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At about the time Cendrars began to bring African motive and jazzlike compositional patterns into his writing, the Zurich Dadaist were organizing their notorious 'soirees' at the Cabaret Voltaire. The program for 14 July 1916 announced "noises, negro music (trabatgea bonooooooo oo ooooo)." Hugo Ball and Tristan Tzara beat on drums and intoned invented 'negro' chants, simulating a return to wild, purely rhythmical, presyntactic forms of expression presumed to be typical of black cultures. These racist diplays - stereotypical savagery recast as scandal and poetic regeneration - were short-lived. But the influence of black culture on Tzara's 'poemes negres' (most of them unpublished during his lifetime) was more enduring. He was a more critical collector than Cendrars, drawing on the best-documented sources of his time, especially the respected Swiss anthropological journal Anthropos. Transcribing African and Australian aboriginal myths and chants, Tzara used scholarly word-for-word translations rather than smoothed-over, "literary" versions. His literalism resulted in obscure, syntactically disjointed "poems" that, like the language experiments of the Italian and Russian futurists, estranged and reassembled basic linguistic components. Whereas for Cendrars black cultures were a source of poetic inspiration, for Tzara the promised renewal presupposed a destruction of civilized literature and proper forms of discourse.
http://www.socialfiction.org/?archive=current/archive_peyote.html