FADO E-LIST (July 2022)


1. EVENT: YOU'RE INVITED by Jess Dobkin & Clayton Lee

Date: July 1–10, 2022 (various); Location: Birmingham, England; Source: Fierce Festival

2. EVENT: Urban 667 by Shaun Caton with Weeks & Whitford

Date: July 5, 2022; Location: London, England; Source: Facebook

3. EVENT: Stre!fen Festival

Date: July 5–9, 2022; Location: Gortliz & Zgorzelec, Germany; Source: Instagram


Date: July 8, 2022; Location: Madrid, Spain; Source: Facebook

5. WORKSHOP: Performance-based Filmmaking with VestAndPage

Deadline date: July 21, 2022; Location: on-line; Source: ECC

6. PERFORMANCE SERIES: ‘open the door a window’ with Julie Andrée T & Morgan O’Hara

Dates: July 24 & 26, 2022; Location: Cologne & Giessen, Germany; Source: asabank

7. CALL FOR PROPOSALS: Performance Research Vol. 28, No. 3: ‘On the Mundane’

Deadline date: September 5, 2022; Location: the world; Source: Performance Research

8. SAVE THE DATE: 7A11D International Festival of Performance Art (is back!)

Date: September 6–11, 2022; Location: Toronto, Canada; Source: 7A11D

9. FADO WORKSHOP: Performance for Camera with Rah Eleh

September 10 & 11, 2022; Location: Toronto, Canada; Source: FADO


Date: now; Location: the world; Source: FADO


Deadline date: November 1, 2022; Location: Montréal, Canada; Source: OFFTA


1. EVENT: You’re Invited by Jess Dobkin & Clayton Lee

Date: July 1–10, 2022 (various); Location: Birmingham, England; Source: Fierce Festival

Fierce Festival presents:

You’re Invited by Jess Dobkin & Clayton Lee

July 1–10, 2022

Through sensory, embodied and energetic encounters, join Canadian performance artist Jess Dobkin in collaboration with Clayton Lee and members of the Healing Gardens of Bab Steering Group to explore connections and intersections in the dynamic relationship of live performance, archives and activism. YOU’RE INVITED presents a constellation of engagements: an iteration of Jess Dobkin’s Wetrospective Archival Reading Room, a queer teen art and activism workshop, community meals, and a DIY poster project spotlighting 25 years of FIERCE archives through the streets of Birmingham. All artists, archivists, activists, finders, keepers, scholars, collectors, witches, mystics and queers are welcome.

Schedule of activities:

Wetrospective Archival Activation: July 1–3

Fierce at 25 – Archive Workshop: July 6

Queer Teen Art & Activism Workshop: July 9

Community Dinner: July 10

For more information: https://wearefierce.org/event/youre-invited/


Jess Dobkin is an internationally acclaimed artist. Her performance and curatorial projects are presented at museums, galleries, theatres, universities and in public spaces internationally. She was active in the downtown performance art scene in New York City before moving to Toronto in 2002. Recent projects include her 2017 Dora-nominated performance, The Magic Hour, which was developed through The Theatre Centre Residency program with support from the Canada Council, Ontario Arts Council and the Toronto Arts Council. She created The Artist-Run Newsstand (2015-2016), a one-year artist-run newsstand that operated in a vacant subway station newsstand kiosk. Her Lactation Station Breast Milk Bar (2006, 2012, 2016) continues to receive significant scholarly consideration and media attention. She was Guest Curator of MONOMYTHS at FADO Performance Art Centre (2016-2017), Guest Curator of Harbourfront Centre’s HATCH performing arts residency program (2011-2012) and a co-curator of the 7a-11d International Festival of Performance Art (2009-2012.) She has taught as a Sessional Lecturer at OCAD University, the University of Toronto and Sheridan College, and was a Fellow at the Mark S. Bonham Centre for Sexual Diversity Studies at the University of Toronto.


Fierce has been putting Birmingham and beyond on the map since 1998, when its first festival of theatre and performance originally launched as Queerfest. Founded by Mark Ball, who went onto be Artistic Director at LIFT (London International Festival of Theatre) 2009–2017, and then joined Manchester International Festival as Creative Director. It was renamed Fierce! Festival in 1999 with the strapline ‘the festival that bites’–partly in response to a desire to be inclusive to an audience who craved the unusual, the edgy and the spectacular and also to reflect a more intersectional politic (before that word was even trendy!)


2. EVENT: Urban 667 by Shaun Caton with Weeks & Whitford

Date: July 5, 2022; Location: London, England; Source: Facebook

Urban 667

By Shaun Caton

With Weeks & Whitford

July 5 @ 2:00pm–6:00pm

The Horse Hospital, Colonnade, London England

A Unique immersive live performance by iconic British performer Shaun Caton, accompanied by guest performers Weeks & Whitford. Film and sound score provided by legendary photographer and film maker Bill Jackson. The performance is part of the Raft Festival taking place at The Horse Hospital in Bloomsbury, London.

This is Shaun's 667th performance to date, since he first emerged in the early 1980s. He has presented his performances worldwide and at the 58th Venice Biennale in 2019. The performance uses wire and paper totems, made from entirely found materials, picked up from streets, created specifically for an audience participation shadow performance. It is accompanied by live and pre-recorded sound, stunning colour shadow play and projected animation. The event is formed of several interwoven fractured narratives or vignettes, that come into and out of focus. Through repetition and variation, the performance reveals a strange cycle of stories told in images.

Tickets are available from Eventbright: https://tinyurl.com/4c6rsxnn


3. EVENT: Stre!fen Festival

Date: July 5–9, 2022; Location: Gortliz & Zgorzelec, Germany; Source: Instagram

This year Stre!fen Festival is hosting 6 international artist from Poland, Ukraine, Finland and a German writer. During the week, the artists will spend their time in both cities Gortliz and Zgorzelec, will also present themselves and their main areas of work as a public colloquium in addition of lecture, “A Train from Odessa. Of the Silencing of Poetry Within Earshot of a War” by Lothar Quinkenstein and at the end of the week artists will perform their performances as a result of their observations and research on the site. 

In time of increasing invasions and migration, international artist week deals with ‘the borders’ in a conceptual framework this year. Spatial frontiers between cities, neighborhoods, and communities are being constantly created to identify and distinguish landscapes of ethnic, gender and religious groups. These borders are complex phenomena and get into existence in lots of different forms. It is sometimes political instruments which formed by solid walls and wires, transecting spaces not only in administrative and geopolitical regions but also into cultural, economic and social spheres and sometimes it is a natural formations such as rivers or mountain ranges. As the river Neisse continues to flow with its distinctive rhythm, it represents a border phenomenon between Germany and Poland.

On 09.07.2022, the artists will be presenting their performances on both banks of the Neisse river, and they will perform their site-specific performances over a flowing border. Performances will be open to the public and free of charge. 


Marta Bosowska (PL)

Lenka Klodová (CZ)

Paweł Korbus (PL)

Yaryna Shumska (UA)

Tomasz Szrama (PL/FI)

Volodymyr Topiy (UA)

Lothar Quinkenstein (DE)

Curated by Emrah Gökdemir

For more information about the artists, program schedule and locations, visit:




Date: July 8, 2022; Location: Madrid, Spain; Source: Facebook

Anew session of P.E.P.A. with the participation of:





Organized by Analía Beltrán i Janés

Collaborators: Pedro Déniz, Acción!MAD, ABM Confecciones, Carlos Felices, Susana SK

July 8 @ 8:00pm

ABM Confecciones, Madrid




5. WORKSHOP: Performance-based Filmmaking with VestAndPage

Deadline date: July 21, 2022; Location: on-line; Source: ECC

Performance-based Filmmaking

The Nature of the Poetic Image in Motion and its Performativity

Online Workshop with VestAndPage

This intensive workshop is dedicated to performance-based filmmaking’s conceptual, aesthetic, and practical aspects. This field exists at a dynamic intersection of two art forms: body-based performance art and filmmaking. To inquire into the pillars that constitute the cross-contamination of those two practices, we expand upon the “Poetics of Relations”, the embodied research we have pursued since 2006, to discuss some of the conditions and methods of performance-based film work production and presentation. It involves exploring the differentiation between objective and subjective points of view and perspectives while performing for the video camera and how to allow the viewers to receive what the performers experience. During the Workshop, we will watch a series of excerpts from performance-based films that help illustrate and refine our discussions of the difficulties accompanying these problems. Attention is placed on exploring the similarities and variations between the realization of imaginary worlds and the interpretation of reality as it appears to the eye.

In this course, we do not teach filmmaking or editing techniques. Instead, we address the essential questions such as:

The difference between video and film work;

The reasons why to choose a specific topic;

Scouting locations;

Performing for the camera, even in extreme conditions;

How to forge a personal poetics;

The role of spoken word, music and sound;

How to structure a (non-linear) narrative through moving images;

Production and post-production of a performance-based film.

Theoretical components include the analysis of excerpts from performance-based films we reckon fundamental to the development of the practice. In this, we reflect on the differences between video documentation of performance art and performance-for-camera, the nature of the poetic image and its performativity, the use of space, time, objects, the human body concerning the technical medium, the physical side of film production, site-specific performance work, guerrilla tactics vs bureaucracy, and sustainability.

Practical assignments aim to enhance participants’ creative endeavour, action and genuine expression, the private as the political, memory activation, and one’s inner universe to explore reality autonomously. Participants are invited to create performance-based video works intended as possible seeds for performance-based films and consider their motivations, urgencies, concepts, inspirations, visions, challenges, and expectations in collective feedback sessions. The restitution of the online course foresees a final presentation of the produced performance-based video works.

This workshop is co-facilitated by VestAndPage (Verena Stenke and Andrea Pagnes), artist duo and producers of five awarded performance-based films, founders and curators of the Venice International Performance Art Week; lecturers at Master of Performance Practices at ArtEZ University of the Arts, and MA Performance of the Norwegian Theater Academy.


Dates: July 23–August 20; Saturdays, 4:00pm–7:00pm CET (5 weeks)

Location: online

Language: English

Tuition fee: 250€

Application deadline: July 21, 2022

The only formal prerequisite for this course is at least one previous work, either a performance or a video. Participants' final works will be presented to the public in ECC Performance Art's VR Gallery.

To enrol, please send an email to info@ecc-performanceart.eu

For more information, visit: www.ecc-performanceart.eu



6. PERFORMANCE SERIES: ‘open the door a window’ with Julie Andrée T & Morgan O’Hara

Dates: July 24 & 26, 2022; Location: Cologne & Giessen, Germany; Source: asabank

Invitation to a performance art series: ‘open the door a window'

Julie Andrée T. (Canada)

Morgan O’Hara (USA/IT)

July 24 @ 5:30pm: Kulturbunker Köln-Mülheim, Cologne, Germany

July 26 @ 6:00pm: Kunsthalle Gießen, Giessen, Germany

The International Performance Art Archive DIE SCHWARE LADE | BLACK KIT cordially invites you to Cologne, Germany. On five dates we would like to bring together two outstanding performance artists whose practice is in a special tension with each other. On the one hand, the potential of the performance archive that wants to be created and is waiting to appear. On the other hand, boundless curiosity about the now, what has become.

The International Performance Art Archive BLACK KIT | DIE SCHWARZE LADE has been growing for 40 years. It contains information on about 4000 artists and preserves thousands of photos, books, relics and videos. Since 1981, it has also accompanied the comparatively young performance art with festivals, conferences, workshops and lectures. In this way, the ever-hungry archive has developed a supporting network and is inviting ten top international performance artists to Cologne in 2022.

Participating Artists / Schedule:

Julie Andrée T. (Canada) + Morgan O’Hara (USA/IT): July 24 & 26

Tokio Maruyama (Japan) + Rocio Boliver (Mexico): August 28 & 30

Zhou Bin (China) + Kurt Johannessen (Norway): September 25 & 27

Wang ChuYu (China) + Sinéad O'Donnell (Ireland): October 23 & 24

For each encounter, two performers who have not worked together before or have not met before will come to Cologne for several days. What happens in the encounter? What energies and patterns are at play in performative practice when different performance representations create references to each other, even though the personal intentions of the artists involved and the given situations are diametrical or even contradictory? What and how are these antagonisms that then come together in the performances to form a surprising "event"? This experience, which has been recurring for years, remains without a stringent explanatory model and yet is the decisive spark of cross-border performance art. Physical encounters, from which nets are woven, are the link.

Under the title: ‘open the door a window’, the Performance Art Archive team will invite you to five events with two performers each in the next few months to experience these powerful moments of coincidence in one event. In the early discussions, it became clear that we would like to invite performance artists whose performances—in our opinion—show work-stringent antagonisms. The Rhineland, which has been a center of performance art since the 1950s, can once again present performances of a high international standard with ‘open the door a window’ 2022.

Information: Black Kit - Performance Art Archiv




7. CALL FOR PROPOSALS: Performance Research Vol. 28, No. 3: ‘On the Mundane’

Deadline date: September 5, 2022; Location: the world; Source: Performance Research

Performance Research

Vol. 28, No. 3: ‘On the Mundane’ (Apr/May 2023)

Proposal Deadline: 5 September 2022

Issue Editors: 

Sozita Goudouna, Goldsmiths, University of London

Eleni Kolliopoulou, University of Peloponnese

Eero Laine, State University of New York at Buffalo

Kristen Lewis, Osgoode Hall Law School and Gull Cry Dance

Rumen Rachev, Auckland University of Technology

This issue of Performance Research examines the mundane as an analytic of day-to-day performance and as an inspiration for art and performances. Here we consider the long histories of avant-garde and other artists who have embraced and highlighted even as they disrupted and destroyed the mundane and the attendant monotony and conventions of daily life. Despite the extraordinary events of the past few years, we continue to embrace and even rely on the mundane as an often-invisible structure to our lives and performative practices. Examining the mundane presents a paradox wherein the unexceptional is made notable or no longer mundane. This special issue takes seriously the potential expansiveness of performance to investigate that which is so commonplace as to be often overlooked. We thus invite the field to push the logics of performance through the lens of mundanity.

The topic of research into the mundane has a long and ongoing trajectory that expands into multiple academic fields. This issue, ‘On the Mundane’, seeks to expand the scope of existing related academic enquiry by considering how performance addresses the quotidian, especially as notions of the mundane often reverse the relationship between performance and labour, as well as models of value-production in the arts.


Visit www.performance-research.org to read the entire call for proposals.

The Performance Research issue ‘On the Mundane’ welcomes contributions and will present the broadest possible perspectives with regards to the materials presented as well as the methods for approaching the mundane. Topics might include but are not limited to:

Mundanity and the everyday

Performing the mundane/The mundane in performance

Theatre of the mundane

Mundane value and labour

Idle theatre, idleness, and the mundane 

The mundane and the sublime or the profound

The collaborative and the mundane/Shared mundanities

The mundane as failure or success

The materiality of the mundane/Mundane materials

Historical and contemporary connections between anthropology, sociology, performance studies

The mundane in science 

The ‘non-mundane’ or reactions to the mundane

We invite proposals for articles and shorter essays and provocations, including artist pages and other contributions that use distinctive layouts and typographies.


Please send 300-400 word abstracts (with a 100-word author bio) for critical essays, artist pages, interviews, practice-research essays or provocations that attend to (but are not limited to) any aspect of the above. For the curated, collaborative mundane section, please indicate your interest and experience working collaboratively and a short list of mundane activities you are interested in thinking and writing about.

Issue Contacts:

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 issues editor: Sozita Goudouna, University of London, email: sozita@gmail.com


Proposals: September 2022

First drafts: December 2022

Final drafts: March 2023

Publication: May 2023

Please visit www.performance-research.org for specific guidelines for submissions.



8. SAVE THE DATE: 7A11D International Festival of Performance Art (is back!)

Date: September 6–11, 2022; Location: Toronto, Canada; Source: 7A11D


September 6–11, 2022


7A11D International Festival of Performance Art

Toronto, Canada

Toronto Performance Art Collective (TPAC) is pleased to announce the return of your favourite performance art festival this September. Since our very first festival 25 years ago in August of 1997, as a collective of artists who love performance art, 7A11D’s dedication has been to make space for and champion the unique and innovative performance practices of artists from across Canada and around the world for audiences here in Toronto. From September 6–11, 2022 you are invited to join us at The Theatre Centre for 6-days of performances, talks and more, created by a roster of performance artists we are currently crushed out on.

Participating Artists:

Éminence Grise: Alain-Martin Richard (Québec)

Archer Pechawis (Mistawasis First Nation/Toronto)

Elin Lundgren & Petter Pettersson (Sweden)

Geneviève et Mathieu (Québec) – presented by FADO Performance Art Centre

Jackson 2bears & Janet Rogers (Six Nations)

Julie Lassonde (Toronto)

Jusuf Hadžifejzović (Bosnia and Herzegovina)

Keira Boult (Toronto)

keyon gaskin (USA)

Lucky Pierre (USA)

Michelle Lacombe (Québec)

Taiwo Aiyedogbon (Nigeria)

Follow us on Twitter (@7a11d), Instagram (7a11d), and Facebook (7a*11d International Festival of Performance Art).

Programming and event details will be posted on the website in August!



9. FADO WORKSHOP: Performance on Camera with Rah Eleh

Date: September 10–11, 2022; Location: Toronto, Canada; Source: FADO

Performance on Camera

Facilitated by Rah Eleh

Hosted by FADO Performance Art Centre

Performance on Camera investigates the intersections between performance art and the camera. It is a two-intensive workshop hosted by the performance and video artist Rah Eleh. During the first day of the workshop, attendees can expect to do a series of physical exercises that will focus on character development, exploration and physicality. The second day of the workshop will be a lecture about filmmaking techniques such as framing and lighting.

Workshop attendees will be given the opportunity to create their own video that will be screened at 401 Richmond in FADO's presentation and screening space (date tbc). Attendees do not need prior extensive knowledge of performance or video production to attend, however a camera (phone or tablet cameras are acceptable) will be required for participation. Some knowledge of post-production editing is beneficial but not necessary. Attendees are welcome to explore a character they have previously developed or explore a new one. Participants will provide their own camera and any necessary materials (costumes, props, pen and paper are encouraged).  


Rah Eleh is a video, net and performance artist. Her work focuses on and critiques the visual stereotypes and performative aspects that shape female gender identity and national and ethnic identity. She is interested in how race, gender and nationalsim are performed from multiple layered perspectives: exilic, decolonial, queer and diasporic. Rah is a Phd candidate at Die Angewandte in Vienna, and has lectured and exhibited extensively internationally at institutions including: NYU Tisch, The New School, Alfred University, Venice Biennale (ECC, Palazzo Mora), Images Festival (Toronto), Museum London, Carleton University Art Gallery (Ottawa), Williams College Museum of Art (Williamstown, MA), Miami Art Basel, Nieuwe Vide (Haarlem, Netherlands), Pao Festival (Oslo, Norway), and Onassis Cultural Center (Athens, Greece). Rah is represented by VTape, Canada's leading artist-run distributor for video art.

Workshop: Performance on Camera

Date: September 10 & 11, 2022 (attendance on both dates required)

Time: 11:00am–4:00pm

Location: The Commons @ 401, 401 Richmond Street West, Toronto


This workshop is offered for free of charge to committed participants. Space is limited. Please email info@performanceart.ca to sign up.




Date: now; Location: the world; Source: FADO

Become a member of VIVA!

VIVA! Art Action (Montréal, Canada) is now in the early stages of organizing it's next major event, which will take place in 2023. Parallel to this work, we will continue to support micro-programming initiatives that aim to activate the local performance art community. To show your support or get involved, we encourage you to renew your membership. The fee ($5-$20) can be paid online, via our website, in the "Support" section. By making a donation, you will also automatically become a member! 

ABOUT VIVA! Art Action

Initiated by Patrick Lacasse and Alexis Bellavance, VIVA! was founded in 2006 by six artist-run centres from Greater Montreal to support the production of events dedicated to the presentation and advancement of action art practices and knowledge. The organisation’s energies are primarily focused on VIVA! Art Action, an international biennial whose seventh edition took place from the 24th to the 28th of October 2019. Currently the fruit of a partnership with nine artist-centred organisations, the festival provides the public with an accessible and convivial context in which to encounter performance art in its most striking and avant-garde forms.

For the past decade, the biennial has brought artists together to provide them with a space for revitalization, learning and exchange. The artistic programming is developed by VIVA! and its partners using a de-centred working method that combines multiple programming strategies into one hybrid process (open calls, curatorial invitations, field research, etc.). Therefore, whether it’s presented in public space or at VIVA!’s pop-up headquarters, the programming always connects a rich variety of forms, perspectives, and identities. By providing artists with professional support adapted to the specific needs of the discipline, VIVA! opens itself up to performative practices that are sometimes difficult to frame within the visual arts: furtive actions, relational projects, durational works, happenings and infiltration projects. We also actively develop new strategies for encounter, such as the wildly popular VIVA! Kitchen, an artist-in-residence component of the festival that serves daily performative meals. Uniquely accessible, specialized and lively, VIVA! generates unprecedented experiences for artists as well as for the public.




Deadline date: November 1, 2022; Location: Montréal, Canada; Source: OFFTA

An annual artistic event created on the edge of the Festival TransAmériques (FTA), the OFFTA is a festival dedicated to emerging creation in performing arts. This festival allows artists to share performances that displace festival-goers and open up new artistic spaces. The works which will be supported will question, transform and resist preconceptions. OFFTA offers a platform to emerging artists who, neither seeking consensus nor speaking with one voice, deploy their pluralities and contribute to the renewal of established models.

The festival team is currently seeking proposals for the programming of its 17th edition, which will be held in late May/early June 2023.

Following a reflection on our resources and the needs of the milieu, we are taking the decision to further distinguish 2 types of projects presented.

1) We will welcome finished projects, that are ready to tour. These projects will be presented as completed. Their creation periods will have been fully realized. They will be presented in the appropriate technical conditions to appreciate their full potential. Fees offered per finished project range from $1,400 to $3,000 for the full series of performances. The size of the teams involved in the performances and the agreed number of performances will inform the final fee offered per project.

2) The festival will present works in progress. These projects, still in development, will have the chance to be shared with festivalgoers, peer artists and professionals of the milieu in a benevolent context. These first stages of work, open studios or tests could be presented during grouped programs. They will have light technical means. It is the opportunity to test, experiment, share one's approach and to find feedback and support from the communities involved. Fees offered per work in progress projects range from $300 to $800 for the full series of performances. The size of the teams involved in the performances and the agreed number of performances will inform the final fee offered per project. This formula, which was in place but more discreet in the last editions, will enable, we hope, a renewed audacity, while still respecting the distinct development phases of live arts projects. It will allow OFFTA to reaffirm its pioneering and irreverent nature while connecting emerging practices to eager festival-goers. This orientation was taken to respect the resources available to the organization and recognize the artistic teams’ work in a more equitable way.

The call is therefore open to all forms: "atypical projects that don't fit anywhere," completed shows, reruns, first stages or creations, laboratories, indoor or outdoor site-specific performances, remote, online and offline performances, conferences etc. Our call is open to all Canadian projects. However, travel and accommodation costs to Mooniyang/Montreal/Tio'tia:ke cannot be covered by the OFFTA.

A committee of peers appointed by the Artistic Director, Claudel Doucet, will select the projects to be supported. The committee will give a particular consideration to projects that demonstrate:

–Transformative experiences that stand out in advancing the practices and careers of the artists and collaborators in question.

–Audacity and innovation.

–Disciplinary merging, or proposals with distinctive compositions.

–Collaborative methodologies and respectful dialogue.

–Practices that are informed by and engaged with their communities or contemporary realities.

–Projects that are compatible with the festival's mission and resources.

–Diversity of art forms, realities and cultures represented.

The OFFTA affirms its support for historically underrepresented voices and marginalized identities. To foster an inclusive selection process, LA SERRE is available to accompany artists who may face accessibility barriers in submitting their application.

For more information and to submit: https://offta.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 © 2022 Fado Performance Inc., All rights reserved.