Richter- Grayson

In his Dadaist manifestoes, Tzara outlines a number of ideas that define the Dada movement, one of which can be found on page eighty. Tzara writes, “What we need is works that are strong straight precise and forever beyond understanding. Logic is a complication. Logic is always wrong. It draws the threads of notions, words, in their formal exterior, towards illusory ends and centers. Its chains kill, it is an enormous centipede stifling independence”. Arp’s “The Guest Expulsed”, which can be found on page 52 and 53 of the Richter text, as well as Ball’s “Gadji Beri Bimba” on pages 42 and 43 are good examples of what Dada must be according to Tzara.

                In both of these pieces, particularly in “The Guest Explulsed”, the language used is very strong and precise, following typical grammatical structure (at least in the English translation provided) but, as Tzara states, it is completely beyond understanding. While there is a very strong visual element to the piece, the images do not fit together logically. Likewise, “Gadji Beri Bimba” relies on very strong sounds, but the piece runs on a sort of made up language with no semantic content. Combined with the performance aspect of the piece that Richter describes, a common and powerful aspect of Dadaist art, Ball creates imagery just as vivid if not more ridiculous than Arp.

                While both of these pieces utilize similar ideas and the strong and precise language, both literal and figurative, that is described in the Dadaist manifestoes, these two artists maintain their independence, and the work produced under Tzara’s principles is completely different.

Belles Blog Post

An elusive and otherwise undefinable term, Dada is nearly impossible to describe.  The beauty in Richter's work is that it brings together many examples of Dada and holds them side-by-side, so that they may be compared and combed for commonalities.  Paired with Tzara's comprehensive Dada manifesto, we the reader are left with a (seemingly) complete image of what the movement has to offer. Between the Richter and Tzara, many similarities can be found.  Of course, within a movement whose core tenets include disdain for fellow artists and the artistic community, there also are a multitude of unique styles and methods used in pursuit of Dada.  What remains the same, though, are the artists blatant disregard for the norm, and in fact, their striving to break away from the traditional and create something disruptively unique.  It appears to me that, because many Dadaists exist in the same time period, that the society and culture against which they rebel is often the same across the board.    Given this, it is understandable that two artists trying their hardest to create something unique may actually land upon something very similar, given the fact that they share a "common enemy", if you will.  In the Richter text, I noticed the poem  "THE GUEST EXPULSED" to be very similar to the work of Tzara.  For one, the authors both create their own language; sounds like "Dadadado" are used to fill spaces in structure and plot that words could not.  The authors write with reckless abandon to traditional styles, forgoing paragraph format and sentence structure in favor of shorter, choppy sentences that often lack key components.  The authors also make use of descriptive language, favoring words that describe color and texture to those which would elaborate upon meaning or theme.  It is not surprising to me that the works of these Dadaists resemble one another, even if this was the last thing the artists had intended.  It appears that the unique rejection of culture may look similar when the object of rejection is the same.

Richter

In his text, Richter provides the reader with a clearer understanding of what Dadaism is exactly. There is a great emphasis on the rejection of logic and lucidness that creates a nonsensical quantity among the different dada forms. Richter highlights this when he includes Hugo Ball’s poem, “O gadji beri bimba” in DADA: Art and Anti-art.  In my opinion, and from my understanding of Dada, I believe that this poem has numerous elements of Dada. The first few lines of the poem read as: “gadji beri bimba glandridi laula lonni cadori / 
gadjama gramma berida bimbala glandri galassassa laulitalomini gadji beri/ bin blassa glassala laula lonni cadorsu sassala bim.” While, reading it aloud, it is absolutely evident that this poem was written more for phonetics than meaning itself. None of the words used in the poem are defined to have meaning but we can still see that there is a connection between them- a connection of sound.  At first it is difficult to read the poem but not much later, the words just seem to flow and roll off the tongue. There is also a good bit of rhyme and alliteration that helps this flow. All in all, the words give a very whimsical and foreign vibe. Some of the sounds resemble different languages like Italian, Hindi, African, French, and even English.  The diversity, and nontraditional style of this poem is one of the greatest contributing factors of making this piece a work of Dada. The unconventionality of “O gadji beri bimba” lies greatly in the fact that it is a phonetic poem. Many poems that people then and even now appreciate are those that have deep and remarkable meaning, however, here we see that the beauty of the poem lies in the sound it.

Where as Richter has more of a narrative and straight forward approach to the context of Dada, we can note that Tzara takes on a different register. Tzara allows for his manifestos to be a form of Dada itself and also discussing that understanding Dada is a form of Dada. In DADA: Art and Anti-art, Richter includes forms of Dada in his text to prove the nonsensical nature of Dada, while Tzara evokes the use of contradictions to formulate his Manifestos into a work of Dada as a whole. In his manifesto, he writes, “Freedom: Dada Dada Dada, a roaring of tense colors and interlacing of opposite and of all contradictions, grotesques, inconsistencies: LIFE,” (pg 82). He considers that life is full of inconsistencies and not as logical as people would like to believe. As such, art should be reflected in the same way. Dada in an attempt move away from the formulaic styles of art and find a new understanding of the world through different art forms. This may be done through experimenting with sounds, contridictions or performances.

Richter Post

When reading Richter’s poem, End of the World (1916), I believe I made the most connections to dada and nonsensical come from how the author creates visual images.  

Have you ever seen the fish that have been standing in front of the

opera in cutaways

for the last two days and nights…?

Ah ah ye great devils – ah ah ye keepers of the bees and commandants

With a bow wow wow with a boe woe woe who today does not know

what our Father Homer wrote (pg. 53)

The beginning of the poem starts with the line, “This is what things have come to in this world…” and the rest depicts different images that in normality are not seen. The overall contraction in this poem comes from the fact that it is supposed to detail the world we live in, and in reality, the poem details very unrealistic occurrences. Dada is the art form of contradiction or compatibility between opposites. When I was examining this particular poem, I found myself being able to picture the fish in line and there actually being keepers of bees. In my mind, these images being envisioned, do not necessarily make sense, but they are able to be created which can be the intention the author meant as far as the world coming to expand their imagination.

            Richter also mentions that Tzara, “could not help furthering the cause of art” and dedicating it to dada (pg. 54). Incorporating nonsensical imagery and contradictory meanings influences how the poem falls into nonsensical literature. Looking closer at the lines in the poem, the author plays with sounds and expressions. The repetition of sounds like bow, wow and woe in my opinion, created a sense of babbling and rambling. This portion felt like it did not exactly fit with the previous messages being written. But, they contributed to the overall theme of what has happened to the world. There seems to be the connection between gibberish and rambling and the way we express ourselves now. The author might be trying to point to the idea that much of what we say can have very little meaning, but it is perhaps in our thoughts that make the least sense, where true art and dada can be found.

Richter and Dadism - Matt Tsang

What stood out to me was how Dadaism was described as taking scraps of magazines, placing them in a hat, and scattering them on the ground to create art and poetry. This sort of style of unconventionally creating images through a string of seemingly unrelated words together pushes the boundary of art and poetry that both Dadaism and Richter's poems possess.

In the poem "The Guest Expulsed" by Hans Arp, words are seemingly strung together as if the words were written down on scraps of paper and then tossed down to create phrases and sentences. For example, the first line says "Their rubber hammer strikes down the sea". In a very strict sense, this is nonsensical because there is no appropriate context to who "their" is referring to, and it is strange to picture someone taking a rubber hammer and hitting sea water with it. The entire poem continues in this manner, a rag tag conglomerate of strange images that all together create a single poem.

Their rubber hammer strikes the sea/Down the black general so brave./With silken braid they deck him out/As fifth wheel on the common grave

All striped in yellow with the tides/They decorate his firmament./The epaulettes they then construct/Of June July and wet cement.

That is the beauty of it, that working against structure by working within structure can create a poem that is created by chance. Very similar to what we have seen before in previous texts, Richter's poems do work within the conventional forms and grammatical usage of words in order to create poems of random words.

This random placement of words, this chance, is what Dadaism is trying to get at. Dadaism works against order and against any kind of structure, but the paradox is that the first principle of Dadaism is to have no principle. Dadaism implies that there is a structure to create no structure, that there is a systematic way to work and write against the system. This chance allows the artist to disregard logic, which Tzara writes "Logic is a complication. Logic is always wrong. It draws the threads of notions, words, in their formal exterior, toward illusory ends and centers." Dadaism says to throw away logic in order to create art that is simple, artistic, and clean. In a way, it is to disregard meaning altogether, all previous notions and concepts of the words, and simply just appreciate the existence and the sounds of the words together. This is seen a very basic sense in another poem of Richter's:

gadji beri bimba glandridi laula lonni cadori/gadjama gramma berida bimbala glandri galassassa laulitalomini/...

This is a very drastic example of the active simplicity of Dadaism. Literally, the sounds of letters put together defies any and almost all logical sense. It creates words within the conventional ways of making words with letters and allows the reader to see the appreciation of pure sounds. The principle to writing or reading this poem is that there is no principle. This poem, to me, epitomizes the idea of Dadaism, throwing random letters together by chance to create unconventional words that forces the reader to throw away any notions of meaning in order to appreciate the simplicity of chance, unconventionality, and disorder.

Blog 4: Tzara’s Manifestos viewed through Hans Arp’s “The Guest Expulsed” -- Nicole Seifert

When reading through the poems presented in Richter’s text, Arp’s “The Guest Expulsed” stood out to me as a piece that might defy some of the expectations of Dada, which is why I chose it as the poem to examine in relation to what Tzara says in his “7 Dada Manifestos”. One of the leading examples of this defiance is the apparent structure and conventionality of the poem. “The Guest Expulsed” appears from first glance to be very structured with its even stanzas, and upon reading it, the rhyme scheme resembles that of many common poems. This goes against Tzara’s explanation that “[Dada’s] lack of garters that make it stoop down systematically reminds us of the famous lack of system that never existed” (94). From this statement, Tzara is saying that not only does Dada lack a system, but a system that could have been in place cannot be conceived. Therefore, Arp’s assumed use of systematic decisions to create his poem does not clearly comply with what Tzara says.

Apart from what Tzara explicitly says, Arp’s poem has similarities to Tzara’s manifestos in regards to characteristics of the writing itself. Although Arp uses quite a strong structure, the contents of the poem are essentially impossible to understand based on word choice and continuity. For example, Arp uses the nonsense term “Dadadado”. This term may be made up simply to fit the rhyme scheme, but it seems to be no mistake that we see “Dada” at its beginning and middle. Nonsense words, especially ones with repeating syllables, are also found within Tzara’s manifestos (even as early as the first page of the first manifesto with the term “HoHiHoHo Bang” [75]). Although both author’s motivation by using such terminology cannot be determined, it seems like they are motivated by the need to convey nonsense, and this is something they have in common.

The two pieces are also similar with their heavy reliance on object-based images. Arp introduces a new (tangible) noun in almost every line of his poem and describes it with an adjective, often a color or texture (e.g. line 1 “Their rubber hammer strikes the sea”). Likewise, Tzara introduces a varied bag of images in “3. Proclamation without Pretension” by introducing images of musicians smashing instruments, blind men, syringes, and art, all within five lines (82), or in “4. Manifesto of the mr. aa the anti-philosopher” where he mentions so many objects that it would be too long to quote here.

Overall, Arp’s poem relates to Tzara’s manifestos in that they “do what he does, not what he says”. However, not even Tzara completely follows his own advice as to what Dada is or should be, therefore a similarity in character might be an even stronger resemblance than an attempt to fit under the manifestos’ instruction.

Richter poem

In the Richter text, there were different forms of dada presented as examples of dada art. All of the examples had a nonsense aspect to them and some had context, while other did not. I choose the first part of the “gadji beri bimba” poem that I felt represented dada in an encompassing way:

            “gadji beri bimba glandridi laula lonni cadori

            gadjama gramma berida bimbala glandri galassassa laulitalomini

            gadji beri bin blassa glassala laula lonni cadorsu sassala bim

            Gadjama tuffm i zimzalla binban gligia wowolimai bin beri ban

            o katalominal rhinocerossola hopsamen laulitalomini hoooo gadjama

            rhinocerossola hopsamen

            bluku terullala blaulala looooo…” (Tzara, 42)

At first glance this poem probably seems as though it makes no sense and that it’s just a lot of words form different languages mixed together to make up a summary of words. Although if you read this poem aloud then you will notice that it encompasses just what dada stands for. When hearing the poem read or reading it yourself, you start to notice that this particular poem was written for phonetic purposes and nothing else. There were no concept ideas put into this poem but it seems as though it basically just ran off of free association. Free association is actually one of the themes for dada and it actually runs with predetermined chance. Also, even though it seems like the words or “sounds” of this poem were put together randomly, Tzara writes, “I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air…” (Tzara, 76)

This means that this poem was meant to be contradictory, whether with sound, phrasing, word choice, or meaning of the poem. So even though there is chance luring in the back of the poem, there is a sense of meaning within it because the poem has to have some contradictory elements in it. The most obvious contrast in the poem would be the edited word choice and the meaning. For example, the word “rhinocerossola” is referring to the animal rhinoceros but the sound of the word produces a ending hiss and a hint of a romantic language in the word. Dada is contradictory but also driven by predetermined chance. Another good point made in the Dada manifestos is that “sensibility is not constructed on the basis of a word…” (Tzara, 77) So the sensibility for this poem was created out of the sound of the words. This applies to dada art because Tzara is trying to explain that sense was not seen or defined the same way when expressed through dada. Sometimes dada was just nonsense that was made out a beauty or for it’s beauty.

            These poems fit the vision of dada outlined in Tzara, especially the all-encompassing definition of “dada; knowledge of all the means rejected up until now… Dada; abolition of logic… Dada; every object, all objects, sentiments, obscurities… Dada; abolition of memory…” (Tzara, 81) I can physically see these things within the poems that are exemplified in the Richter text.

Dadaist poetry- Hernandez

                Taking a look at Georges Ribemont-Dessaignes’ poem, its important to read the page of reasoning and description Richter places in front of it. First, the paragraph where Richter explains a method to his art, one in which he painted at twilight, so that the colors were almost indistinguishable, yet he goes on to mention that there was a consciousness to his hands choice of color, as the color appeared on the canvas. This idea, of almost random action actually being specific and willed is an interesting concept of the Dadaist poetry we’ve read.  Take for example Richter’s excerpts of abstract poetry, “gadji beri bimba glandridi laula lonni cadori…”  At first it makes no sense. Then it continues to make no sense. The takeaway from this poetry is not dependent on sense at all. It is a rhythmic verse that comes together, perhaps it sounds like another language. It brings to mind being lost in translation. It’s like hearing a tape in Chinese, a language you hypothetically have no knowledge of, and simply listening, reading, letting the sound and visual of the text affect you. Perhaps you catch a rhyme, a particularly nice sounding line, and then you enjoy it, you think on it after, all without understanding a thing.

                Looking at the Dadaist poetry, specifically Ribemont- Dessaignes’, its necessary to keep this feeling of rhythmic enjoyment in mind. Despite the use of real language, or words that we understand, a reader may not be able to understand the dramatic situation in the poem, or even the entire poem. But like Richter explained in his thoughts on his painting in the twilight, there is a sense of directed choice in the poem.

                “He placed his hat upon the ground and filled it up with earth.

                 Then, with his fingers, he sowed a tear in it.”

                This set of lines is complex; it brings to question why the man would do such a thing, why he would sow a tear in his hat that has just been filled with earth. Despite the lack of understanding on the why, the poem means something; it does something for the purpose of poetry. It has been willed to be this way by chance. Like a hodgepodge of reason that clicks. The rest of the poem is the same, it follows the leaps in logic, and addresses the strange as normal. It does this because of the idea of art willed into being through the route of chance. Richter emphasizes on the idea of chance not being random for Dadaists, rather, it is a subconscious creation of what we have said chance is responsible for. Chance is directed according to Richter, and the poems mentioned have purpose despite nonsense language or even nonsense subjects.

Analysis of Dada-Merchant

Tristan Tzara published seven manifestos trying to define “Dada”; an idea, which he claimed, was indefinable. I think his quest to explain something he thought was impossible to explain explains the very essence of what Dadaism really is. Hans Richter took this analysis a step further by looking at the works of many Dadaists and picking them apart and illustrating what Dadaism meant. Many of the pieces he chose resonated strongly with Tzara’s manifestos but there was one poem in particular “Anna Blume” by Kurt Schwitters, which to me really reflected what Tzara was trying to convey in his manifestos.  Tzara says in his manifesto

“I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air; I am against action; for any continuous contradiction, for affirmation too, I am neither for not against and I do not explain because I hate common sense”

“Dada; abolition of logic, which is the dance of those impotent to create: Dada; of every social hierarchy and equation set up for the sake of values by our valets: Dada; every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: Dada;”

After reading this particular excerpt from Tzara you get the general impression that Dadaists did not like to make sense in general. From what Tzara is trying to convey it seems as if Dadaists will go out of their way to make sure that none of their work is “common sense”. One particular poem that Richter examines in his analysis “Anna Blume” reflects Tzara’s sentiments exactly.  A few lines from the poem go like this

            You wear your hat upon your feet and walk round

on your hands, upon your hands you walk.

Halloo, your red dress, sawn up in white pleats.

Red I love Anna Blume, red I love your! —You

Ye you your, I your, you my. —We?

You can see here the contrary actions Tzara speaks of as this poet has a general theme of love for Anna Blume but the words of the poem go on to reject logic and common sense. Though when you read this poem you are able to get the gist that it is meant to be a love poem but when you dig deeper you notice that this poet has defied the rules of language by ignoring rules of possessive pronouns. “I your, you my” this poet has gone out of his way to purposefully reject logic. This is also seen in the first lines of the excerpt because of course no one will wear a hat on their feet or walk upon their hands in the normal sensical world but that is what makes this poem part of Dada. This poet illustrates the contrary actions of making sense in general by painting a big picture of love while at the same time rejecting rules of language because “Dada is the abolition of logic”

Richter and Tzara: Dadaism_Bianco

In Hans Richter’s DADA: Art and Anti-Art he discusses Dadaism through structuralization. For instance in one of the sections he discusses abstract poetry, particularly the phonetic poem ‘O Gadji Beri Bimba’ by Hugo Ball. When discussing this poem, Richter discusses the performance and acknowledgement by society of Dadaism and its initial reaction to the poem itself. Richter tries to demonstrate the importance of Dadaism through his experiences of the creation of art within this movement. For instance, he quotes Ball, who states, “[Dadaism] The next step is for poetry to discard language as painting has discarded the object, and for similar reasons. Nothing like this has existed before”(Richer, 41). In this quote, Richter quotes his colleague Ball who discusses the movement’s aim at nonsensical aspects, away from the structuralization and into ‘fragmentary forms’. Richter’s structuralized manner of defining Dadaism is contradictory to the symbolic chaotic structure of Tzara’s Dada Manifestos. Richter uses Hugo Ball’s phonetic poem to demonstrate Dadaism through the language of nonsense and the question of free will.

Richter uses the phonetic poem ‘O Gadji Beri Bimba’ as an example of Dadaism and societal response to the movement itself.  This is done through the usage of paradoxes. Tzara uses the entirety of the Manifestos as an example of itself. Tzara makes defining Dadaism a form of Dadaism, yet Richter uses examples and quotes to clearly define the movement. The poem ‘O Gadji Beri Bimba’ is an example of Tzara’s definition of Dadaism. The poem itself is supposed to be recited slowly and majestically, yet contradictory to the phonetic sounds of the poem itself. Because of this contradiction the poem becomes nonsensical in that it uses gibberish to defy the limitations of language. Tzara notates such limitations on language in the manifestos. This is done through the contradiction of stating the manifestos of Dadaism yet creating the manifesto in the form of Dadaist art.

The usage of gibberish by Ball demonstrates the question of free will. Richter tells us that in trying to recite the poem Ball is laughed at, this then poses the question that are we truly free to express individuality through the outlet of Dadaism? Tzara poses a similar question in trying to define Dadaism. Tzara tries to blur the lines between art and life through the demonstration of the nonsense that dada imposes. The strict structuralization between life and art don’t allow for free will, as both are strictly defined in specific parameters that we as a society often set.  Yet art itself is a projection of life, Dadaism in particular demonstrates the nonsensical aspects of life that we often overlook. Such definition of Dadaism demonstrates the inconsistencies and incoherencies of life itself. Therefore, demonstrating that free will cannot be obtained until we blur the lines between life and art and have the ability to freely speak nonsense.

Richter uses a more structuralized approach in the defining Dadaism. It is through the experience of Hugo Ball and the phonetic poem that he poses the question of free will and the usage of nonsense language.

Richter and Tzara-Joan

Poems in Richter’s text share similar Dadaist tones that also underlie Tzara’s manifesto. Both strive to dismantle conventions and defy logic. The works either demonstrate or perform a creative process involving the operation of chance and randomness. The assemblage of these aspects results in the nonsensical nature of the works, which is apparent in both Tzara and Ricther’s texts. The poem of Huelsenbeck’s is presented in Richter’s text as follows.  

“This is what things have come to in this world

The cows sit on the telegraph poles and play chess

The cockatoo under the skirts of the Spanish dancer

Sings as sadly as a headquarter bugler and the cannon lament all day” (p. 53)

This poem projects a nonsensical tone that is found in Dadaist work, and most certainly apparent in Tzara’s manifesto. Here, Richter illustrates how this poem dismantles conventions. The aspects that were strung together to create this poem seem to have been drawn from randomness and chance. For example, the subject being a cow, the setting being a telegraph pole, and the action of playing chess. Assembled together by chance, this seems to make no sense. Moreover, because of the divergence of conventions, this poem appears whimsical and humorous—it almost appears to have been extracted from a children’s book.

This particular nonsense also resonates in Tzara’s work. Both authors are responding to a post-war world, where things no longer seem to make any sense. That is, the movement was a response to a senseless war as well as the rejection of nonsensical traditions in society. Richter plays with the nonsense as a creative process by demonstrating Dadaist works such as Huelsenbeck’s poem. This humor and illogical twist resonates a Dadaist ideal in its response to a seemingly nonsensical world. Similarly, this tone underlies Tzara’s manifesto. Such a tone is partially created by illogical leaps within the manifesto. Tzara states the following about logic: “Logic imprisoned by the senses is an organic disease. To this element philosophers always like to add: the power of observation. But actually this magnificent quality of the mind is the proof of its impotence” (Tzara, 79). Moreover, the defiance of conventions is also apparent in which the author diverges from the systematic approach to things that are typical of society. This is present in his work by illustrating the notion of ready-mades. He states: “The new painter creates a world, the elements of which are also its implements….The new artist protests: he no longer paints….but creates—directly in stone, wood, iron, tin, boulders….” (78). This protest against conventions and promotion of illogicality are characteristics that are embodied by both Richter and Tzara. However, a major difference in the two works is that Huelsenbeck’s poem is placed into the context of Richter’s overall argument. This argument, unlike Tzara’s manifesto, follows a logical tangent whereas Tzara consistently demonstrates illogicality in his own argument. Therefore, while illogicality is present in both works, Richter demonstrates it with examples strung together in his overall text while Tzara performs it through his manifesto.

Richter-Minji

Tristan Tzara, who is one of the most influential Dadaists, elaborates what the ideas of Dadaism should be focused on through out his powerful literary work: Seven Dada Manifestoes. In Dada Manifestoes, Tzara emphasizes several principles of Dadaism. One of the key ideas of Dada reflected by Tzara is resistance to logic and traditional systems, regardless of any form of arts such as painting, performing art and poems. For example, in the Dada Manifesto 1918, Tzara insists that he is against systems, and the most acceptable system is on principle to have none. He also argues that logic is always wrong and that it is a total complication. Poems presented by Richter in DADA art and anti-art well illustrate these key concepts of Dadaism by utilizing free association and putting completely illogical words as poetic form.

Poem ANNA BLUME written by Kurt Schwitters is a great example that uses free association as a tool to defy the system traditional poetic structure. For instance the first to third verses of the poem: “ I love your- you ye you your, I your, you my. – We?” Schwitters starts the verse from the word “your” and keeps writing associated words with the word “your” including you, I, and we, which are all grammatical persons. Also another free association that is derived from the idea of color, is shown in the middle of the poem. For example, Schiwitters writes, “Blue is the colour of your yellow hair.” It seems Schwitters puts his thoughts of various random colors that unconsciously come into his mind since the colors he mentions in this verse are not logically connected to each other except the fact that blue and yellow can be categorized as primary colors. Blue is a color but it cannot connect with yellow hair. The final example of free association is prize questions Schwitters asks in this poem: “1) Anna Blume has a bird. 2) Anna Blume is red. 3) What colour is the bird?” Those three sentences somewhat relay each other from a single thought of Anna Blume. The first sentence describes Anna Blume as a bird and the second sentence gets its turn by speaking random thoughts of Anna Blume, which is a color. Finally Shiwitters continues his unconscious relay of thought by asking about the color of bird, which might be derived from the idea of color of Anna Blume from the previous sentence. The use of free association well depicts the Dadaistic principle, which is a refusal to follow consciousness and a traditional system.

            The poem (or more like a chant) of Ball demonstrates another key idea of Dadaism, which is resistance to logic, by putting completely illogical words that do not even exist in the world. Even though words themselves are not logically making any sense, interestingly, there are certain patterns that follow such as alliteration and repetition of words.

              Poems written under the strong Dada era are fighting against the society by defying logic and the traditional system; however, at the same time Dadaist some what follow certain rules such as the use of alliteration and repetition in Ball’s poem and certain words and phrases that let the readers recognize the Schwitter’s poem is a love poem directed towards a girl, Anna Blume.