I am a stage and festival manager with a decade of experience working across theater companies, cultural agencies, government institutions, NGOs, and private organizations.

My practice is grounded in integrating theory and lived experience, shaped by a distinctly Filipino, kapwa-centric approach to stage management that values collaboration, shared identity, and community care. Over the years, I have built my work around this ethos—whether managing productions, mentoring emerging practitioners, or shaping systems within the creative industries. As a teacher-manager, I have trained more than seventy stage managers through the Virgin Labfest, the country’s largest theater festival.

This role has allowed me to guide new managers not only in technical competencies but also in cultivating ethical, culturally aware leadership. I continue to advocate for equitable treatment and recognition of theater managers through the Philippine Stage Managers Guild, which I co-founded in Metro Manila to strengthen support structures for Filipino stage managers nationwide.

I also serve as a lecturer at Ateneo de Manila University, where I teach a Filipino brand of stage and events management that centers local knowledge, ethical labor, and holistic creative processes. My academic and professional work champion green theater methodologies, decolonial approaches, and collective arts administration—disciplines I continue to explore through local and international research engagements. These interests guide my effort to rethink how creative labor is valued, how artistic processes can become more community-driven, and how cultural workers can reclaim agency in structures that often privilege hierarchy and colonial patterns.

My core passion lies in transforming the landscape of stage and creative industries management in the Philippines by elevating it into a profession grounded in cultural integrity, sustainability, and collective leadership. In the long term, I want to help shape an arts ecosystem where Filipino managers are recognized as cultural stewards—leaders who design processes, nurture communities, and champion decolonial, humane frameworks in the performing arts. I envision building systems that future generations can inherit: structures that value empathy, shared responsibility, and kapwa as foundations for artistic work. Ultimately, I hope to contribute to a creative future where management is seen not merely as logistical labor but as vital cultural work shaping the Philippine arts sector.

I joined the 30U30 Mentorship Program to expand my knowledge, deepen my practice, and learn from global leaders who have built meaningful, impact-driven careers. The experience has been transformative. My mentor, Kylie Millwood, has been central to this journey. She has helped me ground my practice and align my long-term goals, offering clarity, perspective, and steady guidance. Kylie consistently goes beyond the expectations of the program, providing support that is generous, strategic, and deeply encouraging. She has also strengthened my arts administrator voice by introducing me to other arts managers in her network, allowing me to learn from a broader ecosystem of practitioners. Through her mentorship, I have gained direction, confidence, and renewed purpose. The program has affirmed my vision and strengthened my commitment to building a more collaborative and culturally grounded arts future.