This article explores recent conflicts surrounding the mandate that Fringe Festivals be “unjuried, uncensored, and uncurated.” While this concept of “anyone can do anything, and everyone is welcome” is exciting in theory, recent practical issues have demonstrated how challenging it is to follow this ideal in reality. For example, giving a homophobic show a space in a festival can make that festival less welcoming for queer performers; being inclusive of discriminatory content can actually make the festival effectively less inclusive. In an example of the paradox of tolerance, being truly tolerant of everything is impossible, lest one end up tolerating intolerance and thus enabling oppression. This article focuses specifically on the Montreal Fringe Festival and the techniques employed by its artistic director (and Canadian Association of Fringe Festivals President) Amy Blackmore to respond to this conflict. Dedicated to both preserving artistic freedom and prioritizing community care, Blackmore’s community-centred approach is explored as a promising way to navigate this major issue currently facing Fringe Festivals.
Steven Greenwood (Sat,) studied this question.