text:
Good citizenship
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
'Good citizenship' is when one properly fulfills their role as a citizen. There are many opinions as to what constitutes a good citizen. Theodore Roosevelt said, "The first requisite of a good citizen in this Republic of ours is that he shall be able and willing to pull his weight."[1] Education is sometimes viewed as a prerequisite to good citizenship, in that it helps citizens make good decisions and deal with demagogues who would delude them. Roger Soder writes that in a democracy, where the demands of good citizenship are placed upon all, "only the common schools can provide to all the education that all need."[2] Science literacy is also frequently touted as a key to good citizenship.[3] Good citizenship is sometimes viewed as requiring both intellectual skills (such as critical thinking) and participatory skills (such as deliberating civilly, monitoring the government, building coalitions, managing conflict peacefully and fairly, and petitioning, speaking or testifying before public bodies).[4]
Henry David Thoreau wrote that men who serve the state making "no free exercise whatever of the judgment or of the moral sense...are commonly esteemed good citizens."[5] Orit Ichilov notes that children "tend to perceive the government in the image of an ideal father that is benevolent and protective. At this stage, the good citizen is characterized as one who, through his behavior, proves himself one worthy of the love and protection of the government rather than one possessing certain political obligations and rights." Through their early school years, children usually continue to think in apolitical terms of their citizenship, expressing loyalty by their desire to remain in their country due to an attachment to its beauty, wildlife, and good people. By age twelve or thirteen, they begin referring more to political qualities, such as the nature and values of the regime. High school seniors define the good citizen primarily in political terms.[6] Some students define good citizenship in terms of standing up for what one believes in. Joel Westheimer identifies the personally responsible citizen (who acts responsibly in his community, e.g. by donating blood), the participatory citizen (who is an active member of community organizations and/or improvement efforts) and the justice-oriented citizen (who critically assesses social, political, and economic structures to see beyond surface causes) as three different types of "good citizen."[7]
Sometimes incentives prevail over desires to be a good citizen. For example, many people will avoid coming forth as witnesses in court cases because they do not want to deal with the inconvenience and red tape.[8] Aristotle makes a distinction between the good citizen and the good man, writing, "...there cannot be a single absolute excellence of the good citizen. But the good man is so called in virtue of a single absolute excellence. It is thus clear that it is possible to be a good citizen without possessing the excellence which is the quality of a good man." Specifically, in his view, the good citizen is measured in relation to ruling and being ruled, the good man only in ruling. Some of the ambiguity is likely due to more than one Greek word being translated "good."[9]
Many organizations attempt to promote "good citizenship." For example, the Boy Scouts of America published Scouting for Boys: A Handbook for Instruction in Good Citizenship, and the Ontario Medal for Good Citizenship is given to those who are deemed to have made outstanding contributions to the well being of their communities without expectation of remuneration or reward. Another non profit organization, Good Citizen, has a mission to teach Americans how to be effective citizens and focuses on 100 citizen actions.
See also[edit]
Civic virtue
References[edit]
Jump up ^ Theodore Roosevelt, Speech at New York (1902-11-11)
Jump up ^ Roger Soder (2003). "The Good Citizen and the Common School". Phi Delta Kappan Magazine. 85 (1): 37. JSTOR 20440499.
Jump up ^ S Lee, WM Roth (2003). "Science and the" good citizen": Community-based scientific literacy". Science, Technology & Human Values. doi:10.1177/0162243903028003003.
Jump up ^ Sonja Schoeman (2005). "Educating Democratic Minds in South African Public Schools: African Teachers' Perceptions of Good Citizenship". The Journal of Negro Education. 74 (3): 275–286. JSTOR 40027433.
Jump up ^ Thoreau, Henry David. "Civil Disobedience".
Jump up ^ Orit Ichilov and Nisan Nave (1981). ""The Good Citizen" As Viewed by Israeli Adolescents". Comparative Politics. 13 (3): 361–376. doi:10.2307/421903. JSTOR 421903.
Jump up ^ Joel Westheimer and Joseph Kahne (2004). "Educating the "Good" Citizen: Political Choices and Pedagogical Goals". Political Science and Politics. 37 (2): 241–247. doi:10.1017/S1049096504004160. JSTOR 4488813.
Jump up ^ A. S. Cutler (1953). "Why the Good Citizen Avoids Testifying". Annals of the American Academy of Political and Social Science. 287 (Judicial Administration and the Common Man): 103–109. doi:10.1177/000271625328700116. JSTOR 1028908.
Jump up ^ Robert Develin (1973). "The Good Man and the Good Citizen in Aristotle's "Politics"". Phronesis. 18 (1): 71–79. doi:10.1163/156852873X00069. JSTOR 4181903.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Good_citizenship&oldid=859805418"
Categories:
Political concepts
Citizenship
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Add links
This page was last edited on 16 September 2018, at 11:28 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class href

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: b

attrs: href class title

values: /wiki/Citizen mw-redirect Citizen

value: sup

values:
/wiki/Science_literacy
mw-redirect
Science literacy

values:
/wiki/Donating_blood
mw-redirect
Donating blood

values:
nofollow
external text
http://goodcitizen.org

values:
nofollow
external text
//www.jstor.org/stable/20440499

values:
nofollow
external text
//www.jstor.org/stable/40027433

values:
nofollow
external text
http://thoreau.eserver.org/civil1.html

values:
nofollow
external text
//doi.org/10.2307%2F421903

values:
nofollow
external text
//www.jstor.org/stable/421903

values:
nofollow
external text
//www.jstor.org/stable/4488813

values:
nofollow
external text
//www.jstor.org/stable/1028908

values:
nofollow
external text
//doi.org/10.1163%2F156852873X00069

values:
nofollow
external text
//www.jstor.org/stable/4181903

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
catlinks mw-normal-catlinks
catlinks mw-normal-catlinks
interface

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Good_citizenship
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Good_citizenship rootpage-Good_citizenship skin-vector action-view


text:
Dada
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Dada (disambiguation).
Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920
Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire (circa 1916); New York Dada began circa 1915,[1] and after 1920 Dada flourished in Paris. Developed in reaction to World War I, the Dada movement consisted of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works.[2][3][4] The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left.[5]
Cover of the first edition of the publication Dada by Tristan Tzara; Zürich, 1917
There is no consensus on the origin of the movement's name; a common story is that the Austrian artist Richard Huelsenbeck plunged a knife at random into a dictionary, where it landed on "dada", a colloquial French term for a hobby horse. Others note that it suggests the first words of a child, evoking a childishness and absurdity that appealed to the group. Still others speculate that the word might have been chosen to evoke a similar meaning (or no meaning at all) in any language, reflecting the movement's internationalism.[6]
The roots of Dada lay in pre-war avant-garde. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art.[7] Cubism and the development of collage and abstract art would inform the movement's detachment from the constraints of reality and convention. The work of French poets, Italian Futurists and the German Expressionists would influence Dada's rejection of the tight correlation between words and meaning.[8][9] Works such as Ubu Roi (1896) by Alfred Jarry, and the ballet Parade (1916–17) by Erik Satie would also be characterized as proto-Dadaist works.[10] The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916.
The Dadaist movement 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, Marcel Duchamp, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Huelsenbeck, George Grosz, John Heartfield, Man Ray, 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.
Contents
[hide]
1 Overview
2 History
2.1 Zürich
2.2 Berlin
2.3 Cologne
2.4 New York
2.5 Paris
2.6 Netherlands
2.7 Georgia
2.8 Yugoslavia
2.9 Italy
2.10 Tokyo
2.11 Russia
3 Poetry, music and sound
4 Legacy
5 Art techniques developed
5.1 Collage
5.2 Cut-up technique
5.3 Photomontage
5.4 Assemblage
5.5 Readymades
6 Artists
7 See also
8 References
9 Bibliography
10 External links
Overview[edit]
Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915
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.[11]
Avant-garde circles outside France knew of pre-war Parisian developments. They had seen (or participated in) Cubist exhibitions held at Galeries 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.[9][12]
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.[3][4] For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction."[3]
According to Hans Richter Dada was not art: it was "anti-art."[11] 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."[13]
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."[14]
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... [It was] a systematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."[14]
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'.[4]
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.
History[edit]
Zürich[edit]
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm, Nationalgalerie, Staatliche Museen zu Berlin
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.
Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did not originate fully in a Zürich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe, particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Janco, Arthur Segal, and others) settled in Zürich. In the years prior to the First World War similar art had already risen 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.[15]
Having left Germany and Romania during the Great War, the artists found themselves in Switzerland, a country recognized for its neutrality. Inside this space of political neutrality they decided to use abstraction to fight against the social, political, and cultural ideas of that time. The Dadaists believed those ideas to be a byproduct of bourgeois society, a society so apathetic it would rather fight a war against itself than challenge the status quo.[16]
Janco recalled, "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." [17]
The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall[18] on July 14, 1916, Ball recited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dada writings, which was published in 1918. Other manifestos followed.
A single issue of the magazine Cabaret Voltaire was the first publication to come out of the movement.
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.”[19]
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[edit]
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
The groups in Germany were not as strongly anti-art as other groups. Their activity and art were more political and social, with corrosive 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.[20]
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 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 technique of photomontage during this period. 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.[21] 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 Baargeld and others.[21] 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.[22]
The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football, and Dada Almanach.
Cologne[edit]
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 communion dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.[23]
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz
New York[edit]
Main article: 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, 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 "The Importance of Being 'Dada'".
Rrose Sélavy, the alter ego of Dadaist Marcel Duchamp
During this time Duchamp began exhibiting "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, a urinal signed R. 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[dubious – discuss] by some 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".[24][25] As recent scholarship documents, the work is likely more collaborative than it has been given credit for in twentieth-century art history. Duchamp indicates in a 1917 letter to his sister that a female friend was centrally involved in the conception of this work. As he writes: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."[26] The piece is more in line with the scatological aesthetics of Duchamp's friend and neighbour, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.[27] 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 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[edit]
Man Ray, c. 1921–22, Rencontre dans la porte tournante, published on the cover of Der Sturm, Volume 13, Number 3, 5 March 1922
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. 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.)[28]
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[edit]
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 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.
A Bonset sound-poem, "Passing troop", 1916
Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano (1922–3). Another Dutchman identified by K. Schippers in his study of the movement in the Netherlands[29] 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[edit]
Although Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.
Yugoslavia[edit]
In Yugoslavia there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Zenitism's two brothers Ljubomir Micić and Branko Ve Poljanski.[30] Aleksić used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.[31]
Italy[edit]
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". The most notable member of this group was Julius Evola, who went on to become an eminent scholar of occultism, as well as a right-wing philosopher and an assistant to Benito Mussolini.[32]
Tokyo[edit]
Dada, an iconic character from the Ultra Series. His design draws inspiration from the art movement.
A prominent Dada group in Japan was MAVO (ja), founded in July 1923 by Tomoyoshi Murayama and Yanase Masamu (de; ja). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katsue Kitasono.
In the Tsuburaya Productions's Ultra Series, an alien named Dada was designed after the Dadaism movement, with said character first appearing in episode 28 of the 1966 tokusatsu series, Ultraman, and was designed by character artist Toru Narita. Dada's design is primarily monochromatic, and features numerous sharp lines and alternating black and white stripes, as a reference to the movement. 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.[33][34]
Russia[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)
Dada in itself was relatively unknown in Russia, however, avant-garde art was widespread due to the Bolshevik's revolutionary agenda. The Nichevoki (ru), a literary group sharing Dadaist ideals achieved infamy after one of its members suggested that Vladimir Mayakovsky should go to the "Pampushka" (Pameatnik Pushkina – 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.
Poetry, music and sound[edit]
Dada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920. Other composers such as Erwin Schulhoff, Hans Heusser and Alberto Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during his career, although he is primarily associated with musical Impressionism.
In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." African music and jazz were common at Dada gatherings.[citation needed]
Marc Lowenthal, in I Am a Beautiful Monster: Poetry, Prose, and Provocation, writes:
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that laid the foundation for Surrealism.[35]
Musician Frank Zappa was a self-proclaimed Dadaist after learning of the movement:
In the early days, I didn't even know what to call the stuff my life was made of. You can imagine my delight when I discovered that someone in a distant land had the same idea—AND a nice, short name for it.[36]
Legacy[edit]
The Janco Dada Museum, named after Marcel Janco, in Ein Hod, Israel
While broadly based, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.[37]
By the dawn of the Second World War, many of the European Dadaists had emigrated to the United States. Some (Otto Freundlich, Walter Serner) died in death camps under Adolf Hitler, who actively persecuted the kind of "degenerate art" that he considered Dada to represent. The movement became less active as post-war optimism led to the development of new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements, including the Situationist International and culture jamming groups like the Cacophony Society. Upon breaking up in July 2012, anarchist pop band Chumbawamba issued a statement which compared their own legacy with that of the Dada art movement.[38]
At the same time that the Zürich Dadaists were making noise and spectacle at the Cabaret Voltaire, Lenin was planning his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).
The former building of the Cabaret Voltaire fell into disrepair until it was occupied from January to March 2002, by a group proclaiming themselves Neo-Dadaists, led by Mark Divo.[39] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee, and Dan Jones. After their eviction, the space was turned into a museum dedicated to the history of Dada. The work of Lee and Jones remained on the walls of the new museum.
Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dada retrospective was held in Paris. In 2006, the Museum of Modern Art in New York City mounted a Dada exhibition in partnership with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris. The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp, and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.[40]
Art techniques developed[edit]
Collage[edit]
The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.
Cut-up technique[edit]
Cut-up technique is an extension of collage to words themselves, Tristan Tzara describes this in the Dada Manifesto:[41]
TO MAKE A DADAIST POEM
Take a newspaper.
Take some scissors.
Choose from this paper an article of the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that makes up this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are – an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.
Photomontage[edit]
The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst used images from the First World War to illustrate messages of the destruction of war.[42]
Raoul Hausmann, Mechanischer Kopf (Der Geist unserer Zeit) (Mechanical Head [The Spirit of Our Age]), c. 1920
Raoul Hausmann, ABCD (self-portrait), a photomontage from 1923–24
Assemblage[edit]
The assemblages were three-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work including war objects and trash. Objects were nailed, screwed or fastened together in different fashions. Assemblages could be seen in the round or could be hung on a wall.[43]
Readymades[edit]
Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". Duchamp wrote: "One important characteristic was the short sentence which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.'"[44] One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year, though it was not displayed.
Artists[edit]
Louis Aragon (1897–1982), France
Jean Arp (1886–1966), Germany, France
Hugo Ball (1886–1927), Germany, Switzerland
André Breton (1896–1966), France
Otto Dix (1891–1969), Germany
Theo van Doesburg (1883–1931) Netherlands
Marcel Duchamp (1887–1968), France
Paul Éluard (1895–1952), France
Max Ernst (1891–1976), Germany, USA
Julius Evola (1898–1974), Italy
George Grosz (1893–1959), Germany, France, USA
Raoul Hausmann (1886–1971), Germany
John Heartfield (1891–1968), Germany, USSR, Czechoslovakia, Great Britain
Hannah Höch (1889–1978), Germany
Richard Huelsenbeck (1892–1974), Germany
Marcel Janco (1895–1984), Romania, Israel
Elsa von Freytag-Loringhoven (1874–1927), Germany, USA
Clément Pansaers (1885–1922), Belgium
Francis Picabia (1879–1953), France
Man Ray (1890–1976), France, USA
Georges Ribemont-Dessaignes (1884–1974), France
Kurt Schwitters (1887–1948), Germany
Walter Serner (1889–1942), Austria
Philippe Soupault (1897–1990), France
Sophie Taeuber-Arp (1889–1943), Switzerland, France
Tristan Tzara (1896–1963), Romania, France
Beatrice Wood (1893–1998), USA
See also[edit]
Dadaglobe
Art intervention
The Central Council of Dada for the World Revolution
Degenerate art
Épater la bourgeoisie
Surrealism
Shock art
Futurism
Happening
Neo-Dada
Incoherents
Transgressive art
Fluxus
References[edit]
Jump up ^ Mario de Micheli (2006). Las vanguardias artísticas del siglo XX. Alianza Forma. p.135-137
Jump up ^ Trachtman, Paul. "A Brief History of Dada". Smithsonian Magazine. Retrieved 14 January 2017.
^ Jump up to: a b c Schneede, Uwe M. (1979), George Grosz, His life and work, New York: Universe Books
^ Jump up to: a b c Budd, Dona, The Language of Art Knowledge, Pomegranate Communications, Inc.
Jump up ^ Dada, Tate
Jump up ^ Dada at thearthistory.org, retrieved March 13, 2017.
Jump up ^ Anti-art, Art that challenges the existing accepted definitions of art, Tate
Jump up ^ Dawn Adès, Early History: Zurich, 1914–18, MoMA, Grove Art Online, Oxford University Press, 2009
^ Jump up to: a b Dawn Ades, Barcelona and developments in Zurich, 1916–20, MoMA, Grove Art Online, Oxford University Press, 2009
Jump up ^ 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
^ Jump up to: a b Richter, Hans (1965), Dada: Art and Anti-art, New York and Toronto: Oxford University Press
Jump up ^ Joan M. Marter, The Grove Encyclopedia of American Art, Volume 1, Oxford University Press, 2011, p. 6, ISBN 0195335791
Jump up ^ DADA: Cities, National Gallery of Art, retrieved 2008-10-19
^ Jump up to: a b Fred S. Kleiner (2006), Gardner's Art Through the Ages (12th ed.), Wadsworth Publishing, p. 754
Jump up ^ Tom Sandqvist, DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.
Jump up ^ "Introduction: "Everybody can Dada"". National Gallery of Art. Retrieved 10 May 2012.
Jump up ^ Marcel Janco, "Dada at Two Speeds," trans. in Lucy R. Lippard, Dadas on Art (Englewood Cliffs, N.J., 1971), p. 36.
Jump up ^ "Cabaret Voltaire". DADA Companion. Retrieved 2011-06-11.
Jump up ^ Europe of Cultures. "Tristan Tzara speaks of the Dada Movement.", September 6, 1963. Retrieved on July 2, 2015.
Jump up ^ Naumann, Francis M. (1994). New York Dada. New York: Abrams. ISBN 0810936763.
^ Jump up to: a b Dada, Dickermann, National Gallery of Art, Washington, 2006 p443
Jump up ^ Dada, Dickermann, National Gallery of Art, Washington, 2006 p99
Jump up ^ Schaefer, Robert A. (September 7, 2006), "Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC", Double Exposure
Jump up ^ Fountain' most influential piece of modern art, Independent, December 2, 2004
Jump up ^ "Duchamp's urinal tops art survey", BBC News December 1, 2004.
Jump up ^ Duchamp, Marcel trans. and qtd. in Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002, 224.
Jump up ^ Gammel, Baroness Elsa, 224–225.
Jump up ^ Marc Dachy, Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, "Découvertes Gallimard" n° 476, 2005.
Jump up ^ Holland Dada, Amsterdam, 1974
Jump up ^ Zenit: International Review of Arts and Culture
Jump up ^ [1] Jovanov Jasna, Kujundžić Dragan, "Yougo-Dada". "Crisis and the Arts: The History of Dada", Vol. IV, The Eastern Orbit: Russia, Georgia, Ukraine, Central Europe and Japan, General Editor Stephen C. Foster, G.K. Hall & Comp. Publishers, New York 1998, 41–62; Jasna Jovanov,Demistifikacija apokrifa: dadaizam na jugoslovenskim prostorima 1920–1922, Novi Sad: Apokrif, 1999.
Jump up ^ Julius Evola – International Dada Archive
Jump up ^ "「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！" (in Japanese). m-78.jp. 2016-05-19. Retrieved 2016-06-08.
Jump up ^ "Dada Celebrates Dadaism's 100th Anniversary". tokusatsunetwork.com. 2016-05-19. Retrieved 2016-06-08.
Jump up ^ Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, and Provocation
Jump up ^ Frank Zappa, The Real Frank Zappa Book, p. 162
Jump up ^ Locher, David (1999), "Unacknowledged Roots and Blatant Imitation: Postmodernism and the Dada Movement", Electronic Journal of Sociology, 4 (1), retrieved 2007-04-25
Jump up ^ "Chumbawamba". Retrieved 10 July 2012.
Jump up ^ 2002 occupation by neo-Dadaists Prague Post
Jump up ^ LTM Recordings
Jump up ^ "manifestos: dada manifesto on feeble love and bitter love by tristan tzara, 12th december 1920". 391. 1920-12-12. Retrieved 2011-06-27. This article incorporates text from this source, which is in the public domain.
Jump up ^ "DADA – Techniques – photomontage". Nga.gov. Retrieved 2011-06-11.
Jump up ^ "DADA – Techniques – assemblage". Nga.gov. Retrieved 2011-06-11.
Jump up ^ "The Writings of Marcel Duchamp" ISBN 0-306-80341-0
Bibliography[edit]
The Dada Almanac, ed Richard Huelsenbeck [1920], re-edited and translated by Malcolm Green et al., Atlas Press, with texts by Hans Arp, Johannes Baader, Hugo Ball, Paul Citröen, Paul Dermée, Daimonides, Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario D'Arezzo, Adon Lacroix, Walter Mehring, Francis Picabia, Georges Ribemont-Dessaignes, Alexander Sesqui, Philippe Soupault, Tristan Tzara. ISBN 0-947757-62-7
Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck's Fantastic Prayers, & Walter Serner's Last Loosening – three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Green. Atlas Press, ISBN 0-947757-86-4
Ball, Hugo. Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)
Jones, Dafydd W. Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014). ISBN 978-1-781-380-208
Biro, M. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota Press, 2009. ISBN 0-8166-3620-6
Dachy, Marc. Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990)
Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994.
Jovanov, Jasna. Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima, Novi Sad/Apostrof 1999.
Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, Découvertes n° 476, 2005.
Archives Dada / Chronique, Paris, Hazan, 2005.
Dada, catalogue d'exposition, Centre Pompidou, 2005.
Durozoi, Gérard. Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005
Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002.
Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Ryerson and Burnham Libraries, The Art Institute of Chicago.
Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles, 1991)
Jones, Dafydd. Dada Culture (New York and Amsterdam: Rodopi Verlag, 2006)
Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch. New Haven: Yale University Press, 1993.
Lemoine, Serge. Dada, Paris, Hazan, coll. L'Essentiel.
Lista, Giovanni. Dada libertin & libertaire, Paris, L'insolite, 2005.
Melzer, Annabelle. 1976. Dada and Surrealist Performance. PAJ Books ser. Baltimore and London: The Johns Hopkins UP, 1994. ISBN 0-8018-4845-8.
Novero, Cecilia. "Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art." (University of Minnesota Press, 2010)
Richter, Hans. Dada: Art and Anti-Art (London: Thames and Hudson, 1965)
Sanouillet, Michel. Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005
Sanouillet, Michel. Dada in Paris, Cambridge, Massachusetts, The MIT Press, 2009
Schippers, K. Holland Dada, Amsterdam, Em. Querido, 1974
Schneede, Uwe M. George Grosz, His life and work (New York: Universe Books, 1979)
Verdier, Aurélie. L'ABCdaire de Dada, Paris, Flammarion, 2005.
External links[edit]
Library resources about
Dada
Resources in your library
Resources in other libraries
Wikiquote has quotations related to: Dada
Wikimedia Commons has media related to Dada.
Dada Companion, bibliographies, chronology, artists' profiles, places, techniques, reception
Dada at DMOZ
Dada, Encyclopædia Britannica
Dada art
The International Dada Archive, University of Iowa, early Dada periodicals, online scans of publications
Dadart, history, bibliography, documents, and news
"Dadaism – Art and Anti Art", artyfactory.com
From Dada to Surrealism, review from The Guardian
Dada audio recordings at LTM
New York dada (magazine), Marcel Duchamp and Man Ray, April, 1921, Bibliothèque Kandinsky, Centre Pompidou (access online)
Manifestos
Text of Hugo Ball's 1916 Dada Manifesto
Text of Tristan Tzara's 1918 Dada Manifesto
Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)
[show]
v
t
e
Art movements
Medieval
Early Christian
Migration Period
Anglo-Saxon
Visigothic
Pre-Romanesque
Insular
Viking
Byzantine
Merovingian
Carolingian
Ottonian
Romanesque
Norman-Sicilian
Gothic (International Gothic)
Renaissance
Italian Renaissance
Early Netherlandish
German Renaissance
Antwerp Mannerists
Danube school
High Renaissance
Romanism
Mannerism
Fontainebleau
Northern Mannerism
Flemish Baroque
17th century
Baroque
Caravaggisti
Classicism
Dutch Golden Age
18th century
Rococo
Neoclassicism
Romanticism
19th century
Naïve
Nazarene
Realism / Realism
Historicism
Biedermeier
Gründerzeit
Barbizon school
Pre-Raphaelites
Academic
Aestheticism
Decadent
Macchiaioli
Art Nouveau
Peredvizhniki
Impressionism
Post-Impressionism
Neo-impressionism
Divisionism
Pointillism
Cloisonnism
Les Nabis
Synthetism
Kalighat painting
Symbolism
Hudson River School
20th century
Arts and Crafts
Fauvism
Die Brücke
Cubism
Expressionism
Neue Künstlervereinigung München
Futurism
Metaphysical art
Rayonism
Der Blaue Reiter
Orphism
Synchromism
Vorticism
Suprematism
Ashcan
Dada
De Stijl
Purism
Bauhaus
Kinetic art
New Objectivity
Neues Sehen
Surrealism
Neo-Fauvism
Precisionism
Scuola Romana
Art Deco
International Typographic Style
Social realism
Abstract expressionism
Vienna School of Fantastic Realism
Color Field
Lyrical abstraction
Tachisme
COBRA
Action painting
New media art
Letterist International
Pop art
Situationist International
Lettrism
Neo-Dada
Op art
Nouveau réalisme
Conceptual art
Land art
Systems art
Video art
Minimalism
Fluxus
Photorealism
Performance art
Installation art
Endurance art
Outsider art
Neo-expressionism
Lowbrow
Young British Artists
Amazonian pop art
21st century
Art intervention
Hyperrealism
Neo-futurism
Stuckism
Sound art
Superstroke
Superflat
Relational art
Related articles
List of art movements
Feminist art movement (in the US)
Modern art
Modernism
Late modernism
Postmodern art
Avant-garde
[show]
v
t
e
Modernism
Milestones
Le Déjeuner sur l’herbe (1862-63)
Olympia (1863)
A Sunday Afternoon on the Island of La Grande Jatte (1886)
Mont Sainte-Victoir (1887)
The Starry Night (1889)
Ubu Roi (1896)
Verklärte Nacht (1899)
Le bonheur de vivre (1905-1906)
Les Demoiselles d'Avignon (1907)
The Firebird (1910)
Afternoon of a Faun (1912)
Nude Descending a Staircase, No. 2 (1912)
In Search of Lost Time (1913–1927)
The Metamorphosis (1915)
Black Square (1915)
Fountain (1917)
The Cabinet of Dr. Caligari (1920)
Six Characters in Search of an Author (1921)
Ulysses (1922)
The Waste Land (1922)
The Magic Mountain (1924)
Battleship Potemkin (1925)
The Sun Also Rises (1926)
The Threepenny Opera (1928)
The Sound and the Fury (1929)
Un Chien Andalou (1929)
Villa Savoye (1931)
The Blue Lotus (1936)
Fallingwater (1936)
Waiting for Godot (1953)
Literature
Guillaume Apollinaire
Djuna Barnes
Tadeusz Borowski
André Breton
Mikhail Bulgakov
Anton Chekhov
Joseph Conrad
Alfred Döblin
E. M. Forster
William Faulkner
Gustave Flaubert
Ford Madox Ford
André Gide
Knut Hamsun
Jaroslav Hašek
Ernest Hemingway
Hermann Hesse
James Joyce
Franz Kafka
Arthur Koestler
D. H. Lawrence
Wyndham Lewis
Thomas Mann
Katherine Mansfield
Filippo Tommaso Marinetti
Guy de Maupassant
Robert Musil
Katherine Anne Porter
Marcel Proust
Gertrude Stein
Italo Svevo
Virginia Woolf
Poetry
Anna Akhmatova
Richard Aldington
W. H. Auden
Charles Baudelaire
Luca Caragiale
Constantine P. Cavafy
Blaise Cendrars
Hart Crane
H.D.
Robert Desnos
T. S. Eliot
Paul Éluard
Odysseas Elytis
F. S. Flint
Stefan George
Max Jacob
Federico García Lorca
Amy Lowell
Robert Lowell
Mina Loy
Stéphane Mallarmé
Marianne Moore
Wilfred Owen
Octavio Paz
Fernando Pessoa
Ezra Pound
Lionel Richard
Rainer Maria Rilke
Arthur Rimbaud
Giorgos Seferis
Wallace Stevens
Dylan Thomas
Tristan Tzara
Paul Valéry
William Carlos Williams
W. B. Yeats
Visual art
Josef Albers
Jean Arp
Balthus
George Bellows
Umberto Boccioni
Pierre Bonnard
Georges Braque
Constantin Brâncuși
Alexander Calder
Mary Cassatt
Paul Cézanne
Marc Chagall
Giorgio de Chirico
Camille Claudel
Joseph Cornell
Joseph Csaky
Salvador Dalí
Edgar Degas
Raoul Dufy
Willem de Kooning
Robert Delaunay
Charles Demuth
Otto Dix
Theo van Doesburg
Marcel Duchamp
James Ensor
Max Ernst
Jacob Epstein
Paul Gauguin
Alberto Giacometti
Vincent van Gogh
Natalia Goncharova
Julio González
Juan Gris
George Grosz
Raoul Hausmann
Jacques Hérold
Hannah Höch
Edward Hopper
Frida Kahlo
Wassily Kandinsky
Ernst Ludwig Kirchner
Paul Klee
Oskar Kokoschka
Pyotr Konchalovsky
André Lhote
Fernand Léger
Franz Marc
Albert Marque
Jean Marchand
René Magritte
Kazimir Malevich
Édouard Manet
Henri Matisse
Colin McCahon
Jean Metzinger
Joan Miró
Amedeo Modigliani
Piet Mondrian
Claude Monet
Henry Moore
Edvard Munch
Emil Nolde
Georgia O'Keeffe
Méret Oppenheim
Francis Picabia
Pablo Picasso
Camille Pissarro
Man Ray
Odilon Redon
Pierre-Auguste Renoir
Auguste Rodin
Henri Rousseau
Egon Schiele
Georges Seurat
Paul Signac
Alfred Sisley
Edward Steichen
Alfred Stieglitz
Henri de Toulouse-Lautrec
Édouard Vuillard
Grant Wood
Music
George Antheil
Milton Babbitt
Jean Barraqué
Alban Berg
Luciano Berio
Nadia Boulanger
Pierre Boulez
John Cage
Elliott Carter
Aaron Copland
Henry Cowell
Henri Dutilleux
Morton Feldman
Henryk Gorecki
Josef Matthias Hauer
Paul Hindemith
Arthur Honegger
Charles Ives
Leoš Janáček
György Ligeti
Witold Lutosławski
Olivier Messiaen
Luigi Nono
Harry Partch
Krzysztof Penderecki
Sergei Prokofiev
Luigi Russolo
Erik Satie
Pierre Schaeffer
Arnold Schoenberg
Dmitri Shostakovich
Richard Strauss
Igor Stravinsky
Edgard Varèse
Anton Webern
Kurt Weill
Iannis Xenakis
Theatre
Edward Albee
Maxwell Anderson
Jean Anouilh
Antonin Artaud
Samuel Beckett
Bertolt Brecht
Anton Chekhov
Friedrich Dürrenmatt
Jean Genet
Maxim Gorky
Walter Hasenclever
Henrik Ibsen
William Inge
Eugène Ionesco
Alfred Jarry
Georg Kaiser
Maurice Maeterlinck
Vladimir Mayakovsky
Arthur Miller
Seán O'Casey
Eugene O'Neill
John Osborne
Luigi Pirandello
Erwin Piscator
George Bernard Shaw
August Strindberg
John Millington Synge
Ernst Toller
Frank Wedekind
Thornton Wilder
Stanisław Ignacy Witkiewicz
Film
Ingmar Bergman
Anton Giulio Bragaglia
Luis Buñuel
Marcel Carné
Charlie Chaplin
René Clair
Jean Cocteau
Maya Deren
Alexander Dovzhenko
Carl Theodor Dreyer
Viking Eggeling
Sergei Eisenstein
Jean Epstein
Robert J. Flaherty
Abel Gance
Isidore Isou
Buster Keaton
Lev Kuleshov
Fritz Lang
Marcel L'Herbier
Georges Méliès
F. W. Murnau
Georg Wilhelm Pabst
Vsevolod Pudovkin
Jean Renoir
Walter Ruttmann
Victor Sjöström
Josef von Sternberg
Dziga Vertov
Jean Vigo
Robert Wiene
Dance
George Balanchine
Merce Cunningham
Clotilde von Derp
Sergei Diaghilev
Isadora Duncan
Michel Fokine
Loie Fuller
Martha Graham
Hanya Holm
Doris Humphrey
Léonide Massine
Vaslav Nijinsky
Alwin Nikolais
Alexander Sakharoff
Ted Shawn
Anna Sokolow
Ruth St. Denis
Helen Tamiris
Charles Weidman
Mary Wigman
Architecture
Alvar Aalto
Marcel Breuer
Gordon Bunshaft
Antoni Gaudí
Walter Gropius
Hector Guimard
Raymond Hood
Victor Horta
Friedensreich Hundertwasser
Philip Johnson
Louis Kahn
Le Corbusier
Adolf Loos
Konstantin Melnikov
Erich Mendelsohn
Pier Luigi Nervi
Richard Neutra
Oscar Niemeyer
Hans Poelzig
Antonin Raymond
Gerrit Rietveld
Eero Saarinen
Rudolf Steiner
Edward Durell Stone
Louis Sullivan
Vladimir Tatlin
Paul Troost
Jørn Utzon
Ludwig Mies van der Rohe
Frank Lloyd Wright
Related articles
American modernism
Armory Show
Art Deco
Art Nouveau
Ashcan School
Avant-garde
Ballets Russes
Bauhaus
Buddhist modernism
Constructivism
Cubism
Dada
Degenerate art
De Stijl
Der Blaue Reiter
Die Brücke
Ecomodernism
Expressionism
Expressionist music
Fauvism
Fourth dimension in art
Fourth dimension in literature
Futurism
Hanshinkan Modernism
High modernism
Imagism
Impressionism
International Style
Late modernism
Late modernity
Lettrism
List of art movements
List of avant-garde artists
List of modernist poets
Lyrical abstraction
Minimalism
Modern art
Modernity
Neo-Dada
Neo-primitivism
New Objectivity
Orphism
Post-Impressionism
Postminimalism
Postmodernism
Reactionary modernism
Metamodernism
Remodernism
Romanticism
Second Viennese School
Structural film
Surrealism
Symbolism
Synchromism
Tonalism
Warsaw Autumn
[show]
v
t
e
Avant-garde movements
Visual art
Abstract expressionism
Art Nouveau
Conceptual art
Constructivism
Cubism
Proto-Cubism
Cubo-Futurism
De Stijl
Devětsil
Divisionism
Fauvism
Impressionism
Neo-Impressionism
Post-Impressionism
Color Field
Incoherents
Lyrical Abstraction
Mail art
Minimalism
Mir iskusstva
Neue Slowenische Kunst
Nonconformism
Pop art
Rayonism
Suprematism
Vorticism
Nouveau réalisme
Literature and poetry
Acmeism
Angry Penguins
Asemic writing
Cyberpunk
Ego-Futurism
Experimental literature
Flarf poetry
Hungry generation
Imaginism
Language poets
Neoteric
Nouveau roman
Oberiu
Oulipo
Ultraísmo
Visual poetry
Zaum
Music
By style
Jazz
Metal
Pop
Rock
Prog
Punk
Others
Aleatoric music
Ars subtilior
Atonal music
Drone music
Electroacoustic music
Electronic music
Experimental pop
Free jazz
Futurism (music)
Industrial music
Microtonal music
Minimal music
Musique concrète
New Complexity
No wave
Noise music
Post-rock
Rock in Opposition
Second Viennese School
Serialism
Spectral music
Stochastic music
Textural music
Totalism
Twelve-tone technique
Cinema and theatre
Cinéma pur
Dogme 95
Drop Art
Epic theatre
Remodernist film
Structural film
Theatre of the Absurd
Theatre of Cruelty
General
Bauhaus
Constructivism
Dada
Expressionism
Fluxus
Futurism
Lettrism
Modernism
Minimalism
Postminimalism
Neo-minimalism
Neo-Dada
Neoism
Postmodernism
Late modernism
Primitivism
Russian Futurism
Russian symbolism
Situationist International
Social realism
Socialist realism
Surrealism
Symbolism
Book
[show]
v
t
e
Schools of poetry
Akhmatova's Orphans
Angry Penguins
Auden Group
The Beats
Black Arts Movement
Black Mountain poets
British Poetry Revival
Cairo poets
Castalian Band
Cavalier poets
Chhayavaad
Churchyard poets
Confessionalists
Créolité
Cyclic Poets
Dada
Deep image
Della Cruscans
Dolce Stil Novo
Dymock poets
Ecopoetry
The poets of Elan
Flarf
Fugitives
Garip
Gay Saber
Generation of '27
Generation of the '30s
Generation of '98
Georgian poets
Goliard
The Group
Harlem Renaissance
Harvard Aesthetes
Hungry generation
Imagism
Informationist poetry
Jindyworobaks
Lake Poets
Language poets
Martian poetry
Metaphysical poets
Misty Poets
Modernist poetry
The Movement
Négritude
Neotericism
New American Poetry
New Apocalyptics
New Formalism
New York School
Objectivists
Others
Parnassian poets
La Pléiade
Quantum Sheep
Rhymers' Club
San Francisco Renaissance
Scottish Renaissance
Sicilian School
Sons of Ben
Southern Agrarians
Spasmodic poets
Sung poetry
Surrealism
Symbolism
Uranian poetry
Authority control
GND: 4010866-1
NKC: ph305399
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dada&oldid=804966384"
Categories:
Dada
Avant-garde art
Art movements
20th-century German literature
Nonsense
Hidden categories:
CS1 Japanese-language sources (ja)
All accuracy disputes
Articles with disputed statements from April 2017
Interlanguage link template link number
Articles needing additional references from October 2017
All articles needing additional references
All articles with unsourced statements
Articles with unsourced statements from August 2011
Articles with DMOZ links
Wikipedia articles with GND identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Wikiquote
Languages
Afrikaans
Alemannisch
العربية
Azərbaycanca
বাংলা
Bân-lâm-gú
Беларуская
Беларуская (тарашкевіца)
Български
Bosanski
Brezhoneg
Català
Čeština
Cymraeg
Dansk
Deutsch
Eesti
Ελληνικά
Español
Esperanto
Euskara
فارسی
Français
Frysk
Gaeilge
Gàidhlig
Galego
한국어
Հայերեն
हिन्दी
Hrvatski
Ido
Bahasa Indonesia
Interlingua
Italiano
עברית
Basa Jawa
ქართული
Қазақша
Kurdî
Кыргызча
Latina
Latviešu
Lietuvių
Magyar
Македонски
മലയാളം
မြန်မာဘာသာ
Nederlands
日本語
Norsk
Norsk nynorsk
Occitan
Oʻzbekcha/ўзбекча
ਪੰਜਾਬੀ
پنجابی
Picard
Polski
Português
Română
Русский
Scots
Shqip
Sicilianu
Simple English
Slovenčina
Slovenščina
Ślůnski
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
Tagalog
தமிழ்
ไทย
Türkçe
Українська
اردو
Tiếng Việt
中文
Edit links
This page was last edited on 12 October 2017, at 05:59.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

values:
/wiki/Dada_(disambiguation)
mw-disambig
Dada (disambiguation)

attrs: role class

values:
note
hatnote navigation-not-searchable

value: img

attrs: alt src width height class srcset data-file-width data-file-height

attrs: href class

attrs: href title

value: i

attrs: class style

value: span

values:
/wiki/Capitalist_society
mw-redirect
Capitalist society

values: wikisource:Dada Manifesto (1916, Hugo Ball)

values:
/wiki/Literary_journals
mw-redirect
Literary journals

values:
/wiki/Sophie_Taeuber
mw-redirect
Sophie Taeuber

values:
/wiki/Cabaret_Voltaire_(Z%C3%BCrich)
mw-redirect
Cabaret Voltaire (Zürich)

values:
/wiki/Entartete_Kunst
mw-redirect
Entartete Kunst

values:
/wiki/Rrose_S%C3%A9lavy
mw-redirect
Rrose Sélavy

values: The material near this tag is possibly inaccurate or nonfactual. (April 2017)

values:
/wiki/Le_Sacre_du_printemps
mw-redirect
Le Sacre du printemps

values:
/wiki/Salon_des_Ind%C3%A9pendants
mw-redirect
Salon des Indépendants

values:
noprint
font-size:85%; font-style: normal;

values:
/wiki/Dutch_literature
mw-redirect
Dutch literature

values:
/wiki/H._N._Werkman
mw-redirect
H. N. Werkman

attrs: alt src width height srcset data-file-width data-file-height

values: Help:Introduction to referencing with Wiki Markup/1

values: plainlinks metadata ambox ambox-content ambox-Unreferenced

values:
/wiki/African_music
mw-redirect
African music

values: This claim needs references to reliable sources. (August 2011)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/Centre_Pompidou
mw-redirect
Centre Pompidou

values: div-col columns column-count column-count-2

values: -moz-column-count: 2; -webkit-column-count: 2; column-count: 2;

values: The Central Council of Dada for the World Revolution

values: -moz-column-width: 25em; -webkit-column-width: 25em; column-width: 25em;

values:
nofollow
http://www.dada-companion.com/cabaret/
external text

values:
nofollow
external text
https://monoskop.org/Zenit

values:
nofollow
http://m-78.jp/news/n-3812/
external text

values:
nofollow
http://www.chumba.com/
external text

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
plainlist
padding:0 0.1em 0.4em;text-align:left;

values: float:right;clear:right;width:auto;margin:0 0 1.0em 1.0em;background:#f9f9f9;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%

values:
nofollow
http://www.dada-companion.com/
external text

values:
nofollow
http://www.lib.uiowa.edu/dada/
external text

values:
col
navbox-title
2
background:#EAE0C8; color:black;

values:
/wiki/Early_Christian_art
mw-redirect
Early Christian art

values:
/wiki/Visigothic_art
mw-redirect
Visigothic art

values:
/wiki/Antwerp_Mannerists
mw-redirect
Antwerp Mannerists

values:
/wiki/Ashcan_school
mw-redirect
Ashcan school

values: Feminist art movement in the United States

values: nowraplinks collapsible collapsed navbox-inner

values: A Sunday Afternoon on the Island of La Grande Jatte

values:
/wiki/Modernist_literature
mw-redirect
Modernist literature

values:
/wiki/Henryk_Gorecki
mw-redirect
Henryk Gorecki

values:
/wiki/Georg_Wilhelm_Pabst
mw-redirect
Georg Wilhelm Pabst

attrs: alt src title width height srcset data-file-width data-file-height

values: nowraplinks hlist collapsible autocollapse navbox-inner

values:
/wiki/Georgian_poets
mw-redirect
Georgian poets

values:
/wiki/Objectivist_poets
mw-redirect
Objectivist poets

values:
/wiki/Others_(art_group)
mw-redirect
Others (art group)

values: nowraplinks collapsible autocollapse navbox-inner

values:
nofollow
external text
https://d-nb.info/gnd/4010866-1

values: Category:CS1 Japanese-language sources (ja)

values: Category:Articles with disputed statements from April 2017

values: Category:Interlanguage link template link number

values: Category:Articles needing additional references from October 2017

values: Category:All articles needing additional references

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from August 2011

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Dada
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values:
/w/index.php?title=Dada&action=edit
Edit this page [ctrl-alt-e]
e

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
uls-settings-trigger
Language settings
0
button
true

values:
https://az.wikipedia.org/wiki/Dadaizm
Dadaizm – Azerbaijani
az
az
interlanguage-link-target

values: Дадаізм – Belarusian (Taraškievica orthography)

values: Дадаизъм – Bulgarian

values:
https://bs.wikipedia.org/wiki/Dadaizam
Dadaizam – Bosnian
bs
bs
interlanguage-link-target

values:
https://br.wikipedia.org/wiki/Dada
Dada – Breton
br
br
interlanguage-link-target

values:
https://ca.wikipedia.org/wiki/Dadaisme
Dadaisme – Catalan
ca
ca
interlanguage-link-target

values:
https://cs.wikipedia.org/wiki/Dadaismus
Dadaismus – Czech
cs
cs
interlanguage-link-target

values:
https://cy.wikipedia.org/wiki/Dada
Dada – Welsh
cy
cy
interlanguage-link-target

values:
https://da.wikipedia.org/wiki/Dadaisme
Dadaisme – Danish
da
da
interlanguage-link-target

values:
https://de.wikipedia.org/wiki/Dadaismus
Dadaismus – German
de
de
interlanguage-link-target

values:
https://et.wikipedia.org/wiki/Dadaism
Dadaism – Estonian
et
et
interlanguage-link-target

values: Ντανταϊσμός – Greek

values:
https://eo.wikipedia.org/wiki/Dadaismo
Dadaismo – Esperanto
eo
eo
interlanguage-link-target

values:
https://eu.wikipedia.org/wiki/Dadaismo
Dadaismo – Basque
eu
eu
interlanguage-link-target

values: دادائیسم – Persian

values:
https://fr.wikipedia.org/wiki/Dada
Dada – French
fr
fr
interlanguage-link-target

values:
https://ga.wikipedia.org/wiki/Dadachas
Dadachas – Irish
ga
ga
interlanguage-link-target

values:
https://gd.wikipedia.org/wiki/Dada
Dada – Scottish Gaelic
gd
gd
interlanguage-link-target

values: Դադաիզմ – Armenian

values: डाडावाद – Hindi

values:
https://hr.wikipedia.org/wiki/Dadaizam
Dadaizam – Croatian
hr
hr
interlanguage-link-target

values:
https://io.wikipedia.org/wiki/Dadaismo
Dadaismo – Ido
io
io
interlanguage-link-target

values:
https://id.wikipedia.org/wiki/Dadaisme
Dadaisme – Indonesian
id
id
interlanguage-link-target

values:
https://ia.wikipedia.org/wiki/Dadaismo
Dadaismo – Interlingua
ia
ia
interlanguage-link-target

values:
https://it.wikipedia.org/wiki/Dadaismo
Dadaismo – Italian
it
it
interlanguage-link-target

values: interlanguage-link interwiki-he badge-Q17437796 badge-featuredarticle

values:
https://jv.wikipedia.org/wiki/Dadaisme
Dadaisme – Javanese
jv
jv
interlanguage-link-target

values: დადაიზმი – Georgian

values: Дадаизм – Kazakh

values:
https://ku.wikipedia.org/wiki/Dadaizm
Dadaizm – Kurdish
ku
ku
interlanguage-link-target

values: Дадаизм – Kyrgyz

values:
https://la.wikipedia.org/wiki/Dada
Dada – Latin
la
la
interlanguage-link-target

values:
https://lv.wikipedia.org/wiki/Dadaisms
Dadaisms – Latvian
lv
lv
interlanguage-link-target

values:
https://lt.wikipedia.org/wiki/Dadaizmas
Dadaizmas – Lithuanian
lt
lt
interlanguage-link-target

values:
https://hu.wikipedia.org/wiki/Dadaizmus
Dadaizmus – Hungarian
hu
hu
interlanguage-link-target

values: ദാദായിസം – Malayalam

values: ဒါဒါဝါဒ – Burmese

values:
https://no.wikipedia.org/wiki/Dadaisme
Dadaisme – Norwegian
no
no
interlanguage-link-target

values:
https://nn.wikipedia.org/wiki/Dadaisme
Dadaisme – Norwegian Nynorsk
nn
nn
interlanguage-link-target

values:
https://uz.wikipedia.org/wiki/Dadaizm
Dadaizm – Uzbek
uz
uz
interlanguage-link-target

values:
https://pl.wikipedia.org/wiki/Dadaizm
Dadaizm – Polish
pl
pl
interlanguage-link-target

values:
https://ro.wikipedia.org/wiki/Dadaism
Dadaism – Romanian
ro
ro
interlanguage-link-target

values: Дадаизм – Russian

values:
https://sco.wikipedia.org/wiki/Dada
Dada – Scots
sco
sco
interlanguage-link-target

values:
https://sq.wikipedia.org/wiki/Dadaizmi
Dadaizmi – Albanian
sq
sq
interlanguage-link-target

values:
https://scn.wikipedia.org/wiki/Dadaismu
Dadaismu – Sicilian
scn
scn
interlanguage-link-target

values:
https://sk.wikipedia.org/wiki/Dadaizmus
Dadaizmus – Slovak
sk
sk
interlanguage-link-target

values:
https://sl.wikipedia.org/wiki/Dadaizem
Dadaizem – Slovenian
sl
sl
interlanguage-link-target

values:
https://szl.wikipedia.org/wiki/Dadajizm
Dadajizm – Silesian
szl
szl
interlanguage-link-target

values: Дадаизам – Serbian

values:
https://sh.wikipedia.org/wiki/Dadaizam
Dadaizam – Serbo-Croatian
sh
sh
interlanguage-link-target

values:
https://fi.wikipedia.org/wiki/Dada
Dada – Finnish
fi
fi
interlanguage-link-target

values:
https://sv.wikipedia.org/wiki/Dadaism
Dadaism – Swedish
sv
sv
interlanguage-link-target

values:
https://tl.wikipedia.org/wiki/Dadaismo
Dadaismo – Tagalog
tl
tl
interlanguage-link-target

values: ஆடுகுதிரைவாதம் (டாடா) – Tamil

values:
https://tr.wikipedia.org/wiki/Dadaizm
Dadaizm – Turkish
tr
tr
interlanguage-link-target

values:
https://vi.wikipedia.org/wiki/Dada
Dada – Vietnamese
vi
vi
interlanguage-link-target

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Dada rootpage-Dada vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Indian 2000-rupee note
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Indian currency notes
Two thousand rupees
(India)
Value
₹2000
Width
166 mm
Height
66 mm
Years of printing
09.November 2016 – Current
Obverse
Design
Mahatma Gandhi
Design date
2016
Reverse
Design
Mangalyaan
Design date
2016
The Indian 2000-rupee banknote (₹2000) is a denomination of the Indian rupee. It was released by the Reserve Bank of India (RBI) on 8 November 2016 after the demonetisation of ₹500 and ₹1000 banknotes and has been in circulation since 10 November 2016.[1] It is a part of the Mahatma Gandhi New Series of banknotes with a completely new design.
The Indian ₹2000 rupee note is the highest currency note printed by RBI that is in active circulation, ever since the 1,000 rupee note was demonetised in November 2016.[2][3][4] Before the official announcement by RBI, the media reported that ₹2000 notes had been printed from the currency printing press in Mysuru by the end of October 2016.[5] Post 2016 Indian banknote demonetisation, five new currency notes have been announced by Reserve Bank of India-- ₹2,000, ₹500, ₹200, ₹50, and ₹1.[6][7]
Contents
[hide]
1 Design
1.1 Security features
1.2 Languages
2 Criticisms
3 See also
4 References
Design[edit]
The new ₹2000 banknote is a 66 mm × 166 mm magenta coloured note, with the obverse side featuring a portrait of Mahatma Gandhi, the Ashoka Pillar Emblem, and the signature of Reserve Bank of India Governor. It has Braille print on it, to assist the visually challenged in identifying the currency. The reverse side features a motif of the Mangalyaan, representing India's first interplanetary space mission, and the logo and tag line for Swachh Bharat Abhiyan.[1]
Security features[edit]
The ₹2000 banknote has multiple security features, listed below:[1]
See through register with denominational numeral ₹2000
Latent image with denominational numeral ₹2000
Micro letters ‘RBI’ and ‘2000’ on the left side of the banknote
Windowed security thread with inscriptions ‘भारत’, RBI, and ₹2000 on banknotes, with a colour shift. The thread colour changes from green to blue when the note is tilted
Guarantee Clause, the Governor’s signature with the Promise Clause, and the RBI's emblem on the right side
Denominational numeral with Rupee Symbol, ₹2000 in colour changing ink (green to blue) on bottom right
Ashoka Pillar emblem on the right Mahatma Gandhi portrait and electrotype (2000) watermarks
Number panel with numerals growing from small to big on the top left side and bottom right side.
For the visually impaired Intaglio (raised printing) of Mahatma Gandhi portrait, Ashoka Pillar emblem, bleed lines and identity mark
Horizontal rectangle with ₹2000 in raised print on the right
Seven angular bleed lines on left and right side in raised print (obverse)
Year of printing of the note on the left (reverse)
Languages[edit]
Like other Indian rupee banknotes, the ₹2000 banknote has its amount written in 17 languages. On the obverse, the denomination is written in English and Hindi. On the reverse is a language panel which displays the denomination of the note in 15 of the 22 official languages of India. The languages are displayed in alphabetical order. Languages included on the panel are Assamese, Bengali, Gujarati, Kannada, Kashmiri, Konkani, Malayalam, Marathi, Nepali, Odia, Punjabi, Sanskrit, Tamil, Telugu and Urdu.
Denominations in central level official languages (At below either ends)
Language
₹2000
English Two thousand rupees
Hindi दो हज़ार रुपये
Denominations in 15 state level/other official languages (As seen on the language panel)
Assamese দুহেজাৰ টকা
Bengali দুই হাজার টাকা
Gujarati બે હજાર રૂપિયા
Kannada ಎರಡು ಸಾವಿರ ರುಪಾಯಿಗಳು
Kashmiri د ساس رۄپے
Konkani दोन हजार रुपया
Malayalam രണ്ടായിരം രൂപ
Marathi दोन हजार रुपये
Nepali दुई हजार रुपियाँ
Odia ଦୁଇ ହଜାର ଟଙ୍କା
Punjabi ਦੋ ਹਜ਼ਾਰ ਰੁਪਏ
Sanskrit द्विसहस्रं रूप्यकाणि
Tamil இரண்டாயிரம் ரூபாய்
Telugu రెండు వేల రూపాయలు
Urdu دو ہزار روپے
Criticisms[edit]
The introduction of such high denomination currency has been criticized by some, with former Finance minister of India P. Chidambaram dubbing the move "puzzling".[8] The design of the new note was criticized by former Minister of Commerce and Industry Anand Sharma.[9]
See also[edit]
Indian 500 and 1000 rupee note demonetisation
Indian 200-rupee note
References[edit]
^ Jump up to: a b c Killawala, Alpana (8 November 2016). "Issue of ₹ 2000 Banknotes" (PDF) (Press release). RESERVE BANK OF INDIA. Retrieved 14 November 2016.
Jump up ^ Krishnamachari, S V (22 October 2016). "Reserve Bank of India to issue Rs 2,000 notes soon: Report". IB Times.
Jump up ^ "Trending: Rs 2000 Note First Look!". gulte.com. 6 November 2016.
Jump up ^ "Is this new Rs2,000 banknote from RBI? Twitterati seems to think so". New Delhi: Indian Express. 6 November 2016.
Jump up ^ Sridhar, G Naga; Vageesh, NS (21 October 2016). "Coming soon to your wallet: ₹2,000 notes". The Hindu Business Line.
Jump up ^ "Why the RBI is giving you the new Rs 200 note".
Jump up ^ "Re-10 note back in business".
Jump up ^ "War on black money: Introducing Rs 2000 note is a puzzle, says Chidambaram | Latest News & Updates at Daily News & Analysis". dna. 9 November 2016.
Jump up ^ "Rs 2,000 note Color reminds me of 'churan ki pudiya': Anand Sharma". The Economic Times.
hide
v
t
e
Indian rupee (₹)
Subunits
Pie (obsolete)
Anna (obsolete)
Paisa
Coins
Present
50 p.
₹1
₹2
₹5
₹10
Former
1 naya paisa
2 naye paise
5 naye paise
1 p.
2 p.
3 p.
5 p.
10 p.
20 p.
25 p.
Banknotes
Series
Lion Capital Series
Mahatma Gandhi Series
Mahatma Gandhi New Series
Denominations
₹1
₹2
₹5
₹10
₹20
₹50
₹100
₹200
₹500
₹1000
₹2000
Mints
India Government Mint
Hyderabad
Kolkata
Mumbai
Noida
Topics
Reserve Bank of India
Economy of India
Demonetisation of ₹500 & ₹1000 notes
Retrieved from "https://en.wikipedia.org/w/index.php?title=Indian_2000-rupee_note&oldid=850513403"
Categories:
Banknotes of India
Rupee
Two-thousand-base-unit banknotes
Currency introduced in 2016
Hidden categories:
Use dmy dates from November 2016
Articles containing Hindi-language text
Articles containing Assamese-language text
Articles containing Bengali-language text
Articles containing Gujarati-language text
Articles containing Kannada-language text
Articles containing Kashmiri-language text
Articles containing Konkani-language text
Articles containing Malayalam-language text
Articles containing Marathi-language text
Articles containing Nepali-language text
Articles containing Odia-language text
Articles containing Punjabi-language text
Articles containing Sanskrit-language text
Articles containing Tamil-language text
Articles containing Telugu-language text
Articles containing Urdu-language text
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
বাংলা
हिन्दी
ಕನ್ನಡ
മലയാളം
தமிழ்
Edit links
This page was last edited on 16 July 2018, at 10:35 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: p

value: caption

value: th

attrs: colspan style

value: tr

value: td

values: India new 2000 INR, MG series, 2016, obverse.jpg

values:
/wiki/Mohandas_Karamchand_Gandhi
mw-redirect
Mohandas Karamchand Gandhi

values: India new 2000 INR, MG series, 2016, reverse.jpg

values:
/wiki/Ashoka_Pillar
mw-redirect
Ashoka Pillar

values: List of Governors of Reserve Bank of India

values:
/wiki/Swachh_Bharat_Abhiyan
mw-redirect
Swachh Bharat Abhiyan

values:
/wiki/Micro_printing
mw-redirect
Micro printing

values:
/wiki/Indian_rupee_symbol
mw-redirect
Indian rupee symbol

values:
/wiki/Gujarati_script
mw-redirect
Gujarati script

values:
/wiki/Urdu_language
mw-redirect
Urdu language

values: Ministry of Commerce and Industry (India)

values:
/wiki/Indian_Express
mw-redirect
Indian Express

values:
/wiki/The_Hindu_Business_Line
mw-redirect
The Hindu Business Line

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
/wiki/50_paise_(Indian_coin)
mw-redirect
50 paise (Indian coin)

values:
/wiki/Mint_(coin)
mw-redirect
Mint (coin)

values: nowraplinks collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible

values: Category:Use dmy dates from November 2016

values: Category:Articles containing Hindi-language text

values: Category:Articles containing Assamese-language text

values: Category:Articles containing Bengali-language text

values: Category:Articles containing Gujarati-language text

values: Category:Articles containing Kannada-language text

values: Category:Articles containing Kashmiri-language text

values: Category:Articles containing Konkani-language text

values: Category:Articles containing Malayalam-language text

values: Category:Articles containing Marathi-language text

values: Category:Articles containing Nepali-language text

values: Category:Articles containing Odia-language text

values: Category:Articles containing Punjabi-language text

values: Category:Articles containing Sanskrit-language text

values: Category:Articles containing Tamil-language text

values: Category:Articles containing Telugu-language text

values: Category:Articles containing Urdu-language text

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Indian_2000-rupee_note
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: ভারতীয় ২০০০ টাকার নোট – Bangla

values: भारतीय २००० हजार का नोट – Hindi

values: ಭಾರತೀಯ ೨೦೦೦ ರೂಪಾಯಿ ನೋಟು – Kannada

values: രണ്ടായിരം രൂപ നോട്ട് – Malayalam

values: இந்திய 2000 ரூபாய் தாள் – Tamil

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Indian_2000-rupee_note rootpage-Indian_2000-rupee_note skin-vector action-view