sfiaf

article by kirtana romfh

art by alison xiong SFIAF

From age four, I have been learning the South Indian classical dance form of Bharatanatyam, attending rigorous practices, performing often, and forming a community around this art form. When the lockdown orders were issued in March, my dance school immediately transitioned to online classes. Despite the challenge of capturing complex footwork and movement on Zoom, we came together to keep our art form alive. For months, we delivered online performances and made do in these times of uncertainty. Then, in October, my teacher honored my brother and me with the opportunity to perform live at the San Francisco International Arts Festival.

Since 2003, SFIAF has brought international performing arts to the Bay Area. As expressed in their mission statement, “SFIAF places a high priority on the participation of culturally diverse and smaller entities”. Their inclusive, unique platform has garnered enthusiasm from wide audiences who visit the festival annually. However, amidst COVID-19 concerns, this year’s highly-anticipated show was in jeopardy.

From the start of the pandemic, performing arts have suffered heavily due to lack of revenue and the inability to deliver live performances. Because of this, companies have resorted to broadcasting old performances, hosting Zoom shows, and several other creative events. Later, as the state began to relax health orders in accordance with plateauing cases, SFIAF set out to prove that the arts can be appreciated in a safe way amidst the pandemic. After procuring a permit, SFIAF proceeded to plan their festival outdoors in adherence with strict social distancing and mask guidelines. Per usual, the program invited several performing arts companies to participate. However, just a week before, the city of San Francisco shut down the event.

Determined to hold the festival, SFIAF sued the city (and in turn, the state) for a violation of their First Amendment rights. Even as places of worship and restaurants were permitted to hold gatherings of up to 50 people, performing arts were not allowed. Among their legal rationale, the SFIAF advocated for the vital importance of the arts. “Performing artists genuinely feel that, through what they can communicate in their work, they have a significant role to play in our communities’ healing process,” said director Andrew Wood, “the significant economic impact attached to the gathering of people for cultural performance should also not be dismissed.” Along with many others, I eagerly awaited the results. Would artistic expression be afforded the same importance as religious services or dining out? Could an event be held without risk? When the court indicated the arts festival was likely to prevail, the city reluctantly allowed it to go ahead.

A few days later, on a windy hill in San Francisco, a small, masked audience assembled on a field. Between each performance, staff wiped down the stage, processed online health screenings, and hooked up clean microphones. All performers wore masks, being careful to only arrive during their time slot. Initially, I worried that strict protocol would take away from the magic of the festival. Regardless, I was eager to help make the event as safe as possible. Despite the logistics, my fears of an underwhelming experience fell away when the familiar excitement of performing filled the air. The energy of even a small audience motivated me as I danced to the booming music. In that moment, it became abundantly clear that SFIAF was a testament to how, even in a pandemic, the arts can be reopened, honored, and appreciated safely.