留学生作业代写：The Proliferation of Dada in Japan

下面为大家整理一篇优秀的paper代写范文- The Proliferation of Dada in Japan，供大家参考学习，这篇论文讨论了日本达达主义的扩散。达达主义是一场兴起于一战时期的视觉艺术、文学、戏剧和美术设计等领域的文艺运动，一种资产阶级的文艺流派。在第一次世界大战期间，达达运动流传到了日本。而达达主义通过多种表达形式对日本产生影响，如 fluxus、流行艺术、朋克音乐、超现实主义等。由此可以很容易地发现，达达在各个方面都对日本产生了很大的影响，也改变了艺术的发展和那些或多或少参与艺术的人。

Introduction

It is a general trend that bursts of creativity often occur in times of turmoil during the long history and the bursts of creativity tend to help those people who put forward with creative thoughts better deal with turmoil in the times they live. The Dada movement is just one typical kind of movement with bursts of creativity from a great majority of artists, activists, litterateurs, politicians, writers, etc. and it firstly appeared within the young Europeans in order to challenge the absurdity of war and the madness of their era with humor and creative abstraction. Afterwards, the Dada movement had proliferated to other countries later on and more and more people from other countries began to be influenced by such movement. Therefore the following will explore the primary reasons for the proliferation of Dada beyond Zurich and Berlin, especially the primary reasons for the proliferation of Dada in Japan. It is hoped that this paper can give some insightful ideas as for how to understand the proliferation of Dada in Japan as well as how to understand the proliferation of Dada in other countries in the meanwhile.

The Proliferation of Dada in Japan

First and foremost comes that why the proliferation of Dada will appear in Japan lies in that Dada is called for to challenge the traditional notions of art in Japan. It is stated in the article of Takaki Tominaga that Dada is a “global artistic and literary movement” [4] which emerged as a result of the motivation of antiwar during the period of World War I from 1914 to 1918 and “the movement of Dada reached the shores of Japan in the early 1920s and the short-lived ‘Mavo’ held the first exhibition in 1923 at the Sensoji temple in Tokyo’s Asakusa.” [4] To put it more specifically, the Dada’s influence toward Japan can be revealed by a variety of expressions like Fluxus, pop art, punk music, surrealism as well as a monster in a popular Japanese TV series and such influence has continued even today. Apart from that, cubism has also been regarded as another factor that Dadaism has exerted impacts on Japan. From this, it can be easily found that Dadaism has really influenced Japan in various aspects and it has changed the development of both art and those people who would like to engage themselves in art more or less.

With Dada’s being necessary for challenging the traditional notions of art in Japan being mentioned at length in the above, what follows is that the existence of “many disillusioned liberals and art fans in Japan will surely welcome a dose of anarchy in Tokyo” [5], which accounts for a significant part of why Dada will appear in Japan in the first beginning and continue to develop afterwards. Detailed speaking, those disillusioned liberals and art fans in Japan are willing to take part in the avant-garde art movement and they welcome the appearance of plenty of “new forms of art including collage, montage, nonsense, readymades and so on”. [5] Or maybe it can be put in another way that those disillusioned liberals and art fans can be considered as Dadaists and they tend to be in favor of things that are unconventional. What has to be pointed out is that the unconventional things that Dada will bring are not limited in art but that they will also include things in dance, music, poetry, And it is claimed by William, a leading contributor to JapanTrends.com together with a copywriter and translator, that Dadaists are a group of people that are with “the anarchic energy of the avant-garde spirit of the original movement” [5], from which we can even say that it is such spirit of those Dadaists that have enabled them to be one member of the Dada movement.

Moreover, the proliferation of Dada in Japan is the representation of “the absurdities of the society”. [1] It can be interpreted in this way that the proliferation of Dada in Japan is for being “open to all creative minds and with the goal of encouraging their thoughts to change direction”. [1] The Dadaists are eager to question about several difficult societal issues when the war is just over and they would not like that the society they live in is one with absurdities. The great number of Dadaists aims to take advantage of the effect of “poetic nonsense and groundbreaking literary, visual and musical performances on the cultural scenes” [1] to change the society’s absurdities. In this way, they are able to incorporate chance into their artistic creations and they can also express their discontent toward the absurdities of the society via their artistic creations, leading to more people’s understanding their discontent as long as they can have the access to their artistic creations. And it is added that Dada has provided the opportunity for social experimentation in the heart of Tokyo involving concerts, films screenings, performance so that the Dadaists can have the sense of being in the atmosphere of the birthplace of Dadaism.

Last but not the least comes that the proliferation of Dada in Japan is a trend of the Japanese avant-garde. Though it is frequently argued that Dada is a misunderstanding or corruption of modernist ideals, Majella Munro holds that the proliferation of Dada in Japan is a trend of the Japanese avant-garde and it is as well a prologue to the introduction of Surrealism to Japan [3]. From the perspective of Gennifer Weisenfeld, the proliferation of Dada in Japan is also the result of the avant-grade from 1905 to 1931 and a large number of Japanese artists have been involved in this movement. [2] The fact is that “the continuities and conflicts which allowed Surrealism to develop from the remnants of Dada” [3], from which we can readily predict that Dada can be deemed as the antecedent to Surrealism in Japan. At the same time, what can be detected is that the proliferation of Dada in Japan is resulted from the free, avant-garde expression in Japan, otherwise it won’t appear in this country at all. Though it is obvious that the Dada movement in Japan in the pre- and post-war period is different in one way or another, it is both the product of the Japanese avant-garde all the same. Just as what has been discussed by Takaki Tominaga that surrealism is a powerful embodiment of the Dada’s influence on Japan, Majella Munro also illustrates that Dada is a prologue to the introduction of Surrealism to Japan, from which a fair knowledge can be obtained that there is close relationship between Dada and surrealism in Japan. Thus these two have to be seen as a whole and they can not be separated from one another in any way.

Conclusion

To sum up, it can be found that the proliferation of Dada in Japan is the result of several factors altogether and those factors are all inevitable part in the proliferation of Dada in Japan. There is no doubt that there are still other reasons that have contributed to the proliferation of Dada in Japan in one way or another as have not been elaborated on in the above due to my being kind of inexperienced, which calls for future research in approaching days. And I have to point out that those reasons that have been mentioned concerning the proliferation of Dada in Japan may as well apply to other countries because Dada is a global movement and it has actually caused influence toward other countries to a certain degree. So other countries also have to think from these aforementioned reasons in order to get a clearer idea toward why Dada has appeared in the country or why it has never occurred. Only in this way can the country figure out how Dada will develop in the country in the future so that the value of this paper can be played to the full at last.

Works Cited

daDa100 Tokyo. daDa since 1916. 2016. Online available from: http://dada100.jp/dada100-tokyo/.

Gennifer Weisenfeld. Japanese Artists and the Avant-garde 1905-1931. Berkeley and Los Angeles, California: University of California Press. 2002.

Majella Munro. Dada, MAVO and the Japanese Avant-Grade: A prologue to the introduction of Surrealism to Japan. Issue 4. Autumn/ Winter 2009.

Takaki Tominaga. Dada movement’s influence felt in Tokyo 100 years after launch in Europe. June 9, 2016. Online available from: http://www.japantimes.co.jp/culture/2016/06/09/arts/dada-movements-influence-felt-tokyo-100-years-launch-europe/#.WCG1iOximma.

William. Tokyo goes Dada for art anniversary. July 13, 2016. Online available from: http://www.japantimes.co.jp/culture/2016/06/09/arts/dada-movements-influence-felt-tokyo-100-years-launch-europe/#.WCG1iOximma.

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