FADO E-LIST (March 2021)


1. OPEN CALL: What’s Collective? / Public Recordings & the Love-In

Deadline to apply: March 1, 2021; Location: online; Source: Love-In

2. WORKSHOP: Imageless with Christopher Willes

Date: March 1–5, 2021; Location: on-line: Source: Christopher Willes

3. EVENT: Venus Envy: Artist as HERstorical Recorder by Karen Finley

Date: March 4, 2021; Location: on-line; Source: Jennifer Fisher

4. EVENT: Out of Site Artist Focus Program / Alumni Artists

Date: March 6, 2021 (weekly); Location: on-line; Source: Carron Little

5. OPEN CALL: Out of Site Chicago

Deadline date: March 7, 2021; Location: Chicago & on-line; Source: C. Little

6. OPEN CALL: Face to Faith

Deadline date: March 7, 2021; Location: various; Source: ANTI

7. CALL FOR PROPOSALS: Performance Research ‘On Protest’

Deadline date: March 8, 2021; City: the world; Source: PR

8. WORKSHOP: Rules of the Game, task-based performance

Deadline to apply: April 4, 2021; Location: online; Source: ECC

9. CALL FOR SUBMISSIONS: The Franklin Furnace Fund

Deadline: April 8, 2021; City: NYC, USA: Source: Franklin Furnace

10. TO WATCH: momentum / talk series by VestAndPage

Date: unspecified; Location: online; Source: VestAndPage

11. TO WATCH: Live Art Denmark / on-line archive

Date: soon if not now; Location: on-line; Source: Live Art Denmark

12. CALL FOR PAPERS: Fugas E Interferencias

Deadline date: June 30, 2021; Location: on-line; Source: Carlos Veloso



1. OPEN CALL: What’s Collective? / Public Recordings & the Love-In

Deadline to apply: March 1, 2021; Location: online; Source: Love-In


What’s Collective? is an ongoing project of Public Recordings facilitated by Brendan Jensen, Germaine Liu, and Bee Pallomina, Christopher Willes and Evan Webber, and devised by Liz Peterson, Christopher Willes and Evan Webber. 

What’s Collective? offers a site to research ways and means of making that promote shared agency and authorship: a research space facilitated by multiple artists, through which collective approaches to art making can be shared, examined, and renewed. Building on a reading (and rereading) of Jo Freeman’s 1970 text, The Tyranny of Structurelessness, a reflection on her experiences in the US Women’s Movement, this online exchange will draw on the lived experience of participants, facilitators and antecedents to explore common issues in group work. 

Participants will explore practical elements and systems borrowed from both individual and shared practices of the facilitator team. Through discussion, physical practice, sound-making, listening, writing, and reflection, we will articulate different conceptions of collectivity, identify valences of practice, and consider how group processes can produce positive outcomes inside and outside of art. 

The format of the online exchange extends out of a workshop developed by Public Recordings and partners and first presented January 2020 at Studio 303 (Montréal). Revisited in 2021 with support from the Love-In, What’s Collective? will be presented as the Love-In’s fourth Collective Practice Project. Participants and facilitators will come together weekly over six online sessions to ask the question: how can we make performance better, together? 

For this paid opportunity, the Love-In will invite six participants to explore over the course of six weeks. To apply, please provide the requested information below by 9pm EST on March 1, 2021. All applicants will be notified by March 8, 2021.


Participants receive a $450 (CAN) honorarium for their participation in the exchange. 

Project Schedule:

All six sessions will be held online. Applicants must be available for March 18 & 25, April 1, 8, 15 & 22, from 1:00pm–3:30pm EST

Questions / Requested Information to be filled out via the GOOGLE FORM including the following information:
1. Short Bio (200 words max.)
2. Please provide a letter or short video to describe your interest. We encourage you to refer to experiences working in groups or collectively. We will assemble a group with as many viewpoints and experiences as we can. 
3. Are there any accessibility needs that we can support through this application process? And/or if you were to join this project? 



Public Recordings is an artist-led collective based in Toronto. We develop and present hypotheses about group work using dance, theatre, music, publication and other collective gestures. Our work has been shown and distributed in theatres, art galleries, museums, bars, clubs, civic, outdoor and digital spaces across Canada, Europe, Australia and Asia. Public Recordings is led by its Associate Artists. Working and managing resources collectively, the Associate Artists direct the company’s projects and help collaborators develop new ones.



2. WORKSHOP: Imageless with Christopher Willes

Date: March 1–5, 2021; Location: on-line: Source: Christopher Willes


Imageless with Christopher Willes

Presented by Studio 303 dance centre (Montréal, Canada)


March 1–5

Online / English / Registration mandatory





What happens when I decenter the image? How does my listening shape my relations? In this workshop, we will research sound and its connection to movement, proprioception and corporeality. Through experimentation and dialogue we will develop notions of imageless presence. 


Originally created for an in-person context, I’m excited to adapt this workshop in an online form. Intended for performance makers of all kinds, the daily format will include a guided listening, group experimentation with sound, discussion and reflection. We will practice sonic-somatic exercises, create sound choreographies, listen to music, learn about psychoacoustics (the study of sound perception), write and reflect together. The aim of this workshop is to hold space to articulate new conceptions of sound/music within our own practices, and to more deeply consider how we are listening—within art making practices and otherwise. 


Experience with sound-making is not required. Activities will accommodate a range of mobility and auditory access (tactile loudspeakers can be provided on request, for example). As the facilitator of this workshop, active listening, care, consent, and responsibility to the group are values that I will continuously work to center throughout. Each participant will be engaged in a short conversation before the workshop week to share needs.

ABOUT Christopher Willes 

Christopher Willes (he/him) is an artist, musician/composer, and facilitator based in Tkaronto/Toronto and Tio’tia:ke/Montréal. Of settler descent, his work moves between communities and frameworks of experimental music/sound, dance, and visual art forms, and focuses on the subject of listening as an inherently interdisciplinary and social practice. He is currently an associate artist with Public Recordings, an organization focused on interdisciplinary performance, publication, and learning. Between 2011–2015, he was a regular collaborator with the contemporary dance company Dancemakers (Tkaronto/Toronto). He has had the honour of collaborating with many dance artists over the past decade as a sound-maker and dramaturge. Christopher studied music at the University of Toronto, dance dramaturgy through the Metcalf Foundation / Dancemakers and the centre for creation, and holds an MFA from Bard College (USA). His work has been shown across Canada, in the USA, and the UK.



3. EVENT: Venus Envy: Artist as HERstorical Recorder by Karen Finley

Date: March 4, 2021; Location: on-line; Source: Jennifer Fisher


Venus Envy: Artist as HERstorical Recorder

Public Talk with Karen Finley


Thursday, March 4, 2021

2:30–4:30pm EST



Email to sensinfo@yorku.ca to RSVP


During this time of the pandemic, and recent political turbulence, Karen Finley’s lecture will inquire into art as an experimental forum for research and scholarship. She will share some examples of her artworks and performances as intentional interventions for social change. How does art create space for agency and inspiration, as well as for the expression of imaginative possibility and innovation? How might artists move forward with their work to create a better tomorrow? How can artistic practice be oriented toward cultural empowerment? Strategies such as irony, re-imagining, reclaiming, resistance, speaking up and art as revolution will be part of the conversation.


Karen Finley’s presentation comprises the public lecture component of In Practice, the 2020 Goldfarb Summer Institute curated by professors Jennifer Fisher and Barbara Balfour of the Department of Visual Art and Art History. In Practice interrogates what it means to engage with “practice” as a lens for dynamic relationality, performativity and ethics in aesthetic expression. The seminar has featured collaborative, feminist, Indigenous, contemplative and activist practices in contemporary art and curating that impact personal, political and cultural transformation. Guest presenters included Karen Finley, Marysia Lewandowska, Jess Dobkin, Lisa Myers, Emelie Chhangur, Marcus Boon and Gabe Levine.


This event is organized by the Department of Visual Art and Art History in conjunction with Sensorium: Centre for Digital Arts and Technology. We gratefully acknowledge the Goldfarb family’s generous support of Visual Art and Art History Summer Institute.



Karen Finley is an interdisciplinary artist who works in visual art, performance, literature, music and new media. She was the named plaintiff with three other artists (John Fleck, Holly Hughes and Tim Miller) in the notorious case of the United States Supreme Court National Endowment for the Arts v. Finley (1998) when grants approved by this art agency were denied. Their lawsuit advocated for freedom of expression, confronting censorship and homophobic standards of decency contingent to government funding. Finley is the author of eight books, most recently Grabbing Pussy (2018) and the 25th edition of Shock Treatment (2015). Karen Finley has presented her work internationally including Documenta (Athens), La Pietra (Florence), The Barbican Centre (London), Lincoln Centre (New York) and REDCAT (Los Angeles). She is Arts Professor in Art and Public Policy in the Tisch School of the Arts, New York University.



4. EVENT: Out of Site Artist Focus Program / Alumni Artists

Date: March 6, 2021 (weekly); Location: on-line; Source: Carron Little


Out of Site Artist Focus Program

Saturdays in March @ 11:15am


Watch on TWITCH, FACEBOOK or Out of Site's YOUTUBE channel.


In the weekly program Artist Focus, Carron Little, organizer of Out of Site is in conversation with Out of Site alumni’s artists about their public performance practice. Many of the artists performing with Out of Site have produced many performances over the years since OoS began in 2011. This dialogue series includes two screenings of two public performances before delving deep into the genre of public performance. 


March 6: Adriana Disman

March 13: Regin Igloria

March 20: CV Peterson

March 27: Wannapa P-Eubanks



5. OPEN CALL: Out of Site Chicago

Deadline date: March 7, 2021; Location: various; Source: Carron Little


Out of Site Chicago (OoS) invites Open Calls/ RFPs


Out of Site Chicago is a public performance program that facilitates dialogue directly with the public and prioritizes interactive performance. In 2020, OoS reached moved our programming online to facilitate working opportunities for our artist community. We have forged a collaboration with Experimental Sound Studio to curate performance art and facilitate live streaming events in 2021. In the weekly Artist Focus program, we delve deep into each artist’s practice. As a collaborative community of international performance artists, we have bi-weekly meetings to determine programming and facilitate artists’ needs. We work by consensus and collaboration focused on the practice of public performance and the necessity to engage diverse audiences.


We currently have opportunities for: 


Live Stream Performances

OPEN CALL: International

Deadline: March 7, 2021 midnight CST

Performances throughout 2021. Artist Stipends are available. Artists will receive one to one training on how to live stream. 


Public Engagement Projects & Public Performance in Chicago

OPEN CALL: Chicago-based/Illinois Artists ONLY

Deadline: March 7, 2021 midnight CST

Projects will take place from June–October. Artist Stipends available. 


Public Performance Symposia 

OPEN CALL: International

Deadline: March 7, 2021 midnight CST

Symposia dates are April 22–May 9. Requesting proposals for online practice-based workshops and Abstracts & Proposals for Lecture Presentations on diverse Public Performance themes.


See website for submission guidelines / details for each call before applying:




6. OPEN CALL: Face to Faith

Deadline date: March 7, 2021; Location: various; Source: ANTI

Face to Faith is an international cooperation project aiming to understand the diverse meanings of faith in European societies. The project partners include international theatres and festivals from the Czech Republic, Finland, Germany, Italy, Israel, Poland and Ukraine. Face to Faith will investigate “faith” through conferences and performance arts productions.


Project partners:

ANTI - Contemporary Art Festival (Finland)

Divadlo pod Palmovkou (Czech Republic)

Gesher Theatre (Israel)

Jam Factory Art Center (Ukraine)

Sommerblut Kulturfestival eV (Germany)

Teatro dei Venti (Italy)

Teatr Powszechny (Poland)

We now invite all interested artists from all backgrounds to propose new project ideas related to the topic of faith.

The Face to Faith project involves producing 7 new performance productions, with each of the 7 project partners managing one of the productions. After the premiere held by the producing partner organization, the project will tour each production in at least one other Face to Faith partner city. The productions will premier between October 2021 and September 2022.

DEADLINE TO SUBMIT: 7 March 2021 (midnight CET time)

Each partner organization will carry out a pre-selection process. The final selection of the 7 Face to Faith productions will be made by a curatorial team formed by the curators of the partner organizations. We aim to inform all the applicants about the results by the end of May 2021.

Please carefully read the general announcement of each partner organization and make sure that your proposal fits the idea and conditions of the Face to Faith project.


For information about Face to Faith and links to each partner’s call for submissions, please visit: https://face-to-faith.eu/



7. CALL FOR PROPOSALS: Performance Research ‘On Protest’ 

Deadline date: March 8, 2021; City: the world; Source: PR


Performance Research ‘On Protest’ (Vol. 27, No. 1)

Publishing date: Jan/Feb 2022


Issue Editors:

Andy Lavender, Guildhall School of Music and Drama

Julia Peetz, University of Warwick


Storming the Capitol. Dismantling Confederate and slave trader statues. Refusing to wear a mask. Booing Belarusian President Alexander Lukashenko. Sabotaging 5G towers. Buying stamps in an attempt to prop up the United States Postal Service. Defying lèse-majesté laws to criticize Thai royalty. Writing ‘Black Lives Matter’ on roads, so large that the message can be read from Earth orbit. All these actions have been performed as protests in 2020 and 2021, marking this as a year of significant dissent. In the United States alone, the Black Lives Matter actions may be the largest protest movement in the country’s history, eclipsing even the protests of the civil rights era. The US presidential election, meanwhile, was a site for trenchant protests that dramatize the situation of commitment-amid-division that protest typically represents—and that beg wider questions of protest as a contemporary mode of political insistence.


While many of the recent protests around the world mark a resurgence of the popular voice, the language of resistance and opposition has become ubiquitous on the political right as well as for progressives. Right-wing populists paint themselves as perennial outsiders, embattled by and protesting against deep state powers and global cabals. Protestors have weaponized ideals of personal freedom to rage against COVID-19-specific health guidance regarding the wearing of face coverings in public. Social media are increasingly sites of and means of coordinating protest actions; even so, social media posts framed as protest actions are frequently denounced as merely ‘performative’ forms of protest and allyship. Debates on the correct and most effective manner of performing protest abound, and once-controversial civil rights heroes are invoked as exemplars of ‘right’ and ‘wrong’ ways to protest. Protest has mainstreamed, and it has become more volatile. It belongs not to any single faction or persuasion but has become pervasive—even while it is fostered as part of the repertoire of political sway, a system-theatre of power.


This issue calls for critical examinations of contemporary performances of protest across the globe. It is interested in ways that protest can be understood as theatre, but more particularly—in a multimodal, interconnected environment—as a form of public manifestation that draws upon a wide repertoire of representational devices. It seeks to address the relationship between embodied action, affective presence, communication and ideological affiliation. How does protest feel, and who is doing the feeling? It considers the performativity of protest. It pays particular regard to the extent to which protest achieves change (however this is defined) and the ways in which historical protests help to inform judgements of the conduct, legitimacy and efficacy of current protest actions. What historical instances are invoked to draw comparisons to current forms of activism and resistance? How do contemporary protests draw on historical repertoires of protest that reflect or extend beyond their specific political contexts? Do protest strategies and tactics need to evolve as languages of protest become a default mode of mainstream political discourse? Our concern with the modal nature of protest, we suggest, might also be historicized. What is it about our times, our modes of communication, our political systems, that help to produce protest as a defining feature of contemporary political process?


We invite contributions in the form of longer essays (up to 7,000 words), shorter provocations (2,000 words) and artist pages. We also welcome suggestions for unique or hybrid formats.


Contributors may wish to draw on the following list of topics as a source of inspiration, although the list is not intended to be exhaustive or restrictive:


Staging/Representation of protest in mainstream media

Contemporary theatres of protest

Violent and non-violent protest

Criteria for the efficacy of protest

The triviality and ubiquity of protest

Populism and protest

Protest and the political right

Protest and the political left

The protestor as actor

The affective nature of protest

Protests and conspiracy theories

Hyperbole and protest

Social media and the performance of protest

Performative protest/Performativity of protest 

Collective/Cultural memory of protest

Protest and national identity

Heroes of past/present protests (and their representation)

Protest in the social sciences versus protest in the humanities

Protest and change

The purpose of protest (thinking of performance)



Proposals: March 8, 2021 

First Drafts: July 2021

Final Drafts: September 2021

Publication: Jan/Feb 2022


ALL proposals, submissions and general enquiries should be sent direct to the PR office: info@performance-research.org


Issue-related enquiries should be directed to the issue editors:

Andy Lavender: andy.lavender@gsmd.ac.uk

Julia Peetz: julia.peetz@warwick.ac.uk


General Guidelines for Submissions

–Before submitting, visit our website and familiarize yourself with the journal.

–Proposals accepted by e-mail (MS-Word/RTF), do not exceed one A4 side.

–Please include your surname in the file name of the document you send.

–Submission of images and visual material is welcome provided that all attachments do not exceed 5MB, and there is a maximum of five images.

–Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.

–If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.





8. WORKSHOP: Rules of the Game, task-based performance

Deadline to apply: April 4, 2021; Location: online; Source: ECC

Rules of the Game: an introduction to task-based performance and art
With Katja Hilevaara


Through a variety of practical experiments, discussions of case studies, and selected readings, this class examines the practice of using task-led activities as a means to conceive and compose performance art.

April 6–27, 2021
Tuesdays, 6–8pm CET
Fee: EUR 175


Course Description

The French conceptual artist Sophie Calle, whose projects are often led by her ‘rules of the game’ (a set of predetermined instructions), suggests that abiding by rules is ‘restful [and] a way of not to have to think – just be trapped in a game and follow it.’ Rule structures, directives and instructions restrain the artist’s choice and potentially bring something unforeseen and unpredictable to the creative process. The focus of this course is the critical and practical consideration of these creative constraints as we examine the practice of using task-led activities as a means to conceive and compose performance. Weekly discussions and practical experiments are informed by selected critical reading and examples of case study artists (e.g. Calle’s ‘Rules of the Game’, Cage’s ‘Chance procedures’ and Goat Island’s ‘Directives’). Each participant will be invited and guided to make weekly performance responses to the material in their own time, and these responses will be uploaded onto an online content store where they are accessible to the course participants and discussed in class. Participants will gain a critically and creatively informed understanding of the practical philosophies that underpin task-based performance art.


ABOUT ECC Performance Art

ECC Performance Art is an online teaching and research platform dedicated to strengthening the discipline of performance art by providing artists, scholars, and curators with a range of tools and insights for their professional growth. ECC Performance Art offers an extensive course program related to key aspects of performance art practice, its theoretical investigation, as well as its documentation and forms of curation and exhibition. Artistic and research projects developed in collaboration with ECC Performance Art cross theoretical and disciplinary boundaries and pioneer approaches to how we think about, study, exhibit, and produce performance art.



9. CALL FOR SUBMISSIONS: The Franklin Furnace Fund

Deadline: April 8, 2021; City: NYC, USA: Source: Franklin Furnace


2020 is the 35th anniversary of the Franklin Furnace Fund. Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace has annually awarded grants to early career artists selected by peer panel review to enable them to produce major performance art works in New York.


In the spring of 2008, Franklin Furnace combined the Franklin Furnace Fund for Performance Art and The Future of the Present programs into one, entitled the Franklin Furnace Fund. Franklin Furnace made the decision to combine these programs because during the last decade, artists have created works on every point of the spectrum between the body of the artist and the circulatory network of the Internet in the creation of temporal work.


The Franklin Furnace Fund is supported in 2021–22 by Jerome Foundation and the NYC Department of Cultural Affairs in partnership with the City Council. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace. Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York City. Full-time students are ineligible.


Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "early career artist" and "performance art." So, if at first you don't succeed, please try again.


Since 1985, the Fund has helped launch the careers of Jo Andres, Tanya Barfield, Jibz Cameron aka Dynasty Handbag, Lenora Champagne, Patty Chang, Papo Colo, Brody Condon, Nicolás Dumit Estévez, Karen Finley, John Fleck, Coco Fusco, Kate Gilmore, Pablo Helguera, Donna Henes, Murray Hill, Holly Hughes, Liz Magic Laser, Taylor Mac, Robbie McCauley, Jennifer Miller, Naeem Mohaiemen, Rashaad Newsome, Clifford Owens, Pope.L, Dread Scott, Pamela Sneed, Fiona Templeton and Diane Torr, among other fund recipients.


Please read the GUIDELINES before applying: http://franklinfurnace.org/artists/franklin_furnace_fund/index.php



10. WATCH: momentum / talk series by VestAndPage

Date: soon if not now; Location: online; Source: VestAndPage


VestAndPage, EntrAxis e.V.and Venice International Performance Art Week

present the online launch of the new series of video conversations




In this series of videos, VestAndPage host conversations under existential focus with inspiring people from the arts, culture and science. In the form of shared reflections, these dialogues search not to battle through opinions, but to raise crucial questions on our contemporaneity. These exchanges do not accept any answer as ultimate. They allow for uncertainty and converge on a common ground in which shared knowledge is fundamental for continuous queries. Essential questions on existential concerns dig into the place of action in daily life. They touch humanity subjects like time, care, dualism, love, transformation, consciousness, conflict, nature, and art. They are moments where people encounter to share their visions through unconventional, critical and divergent creative thinking, inspecting and dissecting contemporaneity while caring for humanity.

How to Care Collectively?

In conversation with Lois Keidan & Joseph Morgan Schofield


How to Consider Time?

In conversation with Marilyn Arsem



11. TO WATCH: Live Art Denmark / on-line archive

Date: soon if not now; Location: on-line; Source: Live Art Denmark


Check out Live Art Denmark’s YouTube channel where you can view over 200 performances presented by Live Art Denmark, recorded between 2016–2018.


Since 2004, Live Art Denmark has cooperated with more than 250 artists, and organized 15 festivals and several hundred events, involving older as well as younger citizens actively. Live Art Denmark’s customers and partners are municipalities, libraries, companies, art halls, cultural organizations, museums and theatres in Denmark and abroad. Live Art Denmark presents our productions by us and other companies and we design live situations that invited citizens of all ages to participate in the thinking, creation and discussion of art and society. 



12. CALL FOR PAPERS: Fugas E Interferencias

Deadline date: June 30, 2021; Location: on-line; Source: Carlos Veloso


VI Edition Fugas E Interferencias

International Performance Art Conference

FUGAS E INTERFERENCIAS announces its call for papers for the sixth edition. Due to the COVID19 crisis, the V edition of FUGAS E INTERFERENCIAS will not use the face-to-face format, nor the online support. Consequently, the efforts of this fifth edition will be focused on the publication of the articles selected by the scientific committee. This publication will continue to be endorsed by the University of Vigo and the Galician Center for Contemporary Art in Santiago de Compostela (CGAC). Likewise, certificates of the publication will be issued, which, as usual, will have an electronic ISBN from the University of Vigo.


Conference Main Topics

1. The theoretical reflection of the performance. This section will attempt to contrast the different theoretical approaches to the performance to give them visibility and to be able to build a contextual theoretical framework.


2. The performance and its intersections. It is about investigating the hybrid nature of performance art and how this practice has evolved to incorporate strategies from contemporary theater, video art, dance, etc.


3. Possible interactions between the performance and the political context. It is proposed to investigate how the performance, from very diverse approaches and positions, can cross the limits of established / dominant power to generate an aesthetic discourse beyond antagonisms. Among other

approaches, we will pay special attention to the nature of performance art from a gender, theory and feminist and / or queer perspective.


4. Action art curator. It sets out to investigate performance art curatorship from a broad perspective that can encompass curatorial experiences that take shape in festivals, museum cycles, individual performances or that study museum collections or artist archives.



Abstracts are accepted in the three official languages of the congress: Galician, Spanish and English. Submissions must be original without having been published in advance of the congress. The congress has a blind peer review. There is no fee to submit.


Abstract Format

Abstracts of a maximum length of 1000 words and a minimum of 750 are requested. It is recommended that the abstract be organized according to these sections: introduction, methodology, topic to be addressed, objectives and bibliography.


Important Dates

Abstract submission deadline: June 30, 2020

Communication acceptance notice: July 15, 2020

Full article submission limit September 7, 2020


For more information: www.fugaseinterferencias.com



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 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 acknowledges that as settlers, we are not the first people to gather, live and work on the land where we currently operate and present our activities, currently referred to as the city of Toronto. In truth, Toronto's real name is tkaronto, meaning "place where trees stand in the water" and it is the traditional and unceded territory of many First Nations and peoples including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. We work and live here in the spirit of the traditional treaty—the Dish with One Spoon treaty between the Anishinaabe, Mississaugas and Haudenosaunee—that binds and protects the land.

Artistic + Administrative Director
Shannon Cochrane

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

FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.


Copyright © 2021 Fado Performance Inc., All rights reserved.