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Indya Moore Biography
Indya Adrianna Moore is an American trans actress and model from New York City. Moore is best known for her performance in the FX television series Pose as Angel, a transwoman sex worker.
Indya Moore Age
Moore was born in the year 1995 January 1995. She is 24 years old.
Indya Moore Family | Indya Moore Young
Moore was born to a Puerto Rican mother and a Caribbean father. She moved out of her family house due to her parents being transphobic and got into foster care. She lived in all five boroughs of New York. Due to being in school she dropped out at the 10th grade and started her modelling career at the age of 15. She then got her General Equivalency Diploma (GED).
Indya Moore Career
Moore started her modelling career having shot with Dior and Gucci. While doing a background for the TV series The Get Down She got to meet legendary dancer and ballroom veteran Jose Gutierez Xtravaganza who encouraged her to get into acting. He sent her to audition for the independent film Saturday Church and landed the role of Dijon. The film was screened at the Tribeca Film Festival and later released January 12, 2018, by Samuel Goldwyn Films. Later in early 2017, she was photographed for Vogue España and walked in New York Fashion Week. The same year she appeared in Katy Perry’s music video for the single “Swish Swish”. She performed live with Perry on the May 20, 2017, episode of Saturday Night Live, and was credited as a member of the House of Xtravaganza.
In late 2017, Moore joined the cast of Pose Ryan Murphy’s FX television series about the New York ball culture in the late 1980s Moore was cast in where she played Angel Evangelista a transgender sex worker who together with her friend Blanca left House of Abundance and joined the House of Evangelista. Her character becomes the mistress of Stan, played by Evan Peters, while she iOS still working at the piers. The series which premiered on June 3, 2018, mostly attracted critical acclaim. The first season of the series cast the largest number of transgender actors ever for a scripted network series with over 50 transgender characters. It was announced on July 12, 2018, that the series would be renewed for a second season, which is set to premiere sometime in 2019.
Moore signed a contract with IMG Models and William Morris Endeavor (WME) in 2018 and was the first transgender to be signed with WME. She later started a production company Beetlefruit Media, which tell stories about disenfranchised groups. Moore appeared in Blood Orange’s new “Saint” video. Moore is currently working on her upcoming horror television series, Magic Hour which is directed by Che Grayson and filmed in Tokyo. Apart from appearing in the film, she also serves as an executive producer which is a gender-bending recreation of Mary Shelley’s Frankenstein. She will also be featured in the short film Spot and the independent feature Port Authority, which, like Pose, is also about Ballroom culture.
Indya Moore Height
Moore stands at a height of 1.73 m.
Indya Moore Net Worth
Moore’s lives a very stylish, expensive and comfortable life. It’s evident that she gets a good amount of money though her net worth has not been disclosed.
Indya Moore Luis Vuitton – Indya Moore Golden Globes
The 24-year-old trans model Indya Moore looked more prepared, confident and not nervous at all when attended her first Golden Globes which took place in Beverly Hills California on 6th of January. She attended the ceremony wearing a silver Louis Vuitton number with big, brash shoulders dress.Indya Moore In The Golden Globes
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Indya Moore Interview
GQ: What was the audition process like for Pose?
Indya Moore: There were two scripts that they sent: one for Angel and one for Blanca. I related more to the script for Blanca. At the time, I felt that there were family dynamics in the House of Xtravaganza that could have been better, and because of that I really related to Blanca’s sentiments and how she felt about her house family and how she wanted to set an example of a loving family without competition. I just felt that Angel’s character…I didn’t want to be that girl that was seen as beautiful or pretty. I didn’t want to be a part of that narrative.
But I auditioned for Angel, too, and they loved me for it. The audition script was the diner scene between Angel and Stan, when she says, “Do you think of me as a real woman?” I remember it brought back so many moments in my life where I had so much trouble navigating the world because I wanted to be seen as a regular girl, a woman.
At the heart of Pose is a story about family. Why do you think that was so important to the show?
Both Saturday Churchs and Pose are incredible because they demonstrate something essential about survival. When you get pushed hard enough by certain circumstances, your survival mechanism kicks in and you grow into the things that you need or are missing in your life. There are so many different layers to that, but in the realm of the family, it shows that there’s a community of people who support each other and help each other grow. The mothers in the ballroom scene are the ones, usually, with the home. That was then extended to other people who didn’t have that for themselves. That’s where, I think, the houses came about. These were literal homes that people shared with youth who had been kicked out by their immediate families.
It’s such a universal thing, wanting to be looked after. It’s what frustrated me about a certain response that cisgender and heterosexual viewers had, where they said that it wasn’t “for” them. How can it not be for you? You’re telling a human story.
Right! Everyone that’s ever seen Pose who isn’t trans or doesn’t have any connection to the LGBTQ community has been given the opportunity to create empathetic relationships to the characters that they would not have otherwise been able to. That’s super essential in helping counter homophobia and transphobia.
This is a topic that a lot of people feel uncomfortable talking about, but I think if we can talk about patriarchy with men, then those men can understand all the ways they contribute to that. I think it’s also important to talk about white supremacy in those ways, too. But religion has also been used to justify white supremacy and slavery. It’s also been used to justify anti-LGBTQ rhetoric in those same ways. Oppression against women, racial oppression, slavery, sexual and gender oppression—religion has been weaponized to carry out these various modes of oppression.
Listen, there’s no reason to negatively impact the welfare of someone who is non-violent, innocent, and is not endangering other people’s lives. There’s no reason why those people should not have their right to self-determination, especially when it’s not hurting other people. It has to get deep like that. People will never understand why it’s wrong to have certain conversations or hold things up for debate.
I saw you tweet about how you’d like to see Blanca’s character have a relationship with a cishet man, and for him to become a part of the family. What impact do you think that would have?
We rarely see cisgender heterosexual men in positions where they’re nurturers. We only paint femmes, trans women, and cis women as nurturers, and because of toxic masculinity, men are taught not to be that way. It would strike down so many runs of stigma. It would also provide the example that LGBTQ people do deserve to be and get to be loved, and that men get to be seen as loving and nurturing creatures outside of their sexualities.
It would take away some of the segregation that can happen when you’re focused on LGBTQ narratives.
That’s where that was coming from. I’m always thinking about different ways that, from the experiences that I have, we can be closer human beings. What would it look like if there was no reason for anyone to be oppressive? What would it look like, as human beings, to not be in a situation where we don’t have to be oppressive to other people or be bothered because of the way that someone exists? I think before religion was forced on people, that’s the way most tribes around the world existed.
I wanted to ask you about social media. You’re active online, and you discuss a lot of important topics. How do you find a balance between that and avoiding frustration with the world?
Honestly, I really haven’t found the balance yet. The only time I’ve ever felt like I needed to measure my activity and involvement in holding people accountable for being violent on social media is when I think about the things that I might lose for saying something. That’s the only time I end up thinking about it. I feel like being vocal on social media, especially working in an industry that is very Eurocentric. I’m [vocal] in my activism for black and brown people, and I’m deconstructing subconscious internalized and externalized racial prejudice. I always feel like I’m going to offend somebody.
But I’ve always thought that people who come from a place of offense, negativity, and oftentimes hate and ignorance come on very strong. Whether it’s the president, or somebody on Twitter, or a comedian that is banking off of violent rhetoric, it’s always very strong. To me, it’s really interesting to see how docile and kind and quiet and subtle those who are on the defense are. It’s so ironic that people who are on the offense approach marginalized identities, but we’re not meeting them with the same force that they’re coming at us with. So I feel like it’s important for us to approach that with strength. I think that when they come five times with fire, it’s important for us to come back ten times with water.
Do you think that the impact social media can have gets downplayed?
Social-media context matters, because the same things that come out of people’s mouths face-to-face are the same thoughts that are put on social media. Social media is one of the largest influences on people—how they see themselves and how they view the world outside of entertainment and news. So I think it’s really important that there are people who are standing up.
Another thing: Trans women, especially black queer and trans women, are always in the front lines whenever there is a threat against human identity or the human condition. Whatever it is. Whether or not we’re included—and we’re often included in it—we’re on the front lines of every civil rights movement. But those same people that we protect and that we put ourselves on the line for, those black cishet men that we love so much and who we come from, don’t reciprocate. In fact, our vulnerability is often exacerbated by them. That’s why I’m so strong when I hold black cishet men accountable for being violent, because I’m out here protecting them.
Do you think being on the front lines enables a level of empathy that people can’t understand?
Absolutely, and it sucks to feel like you have to prove yourself and prove why people should be compassionate towards you, but oftentimes that’s what survival looks like. The only time that cis people get to hear the voices of trans women of color is in protest or fighting against bathroom bills or military bans. Even with the slaughter of our community, our voice almost always takes the form of a fearful and despairing cry. All the time! We never get past that. We never get to be in a space where we can just laugh together and kiki about something. We never get there.
There’s obviously the worry that might feed into the roles you might get offered, too.
I think it’s really helpful when we get to create and get to exist in the imagination of creators who don’t have bias, and who don’t want to see traumatic victimization, or who don’t want vilifying narratives. It’s not just about our voices being heard and us being seen. It becomes a different thing when people get to imagine us as superheroes or as doctors. We are stuck in this dimension of only fulfilling stories that are about what we go through because of who we are. It’s such an odd place to be, to not be able to exercise your abilities as an artist outside of reiterating trauma over and over again.
That must be mentally debilitating.
It is for somebody to not see her relevancy beyond reiterating our narratives. Of course, it’s important for people to see that, and for people to see us grow, and for people to see society grow around us into a place that’s more accepting. But I think what’s more effective is integrating trans people with cis people into narratives that have nothing to do with our gender being dissected.
You’re executive producing a TV series now. Do you think that’s the sort of thing that will help change the sort of narratives available to trans people?
I think people with varying experiences need to be creating. The show, which is called Magic Hour, is geared towards centring queer people of colour in various occupations and circumstances in the realm of sci-fi. I appreciate sci-fi because it imagines realities beyond the ones that we’re used to seeing. In sci-fi, you have so much leeway, and a range to imagine things outside of what we typically understand. When we move in that direction, we get to imagine things that aren’t [usually] allowed to be imagined. There’s no pressure from any kind of social normative rules.
You did an interview earlier this year in which you said that you felt like you didn’t realize you were a part of something historic when you filmed Pose. Has that changed?
At the time, the impact that I was making didn’t hit me. And it has changed. It’s helped me to see the responses and the impact of Pose on other people. But during the time that I was filming, it didn’t hit me that what I was creating was super groundbreaking. It didn’t hit me. I was in a sort of daze. It didn’t occur to me what I was doing until I saw how it impacted others.
What does it feel like to be returning to the show for a second season next year?
It feels like activism. It feels like I have more responsibility to be present for people. It feels like I have more of a responsibility to tell people that I’m there for them, not just on screen but in real life, too. And as someone who constantly finds themselves head-to-head with narratives that say I’m not smart, or that I can’t be wealthy because of who I am…I’m hoping to destroy that narrative that says that trans women of colour aren’t capable and that people who come from nothing aren’t capable.