JC Fare: Separatist Hero, Queercore Pioneer.
I begin my investigation with a survey of
the existing literature that places our subject geographically and
historically. His life begins in 1936 in Toronto, a provincial city that in the
interwar period is infected by a stern morality enforced by the white
Anglo-Saxon elite. Born to French Canadian parents, a minority population within
Ontario, Fare’s story is a tale of cultural resistance against the
Anglo-Protestantism of “Toronto the Good.”
[3]
In a Centre for Experimental Art and Communication bulletin dated 1978,
[4]
one particularly radical critic goes so far as to interpret Fare’s attempts to
sever off body parts as a solidarity offering towards the cause of Quebec
separatism. According to this analysis, Fare’s concerted attempts to precision
auto-amputation techniques were intended as a symbolic rendering of a process
by which the part (Quebec) broken off from the whole (Canada) could achieve
liberation.
While consideration of Fare’s separatist
legacy merits further scholarship, the focus of my interest in this brief
survey will relate to a heretofore overlooked aspect of Fare’s notoriety: the
artist’s sex and sexuality. To pursue this trajectory, I refer to the portrait
of Fare that emerges from the passing reflection of one bubbly biographer who
names him “a man who, in purely fleshly terms, was so small and faint.”
[5]
This commentator openly hesitates over Fare’s authenticity as a purely male
subject and thus opens the question of Fare’s originating gender. While John
Charles Fare is the name that is most often associated with this artist’s
public performances, another portrait of the artist emerges under other names.
Fare was baptized Jeanne Charlotte Fare and so named by his mother, an early
advocate of women’s suffrage and also a catholic strongly devoted to the image
of Jeanne d’Arc as a symbol of feminist martyrdom. While Fare’s own performance
work resonates with this historical example of self-sacrificial ritual, a
strongly iconoclastic bent impelled the artist to reject this given
identity. Whether simply irritated
by the Anglophone mispronunciation of the French female name Jeanne or as a
subversive assertion of male privilege, Fare resolves to adopt the pseudonym
John Charles Fare somewhere around 1954 and throughout the 60s uses the moniker
JC Fare among friends and fans.
By age 28, JC Fare joins forces with biker femme Golni
Czervath and the two perform various London leather bars under the band name
Conjugal Visit. Czervath is credited with most of the
technological innovations in Fare’s performances but it is the costuming in the
duo’s early experimental rock shows that is said to have influenced the
coming generation of anarchists. While the likes of the Sex Pistols admired
Conjugal Visit and tried to emulate their distinctly subversive stage manner,
they never managed to match their mentors’ edge. The “conjugal visits,” as
their shows were called, remained in the hearts of underground fans the
pinnacle of extreme pageantry characterized by heavy onstage bloodshed. An
early fanzine from that époque describes a 1964 show:
“the straining
nipples, the cut arms, the sexualized weapons of combat. We get the dangerous
possibility of prickly humiliation and the eminent danger that comes with
power. JC taunted us with glowering stares, teasing us with kicks inches from
our faces. If you were lucky, JC would aim menacing growls at you between
songs.”
[6]
Clair
West
[2]
Two images of JC Fare’s
earliest prosthetics are still on view today at the high school’s art
department. Web photos posted at http://www.fhci.net/departments/art.html#gr12
[3]
“Toronto
the Good” was the tag given to the city in the early 20th century, testimony to
its reputation for sanctimony. Prohibition lasted from 1916 to 1927, and
restrictions on Sunday trading were so strict that department stores would even
draw curtains across their windows to prevent window-shopping. These
puritanical sentiments lasted for many years, with some pubs not opening on
Sundays for most of the 20th century.
[4]
Centre
for Experimental Art and Communication fonds. York University Archives and Special
Collections. http://archivesfa.library.yorku.ca/fonds/ON00370-f0000285.htm
[5]
“John Fare.” Unsigned
biographical outline published online. http://imperium.lenin.ru/EOWN/eown7/fare-fido.html
[7]
Forest Hill Collegiate
Institute, The Falconer, 1954 yearbook.
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