Several explanations have been given by various members of the movement as to how it received its name. According to the most widely accepted account, the name was adopted at Hugo Ball’s Cabaret Voltaire in Zürich, during one of the meetings held in 1916 by a group of young artists and war resisters that included Jean Arp, Richard Hülsenbeck, Tristan Tzara, Marcel Janco, and Emmy Hennings. When a paper knife inserted into a French-German dictionary pointed to the French word
dada (“hobby-horse”), it was seized upon by the group as appropriate for their anti-aesthetic creations and protest activities, which were engendered by disgust for bourgeois values and despair over World War I. Dada did not constitute an actual artistic style, but its proponents favoured group collaboration, spontaneity, and chance. In the desire to reject traditional modes of artistic creation, many Dadaists worked in collage, photomontage, and found-object construction, rather than in painting and sculpture.