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Zurich Dada and Dance: Formative Ferment

Published online by Cambridge University Press:  22 July 2014

Naima Prevots
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Extract

Zurich Dada had a profound impact on twentieth-century dance, bringing new possibilities to a rapidly changing field. The Dadaist performance ideas were mainly drawn from pre-World War I artistic movements—Futurism, Expressionism and Cubism. Coming together during World War I in Zurich, the artists and writers who made up the group found themselves loosely unified in a desire to destroy traditional forms of expression and build a society based on a purer vision encompassed in new artistic forms. The intensity of time and place—a small city far from the immediate battles of the war—allowed for an exchange of ideas that reactivated, integrated and reshaped the pre-World War I manifestoes and experiments of the various art movements.

Type
Research Article
Information
Dance Research Journal , Volume 17 , Issue 1 , Spring/Summer 1985 , pp. 3 - 8
Copyright
Copyright © Congress on Research in Dance 1985

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References

NOTES

1. Sophie Taeuber married Jean Arp in 1922. She later used Sophie Taeuber-Arp, but here she will be referred to as Sophie Taeuber.

2. Richter, Hans, Dada: Art and Anti-Art (New York: McGraw Hill, 1965). pp. 46–47Google Scholar.

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11. Caption from exhibit, Primitivism in 20th Century Art, Museum of Modern Art, Fall 1984.

12. Ball, p. 64.

13. Huelsenbeck, Richard, Memoirs of a Dada Drummer, ed. Kleinschmidt, Hans J., trans. Neugroschel, Joachim (New York: Viking Press, 1974)Google Scholar.

14. Ball, p. 104.

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16. Ball, p. 104.

17. Laban, p. 51.

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19. Ibid., p. 87.

20. Ibid.

21. Richter, p. 71.

22. Lanchner, Carolyn, ed., Sophie Taeuber-Arp (New York: Museum of Modern Art, 1982), p. 11Google Scholar.