This past Sunday I went down to the University of Pennsylvania for a rare, open Q&A session with Kal Penn. As readers may remember from Anna’s earlier post on the subject, Penn is at Penn this spring, teaching a class on representations of Asian Americans in the Media. He’s also shooting episodes of “House” (go, House), and stumping for Obama in his free time, though with that schedule I’m not sure how he has any.
As I understand it, there was initially some controversy about the class — is this going to be a stunt, or a real asset to a the Asian American Studies curriculum?
If it were just about bringing a little glamor to campus, I would be skeptical too. But I think it’s fair to say Penn is both an actor and a careful observer of the representation of Desis in both Hollywood and the Indie film world. If you listen to him talk, it’s clear that he’s thought carefully and self-critically about his experiences and choices (he’s very aware that his role as a home-grown, Muslim-American terrorist on 24 might be seen as “problematic,” for instance — though he still defends the choice to take the role). He’s self-conscious enough to know what a racist representation of a South Asian character is, and call it by that name. But at the same time, he’s open about the fact that minority actors sometimes need to play ball to get an entree in Hollywood.
In response to one of the questions posed by a student at the Q&A Kal Penn effectively acknowledged that this was the dilemma he faced when he auditioned for his first Hollywood movie, “Van Wilder.” Unfortunately, Penn also suggested, in response to another question, that things aren’t all that much better even now, for actors who are just starting out:
“I think things for me personally as an artist have changed dramatically, but I know that overall, that change has been slow and incremental. There is no shortage of truly talented actors of South Asian descent in places like New York, Los Angeles, Toronto, and London. There are folks who majored in theater, studied film, and are experiencing the same struggles I went through when I was starting out. I think that was my main point: things for me have begun to change, but things for others are perhaps remaining the same.” (Kal Penn, from an email)
As somewhat of a Bharatanatyam supremacist, I often fail to appreciate the grace, economy of movement and a whole host of other subtleties that dancers of Manipuri, Mohiniattam, Odissi, Kathak, Kathakali and Kuchipudi display in such abundance. It’s also been far too long since I’ve seen a live dance performance. Well, the wait for dance-starved patrons/critics/dancers is over (at least in my neck of the woods.) The very renowned