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Fado and Tourism can be understood as two different, but inter-dependent, forms of liminality. This has particular consequences for the interactions and understandings between tourists and fadistas; and while both sets of actors in this ‘theatre’or’performance’are in the same location or liminoid space temporarily, they come from quite different social origins. Both sets of ‘actors’ are liminal beings in their own way. This article is an exploration of what this means in terms of fado and tourism and originally appears as a chapter in the book