It all started with Dr. Suess—The Cat in the Hat, to be specific. As a child, I read his mischievous rhymes over and over again until I memorized them, fascinated by the power of persuasive storytelling. I buried myself in novels, a book open under my school desk as I tuned out math lessons. With an affinity for Bollywood and classic musical theatre, I sang and danced through sentimental plots. I composed small stories, plays, and a rather lengthy fourth grade manuscript that I was convinced would be the next Great American Novel. In high school, I published a student literary magazine and was struck by the vulnerability of my peers, also seeking solace through creative text. We came together as communities: performing, writing, watching, telling stories.
At Georgetown, this passion has only grown. I have spent countless late
nights on Lau 2 listening to cultural traditions, international
anecdotes, and accounts of injustice from other Hoyas. Somewhere between
stories, I realized the importance of cross-cultural communication and
the articulation of values. As people share their experiences, they
reflect on their lives, construct identities, and discuss
politics—whether intentional or not. Their narratives started to mean
more; they inspire and incite.
My attraction to purposeful
storytelling translates to an academic focus in human rights, communication, and culture within the School of Foreign Service. Through
my concentration, I am studying alternative means for human rights
advocacy, especially through political theater and shared narratives for
the development of cultural literacy.
The Doyle
Engaging Differences Program spotlights diversity, which I believe is
best articulated through self-expression. In harmony with the program’s
commitment to understanding human experience, I plan to study South
Asian political theater as a tool for progress—mirroring human
experiences for an audience and fighting for democratic ideals. This
work is essential to challenge cultural norms and understand society
through multiple paradigms. Of course, "freedom of expression" is an
inalienable right in the United States…but the importance of
storytelling in education, identity, and therapy applies across the
globe.
As a testament to my belief in visual
narrative, I plan to use political theater techniques to implement
theater for peace, freedom, and identity in other contexts—most locally,
encouraging interpersonal diversity through theatrical workshops for DC
public school students. Many high schoolers want ways to express
themselves and shake negative societal assumptions. I believe that
applied theater will help them take ownership of their identities as
driven young adults and reflect their own experiences through
playwriting and development. With the support of the Doyle Program, I
intend to use theatrical workshopping techniques to build creativity,
confidence, reading-writing skills, and self-identity for local students
and create stronger DC communities.
We are often
grounded in our own history, traditions, and outlook. In order to
achieve cultural understanding, immersion in human experience is
essential. With endless technological and expressive outlets available
to us, we must capitalize on the ease of storytelling for engaging
difference.
