“[I saw]an example of "applied theatre," a philosophy about producing theatre that emphasizes a strong connection to the people's everyday lives, culture, rituals and beliefs, and seeks to involve people not only as audience but also as participants in the creation of theatre. This is decidedly the opposite of current training practices in the US, and reflects a more ‘liberal arts’ approach to the creation of theatre. FLAME, as a liberal arts institution, is more committed to this form of theatre, which makes it unique not only in India, but also in the US.” Tom Loughlin

“ In the United States, we are taught to create our legacy, to start fresh, to be remembered for something that we’ve done ourselves, essentially make a name for ourselves rather than for our family. In my family,... the only things we pass down from generation to generation are jewelry, first edition books, and recipes while here in India, these craftsmen and women are the living legacy of their families and tradition is strong. It is extremely refreshing and intriguing to me to see that these handicrafts are a way of life and these traditions are passed down through numerous generations. These traditions have also changed recently with the modernization and globalization of the entire world. To find the balance between old and new is an art in itself and so many have mastered it.” Jenny Capitano

“We learned so much from those three weeks that it is hard to say what is most important... I have to thank you for allowing this relationship between FLAME and SUNY Fredonia as it was the chance of a life time.” Jenny Capitano

“My time here at FLAME combined with existing knowledge of India through select movies and articles demonstrate a contradiction between global expectations for attitudes, behaviors and goals in popular Indian media and the local perspectives which maintain that Parat identity in the midst of wider socioeconomic standardization. Traversing the neighborhoods which the kumbali (potters) and burue (bamboo workers) craftspeople have called home for generations exemplifies to me the sort of longstanding traditional practices still going on today that ensure complete confidence in the incorruptible nature of Indian culture as a unique national identifier.” Marisa Caruso

“Observing the work of one copper worker, Kadu, in his seven-generation old workshop was a more humbling experience than I have ever known. The mastery with which his apprentices handled the shining metal between hand and foot on the low heirloom stool as the piercing clink! of metal on metal contact filled the room left an impression on me as prominent as the mathar kaam process he was demonstrating. Similarly I could see the amazement on my fellow Americans’ faces as a buru woman informed us that the intricate bamboo basket she was in the process of making would take about two hours in total to complete. Too easily do we [underestimate] the craftsmanship that goes into creating a uniquely beautiful handmade object as a hobby, or even as a fascinating, yet outdated process to be replaced by technology’s advancements.” Marisa Caruso

“My trip to India was an amazing experience. I am so glad I went. Before I went I wasn't totally sure what to expect, but after spending three weeks with the faculty and students at FLAME and the people of Pune, I have found a culture that fascinates me. I made life-long friends who I am so thankful for. I plan on going back to India next year to see my friends again and learn more about Indian culture. Three weeks just wasn't enough to experience every aspect of Indian life, so I definitely need to go back.” Briana Kelly

“The most important thing I learned from my trip to India is that people are people. No matter where you go in the world, you find people who are the same in so many ways. You can even find someone who is just like you. But even if they are similar to you, they have something about them that is unique to only them, something that reflects their culture and the way they were brought up. It's fascinating.” Briana Kelly

“My personal experience at FLAME was one of immense value to me, as it is readily apparent that their focus on liberal education is one designed to enhance their understanding of their own culture and heritage, and weave that understanding into their careers of choice. Experiencing this at FLAME helped reinforce my own belief that a liberal arts education is not only the means by which we can understand our own culture, but also the cultures of others around the world in this increasingly globalized planet.” Tom Loughlin

What do you look for in an international partnership? What are some of your goals?

What have your experiences been with your international partnerships?

What are some creative ideas that have emerged from your partnerships?

What lessons have you learned from your international partnership experiences?

How might international partnerships feature in your liberal education learning outcomes?