Raoul Hausmann and Hannah Höch at the opening of the First International Dada Fair held at the Otto Burchard Gallery, Berlin, June 30, 1920. Höch's photomontage Cut with the Kitchen Knife figures prominently on the left. Photograph by Robert Sennecke (http://www.dadart.com/dadaism/dada/022-dada-berlin.html)

Contexts in source publication

Context 1

... Indian painter preserved in colours the traditional entertainment at the reserve� Dance Hall at Stoney Reserve, 1969, Acrylic, 30x48 (Winter scene, Indian people entering a dance hall) reflects the traditional Indian inclination for dancing, even on snow or in a primitive log cabin; Getting Ready to Sing, 1990, acrylic, 18x24 (Summer scene with summer dance, line of tents and tipis (Indian tents), with four dancers standing nearby� Next to them there is a man holding a drum� In the im- mediate foreground there is a woman with a blue scarf sitting next to a pot hanging over the fire); Pow Wow at the Battlefords, 1971, Acrylic, 30x48 (Summer scene, cloudy sky with light green forest background; tipis set up from the foreground to the background with people milling around; a woman cooking by a fire in the foreground� A man dressed in ceremonial feathers in middle ground)� It must be mentioned that Allen Sapp himself for a very long time (as long as his feet allowed) continued to dance at powwows� 6 The Round Dance, 1987, acrylic, 101�6x152�4 (Three men with hand drums in the foreground, dancers with joined hands in a circle in a log cabin in the background)� The Round dance is usually held indoors in different homes� Sun Dance on the reserve, 1992, acrylic, 121�9x182�8 (People are praying, at tall centre pole (sacred) in the foreground)� Sun Dances are sacred to the Cree� As Sapp notes, "At Sun Dance, prayers are said for all people and vows to Manito, the Great Spirit� Those participating will fast for two days and nights, and there is also singing and dancing" (Sapp 1996, 3)� Allen Sapp's paintings give us an intimate portrait of his own people and their determination to survive� The artist strives to capture and preserve these forgotten scenes of the Saskatchewan First Nations' heritage for us and subsequent gen- erations� Moreover, Sapp himself has become a testimony to Indian endurance, showing a great ability to continue with an unpleasant and difficult situation� (1976), with a portrait of an Indian on the cover, has changed the way of approach- ing the Aboriginal people in white Canadian literature� For a long time there have been two traditional ways of literary presentation of Indians, or a dual pattern of their image, named by Margaret Atwood "Victor/Victim" (Atwood 1991, 91). The Indian-as-victim of white men (e�g� George Ryga's play, The Ecstasy of Rita Joe, 1967) and the Indian-as-victor of white men (e�g� E� J� Pratt's long narrative poem, Brébeuf and His Brethren, 1940) ...

Context 2

... make a critical socio-cultural pool of interdependencies in the form of developed routines, shared norms and trust that facilitate (or inhibit) interac- tive processes and mutual understanding in the transmission of information and knowledge (Fischer 2002, 25)� These seemingly non-productive ideas, i�e� shared social values, interact with the productive (economic) sphere and affect the long- run economic development� They become crucial for economy to grow (Kim and Lee 2015)� With reference to Figure 1 we can see the above dimensions of values for various countries in a graph format� This can help us observe various country groupings related to their predominant cultural traits� On this basis we can distin- guish countries of the Baltic, Confucian, Protestant Europe, Orthodox, Catholic Europe, South Asia, African-Islamic, Latin America and the English Speaking� ...