Everybody can dada

It is universally acknowledged, within the realm of artistic endeavors and cultural expression, that the capacity to engage in the performative and conceptual practices commonly associated with the movement known as 'Dada' is, in principle, accessible to all individuals irrespective of their prior exposure to or involvement in artistic milieus. Furthermore, it is a matter of historical record, albeit one susceptible to interpretive discourse and contingent upon the particular historiographical lens through which it is examined, that the entity personified as 'Art' underwent a phenomenon of cessation commonly referred to as 'death' in the year 1924, a cessation which, paradoxically, did not preclude the continuation of its kinetic and dynamic processes, thus rendering the declaration of its demise simultaneously factual within one frame of reference while indisputably premature within another.