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Let's discover together all the secrets of the word Dada and the language of these bizarre artists...we'll have fun!
Art Dada, Dadaism...but what does the word Dada mean?
You may have wondered what the word Dada means, and if you haven't, the children will think about it as soon as you mention this fantastic group of artists who, with their irony and their provocations, have revolutionized the history of art!

So let's start revealing the secrets: Dada means nothing, it's not an acronym and it's not an acronym, nor is it a magic word.

Da-da is the sound of the first syllables of words not yet composed that the child emits, stammering very often, before starting to develop the correct language.
And you, can you write a Dadaist poem? Here is a fun educational workshop!
To do this workshop we will examine, as already mentioned, the use of language in Dadaist creations. From the very first manifesto of Tzara, the emphasis is on the meaning of the word Dada and the attention to language will be a constant for all Dadaist artists. Famous is the case of Marcel Duchamp's work better known as the "Mona Lisa with Mustache", which is instead called L.H.O.O.Q. A mysterious acronym that is part of the work itself (the artist brings it back down on the canvas), but that reading it in French suggests "Elle a chaud au cul".
From the literary point of view, instead, there is a good production of Dadaist poetic texts by Tzara himself, who also suggests how to draft them in the Manifesto on Weak Love and Bitter Love of 1921, the same that we will report to the children involved in this workshop.
Take a newspaper.
Take some scissors.
Choose from this newspaper an article of the length you wish to give to your poem.
Cut out the article.
Then carefully cut out each of the words that make up the article and put them in a bag.
Shake gently.
Take out each cut one by one and arrange them in the order in which they came out of the bag.
Copy carefully.
Poetry will look like you.
And here you are, an infinitely original poem with an enchanting sensibility, even if misunderstood by the people.
Here we are, then, to carry out the workshop: let the children read Tzara's instructions, we provide them with texts of poetry and a small pouch for mixing them. Let's proceed to the cutting of the single verses and to the mixing... let's have fun then to catch the verses and to arrange them in the new order! How have the poems changed? How much have they mixed up? What new images have emerged?
As we often tell you, the language allows us to experiment and create stimulating interdisciplinary paths! Have fun, everyone!