Hello, this is Colleen Deng and welcome to the Air Pan podcast.
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I got to speak with my dear friend Mia Mack is back.
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Mia had graduated from USF in 2015 with her bachelor's degree in sociology and
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a minor in performing arts and social justice with a concentration in dance.
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She was involved with so many different clubs and organizations while at USF, including VRC, USF and dance generators,
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and since graduating she has been a dance teacher and executive assistant and a floor manager at the Museum of Ice Cream.
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While she's currently producing fundraising events at the San Francisco Conservatory of Music.
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We had such a great conversation. Hope you enjoy. Hello.
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Hi, Colleen. Oh, I'm so happy you're here. I'm stoked to be here.
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Welcome. Welcome. Mia is such a great friend of mine, very close friend.
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And we've known each other since our first year, freshman year.
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Yousef Oh, my goodness. So excited to talk to you and just learn more about how USF was for you and where you are now and more about your background.
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Absolutely. So I grew up coming to San Francisco because my uncle, who's actually a priest, was a priest in Daly City.
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And so we would come here every other weekend from Folsom, California, which is just on the border of Sacramento.
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And I grew up coming here all with the fog and the wind.
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And we'd come. He also was a monsignor at Star of the Sea in the inner Richmond.
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So I spent some time in the Richmond, and it really made me fall in love with the city, which is why I was super interested in coming to USF.
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My dad was actually a really big Jesuit Catholic, so he was very, very into the Jesuit education.
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It was really important for him that I and my sister get a Jesuit as a education,
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so we did it in elementary school and then I decided to do my higher education at USF at a Jesuit college.
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So that's kind of why I ended up at USF. Yeah, full circle.
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Such a huge influence I see. In your background. Yeah, huge.
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It was huge. And I think I went to school.
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I did go to Catholic school from K through high school, so that also influenced it.
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It just kind of worked out that way for my father that we ended up going to another Catholic school.
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But I still enjoyed the Jesuit teachings and that mission.
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And of course San Francisco is awesome and still awesome.
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I love to hear more about your upbringing. And you mentioned growing up in Sacramento.
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What was what was that like? We moved from L.A. because the 94 Northridge earthquake tore down my dad's building where he worked.
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So we moved to Sacramento, where my mom and my dad got new jobs.
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And it actually was Folsom when I was growing up was a very rural city.
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It was where the area we live in is called Prairie City.
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So it was really all prairie when we moved out there.
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And to be honest, I went to a Catholic school in Sacramento and there were a lot of people that looked like me in Folsom especially.
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There were not a lot of people of color. There were some on my block because there was a big, big tech company.
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Intel was nearby, but there weren't a ton of Filipinos or people of color when I was growing up.
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So I didn't really get any kind of belonging and a sense of my culture,
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any Filipino culture that I could really share outside my house until I got to high school and then again in college.
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And I think that was something that was really important that I didn't know at the
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time because I thought I could really acclimate to a lot of different people,
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a lot of different social circles. I realized without really thinking about it.
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And then when I got to college, I realized, wow,
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like I learned what code switching was and I was able to code switch so well growing up in Sacramento.
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But then I could really fully be with people that understood who I was or had
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similar upbringings and similar things to what I was experiencing at home.
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But I didn't really get that information until I got to college, which I thought was really cool about USF.
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I got to learn a lot about a lot of different Filipino experiences,
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but also a lot of other people of color that had similar experiences and different ones than I did.
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And I think that's pretty priceless.
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Are there certain things or favorite things that you associate with home as well as avenues that you were able to express your Filipino culture?
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To be honest, no. There wasn't any kind of Filipino.
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You know, thing that I could really express myself outside of the home that we did have a Filipino or an AAPI club in high school.
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But and I did have my parents actually helped really fund a Filipino cultural night at my high school.
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They turned it from a potluck to a fundraiser. So they we did do some cultural dancing there.
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So that actually carried through till after I left.
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So we had a little bit of that. But it really wasn't until college that I was really able to learn and understand those kinds of things.
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Yeah. Are there certain things that you really associate and find?
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What is being Filipino-American mean to you and what brings comfort to you?
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Yeah, that's like such a huge question, right?
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I feel like being Filipino American is a separate thing than being Filipino and a separate thing than being American.
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Because I feel like I have always been in between two worlds.
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When I come home, I'm very Filipino, but when I'm not at home, I can make a choice.
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I can be Filipino or I can be American. And then I realize that there are so many different interpretations to being both of those things.
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And then I had to realize over a long time that I am both those things.
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I feel also my parents being immigrants, that being Filipino was something that I definitely knew I was.
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I just had to decide if I wanted to share that or if I wanted to keep that hidden.
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So I've never been anyone to keep anything hidden.
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But I think the code switching is really what came into play when I had to switch between,
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you know, being able to communicate with other people or to really be myself.
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I think all along I've been taught to Code Switch, but then why do I have to keep switching and adapting to everyone else?
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And why can't other people want to know where I came from and why do I always have to bend when I have to switch for everybody else, you know?
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So I think that's also a it's a skill to code switch, I suppose.
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But I also want to keep reminding myself that it's not my job to make other people feel comfortable, but I do it all the time.
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But it's it's not my job to make other people feel comfortable.
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Yeah. Yeah. Comes naturally in what you've learned to sew.
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Stepping into that unlearning of who you are today and how that's evolved, can you tell us more about what brought you to yourself in particular?
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Sure. So it was definitely the the city itself,
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San Francisco and then the Jesuit education I felt was really important to me at the time through being Catholic.
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My parents are very, very Catholic. I grew up going to church and mass, and I feel I felt like it would be a filmmaker thing.
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And I was right. I definitely feel that.
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But I also think that the importance of the Jesuit teaching is service, and if we don't do anything with what we learn, what's the point?
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And obviously not a direct Jesuit quote, but that's how I interpreted it.
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And I think that was always really important to me.
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Community was always really important, and I think that's why I valued all the organizations I was in,
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was because I was able to tap in and actually have overlapping communities,
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but also do things that I wouldn't have thought I would do or meet people that
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I wouldn't have thought I would have met if it weren't for those organizations.
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I also wanted to make sure that I did things that didn't overlap in those communities.
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So the people, because typically the people in varsity might have been people in white ensemble, which might have been the same people in Castleman.
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So I wanted to do also things like Jobs and other.
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Somehow sometimes paid opportunities that would let me meet new people, but also make some money on the side.
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So I did. I completely forgot about this, but I was a part of Go team for two years and I met a lot of people that I never would have met before.
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I actually met a lot of people on Welcome Weekend that are still my friends today,
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some people that I welcomed into the school and I really felt like Yusef had that to offer.
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I could dance, I could pursue my passion, I could do these things on the side,
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I could get a degree, but I could also have opportunities to work and to have that experience.
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And I actually think that all of those things propelled me to what I do today and propelled me into the workforce.
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And with juggling time management and all these jobs and clubs that I wanted to do,
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I was able to understand what hard work was and what it took for me to be able to go to USF, to graduate and to have a job afterwards.
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MM You mentioned being part of our city as self. Can you tell us more about that?
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Yeah. So Varsity S.F. was, from what I understand, the first hip hop club at USF.
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It happened. It started with three friends from Casselman who wanted to dance together.
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The semester before that, I got to USF and one of the members of like a very informal club that was known as
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Varsity came up to me at the freshman dance and he was on Go Team and he said,
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Hey, like, why don't you come to this rehearsal that we're having at crap?
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And I said, Oh, okay.
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And I learned that it was a club that they were forming and they wanted to get new members and they wanted to hold workshops every week.
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So I said, okay. So I was kind of in this group and I was getting to know other people.
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It's where I met my friend Christine, and we did that dance minor together,
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and so we really became a collective and a club, and then we asked more people to join.
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And then eventually when we became bigger, we held auditions, we held workshops every week,
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and then we started to I was a part of the team that put on the first homecoming, which was the annual event.
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And then we had a couple of fundraisers in between for homecoming.
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But I believe now the team is huge and it's like 30 or 40 people or something like that.
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But we were a strong 12 for a long time.
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Well, I would say like maybe 6 to 12, you know, with people dropping off for school and things like that.
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But by my senior year, we had a pretty solid team with solid auditions and an annual show.
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So I'm really proud of what Varsity has become.
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And it was definitely my college experience about how to run a show, how to run a team, how to hold auditions,
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how to work with outside partners like correct for venue space, for practice space, getting the word out to people about this club.
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We had a lot of different people take class, which is really cool. Some law school students came,
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even people out of state got wind and kind of came to our gym that we would like sign in as a guest and bring in to Caret.
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So it was definitely a really big thing that happened while I was there and I was really stoked to be a part of it.
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And I still follow all of our CSF on Instagram and it's really cool to see what it has evolved into.
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And how about the dance generators? Yeah, so Dance Generators was something that was part of Pass J and it was taught by Natalie Green and it was
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a community group that brought seniors and college students together to make work and dance together.
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So it's a lot of it was movement, it was dance, it was a lot of community engagement.
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I would say it was really cool to learn and meet people that I would have never met before because,
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you know, as an 19, 20, 21 year old, you're not really meeting seniors.
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And not only was I meeting them, getting to know them, I was dancing with them.
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I was interacting with them. Like I knew that like Kathleen had knee injuries prior, so we wouldn't do any kind of floor work,
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but we would be able to do things like she could turn for days and she was a dancer when
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she was younger and she was able to she had that repertoire and have that technique.
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Beth was one of the ones that I was really good friends with and she was always looking for me if I wasn't there or and she was always like,
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Did you eat yet? Like you didn't because, you know, no one ever eats in college or has money to do anything.
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So she was always really concerned about me eating. And so those were.
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That was a really unique experience. Unfortunately, I only did it for one year, but it was really,
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really fun because we would go out to different community centers and perform and to show people that groups,
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no matter what age, can all get together and still enjoy something that traditionally is only for young people.
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So it really the it really showed the access to what people could do in that space and what you wouldn't normally expect because you
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wouldn't expect these seniors to be so mobile or you wouldn't expect them to dance or you wouldn't expect them to be interested.
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And not only would their community come, but like the USF community would come.
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So it was a really cool melting pot of these two groups that don't really get to interact.
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And I think Natalie Green was exceptional in bringing that kind of group together.
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You were part of so many different organizations where you were able to express your passion, but also culture.
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How do you feel that really influence you and your time experience at USF?
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I think it was a really unique time because I can say in my life right now,
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I don't think that I'm able to express myself so specifically being Filipino in that way.
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And I don't think I've done it like that since USF. I think that was a really unique experience for me.
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Coming from a very white neighborhood and a white school.
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I was able to be among peers and a lot of people who had my same experience.
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So that was really special for me. I don't think I would have gotten that at another school or at least any of the schools I was looking at.
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And I think that was really missing from my experience being in Sacramento.
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So I feel like USF was the perfect fit for me.
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I always think, Oh, should I have gone to a bigger school or should I have done this and this and that?
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But I know that I would have went I would have gotten a different experience.
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Let's talk more about your major in your minor. How did you come about those in high school?
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They had us take personality job tests and I think it said I was supposed to be like a psychologist or something.
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So I was like, Oh, that means like I'm good with people and I know I'm good with people, so I'll study psychology.
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So I went into psychology at USF. So I get there.
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I'm like, Ooh, this is kind of sciencey and I'm not good at science.
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I got to bio psych and I did not make it. And I was like, Guys, I'm having a crisis.
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Like, I just I'm not good at this like this. And I've never been good at school, but I was like, I'm really not good at this.
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I don't know what it is. And then someone suggested to do sociology.
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So then I switched to sociology and I was like, Oh, this is what I want to do.
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So I switched my sophomore year into sociology, and that's actually when my eyes were really opened to social justice.
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So it was a perfect time for me. And then I was already minoring in dance.
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So I actually did try to do a double major, but because I joined so late, they wouldn't give me.
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I was a couple credits off,
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so I just ended up minoring the perform performing arts and social justice with a concentration in dance and then finishing in sociology,
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which I loved. And the professors that I stayed for were both my sociology professors, which was pretty awesome.
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Are there other favorite memories that you have being at USF?
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I think one core memory I'd say is just going up and down Lone Mountain.
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I think I really under estimated the weather and my grit to walk up there at 8 a.m. For whatever reason in my freshman year I had all eight AMS and I
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was a psychopath for thinking that I could do that because every day and I'm
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not like every day wasn't 8 a.m. and some of my arms were in low mountains,
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so that was like hiking up those like hundred and four stairs twice a week at 730.
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I think that that was like a really unique core college memory of doing that and of course studying
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in the under CAF when it was the under caf and having bagels in the caf as well as fries.
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I think that was always something really fun and we always would meet each other in the cafeteria.
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So there are a ton of people that I still keep in touch with at USF,
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and I think that just goes to show the kinds of people that I met are still my friends today.
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And there are some people that I met later on at USF that are also still my friends.
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So it wasn't about longevity. I just want to let everyone know on this podcast that Collin and I met freshman year and we're still friends.
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She's one of like the gems, but there were not a lot of my freshman friends I'm still friends with,
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but there were a lot of people that I met, you know, senior year that I'm still friends with.
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So I think it's still going back to meeting those people.
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That is always really fun. And again, dance was a big part of it, but I think favorite memories are really just like Cardiac Hill and Lawn Mountain.
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In the fries and then Cardiac Hill. Yes.
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Like, how did we do that, Colleen? Are you kidding?
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I have a really distinct favorite memory between you and I.
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So we love dance together, and that's something the share shared experience between us.
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But our first year, we were also part of the spring ensemble for the performing Arts and Social Justice Department.
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Yes. Their annual show. Yes.
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And I remember distinctly the we were in rehearsal or just even we were auditioning, actually, we were auditioning to even join and be part of it.
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And the choreographer and instructor, he gave us clear instructions of just go full out and give it your best.
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Just go all out. And then I remember you and I.
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I'm pretty sure we just, like, looked at each other, locked eyes, and it was just like, instant, like assignment.
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Understood. And then we went full 1,000% out, and it was so fun.
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We were auditioning as if, yeah, we were in the show already.
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We were going all out. That's why they picked us. And then we were in the show and that was such a great memory.
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It was so fun and that was one of my favorite memories and experiences our first year.
20:40
Yeah, that's awesome. That is so funny. So what are some of your first work experiences after USF?
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The summer and a senior year, I got an internship with Flyaway Productions and Joe Carter is the founder
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and artistic director and she gave me an internship for her Girl Fly program,
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which was taking low income at risk women in high school and bring them into her aerial workshop.
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So this is like dance like manner. It's it's like modern dance, but in aerial work, so suspended in the air.
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And her whole philosophy was she's teaching these girls that they can literally and metaphorically pull themselves up on their own.
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And I tried these aerial workshops.
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It is like all upper body strength, like there are no legs any where that will help you.
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So it's it's really a double meaning thing that she was doing through her activism, but also through dance.
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So I was really drawn to it and I think that's when it really clicked for me that I really loved this community engagement,
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but I also really loved not being the dancer is my profession,
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but being the one that was able to put on the show to understand the components of what it takes to run rehearsal,
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what it takes to put on a show, what it takes to be in a space.
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So that was my first exposure to that.
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And after college, Joe Crider, I met with her and I said, I need a job after school or else I have to move back home.
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And she said, okay, apply for this job. It's a company manager job.
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And I was what, 22? And she said, I don't think you're going to get it because you're too young, but I think you should try.
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It's always great to try and get your name out there. So I said, okay.
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It was the Margaret Jenkins dance company. Margaret Jenkins is a very famous modern dancer.
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She actually just celebrated 50 years of making work.
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And I have actually, like studied a lot of modern dance.
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That comes from Margaret Jenkins because she's also an S.F. She's been in San Francisco for a really long time.
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So I interviewed I thought I did okay and I actually got the job and it really opened my eyes to also,
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again, on a different scale what it was to manage dancers,
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professional dancers, but also to work with an artistic director as an assistant of sorts, because we are really small company.
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And so I worked with Margie very closely and I worked with the dancers that allowed me to go on tour with them sometimes internationally,
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which was really cool. I put together the itineraries, I watched the costumes in my small apartment.
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I made sure that all the dressing rooms were what what were very suitable for what the dancers needed.
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We did a lot of offsite performances at wineries, at museums, so there were a lot of different production elements that I had to learn as well.
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But I did that for a few years, I think three years, and it was honestly so much fun I did.
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That was a part time job. So I did all kinds of different jobs after that or during that time.
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So it was a little bit like college, but at least I wasn't studying,
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so I had a little bit more time to pick up some more odd jobs after three years at with Margie.
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And then I was working at a theater, ODC Theater.
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I was working, I actually worked at Stanford for a little bit in their dance and prisons class with.
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Janice Ross. And she is another one that I studied her work as well.
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And so she had a class at Stanford that would bring in all these Stanford students into Hillcrest Juvenile Hall,
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which isn't there anymore in San Mateo. And they would they needed a teaching artist, which is what I did.
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And I would go in and teach dance to the Stanford students as well as the incarcerated students.
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It was definitely a really huge eye opening experience because not only was I just teaching dance,
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but I was teaching something that was foreign to both populations.
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But again, being in a space where two populations would never interact.
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So that dichotomy between those two things was very vast and something that I had to bridge the gap through dance in which when I say it like that,
25:07
that's a lot to put on again, a 22 year old.
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But I actually really loved teaching in that capacity because I didn't really like to teach dance, but I did like teaching in this capacity.
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So I did that for two or three years every spring semester.
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So it was four jobs in the spring as another part time job I was looking for,
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I interviewed for Museum of Ice Cream and I did get that job and it was like two months.
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It was part time. They gave me a lot of hours because the hours were like six shifts.
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And so that was when the San Francisco location opened on Grant and Marquette.
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And so I was what they call a guide in the museum.
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And I was stationed in a room. I had a script. It was very theatrical.
25:55
But I think if you were extroverted and kind of like knew what you were supposed to say, that's kind of how I got around.
25:59
And then they offered me the manager job because I had that experience from all my other jobs.
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So that Museum of Ice Cream was actually my first full time job, which I didn't.
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I thought, you know, I'd work this gig life forever. I was super happy.
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But then I was able to like, how about something a little more stable,
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which was really eye opening because I don't think I would have ever done it if it weren't for that opportunity.
26:25
So then I did Museum of Ice Cream, made a lot of friends, but was very burnt out.
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So I took a month off and I found this event agency called Obi on Board Experiential.
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It was in Sausalito and I was the staffing manager for the entire company.
26:44
So we would do events like the Women's Half Marathon.
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So we had sports clients, tech clients.
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I would go down to Facebook a lot, so we would put on the events for these really big corporations and it was a lot of good experience.
26:57
I traveled so much I was able to visit a lot of cities that I've never been to.
27:06
I met a ton of people that, you know, sometimes I'd meet them, I'd email them, I'd meet them that day.
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I would staff them and tell them, okay, this is what we're doing for the entire day.
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And then I would get on a plane home and never see them again. But I really loved meeting all the different kinds of people that were there.
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I also got some pretty good perks, like I have a lot.
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We worked for Nike and Converse and they always wanted us to wear their stuff.
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So I have a lot of their stuff from back in the day.
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And so that was always really fun. So I really loved doing events.
27:40
Then the pandemic happened and then I had a stint at a maternity clothing company as an executive assistant, and I learned a lot there.
27:44
And then afterwards, where I am now is at the San Francisco Conservatory of Music in fundraising.
27:54
And I remember I told Britney about that and she's like, Oh, you work in development now?
28:00
And I was like, That is correct.
28:05
So I think my trajectory from USF of always wanting to be a part of a show or part of an event really translated into Museum of Ice Cream,
28:08
because every day was a show and then it translated again into events because again,
28:16
every day is a show and then it really translated to where I am now is I, I work in fundraising events,
28:21
so I am now taking it one step further and being able to put on events that raise money
28:30
for the school and that cater to those people that are giving money to the school.
28:37
So I really like where I am now.
28:43
I think I've had a great trajectory of, again, being in the show, putting on the show, lighting the show, being the show.
28:45
And now again, I'm behind the scenes, I'm managing and producing those things and I love where I am.
28:54
What are some lessons and values that you've taken away from yourself?
29:02
I think. Yusef has taught me that.
29:08
I think What is our motto? Change the world premiere. Change the world from here.
29:14
And although how I know it's overdone and people might think that that's cheesy since it's plastered all over San Francisco,
29:20
especially when we were going there.
29:29
But I really do feel like you can't make real change unless you learn what the issues are and then take it outside the classroom.
29:31
And I think that I was able to have opportunities to do that through my organizations, but also through my major as a sociology major.
29:40
I also think that Yousef really taught me that it doesn't matter unless you take it another step.
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And if it's if that's with another person or within your family or outside the classroom, it doesn't matter.
29:59
It just needs to it needs to go beyond yourself.
30:05
And to me, if you're not going beyond yourself, what are you doing?
30:08
You know, I also think that if you want to commit to really doing real change,
30:13
you need to look around to see what work is already being done in supporting those things.
30:20
It's not all about you. There's people have been doing this work for generations, and if you decide to hop on board today, good for you.
30:26
But you're not the first one. And I think it's always, especially as a Filipino-American,
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I think it's important to stay humble and to honor what work has been done and to know
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your place and where you are in your journey with the change that you want to see.
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Because I think oftentimes we think about how does it relate to me?
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It's like you're already in it. You just need to understand, like, where are you on the moving walkway?
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And if you don't want to acknowledge that, I think that's on you.
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But if do welcome.
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But there's lots of work to do. So I think I just always have to remind myself of that.
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And then to keep moving for it. And I guess it's like a lasting question in telling your story and sharing about your experiences,
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where you hoping the impact would be for listeners through hearing about your experience and story.
31:24
Yeah, so deep. I think, weirdly, I've talked a lot about my identity and things that I've already known,
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but I'm able to voice today for the first time in a long time.
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What I want people to know is that there isn't one way to do something, and I feel like I've proved that there are many ways to do things,
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even if they're hard, and if it means four part time jobs during school after school, then that's what it means.
31:54
And I'm a really big proponent of not doing anything right.
32:03
It's it just has to make sense at the time.
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And it doesn't have to be perfect. And my life as a child of immigrants is not perfect and it never was.
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And I don't want people to ever think that they need to be perfect to be successful.
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And I feel finally like I am successful in what I do.
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But if you ask me for my five year plan, absolutely no, I am not telling you any kind of five year plan because that's just not how I live my life.
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But that doesn't mean I'm any less successful than I am now.
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And I think that everyone needs to find their own way.
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And if it makes sense to you, it makes sense.
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But you, we can't be pigeonholed into doing things the way that our parents did, but we can take from their experience and be proud of that.
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But I just want other people to know that there are many different ways to do something and to be happy.
33:00
You just have to find out what way you want to do that. Wow.
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All right. Anything else before we close out?
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That was great. Yay! I don't think so. Mia, thank you so, so much for being here.
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What a great conversation. We were so appreciative and grateful for you.
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Thank you so much for having me. It's great to be here. Thank you so much for listening to the podcast.
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Thank you again to our guests, Mia Marcus PAC and big shout out to our team.
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Thank you to Christine Alarcon, Michael Robison, Matilda Tavares and Chadwick Woodard for producing.
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Thank you to Miranda Morris for letting us record here at CU Assaf.
33:48
Thanks to Ken Yoshioka for consulting. And thank you listeners for joining us for this episode.
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Please share this podcast and our amazing alumni stories with your network.
33:59
You can email in to alumni at USF S.A. Edu If you're interested in learning more about the Asia Pacific Alumni Network,
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or you can find us on network USF.
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