Dada Jazz

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Dada Jazz was a second Dada journal produced by Dragan Aleksić in Zagreb, in September 1922.

Its lively cover promotes the journal as 'Dadaistic review' in English, French, Italian and Croatian. Dada Jazz features only a few texts by Aleksić and Tristan Tzara; these include Aleksić’s Dada manifesto (printed in Zenit the year before) and his essay on Archipenko, as well as a few previously published texts by Tzara, printed in the original French. Dada Jazz is best understood as a footnote to Aleksić’s Dada performances the previous summer. (Source).

In October 1922, Aleksić abruptly declared an end to Dada until 1999. He continued to advance his unflagging campaign to bring Dada to Zagreb, however. He went by the name 'Dada' and maintained an archive of Dada activity (now lost) until his death in 1958. [1]


  • Emily Hage, "Dada-Tank, Dada Jazz, Dada-Jok", in The Dada Reader: A Critical Anthology, ed. Dawn Ades, London: Tate Publishing, 2006, pp 274-284.
  • Laurel Seely Voloder, Tyrus Miller, "Avant-Garde Periodicals in the Yugoslavian Crucible", in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3 (Europe, 1880-1940), New York: Oxford University Press, 2013, pp 1099-1127.

See also[edit]


Avant-garde and modernist magazines

Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38).