The long tail of Dadaism, Rasula shows, can be traced even further, to artists as diverse as William S. Although the venue where Dada was born closed after only four months and its acolytes scattered, the idea of Dada quickly spread to New York, where it influenced artists like Marcel Duchamp and Man Ray to Berlin, where it inspired painters George Grosz and Hannah Höch and to Paris, where it dethroned previous avant-garde movements like Fauvism and Cubism while inspiring early Surrealists like André Breton, Louis Aragon, and Paul éluard. In Destruction Was My Beatrice, modernist scholar Jed Rasula presents the first narrative history of Dada, showing how this little-understood artistic phenomenon laid the foundation for culture as we know it today. Three readers simultaneously recited a poem in three languages a monocle-wearing teenager performed a spell from New Zealand another young man sneered at the audience, snapping a whip as he intoned his “Fantastic Prayers.” One of the artists called these sessions “both buffoonery and a requiem mass.” Soon they would have a more evocative Dada. After decorating the walls with art by Picasso and other avant-garde artists, they embarked on a series of extravagant performances. In 1916, as World War I raged around them, a group of bohemians gathered at a small cabaret in Zurich, Switzerland.
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