Art movements show their effects in different ways according to the political and social conditions of societies, the time they are in, and the change processes that art undergoes with its own dynamics. One of these movements is Dadaism, in which artists reacted to phenomena and practices such as the destruction caused by the First World War, intensifying industrialization, the clarification of class distinctions, and urbanization between 1916 and 1920, and obscured the relationship between life, art and meaning. Dadaism, which is based on the rejection of all kinds of rules and understanding, is seen as a destructive movement because it has such a marginal attitude to deny art as well. Dadaism has shown its effect in Turkish literature within the framework of individual orientations, in the context of influences rather than total adoption, and has not become a settled and adopted trend. Mümtaz Zeki Taşkın (1915-2001) is one of the poets who was influenced by Dadaism in the context of individual orientations and showed this effect clearly in his poems collected in his book Alo Alo 1934 (1934). Taşkın's poems, which contain innovations in terms of form and substance and can be considered as avant-garde, are far from Western examples in terms of destructiveness and denial, although they have influences from Dadaism. One of the reasons for this is that Dadaism could not be institutionalized as a trend adopted in Turkish literature. In this article, first of all, the emergence and characteristics of Dadaism will be emphasized. After following the traces of this movement in Turkish literature, the poems written by Mümtaz Zeki Taşkın in the context of this effect will be evaluated.

Keywords: Mümtaz Zeki Taşkın, Poetry, Dadaism, art movements, literature