picabia]] met American artist [[Man Ray]]. By 1916 the three of them became the center of radical [[anti-art]] activities in the United States. American [[Beatrice Wood]], who had been studying in France, soon joined them, along with [[Elsa von Freytag-Loringhoven]]. [[Arthur Cravan]], fleeing conscription in France, was also in New York for a time. Much of their activity centered in [[Alfred Stieglitz]]'s gallery, [[291 (art gallery)|291]], and the home of [[Walter and Louise Arensberg]].

The New Yorkers, though not particularly organized, called their activities ''Dada,'' but they did not issue manifestos. 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. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book ''Adventures in the arts: informal chapters on painters, vaudeville and poets'' [[Marsden Hartley]] included an essay on "[[s:The Importance of Being Dada|The Importance of Being 'Dada']]{{Thin space}}".

During this time Duchamp began exhibiting "[[Readymades of Marcel Duchamp|readymades]]" (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the [[Society of Independent Artists]]. In 1917 he submitted the now famous ''[[Fountain (Duchamp)|Fountain]]'', a urinal signed R.&nbsp;Mutt, to the Society of Independent Artists exhibition but they rejected the piece. First an object of scorn within the arts community, the ''Fountain'' has since become almost canonized by some<ref name="Independent">[https://www.independent.co.uk/news/uk/this-britain/fountain-most-influential-piece-of-modern-art-673625.html, ''Fountain' most influential piece of modern art''], Independent, December 2, 2004. {{Webarchive|url=https://web.archive.org/web/20200124013046/https://www.independent.co.uk/news/uk/this-britain/fountain-most-influential-piece-of-modern-art-673625.html |date=2020-01-24 }}</ref> as one of the most recognizable modernist works of sculpture. Art world experts polled by the sponsors of the 2004 [[Turner Prize]], Gordon's gin, voted it "the most influential work of modern art".<ref name="Independent" /><ref>[http://news.bbc.co.uk/2/hi/entertainment/4059997.stm "Duchamp's urinal tops art survey"], [[BBC News]] December&nbsp;1, 2004. {{Webarchive|url=https://web.archive.org/web/20200509234934/http://news.bbc.co.uk/2/hi/entertainment/4059997.stm |date=2020-05-09 }}</ref>

As recent scholarship documents, the work is still controversial. Duchamp indicated in a 1917 letter to his sister that a female friend was centrally involved in the conception of this work: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."<ref>Duchamp, Marcel, translated and quoted in {{harvnb|Gammel|2002|p=224}}</ref> The piece is in line with the scatological aesthetics of Duchamp's neighbour, the [[Elsa von Freytag-Loringhoven|Baroness Elsa von Freytag-Loringhoven]].{{sfn|Gammel|2002|pp=224–225}} In an attempt to "pay homage to the spirit of Dada" a performance artist named [[Pierre Pinoncelli]] made a crack in a replica of ''The Fountain'' with a hammer in January 2006; he also urinated on it in 1993.

Picabia's travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical ''[[391 (magazine)|391]]'' in Barcelona, New York City, Zürich, and Paris from 1917 through 1924.

By 1921, most of the original players moved to Paris where Dada had experienced its last major incarnation.

===Paris===
[[File:Man Ray, Rencontre dans la porte tournante.jpg|thumb|upright|[[Man Ray]], c. 1921–22, ''Rencontre dans la porte tournante'', published on the cover of ''[[Der Sturm]]'', Volume 13, Number 3, 5 March 1922]]
[[File:Man Ray, Dessin.jpg|thumb|upright|Man Ray, c. 1921–22, ''Dessin'' (''Drawing''), published on page 43 of ''Der Sturm'', Volume 13, Number 3, 5 March 1922]]

The French [[avant-garde]] kept abreast of Dada activities in Zürich 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.

Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, [[Erik Satie]], collaborated with [[Picasso]] and [[Cocteau]] in a mad, scandalous ballet called ''[[Parade (ballet)|Parade]]''. First performed by the [[Ballets Russes]] in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's ''[[Le Sacre du printemps]]'' had done almost five years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.

Dada in Paris surged in 1920 when many of the originators converged there. 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.)<ref>Marc Dachy, {{lang|fr|Dada : La révolte de l'art}}, Paris, Gallimard / Centre Pompidou, collection "[[Découvertes Gallimard]]" (nº 476), 2005.</ref>

The first introduction of Dada artwork to the Parisian public was at the ''[[Salon des Indépendants]]'' in 1921. [[Jean Crotti]] exhibited works associated with Dada including a work entitled, ''Explicatif'' bearing the word ''Tabu''. In the same year Tzara staged his Dadaist play ''[[The Gas Heart]]'' to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by [[André Breton]]) that heralded the split within the movement that was to produce [[Surrealism]]. Tzara's last attempt at a Dadaist drama was his "[[ironic]] [[tragedy]]" ''[[Handkerchief of Clouds]]'' in 1924.

===Netherlands===
In the Netherlands, the Dada movement centered mainly around [[Theo van Doesburg]], best known for establishing the ''[[De Stijl]]'' movement and magazine of the same name. 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]]. Van Doesburg and {{Interlanguage link|Thijs Rinsema|nl}} (a [[cordwainer]] and artist in [[Drachten]]) became friends of Schwitters, and together they organized the so-called ''Dutch Dada campaign'' in 1923, where van Doesburg promoted a leaflet about Dada (entitled ''What is Dada?''), Schwitters read his poems, [[Vilmos Huszár]] demonstrated a mechanical dancing doll and Nelly van Doesburg (Theo's wife), played [[avant-garde]] compositions on piano.

[[File:I.K. Bonset Voorbijtrekkende troep 2.jpg|thumb|A Bonset sound-poem, "Passing troop", 1916]]
Van Doesburg wrote Dada poetry himself in ''De Stijl'', although under a pseudonym, I.K.&nbsp;Bonset, which was only revealed after his death in 1931. 'Together' with I.K.&nbsp;Bonset, he also published a short-lived [[Dutch literature|Dutch]] Dada magazine called ''Mécano'' (1922–23). Another Dutchman identified by [[K. Schippers]] in his study of the movement in the Netherlands<ref>{{cite book|last=Schippers |first=K. |title=Holland Dada |location=Amsterdam |publisher=Querido |date=1974}}{{pages needed|date=April 2022}}</ref> was the [[Groningen]] typographer [[H. N. Werkman]], who was in touch with van Doesburg and Schwitters while editing his own magazine, ''The Next Call'' (1923–6). Two more artists mentioned by Schippers were German-born and eventually settled in the Netherlands. These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and [[Paul Citroen]].

===Georgia===
{{more citations needed|section|date=March 2020}}

Though Dada itself was unknown in [[Georgia (country)|Georgia]] until at least 1920, from 1917 until 1921 a group of poets called themselves Le Degré 41", or "Le Degré Quarante et Un" (English, "The 41st Degree") (referring both to the latitude of [[Tbilisi]], Georgia and to the Celsius temperature of a high fever [equal to 105.8 Fahrenheit]) organized along Dadaist lines. The most important figure in this group was [[Iliazd]] (Ilia Zdanevich), whose radical typographical designs visually echo the publications of the Dadaists.<ref>{{Cite web |title=Iliazd|publisher=The International Dada Archive, [[University of Iowa]] Libraries|url=http://sdrc.lib.uiowa.edu/dada/dadas/iliazd.htm |access-date=2022-10-26}}</ref><ref>{{Cite web |title=Lidantiu faram |url=http://sdrc.lib.uiowa.edu/dada/Ledantu/index.htm |access-date=2022-10-26 |website=sdrc.lib.uiowa.edu}}</ref>

After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when [[Tristan Tzara]] was banned from holding seminars in Théâtre Michel in 1923, [[Iliazd]] booked the venue on his behalf for the performance, "[[The Gas Heart|The Bearded Heart Soirée]]", and designed the flyer.<ref>{{Cite web|title=Iliazd: From 41° to Dada|url=https://mcbcollection.com/campaigns/view-campaign/h3U0q3BSQlWNi-BtuOXuBEjQT4I1bNfJzoOvuTnHJ0Z7AWlJjsbq_tD_FPaPJ7mtsO-_7ITI2Tck4KrWSx6KtJj9cQGmdM-K|access-date=2022-01-08|website=mcbcollection.com}}</ref>

===Yugoslavia===
In [[Kingdom of Yugoslavia|Yugoslavia]], alongside the new art movement [[Zenitism]], there was significant Dada activity between 1920 and 1922, run mainly by [[Dragan Aleksić]] and including work by Mihailo S.&nbsp;Petrov, Ljubomir Micić and Branko Ve Poljanski.<ref>{{Cite web |url=https://monoskop.org/Zenit |title=''Zenit: International Review of Arts and Culture'' |access-date=2017-09-01 |archive-date=2017-09-01 |archive-url=https://web.archive.org/web/20170901114301/https://monoskop.org/Zenit |url-status=live }}</ref> Aleksić used the term "Yougo-Dada" and is known to have been in contact with [[Raoul Hausmann]], [[Kurt Schwitters]], and [[Tristan Tzara]].<ref>Dubravka Djurić, Miško Šuvaković. ''Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991'', [https://books.google.com/books?id=c8ZbINFYdVoC&pg=PA132 p. 132], MIT Press, 2003. {{ISBN|9780262042161}}. {{Webarchive|url=https://web.archive.org/web/20200226084947/https://books.google.com/books?id=c8ZbINFYdVoC&pg=PA132&lpg=PA132 |date=2020-02-26 }}</ref><ref>Jovanov Jasna, Kujundžić Dragan, "Yougo-Dada". ''The Eastern Orbit: Russia, Georgia, Ukraine, Central Europe and Japan'', vol. IV of ''Crisis and the Arts: The History of Dada'', general editor Stephen C. Foster, [[G. K. Hall & Co.]] 1996, 41–62 {{ISBN|9780816105885}}</ref>{{sfn|Jovanov|1999|p={{page needed|date=March 2021}}}}

===Italy===
The Dada movement in Italy, based in [[Mantua]], was met with distaste and failed to make a significant impact in the world of art. It published a magazine for a short time and held an exhibition in Rome, featuring paintings, quotations from Tristan Tzara, and original epigrams such as "True Dada is against Dada". One member of this group was [[Julius Evola]], who went on to become an eminent scholar of [[occultism]], as well as a right-wing philosopher.<ref>{{Cite web |url=http://sdrc.lib.uiowa.edu/dada/dadas/evola.htm |title=Julius Evola – International Dada Archive |access-date=2013-02-01 |archive-date=2013-03-16 |archive-url=https://web.archive.org/web/20130316131252/http://sdrc.lib.uiowa.edu/dada/dadas/evola.htm |url-status=live }}</ref>

===Japan===
A prominent Dada group in Japan was [[Mavo]]. The group was founded in July 1923 by [[Tomoyoshi Murayama]] and [[Yanase Masamu]]; they were later joined by [[Tatsuo Okada]]. Other prominent artists were [[Jun Tsuji]], [[Eisuke Yoshiyuki]], [[Shinkichi Takahashi]] and [[Katué Kitasono]].

[[File:Dada in Ultraman.jpg|thumb|left|Dada, an iconic character from the Ultra Series. His design draws inspiration from the art movement.]]
In [[Tsuburaya Productions]]'s ''[[Ultra Series]]'', an alien named Dada was inspired by the Dadaism movement, with said character first appearing in episode 28 of the 1966 [[tokusatsu]] series, ''[[Ultraman (1966 TV series)|Ultraman]]'', its design by character artist [[Toru Narita]]. Dada's design is primarily monochromatic, and features numerous sharp lines and alternating black and white stripes, in reference to the movement and, in particular, to [[chessboard]] and [[Go (game)|Go]] patterns. On May 19, 2016, in celebration to the 100 year anniversary of Dadaism in Tokyo, the Ultra Monster was invited to meet the Swiss Ambassador Urs Bucher.<ref>{{cite web|url=http://m-78.jp/news/n-3812/|script-title=ja:「三面怪人 ダダ」が「ダダイズム100周年」を祝福!スイス大使館で開催された記者発表会に登場!|publisher=m-78.jp|language=ja|date=2016-05-19|access-date=2016-06-08|archive-date=2016-06-23|archive-url=https://web.archive.org/web/20160623003238/http://m-78.jp/news/n-3812/|url-status=live}}</ref><ref>{{cite web|url=http://tokusatsunetwork.com/2016/05/dada-celebrates-dadaisms-birthday/|title=Dada Celebrates Dadaism's 100th Anniversary|publisher=tokusatsunetwork.com|date=2016-05-19|access-date=2016-06-08|archive-date=2018-09-16|archive-url=https://web.archive.org/web/20180916130236/http://tokusatsunetwork.com/2016/05/dada-celebrates-dadaisms-birthday/|url-status=live}}</ref>

[[Butoh]], the Japanese dance-form originating in 1959, can be considered to have direct connections to the spirit of the Dada movement, as [[Tatsumi Hijikata]], one of Butoh's founders, "was influenced early in his career by Dadaism".<ref>{{Cite news |url=https://www.nytimes.com/1987/11/01/magazine/butoh-dance-of-darkness.html |title=Butoh: Dance of Darkness |newspaper=The New York Times |date=November 1987 |access-date=2019-09-25 |archive-date=2019-09-25 |archive-url=https://web.archive.org/web/20190925054359/https://www.nytimes.com/1987/11/01/magazine/butoh-dance-of-darkness.html |url-status=live |last1=Loke |first1=Margarett }}</ref>

===Russia===
Dada in itself was relatively unknown in Russia; however, avant-garde art was widespread due to the [[Bolshevik]]s' revolutionary agenda. The {{interlanguage link|Nichevoki|ru|Ничевоки}}, a literary group sharing Dadaist ideals<ref name= "RusDada"/> achieved infamy after one of its members suggested that [[Vladimir Mayakovsky]] should go to the "Pampushka" (Pameatnik Pushkina – [[Pushkinskaya Square|Pushkin monument]]) on the "Tverbul" ([[Tverskoy Boulevard]]) to clean the shoes of anyone who desired it, after Mayakovsky declared that he was going to cleanse Russian literature.<ref name= "RusDada">{{cite book |author1=Margarita Tupitsyn |author2=Victor Tupitsyn |author3=Olga Burenina-Petrova |author4=Natasha Kurchanova |title=Russian Dada: 1914-1924 |year=2018 |publisher=MIT Press |isbn=978-84-8026-573-7 |url=https://www.museoreinasofia.es/sites/default/files/publicaciones/catalogosPDF/08_dada_ingles.imprenta.pdf |access-date=17 March 2020 |archive-date=20 July 2020 |archive-url=https://web.archive.org/web/20200720024215/https://www.museoreinasofia.es/sites/default/files/publicaciones/catalogosPDF/08_dada_ingles.imprenta.pdf |url-status=live }}</ref> For more information on Dadaism's influence upon [[Russian avant-garde]] art, see the book ''Russian Dada 1914–1924''.<ref name= "RusDada"/>