Dadaism Art Movement during the First World War

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Dadaism Art Movement
Introduction
Following the First World War, the world experienced immense changes, particularly in many social abstracts. However, even before the start of this war, Europe was on a steep decline in upholding reality. Radical ideas were gaining much more attention and afoot. Gradually, factors resulting in the establishment of Dadaism were ensuing. Dadaism or Dada was the first major anti-art movement whose ideology was predicated on revolting against the culture and values that purportedly, cause and supposed the rise of the war. Over a short period, its prominence transformed Dadaism into a highly avant-garde art of the anarchistic type (Behair 28). Avant-garde describes a style, group, or artist who is regarded to be significantly ahead of the lot based upon their application, subject matter, or procedure. The primary intentions of the new-found status were bent on subverting and undermining the value system of the elite and more so, those ruling. They perceived these individuals as inextricable to the discredited socio-political status-quo. Dadaism rose into much prominence in 1916 and more specifically in the North American and European zones relying on the energetic young individuals (in their early twenties) who had avoided conscription and settling in neutral cities such as Barcelona, Zurich, and New York.
The war was getting out of hand in most parts of Europe. Consequently, several young men who acknowledged the atrocities of the war began moving into better places in Europe and North America. These included Hans Arp from France, Marcel Janco and Tristan Tzara from Rumania, and Richard Huelsenbeck and Hugo Ball from Germany. Each one of them was skilled in their craft. In this line of thought, many other intellectuals, artists, and writers escaped to Switzerland as they avoided joining the army and going to war. Zurich was considered the converging point for these people. This place is where they would seek refuge and settle. In 1916 around February 5th, Hugo Ball, who was a writer, and his wife, Emmy Hemmings, opened a joint referred to as Cabaret Voltaire (Dada Movement). In essence, this was a little bar where these owners had established a miniature variety show and people mentioned above would participate actively. According to a personal memoir from Huelsenbeck, Ball, Janco, Tzara, Arp, and he founded Dada at the Cabaret Voltaire in the spring of 1916. He continues to assert that he and Hugo Ball, a painter-musician, presented the name sources from a dictionary translating German to the French language. There is a supposed belief that this move was a deliberate one with the word meaning There-There in German, Yes-Yes in Russian, and hobbyhorse in French (Trachtman). The name from the French meaning conveyed a sense of brevity and suggestiveness. Cabaret Voltaire offered them an ideal place where they could practice their multi-cultural Dadaism events.
Dadaism was a response to the modern era in which case, they were revolting, although indirectly, to the rise of war, capitalist culture, and more importantly, the degradation of art. In the case of war, they acknowledged that it had been borne from specific individu...