DADA POEM
Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centres in Zürich, Switzerland, at the Cabaret Voltaire (c. 1916). New York Dada began c. 1915, and after 1920 Dada flourished in Paris. Dadaist activities lasted until c. the mid 1920s.
Grand opening of the first Dada exhibition: International Dada Fair, Berlin, 5 June 1920. The central figure hanging from the ceiling was an effigy of a German officer with a pig's head. From left to right: Raoul Hausmann, Hannah Höch (sitting), Otto Burchard, Johannes Baader, Wieland Herzfelde, Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), George Grosz and John Heartfield.
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.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 toward violence, war, and nationalism, and maintained political affinities with radical left-wing and far-left politics.
There is no consensus on the origin of the movement's name; a common story is that the German artist Richard Huelsenbeck slid a paper knife (letter-opener) at random into a dictionary, where it landed on "dada", a colloquial French term for a hobby horse. Jean Arp wrote that Tristan Tzara invented the word at 6 p.m. on 6 February 1916, in the Café de la Terrasse in Zürich. 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.
The roots of Dada lie in pre-war avant-garde. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works that challenge accepted definitions of art. 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. 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.The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916.
Ozymandias
By PERCY BYSSHE SHELLEY
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
DADA POEM
Sand my.
Lies and of;
Bare the;
An that sands in on frown command.
That a land shattered pedestal.
Survive passions words well who things;
And level yet these on.
Appear: round sneer sculptor.
Boundless of desert name ye;
The cold.
Them and lifeless remains the read said—“two sunk hand mocked vast these met and.
And decay beside near look.
Its stone.
Fed ozymandias king.
Traveller I;
Half the kings stamped lone whose my them the.
Antique lip trunkless tell.
Nothing heart on of;
That stand mighty the.
A on visage wrinkled works and which colossal is wreck.
Away” legs stretch and and despair! far.
From of those that the
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