For all those Indian fans who cannot get enough of K-pop artists, we have an exciting piece of news to share. Odisha girl Sriya Lenka officially became the first K-pop star from India on Thursday when she was named the fifth member of the renowned K-pop group Blackswan. Their producer, DR Music, had called for auditions from all around the world. Apart from Lenka, a 19-year-old Brazilian girl named Gabriela Dalcin was chosen as the sixth member of the group.
Lenka started auditioning for various K-pop bands in 2020 during the COVID-19 lockdown. After appearing for a number of auditions, she was finally shortlisted for a training camp in Seoul which provided her with the opportunity to hone her artistic skills in an extensive 5-month programme. She was selected from 4,000 candidates to join the group.
Speaking to an Indian daily, Lenka said, “When my name was announced, all my fears were washed away. It was the happiest moment of my life. It was a dream come true. I have been away from my home, my country, my family, and my friends for so long, and I wanted to make everyone proud. So, when I was selected, the first thought that came to my mind was, ‘Yes, I did it!”
Born in Odisha’s Rourkela district in 2003, Sriya Lenka was interested in the music and arts industry since her childhood. She is trained in several dance forms, including Odissi classical form, freestyle, hip-hop, and contemporary.
The 18-year-old decided to become a K-pop artist after she watched the video of the K-pop hit ‘Growl MV’ by Exo band and tried to copy the members’ moves.
Her family always supported her in her pursuit. His father told the media that he was overjoyed after hearing that his daughter would be the first Indian to be a K-pop star.
Philip YJ Yoon from the music company that manages Blackswan, said, “We also figured that she was very competitive as she had been participating in traditional Indian dance competitions back in her country.”
He continued, “Nevertheless, K-pop training was very different from what she had been doing. She had to be in a country where everything, right from food and culture to language, was different. For the past six months, her improvement never ceased to surprise us. Her training schedule began at 9 am and ended at 10 pm, but she continued practising in the dorm till 2-3 am on her own. That was the biggest reason behind her selection. She is not only naturally talented but also very diligent, which is a rare combination. If she keeps training as much as she does now, I’m pretty sure she’ll be a great artiste.”
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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