FADO E-LIST (December 2020)



Date: December–May 2020; City: Toronto & on-line; Source: Dainty Smith

2. RESEARCH PROJECT: Praca u Podstaw / Grassroots Work

Date: just released; City: on-line: Source: Dariusz Fodczuk


Date: November 5–December 12, 2020; City: Montreal, Canada; Source: Ronald Siu


Date: November 2020 (and beyond); City: on-line; Source: Live Action

5. EVENT: TOLLÉ / Up is Down & Tout fout le camp

Date: December 5, 2020; City: Montreal & on-line; Source: Studio 303

6. EVENT: Taylor Mac Holiday Sauce…Pandemic!

Date: December 12, 2020: City: on-line; Source: Buddies in Bad Times Theatre

7. EVENT: Holding Gently: Eco-Anxiety & Contemplative Practice / Devora Neumark

Date: December 18, 2020; City: ZOOM; Source: Franklin Furnace


Date: on-going; City: the world; Source: Autumn Knight

9. OPEN CALL: Victims of Love (working title) / Open Call 1 & 2

Deadline date: unspecified; City: the world; Source: asabank

10. PUBLICATION: Responding to Site: The performance work of Marilyn Arsem

Date: now available; City: the world; Source: Intellect Books

11. CALL FOR PROPOSALS: Performance Research: ‘On Biopolitics’

Deadline date: January 11, 2021; City: the world; Source: Performance Research


Deadline date: February 8, 2021; City: on-line: Source: the Hemi





Date: December–May 2020; City: the world; Source: Dainty Smith


PUSH.PULL is a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QT BIPOC cabaret. Curated by storyteller, producer and stage performer Dainty Smith and multidisciplinary artist Golboo Amani highlights QTBIPOC cabaret performers at the intersections of live stage performance and radical political performativity. 


Adrienne Huard. Anasimone, Babia Majora, Betsy Swoon, Cara De Melo, Cat Zaddy, Crocodile Lightning, Dolly Berlin, Gay Jesus, Imogen Quest, Ivory, James Knott, Johlene, Kimora Koi, LAL, Lucinda Mui, Lwrds, Mikiki, Ravyn Wngz, Suki Tsunami, Tanya Cheex, Tygr Willy 


SPECIAL APPEARANCES by: Perle Noire, Rania El Mugammar, Aggie Panda, Amber Dawn 


PUSH.PULL presents three online Showcases featuring performers from across North America. Each showcase offers a diverse range of contemporary practices reflecting the theatrical, political and emotional range and depth of cabaret performance. 


Bare Showcase: January 15, 2021 @ 9PM

Taunt Showcase: March 26, 2021 @ 9PM

Topped Showcase: May 14, 2021 @ 9pm


For more info about PUSH.PULL Showcases visit:



PUSH.PULL includes a three-part speaker series inviting performers and cultural creatives to engage in conversations at the intersections of visual culture, sex work, performance and politics by recognizing cabaret as a site of cultural production and community engagement.


We’ve also included a series of workshops led by professionals in the field, aimed at engaging audience participants and community members in immersive skill-sharing experiences deepening appreciation, interest and critical engagement with cabaret.


For more information about PUSH.PULL workshops and artist talks visit:



In association with Aluna Theatre & Buddies in Bad Times Theatre

Sponsored by FADO Performance Art Centre

PUSH.PULL acknowledges the support of the Canada Council for the Arts








2. RESEARCH PROJECT: Praca u Podstaw / Grassroots Work

Date: just released; City: on-line: Source: Dariusz Fodczuk


Praca u Podstaw / Grassroots Work
o kształtowaniu się nowych form sztuki w dobie katastrof
on the shaping of new forms of art in times of disasters


Concept / realization: Dariusz Fodczuk
Layout & programming: Konrad Wujciów


Supported by:
SZARA GALERY / Katowice, Poland
NOMUS MUSEUM / Gdansk, Poland
With the support of the Polish Culture Ministry


Fatima Jawdat (Iraq)
Piotr Ratajczak (Poland)
Patrick Klingenschmitt (Germany)
Yura Biley (Ukraine/Poland)
Kai Lam (Singapore)
Mideo M. Cruz (Philippines)
Joanna Rzepka Dziedzic (Poland)
Shannon Cochrane (Canada)
Jiri Suruvka (Czech Republic)


We are used to thinking that the role of art is to change reality. Praca u Podstaw/Grassroots Work is a research project that points out a change going in the opposite direction, a result of rapidly changing living conditions on art. The aim of this project is a creative reflection on the development of new attitudes and forms of artistic expression in the face of epidemics, natural disasters, economic transformations, repression and armed conflicts. Praca u Podstaw/Grassroots Work manifests as a cloud-shaped, collection of video materials. These are statements, artists, curators and theoreticians who reflect on changing working conditions in their practice. The interface will allow the viewer navigating in it to construct their own video essay resonating with their own sensitivity and corresponding to their interests.


The title of the project refers to the main postulate of positivism, demanding efforts to raise the standard of living of the poorest classes and to build a new social order based on egalitarian principles "Working at the Basics" is a research project trying to capture the changes taking place in the field of art under the influence of current political tensions, social divisions, epidemiological threats or a progressive climate catastrophe. My goal is to look at new methods of creative work, modern communication channels developed by art institutions and the latest goals of cultural creators. Using digital communication tools, I conducted meetings with 10 artists, curators and art historians from Poland and abroad. Interviews with them are to become a document of changes taking place in the area of ​​culture and an attempt to diagnose and describe the directions of art development. 


The heroes of these meetings are artists struggling with the nightmare of war (Yura Biley), colonialism (Mideo M. Cruz, Kai Lam), religious fundamentalism (Fatimah Jawdat), neoliberalism (Jiri Suruvka, Piotr Ratajczak, Joanna Rzepka-Dziedzic), capitalism (Shannon Cochrane, Patrick Klingen Schmitt) and repression or totalitarianism (Uladzimir Pazniak). The collected footage is a mosaic of short film fragments that can be viewed autonomously or arranged as a larger whole. Several hours of footage creates a cloud of data that combine into a dozen or so different combinations, thus creating film essays with many different meanings. The length and shape of the video essay watched by the viewer depends on an individual’s own choices. The viewer decides the order of viewing by navigating through the interface created especially for the project. The project resigns from linear narrative and causes the same story to be presented from different perspectives and cultural orders. 








Date: November 5–December 12, 2020; City: Montréal, Canada; Source: Ronald Siu


Publication – Mail Art – Performance

by Francisco-Fernando Granados

SKOL / Centre des arts actuels Skol

November 5–December 12, 2020

Publication (54 pages, limited edition of 200 copies)

Free for pickup at Skol or sent by mail 
Performances: Kama La Mackerel and k.g. Guttman (+ info coming soon)  


In response to the safety measures imposed by COVID-19, Francisco-Fernando Granados’s initial plan for an installation project in the gallery has shifted to become mobile and accessible; it is now comprised of an artist book (distributed through the gallery and by mail), and poetic and movement-based performances by guest collaborators k.g. Guttman and Kama La Mackerel. The book will include compositions from the ‘letters’ series. Oscillating between the alphabetic and the epistolary, each ‘letter’ is part of an ongoing body of work currently consisting of more than 300 drawings that aim to synthesize a broad range of abstract compositional strategies.


Conceptually, this second version of the project responds to the state of emergency created by the pandemic by taking clues from two aesthetic methodologies. The first is the use of mail art for political work by artists resisting dictatorships in Latin America during the 20th century. The second is a French feminine literary practice, in which known aristocratic women (Margot de Valois, La Grande Mademoiselle, Madame de Pompadour, etc.) would have their personal correspondences published. Fascinated by these writings and by their intimate nature made public, Granados inhabits this form critically, posing the question of what it would mean to turn abstraction into an everyday language.



Through a range of media that extends from drawing and writing to performance and installation, Francisco-Fernando Granados uses abstraction as a conceptual strategy to challenge perceptions regarding the stability of identity categories.  Born in the midst of the Guatemalan Civil War, his experience of coming to Canada as a refugee informs the aesthetics and politics of his practice. His work develops from the intersection of traditional formal training in painting and printmaking, studies in cultural theory, early activism with newcomer youth communities, and working through artist-run culture. Granados has maintained a near-daily drawing practice since 2016. From this non-figurative body of work, he has crafted the idea of minor abstraction (abstraction minoritaire) as a way to guide untranslatable compositional impulses away from Modernist claims of autonomy. Forms of minor abstraction emphasize ephemeral materials, site-specific approaches, and non-art contexts. They seek to infuse non-objective visual vocabularies within open-ended politics informed by the artist’s queer and refugee experiences.


For more information and to arrange to receive your publication, visit:






Date: November 2020 (and beyond); City: on-line; Source: Live Action



Live Action celebrates its fifteen years of existence with a new health-aware online format. It is today in many countries probably the only safe way to experience art. Live Action 15 is a celebration on many levels. These 15 years have been a wonderful journey of artistic diversity with astounding artworks performed live by more than 200 artists from over 50 countries. Our format has changed over the years, methodically exploring new ways to present performance art. However, we have always stayed faithful to our conviction of the importance of showing this avant-garde art form in both an institutional environment, and in the culturally democratic context of public space. Our common ground as we call it is a powerful space, made for the mobility and human proximity inherent in performance art. This 15th anniversary embodies also our persistence, and attachment to this avant-garde art form as organizers. 15 years of annual event organizing is demanding, yet we have never doubted its significance or asked for anything in return. Except to be in a place and at a moment where art meets people, that’s our reward. To live and be a part of that experience motivates us to persist and continue. In short it is a passion.


For this event, we have invited 15 female and 15 male artists. Each artist was asked to realize a 60 second performance-to-video work. The festival was presented on-line from November 15–29 (15 days), showcasing two artists per day on our website, and thereafter on social media platforms like facebook, instagram and youtube. Welcome to the online experience of Live Action 15.


Wathia AL-AMERI, Iraq/Switzerland
Ali AL-FATLAWI, Iraq/Switzerland
Maline CASTA, Sweden
Chuyia CHIA, Malaysia/Sweden
Loïc CONNANSKI, France
John COURT, England/Finland
Jinling DONG, China
Saskia EDENS, Switzerland
Benedikte ESPERI, Sweden
Arahmaiani FEISAL, Indonesia
Dan FRÖBERG, Sweden
Stein HENNINGSEN, Norway
Pekka KAINULAINEN, Finland
Anna KALWAJTYS, Poland
Tanya MARS, Canada
Carlos MARTIEL, Cuba
Monali MEHER, India/the Netherlands
Zhihang OU, China
Guadalupe NEVES, Argentina
Lilibeth Cuenca RASMUSSEN, Denmark
Anne ROCHAT, Switzerland
Nigel ROLFE, Ireland
Raeda SAADEH, Palestine
Joakim STAMPE, Sweden
Jiri SURUVKA, Czech Republic
Mauritz TISTELÖ, Sweden

Valentin TORRENS, Spain
Roi VAARA, Finland 






5. EVENT: TOLLÉ / Up is Down & Tout fout le camp

Date: December 5, 2020; City: Montreal, Canada; Source: Studio 303


TOLLÉ / Up is Down & Tout fout le camp

Saturday, December 5, 2020

Happening sporadically here and there
$10 to 20 (sliding scale, no one turned away for lack of funds)


TOLLÉ explodes out of the cabaret format, while staying true to its essence: political, festive, community-building. This year’s version is an off-stage, à la carte style event dispersed across the city and the Web. On the menu: a performative walking tour, an interactive performance, a DIY ritual package, an online concert, an audio guide, and an anti-racist gift bag—all created in response to the incredibly unsettling, upside-down times we’re living through.


To end the day: Take part in the Tollé Show & Tell! at 9PM. A semi-structured online gathering where the artists and all participants can come together and share their experiences in a relaxed, festive environment.


Choose your own adventure by signing up for as many (or as few) performances as you’d like. Each ticket is sold separately and will contribute to funding the event as a whole, and supporting each artist equally.


Buy your tickets here:



For more information on the artists / program, visit:






6. EVENT: Taylor Mac Holiday Sauce…Pandemic!

Date: December 12, 2020: City: the world; Source: Buddies in Bad Times Theatre


TO Live and Buddies in Bad Times Theatre present

A Pomegranate Arts Production


Taylor Mac Holiday Sauce…Pandemic!


Holiday Sauce…Pandemic! is virtual vaudeville, blending music, film, burlesque, and random acts of fabulousness in the most subversive and cathartic event of the season!



December 12 @ 7pm (45 minutes)

followed by virtual afterparty



Join 2020 Ibsen Award winner and MacArthur Fellow Taylor Mac, TO Live, and Buddies in Bad Times Theatre in celebrating the holidays in all of their dysfunction—live streamed December 12 at 7pm, followed by a live streamed afterparty.


Holiday Sauce…Pandemic! is Christmas as calamity, reimagining the songs you love—and the holidays you hate. There’s more to the holidays than rampant capitalism, and in Taylor’s world creativity and imagination are their own spirituality.


Mac (who uses ‘judy’ as a pronoun) is a playwright, actor, singer-songwriter, performance artist, director, and producer. Judy’s work has been performed in hundreds of venues including on Broadway, Lincoln Center, the Sydney Opera House, and MOMA, among many others.


For more information and to get your tickets: www.tolive.com/holidaysauce




7. EVENT: Holding Gently: Eco-Anxiety & Contemplative Practice / Devora Neumark

Date: December 18, 2020; City: ZOOM; Source: Franklin Furnace


Holding Gently: Eco-Anxiety and Contemplative Practice

a mini-retreat with Devora Neumark, PhD


December 18, from 12–3pm ET

Broadcast live via Zoom


Connection information will be shared once registered:



Sustainer (pays for you and supports community rate): $100

Supporter (pays for you): $75

Community rate: $50


With the winter solstice comes an opportunity to actively search for equilibrium between feeling into our individual and collective eco-anxiety, environmental grief & solastalgia, and building inner resilience. Through a series of guided meditations, visualizations & creative prompts, we will explore the following themes: grounding in presence, cultivating joy, practicing self-compassion, accepting change, fostering connection and moving into action. This 3-hour retreat will support participants to maintain a sense of inner peace while fostering hope and agency to respond to the human-induced climate crisis playing itself out across the globe.


Everyone is welcome. 



Currently living in Iqaluit (in the Eastern Arctic), Devora Neumark, PhD, is an interdisciplinary artist-researcher, educator and community-engaged practitioner with over 30 years of contemplative practice. Neumark is also a Yale School of Public Health-certified Climate Change Adaptation Practitioner. She has been a faculty member in the Goddard College MFA in Interdisciplinary Arts program since July 2003 and was a co-founder of its Indigenous and Decolonial Art Concentration in Port Townsend, WA.





Date: on-going; City: the world; Source: Autumn Knight


Institute for Contemporary Art





1-844-NOT-Z00M (1-844-668-9006) is a hotline that invites audience members to dial-in to hear poetry, songs, or monologues from artists. With a focus on non-visual artistic content, the hotline provides an alternative to the Zoom realm with experiences that are easily accessed from your phone. The voice of 1-844-NOT-Z00M is Autumn Knight, an interdisciplinary artist working with performance, installation, and text. 


Vol. 3 Contributors:

Autumn Knight

Shanekia McIntosh

Kiko Soirée

Ahya Simone


Shanekia McIntosh is a writer, poet, and performer McIntosh has read and shown her work at The New Museum Second Ward Foundation, Portland Institute of Contemporary Art’s TBA Festival, Hudson Hall, NY Live Arts, September Gallery, and more, with recent work being published in Hand Mirror, Chronogram, Apogee Journal, and The TENTH Magazine.


Kiko Soirée is a drag queen performing all over Manhattan and Brooklyn at venues like Joe’s Pub, Club Cumming, The Bell House, Ars Nova, Caroline’s, Union Hall, MoCA, Housing Works, and Caveat. Their work and quality has been described as sensual, sincere, and stupid. They’ve been named by Time Out Magazine and Paper Magazine as a rising queer performer and features in Gregory Kramer’s DOWNTOWN, a portrait documentation of downtown life in New York City. Kiko loves noodle soups, lasagna, the ocean, and cornbread.


Working across myriad disciplines, Detroit-based artist, performer, filmmaker and harpist, Ahya Simone’s practice is bound by an exploration of Black identity, aesthetics, and vulnerability. Ahya’s versatile approach to harp and vocal artistry includes classical, jazz, and soul and creates an almost mesmerizing on-stage moment. As an emerging filmmaker, Simone developed “Femme Queen Chronicles,” a web-series sponsored by the Trans Sistas of Color Project and the Detroit Narrative Agency 2.0.




9. OPEN CALL: Victims of Love (working title) / Open Call 1 & 2

Deadline date: unspecified; City: the world; Source: asabank


The "E.P.I. Zentrum Cologne" and the performance art archive "Black Kit" have several orientations. Besides archiving materials of Performance Art and Live Art, contextualizing these materials, preparing them for optimal and free use by artists and theorists, it is an idea like "Science for Humus", which develops various projects from the archive and enables their realization. 


A new project, which started in spring 2020 and now gives rise to the following open call. "Victims of Love" as a working title. The love, the passion for something (things, techniques, places, land, sea, elements or the cosmos) has a wider horizon than the conditional or unconditional interpersonal relationship, which is (also) called "love".


This love in the passions, are "extreme" in their actions and manifestations and usually exceed the norm and the normal. Leaving the "normal" and transcending it has as much in mind the exit from artistic styles such as live art and performance art as the formats of action that statically stand for other cultural or social references. The body, practiced in knowledge with the world, is too much deceived by the human norm. What do these passions look like? Where are the fools with their insatiable passions?


Open Call_1
Contributions to the theoretical approach of the project "Victims of Love" are / could / should be texts, essays, discourses, descriptions and narratives. The open call asks for the submission of these texts. They will be added to the logbook. This book outlines the path of the project and has been on-going since March 2020.


Open Call_2
Contributions to actions, projects and suggestions for cultural practices. Possible realizations of the project "Victims of Love" could be: conference / exhibition with symposium / cultural interventions / ways of life / utopian drafts / revaluations of one's own actions / and everything that I cannot describe or think about. (My heart and mind is ripped open in anticipation of what might come)

The project has an open lead time (not unlimited) and is realized when theoretical and conceptual condensations require realization. 

In great anticipation and warm greetings,

Boris Nieslony

Performance Art Archive – Black Kit
E.P.I. Zentrum Cologne / Boris Nieslony
Poller Kirchweg 78-90
Bell 0.04
51105 Cologne, Germany

First contact for more information: 





10. PUBLICATION: Responding to Site: The performance work of Marilyn Arsem

Date: now available; City: the world; Source: Intellect Books


Responding to Site: The performance work of Marilyn Arsem

Published by Intellect Books (UK)

Edited by Jennie Klein and Natalie Loveless

ISBN 9781789380972



Responding to Site: The performance work of Marilyn Arsem is now available. The book features essays about Arsem’s work by academics and artists, as well as 200 color photographs of her performances.


For more information or to order: www.intellectbooks.com/responding-to-site

Or go to Marilyn’s website for easy links to purchase: www.marilynarsem.net



Marilyn Arsem has created more than 200 live events since 1975, ranging from solo performances to large scale, site-specific works incorporating installation and performance.  Based in Boston, Massachusetts, USA, Arsem has presented work in 30 countries, at festivals, alternative spaces, galleries, museums, universities and conferences in North and South America, Europe, the Middle East, Oceania and Asia.




11. CALL FOR PROPOSALS: Performance Research: ‘On Biopolitics’

Deadline date: January 11, 2021; City: the world; Source: Performance Research


Performance Research: Vol. 26, No. 8: ‘On Biopolitics’ (December 2021)

Proposal Deadline: 11 January 2021


Issue Editors:

Eve Katsouraki (University of the West of Scotland)

Simon Donger (Royal Central School of Speech & Drama, University of London)


"To live with the sensation of helplessness: today, probably this is the moral state under which, by resisting, we could be faithful to our times." (Imre Kertész in Duarte 2005)


In the lecture course The Birth of Biopolitics at the Collège de France in 1978–9, Foucault defined biopolitics as a fundamental historical change in the way that power is exercised in our culture and society. Turning away from notions of sovereignty, he looked at the management of groups, populations and the human species that he ultimately identified with market-oriented liberalisms and, eventually, neo-liberalisms. For Foucault (1990 [1976]), biopolitics indicated the historical passing of our society into biological modernity that stood, he claimed, for much of a dangerous threshold—that is, the passage from the governing of people as political subjects of law to the governing of living beings—as a ‘population’—with a natality rate, a mortality rate, a morbidity rate, an average life expectancy and so forth. Power, now conceived as ‘biopower’, Foucault insisted, uses populations like a machine for production—the production of wealth, good and other individuals. Yet even if biopolitics could claim to increase productivity across all sectors (public and private, governmental and independent), it was, in fact, organizing unequally the production of wealth in certain sectors over others. This could not be more visible, for example, during this current coronavirus pandemic.


Indeed, what the corona crisis has most strongly demonstrated is the contradictions at work in the economic, political and social fabric of life under late Capitalism. Although we are being urged to stay at home and work from home, there are still many who are being forced to go to work every day because they cannot work from home or do not have a home to stay at in the first place. And although we are encouraged to applaud the medical and care workers at the forefront of fighting corona (and we should surely applaud them), don’t we also equally need to celebrate the delivery people who brings goods to our homes while we remain safely inside? Or the supermarket and pharmacy cashiers, or the public-transportation drivers, the factory workers, the police officers and all those people working in mostly low-income jobs? Racism is another reoccurring feature to the event of any such differential exposure of human beings to health and social risks being one of the constitutive features of biopolitical governmentality. And, finally, the last, most profound perhaps, biopolitical lesson of life that this pandemic has also taught us is the disciplinarization of a city and its inhabitants that is a deeply biopolitical norm.


Please refer to the website for complete statement regarding the themes of this edition: 



This journal edition will therefore attempt to critically explore the conceptual, performative, political and creative intersections between biopolitics, theatre and performance. We invite scholars, artists, political and cultural theorists, environmental, animal and anti-racism activists to contribute pieces that seek to untangle the complex web of ideas outlined above, understood here in relation to a variety of disparate but connected phenomena:

—as ways of defining groups, populations or species according to which human/non-human subjects and their positions are produced, thus as administrating life/death and levels of individual/collective agency;

—as the enactment of an ethics of collective and/or self-accountability/responsibility, or conversely as a matter of standardizing thoughts, behaviours and biologies;

—as the performance of bodies conceived as one body within various institutional settings and demands;

—as specific ways of acting—intervening in or directing human groups within or in relation to the mechanisms and techniques of exposure and supervision that constitute the technologies of state reason, authority and care.


Proposals: 11 January 2021
First Drafts: April 2021
Final Drafts: June 2021
Publication: December 2021


Alongside long-form articles, we encourage short articles, provocations and other forms of creative response. As with other editions of Performance Research, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.

All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org

Issue-related enquiries should be directed to the issue editors:
Eve Katsouraki: eve.katsouraki@uws.ac.uk

Simon Donger: simon.donger@cssd.ac.uk 





Deadline date: February 8, 2021; City: the world: Source: the Hemi



EMERGENYC is an incubator for artist-activists interested in developing their creative voice, exploring the intersections of art and activism, and connecting to a thriving community of independent practitioners—most of them POC, women, and LGBTQIA+ folks. First launched in 2008 at NYU’s Hemispheric Institute—and now independent, in partnership with BAX/Brooklyn Arts Exchange and Abrons Arts Center—EMERGENYC offers varied entry points into art and activism, prioritizing process, discovery and reflection, and fostering a brave space for experimentation, risk-taking and community-building. The annual program encourages participants to take interdisciplinary leaps, mix styles and traditions, and develop incisive new work at the intersection of performance and politics. Over the years, EMERGENYC has activated a strong network of artivists—in NYC and beyond—who have built solidarity across differences and challenged dominant narratives through artistic cultural resistance.


The Program: 2021 Zoom Version


While we miss the in-person experience, this pandemic-era virtual iteration has allowed for an expansion of the network of participants—folks can now be anywhere and still be a part of the cohort—which in 2020 brought us unforeseen magic and pleasure. For 2021, we will continue creating in our virtual playhouse: with a decolonial lens, we will explore the intersection of art and activism through creative writing, autobiographical narratives, group work, and other multi-disciplinary adventures—all while creating and re-creating a space in which all participants build community with one another, actively listen with their bodies, and build intentional trust to lay a foundation where compassion and risk-taking guide our work together.


The deadline to submit materials via Submittable is Monday, February 8th, 2021 at 5pm (Eastern Time). 


Selected participants will take part in weekly Sunday workshops facilitated by George Emilio Sánchez and Marlène Ramírez-Cancio, as well as workshops by established artists who are leaders in the field of performance and politics. Workshop leaders for 2021 will be announced closer to the date. (See the Faculty page to see past instructors.) We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Participants have explored themes of racism and racial violence; police brutality and mass incarceration; joy as resistance; queer world-making; disability rights; undocumented immigrant activism; war and human rights; environmental justice; and myriad topics that affect their lives. These engagements have resulted in the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more. The program will take place every Sunday (10am–2pm Eastern Time) from Sunday April 4th to Sunday July 11th (*except for July 4th), with the final works-in-progress presented on July 8th, 2021 via Zoom.


This 3-month program has a fee of USD $500. A modest amount of financial aid will be available to cover part of the tuition on a need basis. If your enrollment depends on financial aid, please let us know in your application.


Who can apply:
EMERGENYC is now open to ALL emerging activists/artists/performers (not just NYC-based) who are fluent in English and can participate in online workshops from 10am–2pm Eastern Time. Applicants must have prior experience in various performance genres and/or activist practices. Age is not a factor (past participants have ranged in ages 18–45, all bringing their best selves to the experience); what we define as ’emerging’ is fluid, and has more to do with how you self-define than anything else. We very much encourage BIPOC, LGBTQIA+, and disabled artists to apply.


Visit the website for the online application form: www.emergenyc.org





Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.


Board of Directors: Julian Higuerey Núñez (Chair), Jennifer Cruise (Vice Chair), Cathy Gordon (Treasurer), Clayton Lee (Secretary), Francesco Gagliardi, Freya Björg Olafson


Artistic + Administrative Director: Shannon Cochrane

Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8

FADO on Instagram: @fadoperformanceartcentre
FADO on Facebook: FADO Performance Art Centre