TEEN TALENT AVANTIKA VANDANAPU DISCUSSES HER MOVE FROM INDIAN CINEMA TO HOLLYWOOD
THE latest south Asian star to emerge in the Hollywood sky is 16-year-old American actress Avantika Vandanapu.
The talented American teenager found success in India at the age of 10 with a string of successful films, alongside big-named stars, and commercials across three years, before returning to the US. After strong supporting roles in Hollywood films, TV shows and high-profile theatre productions, the trained actress, fluent in English, Tamil, Spanish, Hindi, and Telugu, landed the lead role in recently released movie Spin.
The coming-of-age Disney drama sees her play the daughter of a widowed father who unexpectedly finds her calling in DJing. With more Hollywood projects on the way, including Senior Year, and plans to become a producer she has become one to watch.
Eastern Eye caught up with rising star Avantika to discuss her new film Spin, impressive rise, ambitious plans, and her new-found DJing skills.
How have you handled so many acting projects at a young age?
I have amazing, supportive people around me who help me make solid decisions and manage pressure. With them around me, I feel better about dealing with the relatively new aspects of being an actor in both India and America. Truly, a good support system makes all the difference. Also, it can be quite overwhelming to be working in two industries (Hollywood and Indian cinema), simultaneously. Feeling like I have to take every job that comes my way and worrying about spreading myself too thin, are emotions I am all too familiar with.
What helps you manage that?
I find that having role models who are successfully managing careers in two or more industries is so helpful. Looking at their career paths, I try my best to emulate them in my own work, while also staying true to myself.
What was it like moving back to America after three years of working in India?
I moved to India soon after I booked my first Telugu film. It was quite a transition as I had grown up in America, but it was a leap I had to take for my passion. My parents were also big supporters of my journey, so I remain very thankful to them. After three years of working in India, I decided to finally return to America because I felt that opportunities for people of colour were growing in Hollywood. I wanted to take a shot at pursuing my dreams in my homeland. After returning to the US, I realised that Hollywood had more acting roles and movies I was drawn to working in. I was determined to make a career for myself, and here we are now.
Spin
What was the experience of being a part of pathbreaking animated series Mira, Royal Detective?
I loved voicing an animated character. It was such an interesting experience. Watching your voice come to life in the format of a painting, of sorts, was so amazing. Aside from the voiceover aspect of the project, I was honoured to be a part of Disney’s first south Asian animated show. I met wonderful people and members of the south Asian community through Mira, Royal Detective – for that, I will remain eternally grateful.
How did you feel landing the lead role in Spin?
Unlike most “you booked it” calls, I was told that I got the role in the (audition) room! I was not expecting it at all because it’s not really a common practice to tell an actor that they booked the part in the room. As you can imagine, I was in tears and overwhelmed by the big news. I bet, somewhere in Disney’s archives, there’s a video of me crying in the room with my audition sides in my hands.
Tell us about your new film Spin?
Spin covers the journey of Rhea Kumar, an Indian American teenager coming of age and discovering her passions. Rhea struggles to juggle family, friends, responsibilities to her family’s restaurant, coding club, and her new-found interest in music, reignited by Max. Throughout the film, Rhea learns the importance of prioritising, keeping her morals, juggling various things on her plate, and aiming for the stars. It’s a beautiful, empowering story about a young girl who aspires to be a musician, and how she goes about it.
Tell us a little more about your character Rhea?
Rhea is a bubbly, determined, and extraordinarily loyal person. She is definitely relatable in the sense that she’s struggling with confidence and having trust in her capabilities – an obstacle many teenagers face. Her love for music and her perseverance is inspiring and I hope that those qualities will motivate viewers to take a leap of faith when it comes to pursuing their passion.
What was the biggest challenge of acting in the movie?
One of the main challenges I faced while playing Rhea Kumar was overcoming the nerves I had, of this being my first feature film in America. I didn’t want to let anyone down and wanted to ensure that I did my best job for this movie.
What was it like working with Bollywood actor Abhay Deol and British actress Meera Syal in Spin?
For being artists of such calibre, all of them are such humble and considerate people. They remind me to stay grounded no matter where the industry takes me. Abhay ji, Meera ji, and Aryan (Simhadri) are all such giving actors as well, it is an absolute pleasure to work alongside them.
Do you now have any DJing skills?
Preceding this film, I had absolutely no experience of DJing. However, I received nearly two months of training for this film from our wonderful music composer Marius and our on-set DJ VJ. The classes really helped me understand the fundamentals of beat-matching, song-selection, and gave me a much-needed insight into a DJ’s mind. By no means am I a professional DJ, but I’m glad I received such amazing training because it immensely helped me to get into Rhea’s character.
What music dominates your own personal playlist?
I love listening to r’n’b, 80’s pop, and jazz music.
What kind of roles do you want to play in the future?
I would like to be a part of empowering movies that shed light on important issues in our society. It’s very crucial for me to play roles in films that can truly make a difference.
Is it true that you are already thinking of producing?
Yes! I recently optioned the rights of a New York times best-selling trilogy of books. I would like to start off producing one of the books. I am currently in the initial stages of pitching the idea of the movie to producers and production companies.
What inspires you?
I don’t really know how to answer this question without sounding generic. But truthfully, people inspire me. People are so beautiful and the desire to tell stories to them and to tell their stories inspires me.
Why should we all watch Spin?
Watch Spin if you need a little boost in mood, daily inspiration, or just want to forget about the world for a minute.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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