Mamas of Dada focuses on the lives and works of six representative
female supporters of the Dada movement: Emmy Hennings, Gabrielle
Buffet, Germaine Everling, Celine Arnauld, Juliette Roche, and
Hannah Hoech. Paula K. Kamenish selected these women for their
avant-garde pursuits in the chief centers of Dada's rebellious
activity and, more important, because they left behind a written
record of their involvement with the movement, which was short
lived - from 1916 to 1924 - but widespread geographically. The
rebellious spirit of the Dada period proved portable and adaptable,
and the movement led to later forms of surrealism at the same time
that it borrowed from Expressionism, Constructivism, Futurism, and
Cubism. Its influence was felt on sculpture, painting, dance,
music, textile art, film, decoupage, photomontage, mask making, and
poetry. Some female Dadaists were active participants - appearing
in literary journals, on stage, or in galleries - while others were
observant and recording witnesses, but each played a role in
supporting the movement and its more prominent members. Female
Dadaists motivated the hesitant Hugo Ball, tempered the mechanical
Francis Picabia, and nurtured the inventive but temperamental Raoul
Hausmann. Some women inspired or gave a home to a wandering Tristan
Tzara, while another provided a satiric chastisement of Dadaists in
New York, Barcelona, and Paris. Each woman helps us chronicle and
better understand Dada's European (and sometimes American)
manifestations. Unlike their Futurist and Surrealist sisters, whose
contributions were grudgingly accepted by male artists and writers,
female Dadaists were able to join more readily in the movement's
unified attack on social norms. And, because of their individual
talents and insights, they did so in ways that were often quite
different from methods adopted by their male counterparts.
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