To me, collaboration is the soul of the fine arts. It’s a radical act of trust—an agreement to build something beautiful, transformative, and true, together. As a vocalist, theatre-maker, and teaching artist, I’ve come to understand that collaboration in the arts is not just about shared labor. It’s about shared memory, mutual uplift, and co-creation across time, culture, and experience. My senior thesis production, El ritmo que nos libre: Das almas assassinadas aos espíritos vivos (The Rhythm that Frees Us: From Murdered Souls to Living Spirits), was a living testament to this philosophy. Conceived as an immersive choreopoem, the piece explored the rhythms of Afro-diasporic liberation through the cultural traditions of Cuba, Brazil, Panama, and Puerto Rico. It wasn’t just a performance—it was a deeply collaborative and communal act. El ritmo followed the story of a displaced Black community that rediscovers its collective identity through ancestral artifacts, each imbued with music, memory, and spirit. I worked with dancers, composers, installation artists, and community elders to weave together an experience where audience members were collaborators too—invited to explore the exhibition, interact with the artifacts, learn traditional rhythms, and reflect on their place in a global Black diaspora. It was a creative space where everyone—onstage, backstage, and in the audience—was called to witness, participate, and liberate. This project reminded me that collaboration also means honoring the voices of those who came before us. In developing the piece, I researched oral histories and worked closely with cultural practitioners who shared their knowledge of Yoruba drumming, Afro-Brazilian movement, and Puerto Rican bomba. Their generosity shaped the show’s rhythm—literally and metaphorically—and taught me that true collaboration is intergenerational. It’s about listening. In every artistic space I enter, I carry that lesson with me. Whether I’m teaching music in a Brooklyn classroom, writing musicals rooted in social justice, or performing in an ensemble, I center relationships first. I create with the belief that my work must be in service to something greater than myself. The arts, after all, don’t just reflect community—they make it. Pamela Branchini’s legacy is deeply aligned with my own purpose. Like her, I believe that beauty, music, and design have the power to bring people together and tell stories that need to be heard. With the support of this scholarship, I hope to continue crafting spaces—onstage and in classrooms—that celebrate collaboration as a path toward healing, identity, and liberation. Together, we discover the rhythm that frees us all. A recording can be viewed here: https://vimeo.com/935107767/b1ce29c2de

Success, to me, is the ability to uplift others through education, storytelling, and the arts. It is not just about personal achievements but about creating opportunities for others to find their voices and thrive. Throughout my academic and professional journey, I have embraced this philosophy, using my skills in music, education, and advocacy to empower others. Whether mentoring students, conducting research on marginalized communities, or performing on stage, I have dedicated my life to bridging gaps and creating spaces where people—especially young learners—feel seen, heard, and valued. Currently, I serve as a music specialist at the Center for Family Life in Sunset Park, a non-profit organization that provides after-school arts enrichment to students in underserved communities. In this role, I use music as a tool for empowerment, teaching essential skills such as reading, vowel recognition, syntax, sign language, enunciation, public speaking, and even fractional mathematics. Recognizing that many of my students primarily speak Spanish and some Cantonese, I design lessons that transcend language barriers, fostering connection and growth through universal modes of expression like rhythm and melody. My work extends beyond music—it is about making education accessible, interactive, and joyful for all students, regardless of background or ability. A particularly transformative moment in my teaching career occurred when a kindergarten student, who rarely speaks due to autism, volunteered to sing a solfège scale independently in class. Her voice graced our classroom for the first time, and it was a profound moment not just for her, but for the entire class. Instances like these affirm my belief in the joy and potential that come from tailored, strengths-based learning. Every child has a voice, and my mission as an educator and artist is to ensure that they feel empowered to use it. This philosophy of success—creating impact and fostering growth—also drives my studies. I am currently pursuing a Master of Music in Vocal Performance with a concentration in Music Theatre at NYU, where I refine my craft while equipping myself with the skills to merge performance with advocacy. Theatre has long been a space where diverse voices come together to share stories, challenge perspectives, and inspire change. It is a space where communities, often disconnected, find common ground. My goal is to continue using my art as a means of education and activism, ensuring that the transformative power of performance reaches beyond the stage and into classrooms, communities, and policy discussions. However, as meaningful as my work at the Center for Family Life is, it comes with financial challenges. Non-profit organizations, while invaluable to the communities they serve, often cannot offer competitive salaries. I remain committed to this work because I know the impact I am having on my students outweighs financial considerations at this time. Yet, with the uncertainty surrounding student loans under the new administration and the cost of graduate education, this scholarship would provide crucial financial relief. It would allow me to continue prioritizing my students and my studies rather than having to seek additional income sources that could detract from my ability to create meaningful change. Success is a journey, not a fixed destination. For me, it is defined by the lives I touch, the barriers I break, and the spaces I help create for others to thrive. This scholarship would not only support my continued education but also ensure that I can remain in a position where I am making a direct impact. It would allow me to keep focusing on what truly matters—empowering the next generation through the arts and education. With this support, I can continue to redefine victory by ensuring that success is not just my own but shared among the students and communities I serve.

My journey into entrepreneurship began as a natural extension of my passion for storytelling, advocacy, and education. Growing up in an underserved community, I recognized early on the power of the arts to provide hope and amplify marginalized voices. Today, I am channeling that realization into a business idea that combines my love for theatre and my commitment to social justice: a theater company that functions as a freedom school, offering both technical performance training and liberatory education to young artists of color. The concept for my theater company is rooted in the history of freedom schools, which emerged during the Civil Rights Movement to provide Black students with education that affirmed their identity and prepared them to challenge systemic oppression. Similarly, my company will teach young people the technical skills of theatre production—acting, singing, directing, stage design—while also using the arts as a platform for discussing identity, community, and liberation. This dual focus on technical training and social consciousness aims to empower young artists to become both creative innovators and advocates for change. My interest in entrepreneurship grew from a series of pivotal experiences. During my undergraduate years at Princeton University, I studied Spanish and Politics with minors in African American Studies, Latin American Studies, and Music Theatre. This interdisciplinary education opened my eyes to the systemic barriers faced by marginalized communities and inspired me to use my creative talents as a means of addressing inequities. I began experimenting with this idea in community programs, such as mentoring students through Amagine Technologies and volunteering as a vocal coach for Trenton Arts at Princeton. These experiences demonstrated how creative education can transform young people’s confidence, critical thinking, and connection to their heritage. As a current graduate student pursuing a Master of Music in Vocal Performance at NYU, I have deepened my understanding of how storytelling can illuminate complex social issues. I am also working as a music specialist at the Center for Family Life in Sunset Park, where I teach music to students from under-resourced schools. Through this role, I’ve witnessed the resilience and creativity of young people who, despite systemic challenges, use art to express themselves and envision better futures. Their determination fuels my commitment to creating opportunities for them to thrive. The inspiration for my business idea also comes from personal experiences as a neurodivergent person. Throughout my education, I struggled with obsessive-compulsive disorder (OCD) and perfectionism, often feeling misunderstood and out of place in traditional academic settings. It was through the arts that I found a sense of belonging and a means of channeling my energy. I want my theater company to offer this same refuge to other young people, particularly those whose diverse learning styles and life experiences are often overlooked or undervalued. Through my business, I hope to achieve several key goals. First, I want to create a sustainable, inclusive space where young artists of color can receive high-quality training that reflects their cultural heritage and lived experiences. This includes offering scholarships to ensure accessibility for students from low-income backgrounds. Second, I aim to foster a community of socially conscious artists who use their craft to address pressing issues like racial inequality, mental health stigma, and environmental justice. Finally, I aspire to amplify the voices of underrepresented communities by producing original works that highlight their stories and contributions. One of the most exciting aspects of entrepreneurship is the opportunity to build something that aligns with my values and makes a tangible difference. My vision is not just to teach performance skills but to create a pipeline for young artists to become leaders in their fields—directors, playwrights, producers—who can redefine the industry from within. By prioritizing education, equity, and empowerment, my theater company will serve as a launchpad for the next generation of change-makers. Entrepreneurship is not without its challenges, but I am ready to face them with the same resilience and determination that has brought me this far. My experiences as a mentor, educator, and artist have equipped me with the skills to connect with diverse communities, manage complex projects, and inspire others to dream big. With this business, I am not only pursuing my passion but also building a legacy of creativity and liberation that will uplift young people for generations to come.

I am an artist, educator, and advocate dedicated to empowering young people through the power of the arts. Growing up in predominately Black community, I witnessed the systemic barriers that often limited access to education and creative expression. These experiences have fueled my passion for creating opportunities and creative outlets for marginalized groups. I firmly believe I can use my skills to inspire and uplift my community. Currently, I work as a music specialist in an after-school arts enrichment program, while also pursuing a Master of Music in vocal performance with a concentration in music theatre at NYU. In my role, I teach music to over 150 students from under-resourced schools, providing them with musical exposure they might not otherwise have access to. Beyond technical skills, my classes encourage students to explore their identities, build confidence, and understand the power of their voices in shaping the world around them. I make it a priority to create an inclusive, affirming environment, particularly for students who learn differently or have been labeled as "troublemakers" due to behaviors that may stem from undiagnosed conditions. Drawing from my experiences as a neurodivergent person, I aim to show all my students that they are not defined by their challenges but by their potential. My life goal is to establish a theater company that functions as a freedom school, offering both technical performance training and liberatory education to young artists of color. This company would provide workshops, mentorship, and resources to help students hone their craft while fostering critical thinking regarding social justice. I envision it as a space where students can learn to use their art as a form of activism, telling their stories while advocating for themselves and their communities. By combining the arts with education on equity and history, this initiative would help dismantle the barriers that too often prevent marginalized voices from being heard. I also plan to continue writing musicals that highlight overlooked histories and marginalized perspectives. For example, my current project explores the story of the Cherokee Freedmen, bringing attention to the intersection of race and sovereignty in Native American history. Through storytelling, I hope to educate audiences while advocating for justice and inclusion. Ultimately, my mission is to cultivate a world where every young person—regardless of their background—feels empowered to pursue their dreams and make a positive impact. By using the arts as a vehicle for liberation and education, I believe I can help create lasting change in both my community and beyond.

The life of my dreams centers around a vision that merges my two passions: arts and liberation. I aspire to establish my own theater company, one that functions as a modern-day freedom school. This theater would provide young artists of color with a dual education in both technical performance skills and liberatory thinking—creating a space that not only refines their craft but also empowers them to use their art as a tool for social change. In my dream life, this theater company would be more than a performance venue; it would be a community hub, welcoming all backgrounds to celebrate diversity in every sense. Young artists would be able to access high-quality training and mentorship, equipping them to thrive in the industry while encouraging them to develop voices grounded in empathy, resilience, and advocacy. Classes would range from acting, music, and movement to more complex workshops on social justice, critical theory, and African American history. By pairing performance arts with teachings on equity and resistance, my goal is to cultivate a generation of socially conscious artists capable of creating and leading with purpose. This dream builds on the work I’m already doing as a music teacher and graduate student. Through my current role at the Center for Family Life, I teach students in an underserved community, many of whom rarely have access to arts education due to funding cuts. Working with them has shown me firsthand how transformative creative education can be, not just for self-expression, but for building self-confidence and a sense of belonging. My students are often discovering the arts for the first time, and seeing them come to life in the classroom is incredibly inspiring. In my dream life, my theater company would provide this same sense of empowerment on a larger scale, welcoming students from communities nationwide. Something unique about me as a candidate that I have not yet addressed is my role as the creator and director of an immersive installation and choreopoem titled "El ritmo que nos libre: Das almas assassinadas aos espíritos vivos." This project, performed live at Princeton University’s Lewis Arts Complex in March 2024, was a deeply collaborative endeavor that brought together cast members, stage crew personnel, and an engaged audience to explore themes of liberation, identity, and unity through music and dance. As the creator and director of this project, I was responsible for conceptualizing the narrative, designing the immersive experience, and guiding the cast and crew in bringing the vision to life. This role allowed me to exercise my creative vision and leadership skills in a dynamic and interdisciplinary context, blending elements of theater, installation art, and cultural exploration. "El ritmo que nos libre" followed the story of a lost community that rediscovered their collective identity through a collection of artifacts, each piece an active memory and a living testament to the enduring spirit of communities uprooted and reborn. Together, they reclaimed their rhythm, their spirit, their home. "El ritmo que nos libre" was more than just a performance, it was the beginning of my future. Creating a freedom-school-style theater is a vision driven by my deep commitment to life-long learning and passing on knowledge. I firmly believe that education is the key to unlocking potential, and I am dedicated to providing opportunities that support young artists in their pursuit of both self-discovery and social impact. For me, the life of my dreams is one where I can use my platform to empower others, giving them the space to explore, learn, and use their unique talents to make a difference.

Embodying Servant Leadership Of the 8 attributes of Black Excellence, servant leadership is the trait that I embody most fully. To me, servant leadership is about using one’s abilities and resources to lift others up and inspire positive change. This quality has shaped my academic and personal endeavors and is central to my work as a music specialist for the Center for Family Life in Sunset Park, Brooklyn. Working with students from under-resourced schools, many of whom lack access to arts education, I strive to create an inclusive, inspiring environment that nurtures both creativity and confidence. My goal is not just to teach them music but to help them see their worth and potential. One of the key aspects of servant leadership is empathy, which has guided my work with students who often feel misunderstood. For example, I had a student named Matt, a boy who likely has an undiagnosed neurodivergent condition. His teachers and peers frequently labeled him a “bad kid” due to occasional outbursts, but I recognized in Matt a unique, misunderstood energy. As someone who has navigated similar misunderstandings, I made it a priority to give Matt the tools to engage in class on his terms. Instead of reprimanding him, I provided gentle guidance and praised his valuable contributions. Over time, Matt gained confidence, actively participated, and even led specific warm-ups. In watching Matt’s transformation, I was reminded of how servant leadership is often about supporting others so they can see their own potential. Additionally, I extend my servant leadership approach beyond the classroom through community mentorship. As an intern coordinator with Amagine Technologies, I mentored Black students through the complexities of college applications and app development projects. Many of these students had limited support systems for envisioning a college education. By helping them map out clear, achievable goals, I was able to foster a sense of ambition and confidence in their own capabilities. Their successes inspire me to continue this work, as I know firsthand how having someone believe in you can be life-changing. Servant leadership is about empowering others and promoting their growth, a quality I bring to every space I enter. As I work towards my own goals, I hope to continue embodying this attribute, building communities rooted in compassion and striving for a future where all students can realize their potential. Developing Time Management Skills While I value all the traits of Black Excellence, prioritizing and managing time is the area I strive to improve the most. As a full-time graduate student, a daily music teacher, and an artist with commitments to community service and personal projects, I sometimes find myself overwhelmed with competing priorities. Mastering time management would allow me to better balance these responsibilities while dedicating focused energy to each. My plan for improving time management begins with refining my organizational methods. Currently, I rely on a combination of digital and physical planners to keep track of tasks and deadlines. However, I plan to implement a more structured approach, beginning with setting weekly goals that align with larger objectives for each role I fulfill. By breaking down large tasks into manageable steps and assigning specific times to each, I hope to prevent the stress of last-minute work and increase my productivity. Next, I am working to practice more assertive prioritization. While I am passionate about every project I undertake, I realize that not every task requires equal energy. Learning to identify high-impact tasks and focusing on those will allow me to be more efficient with my time. For example, I will prioritize curriculum planning and class prep earlier in the week, so I can reserve the weekend for more extensive graduate coursework and community commitments. This method of task-ranking will help me manage my time more effectively without sacrificing quality in any area. Lastly, I intend to make self-care a non-negotiable part of my time management strategy. Time management is not solely about productivity; it’s also about creating a sustainable routine that prevents burnout. I’ll set aside designated time for activities that recharge me, such as music rehearsals, physical activity, and socializing with friends. By balancing work, study, and self-care, I believe I can build a healthier, more productive lifestyle. Improving my time management skills will not only enhance my performance in each of my roles but will also allow me to sustain the energy and commitment needed to lead and serve others effectively. By mastering this skill, I will be better equipped to pursue my vision of empowering young artists and driving positive change in my community.

Growing up in an underserved community, I’ve witnessed firsthand the powerful impact that small acts of kindness can have on transforming lives. These experiences have inspired me to prioritize compassion in everything I do. One of the most impactful moments of kindness I’ve shown has come through my work at the Center for Family Life in Sunset Park, Brooklyn. As the music specialist for their after-school arts enrichment program, I’ve had the privilege of sharing my love for music with children from under-resourced schools, many of whom lack exposure to the arts due to funding limitations. This role has not only deepened my appreciation for art’s role in education but also shown me how creative outlets can inspire self-confidence, communication skills, and a strong sense of community. At the heart of my work is a commitment to intersecting arts with liberation. I believe that empowering young artists to think critically and connect their art with social consciousness can foster a generation of compassionate, change-oriented individuals. I encourage my students to explore how music and performance can be used as tools to voice their experiences, uplift others, and create positive change. I aim to cultivate an environment where students don’t just learn music theory or technique but also understand how their unique voices contribute to a broader narrative of resilience and social justice. One student who exemplifies this transformation is Matt, a child who likely has an undiagnosed condition that affects his behavior. Within the program, he is often seen as a “bad” kid, frequently yelled at by teachers and sometimes shunned by his classmates. Having navigated neurodivergence myself, I empathize with Matt’s experience. Growing up, I was often misunderstood and punished for my own verbal outbursts, which were sometimes due to excitement and an eagerness to participate, not disrespect. I, too, lacked the tools to regulate my responses, and it left me feeling misunderstood. Remembering this, I’ve prioritized making Matt feel comfortable and supported in my class, showing him that he belongs. When Matt has an “outburst,” I work to redirect his energy, acknowledging and reinforcing his enthusiasm and contributions to the lesson. Over time, Matt’s engagement has blossomed; he’s even started leading specific warm-ups and is fully invested in each class. Most importantly, he’s beginning to realize that he’s not a “bad” student—he’s simply a diverse learner who processes information in his own way. His transformation is a reminder of how kindness, patience, and a little understanding can reshape a young person’s self-image and open doors they may not have known were possible. Beyond my work in the classroom, I extend this philosophy of compassion and empowerment to community initiatives. As an intern coordinator with Amagine Technologies, I mentored junior high and high school students, particularly those from underrepresented backgrounds, through the complexities of college applications and technology projects. For many, college felt like an unattainable goal, something outside of their experience or belief system. By breaking down the process into achievable steps and offering support tailored to each student’s strengths, I was able to help them envision a future in higher education. Many of these students have since reached out to share their accomplishments, a testament to how mentorship and kindness can provide the foundation for success. On a personal level, my experiences with OCD and perfectionism have heightened my empathy. Navigating these challenges has made me aware of the hidden struggles others may face, especially in high-stakes, performance-driven environments. This understanding has led me to advocate for mental health awareness in my community, supporting friends and students who may face similar battles. I believe that kindness often starts with acknowledging that everyone has their own story, and a compassionate approach can create genuine, meaningful connections. Through these experiences, I’ve learned that kindness, while sometimes subtle, can ignite transformative change. In the classroom, the community, or daily life, my mission is to carry forward the legacy of compassion and positive impact that Jennifer and Rob Tower stood for. Empowering young artists to see their role in social justice, encouraging future scholars to realize their potential, and offering kindness to those who may be struggling in silence are all essential aspects of my journey. In everything I do, I hope to inspire others to act with empathy, understanding, and a belief that they, too, can be a force for good.

Growing up as an Afro-Cherokee woman, I witnessed the challenges that Indigenous youth often face in the pursuit of higher education, from minimal outreach by college counselors to systemic financial barriers. At Princeton, I observed that even in spaces where resources were plentiful, Native students could still feel isolated and overlooked. Inspired by these experiences, I focused my studies on understanding and dismantling barriers that prevent Indigenous communities from accessing education. During my undergraduate studies, I proposed a policy aimed at mitigating Native disenfranchisement, advocating for more inclusive voting practices and culturally relevant support services to address the unique challenges our communities face. My personal commitment to serving Native communities is reflected in my dedication to creating inclusive and accessible art. I understand the profound impact that visibility and representation can have on marginalized communities. This understanding drives my ambition to use theater not only as a medium for artistic expression but also as a powerful tool for activism and education within indigenous communities. Last year, I took a course called "Creative Intellect," which emphasized how artists can use their work to advocate for social change. We studied creative intellectuals like Audre Lorde and Ntozake Shange, who seamlessly integrated their scholarship with their creativity. This course helped me visualize a path where my intellectual pursuits and artistic passions converge to effect social change. My interest in arts administration is rooted in the belief that theater can serve as a powerful educational tool, particularly in promoting cultural awareness and language preservation among indigenous communities. For example, creating theatrical productions that incorporate Cherokee language and histories can be an engaging way to preserve and revitalize the language while fostering a deeper connection to cultural heritage and enhancing cross-cultural exchange. I aspire to use my talents to bridge cultures, spark conversations, and incite social consciousness. My ultimate goal is to work in arts administration, focusing on initiatives that enhance access to theater and the arts for indigenous communities. I envision creating media that not only entertain but also educate and empower indigenous communities. Currently, I am learning Cherokee and writing an immersive musical, ᎠᎦᏔᎦ ᎦᏃᎵᏍᏗ (Agata gvnolisdi), about the history of the Cherokee Freedmen. This project seeks to amplify stories of Black and Indigenous co-liberation and aims to foster learning of the Cherokee language. As descendants of Black slaves owned by Cherokee tribal members and later integrated into the tribe, the Cherokee Freedmen embody the intertwined struggles and resilience of Black and Indigenous peoples. This project is not just about historical representation; it is also an educational initiative. By incorporating the Cherokee language into the musical, I hope to promote language preservation and cultural education. Learning Cherokee myself has been an enriching experience that deepens my connection to the culture and history I am portraying. I believe that by integrating the language into the narrative, I can create a more immersive and authentic experience for the audience, encouraging them to engage with and appreciate the indigenous culture on a deeper level. Receiving the Gerianne Pfeiffer Scholarship would allow me to continue my studies while dedicating time to this work. I’m committed to using my academic and creative pursuits to elevate Native voices, promote policy change, and inspire the next generation of Indigenous leaders to take their rightful place within academia.

One of my primary goals is to help make mental health care more affordable and accessible for BIPOC youth, especially through arts-based wellness initiatives. As someone who has navigated the challenges of OCD and perfectionism, I know firsthand how important it is to have resources that not only address mental health but also feel relevant and accessible. If given the chance, I would work to create low-cost, community-centered mental health programs that incorporate the arts—whether music, dance, or writing—as therapeutic tools. Artistic expression is a powerful way to manage mental health struggles and connect with others, yet it remains underutilized in traditional mental health care. I would develop partnerships with local organizations to facilitate workshops and support groups led by artists and mental health professionals from BIPOC backgrounds. These programs would be designed to help participants express themselves, share their experiences, and learn healthy coping mechanisms in a supportive community. This model not only lowers financial barriers but also reduces stigma by creating a safe space where mental health and identity are embraced. Through these efforts, I hope to make mental health care more culturally relevant and accessible for young people who might otherwise feel unseen in traditional settings.

Living with OCD has deeply shaped my goals, relationships, and perspective on the world. My perfectionism is more than the desire for each note to be flawless; it’s a set of rituals that I feel compelled to follow before every performance. I wake up at specific times, measure an exact amount of tea, and remain silent for 24 hours before singing—all because, in my mind, an error would have irreversible consequences. In these moments, I fear that a single mistake would undermine everything I’ve worked for in my vocal career. If I fail, my work could feel like a waste, especially considering I could have chosen a more traditional path, like law, that offers financial stability. Yet, despite the difficulty, my experience with OCD has helped me find purpose in my art, motivating me to create spaces that challenge stigma and to speak openly about mental health. In “Creative Intellect,” a class where we studied how Black creatives like Audre Lorde used their art to advocate for social change, I began to see my voice as a means of building empathy. I realized that my artistry could create spaces for connection and understanding, especially for others navigating mental health challenges. This revelation helped me rethink my relationship with my craft. It wasn’t just about technical perfection—it was about creating impact, sparking dialogue, and allowing others to feel seen and understood. My OCD can sometimes narrow my focus to maintaining control, but I’m learning to redirect this energy toward art that encourages vulnerability and authenticity. This journey has also affected my relationships. OCD often isolates me, as I sometimes feel the need to shield others from my complex routines. However, it’s also shown me the value of supportive connections with people who respect both my ambitions and my challenges. My time with the Center for Family Life in Sunset Park has further underscored the importance of community. Teaching music to students who look to me for encouragement and guidance has reminded me that the value of my art extends beyond performance—it's in helping others see themselves and their potential. OCD has shaped how I understand resilience and empathy. It’s made me appreciate how we all have struggles, often hidden beneath the surface, and that vulnerability isn’t weakness—it’s a bridge to others. My goals are now centered on creating performances and educational spaces that encourage authenticity and acceptance. In the end, my OCD hasn’t limited my path; instead, it’s enriched my perspective, reminding me that there’s strength in vulnerability and purpose in choosing to pursue a passion, even one as unpredictable as the arts.

From a young age, I felt a pull between my passion for the arts and the intellectual expectations placed upon me. Growing up as a Black woman, I understood that my achievements held meaning beyond myself—they represented possibility for my community. This awareness often led me toward traditional academic paths, setting aside my creative inclinations. Recently, however, I have begun to embrace how my intellectual and artistic identities can coexist and enrich each other. In Fall 2022, I enrolled in a course titled “Creative Intellect” that bridged academic study with artistic expression, introducing me to Black creative intellectuals like Audre Lorde and Ntozake Shange, who used their art to enact social change. Through this class, I found a path to combine my passion for the arts with my commitment to social impact, realizing that my creativity could be a tool for advocacy that amplifies marginalized voices. My academic journey at Princeton focused on this intersection of art and social impact. A transformative project was *El ritmo que nos libre: Das almas assassinadas aos espíritos vivos*, an immersive choreopoem I directed at Princeton’s Lewis Arts Complex. This production explored liberation, identity, and collective memory within the Black and Indigenous diasporas. The project taught me invaluable lessons in collaborative creation, demonstrating how performing arts can foster empathy and build community—core aspects of my artistic vision. Programs focused on Black performance art empowered me to see theater as activism, a way to reclaim identity and space. I envision creating media that bridges cultures and raises social awareness, encouraging audiences to engage with histories and communities they might not encounter otherwise. Beyond the stage, I hope to write and produce works that serve as educational tools, making complex topics accessible to underserved communities. Currently, as a Master of Music student in Vocal Performance with a concentration in Music Theatre at NYU, I am also building my practice as an educator. I work as a Music Specialist with the Center for Family Life in Sunset Park, Brooklyn, teaching music to elementary students. Watching my students grow in confidence and creativity has reinforced my belief that music and theater can transform lives, especially in communities with limited creative outlets. I see the performing arts as a platform for celebrating diverse stories and empowering change. My journey is just beginning, but I am committed to bringing my voice, passion, and vision to the field, using art as a tool for personal and societal transformation.

From a young age, I have felt pulled between my passion for the arts and the intellectual expectations often placed upon me. Growing up as a Black woman, I learned that my achievements were more than personal—they were a statement of possibility for my community. This awareness often steered me toward more traditional academic pursuits, with my creative inclinations sidelined. But recently, I began listening to my own voice and reconsidering how my intellectual and artistic identities could coexist and enrich each other. In the Fall of 2022, I enrolled in a course titled “Creative Intellect” which bridged academic study with artistic expression. This class introduced me to the work of Black creative intellectuals, like Audre Lorde and Ntozake Shange, who leveraged their art to enact social change. Through this study, I could finally see a path where I could integrate my love for the arts with my commitment to social impact. The class was transformative, helping me realize that I could use my artistry as an advocacy tool, combining my intellectual background with creative work that amplifies marginalized voices. My academic journey at Princeton revolved around exploring this intersection. One of my most transformative projects as a creator and director has been *El ritmo que nos libre: Das almas assassinadas aos espíritos vivos*, an immersive choreopoem presented at Princeton University’s Lewis Arts Complex. This production combined elements of music, movement, and spoken word to explore liberation, identity, and collective memory within the Black and Indigenous diasporas. The experience taught me invaluable lessons in collaborative creation, as I guided cast and crew to bring a complex narrative to life. This project showcased the power of the performing arts to foster empathy and a sense of community, which is integral to my artistic vision. This experience in arts education, especially my exposure to programs focused on Black performance art, have empowered me to use theater as a medium for activism. They have shown me that art is not simply a performance but a statement of identity, a reclamation of space, and a vehicle for change. As I pursue a career that goes beyond traditional performance, I envision creating media that bridges cultures, ignites conversations, and raises social awareness. In these efforts, I am inspired by the realization that my artistic path is not only possible but necessary. I aspire to create works that merge art with activism, encouraging audiences to connect with histories, cultures, and communities they may not otherwise encounter. My vision extends beyond the stage; I hope to write and produce works that can serve as educational tools, making information more accessible to the vulnerable. As I pursue my Master of Music in Vocal Performance with a concentration in Music Theatre at NYU, I am also building my practice as an educator. Currently, I work as a Music Specialist with the Center for Family Life in Sunset Park, Brooklyn. Teaching music to elementary students has solidified my purpose in relation to my artistry. I want to continue offering arts education to underserved communities, especially schools with limited resources for creative outlets. The joy and growth I see in my students reinforce my belief that music and theater can change lives, sparking creativity and confidence in young learners. Ultimately, I see the performing arts as a platform to build a world where diverse stories are celebrated, and where individuals feel empowered to enact change. My journey is just beginning, and I am committed to bringing my voice, passion, and vision to the field, using art as a tool for personal and societal transformation.

From a young age, I have felt pulled between my passion for the arts and the intellectual expectations often placed upon me. Growing up as a Black woman, I learned that my achievements were more than personal—they were a statement of possibility for my community. This awareness often steered me toward more traditional academic pursuits, with my creative inclinations sidelined. But recently, I began listening to my own voice and reconsidering how my intellectual and artistic identities could coexist and enrich each other. In the Fall of 2022, I enrolled in a course titled “Creative Intellect” which bridged academic study with artistic expression. This class introduced me to the work of Black creative intellectuals, like Audre Lorde and Ntozake Shange, who leveraged their art to enact social change. Through this study, I could finally see a path where I could integrate my love for the arts with my commitment to social impact. The class was transformative, helping me realize that I could use my artistry as an advocacy tool, combining my intellectual background with creative work that amplifies marginalized voices. My academic journey at Princeton revolved around exploring this intersection. One of my most transformative projects as a creator and director has been *El ritmo que nos libre: Das almas assassinadas aos espíritos vivos*, an immersive choreopoem presented at Princeton University’s Lewis Arts Complex. This production combined elements of music, movement, and spoken word to explore liberation, identity, and collective memory within the Black and Indigenous diasporas. The experience taught me invaluable lessons in collaborative creation, as I guided cast and crew to bring a complex narrative to life. This project showcased the power of the performing arts to foster empathy and a sense of community, which is integral to my artistic vision. This experience in arts education, especially my exposure to programs focused on Black performance art, have empowered me to use theater as a medium for activism. They have shown me that art is not simply a performance but a statement of identity, a reclamation of space, and a vehicle for change. As I pursue a career that goes beyond traditional performance, I envision creating media that bridges cultures, ignites conversations, and raises social awareness. In these efforts, I am inspired by the realization that my artistic path is not only possible but necessary. I aspire to create works that merge art with activism, encouraging audiences to connect with histories, cultures, and communities they may not otherwise encounter. My vision extends beyond the stage; I hope to write and produce works that can serve as educational tools, making information more accessible to the vulnerable. As I pursue my Master of Music in Vocal Performance with a concentration in Music Theatre at NYU, I am also building my practice as an educator. Currently, I work as a Music Specialist with the Center for Family Life in Sunset Park, Brooklyn. Teaching music to elementary students has solidified my purpose in relation to my artistry. I want to continue offering arts education to underserved communities, especially schools with limited resources for creative outlets. The joy and growth I see in my students reinforce my belief that music and theater can change lives, sparking creativity and confidence in young learners. Ultimately, I see the performing arts as a platform to build a world where diverse stories are celebrated, and where individuals feel empowered to enact change. My journey is just beginning, and I am committed to bringing my voice, passion, and vision to the field, using art as a tool for personal and societal transformation.

I am pursuing a Master of Music in Vocal Performance with a concentration in Music Theatre at NYU. My journey in the performing arts began in childhood, growing as I developed an enduring passion for music, theater, and the intersections of art and activism. During my time at Princeton University, where I graduated magna cum laude with a concentration in Spanish and Politics and minors in African American Studies, Latin American Studies, and Music Theatre, I further solidified my commitment to the performing arts. There, I actively engaged in multiple performing arts groups, including the Princeton Playhouse Choir, Princeton University Players, and the Black Arts Company: Dance. These experiences fostered my skills in vocal performance and movement and cultivated my dedication to storytelling that resonates deeply with audiences. I also participated in Princeton’s cheer team, which allowed me to balance physical endurance with artistry. Each of these experiences contributed to my ongoing journey, refining my ability to communicate and connect emotionally through music and performance. Through these years of study and practice, I’ve also had the opportunity to apply my skills in a community setting, including my volunteer work as a vocal coach for Trenton Arts at Princeton. One of my most transformative projects as a creator and director has been *El ritmo que nos libre: Das almas assassinadas aos espíritos vivos*, an immersive choreopoem presented at Princeton University’s Lewis Arts Complex. This production combined elements of music, movement, and spoken word to explore liberation, identity, and collective memory within the Black and Indigenous diasporas. The experience taught me invaluable lessons in collaborative creation, as I guided cast and crew to bring a complex narrative to life. This project showcased the power of the performing arts to foster empathy and a sense of community, which is integral to my artistic vision. Looking ahead, my long-term goals within the performing arts revolve around creating media and performances that inspire social engagement, with a specific focus on advancing equity and uplifting marginalized voices. I aspire to create works that merge art with activism, encouraging audiences to connect with histories, cultures, and communities they may not otherwise encounter. My vision extends beyond the stage; I hope to write and produce works that can serve as educational tools, bridging gaps between the performing arts and social justice. Additionally, I am committed to becoming an educator and policymaker. My work with the Center for Family Life in Sunset Park, where I currently teach music to elementary students, has fueled this ambition. I want to continue offering arts education to underserved communities, especially schools with limited resources for creative outlets. The joy and growth I see in my students reinforce my belief that music and theater can change lives, sparking creativity and confidence in young learners. Ultimately, I see the performing arts as a platform to build a world where diverse stories are celebrated, and where individuals feel empowered to enact change. My journey is just beginning, and I am committed to bringing my voice, passion, and vision to the field, using art as a tool for personal and societal transformation.