First American Art Magazine welcomes Jessica Ma’ilo (Delaware Nation/ Kiowa/ Samoan) as its new operations manager. With a background in education, journalism, and community-based work, she brings a practical, behind-the-scenes focus to the magazine. Having grown up around Native artists and exhibitions, and with professional experience building systems in under-resourced and fast-moving environments, she approaches the role with attention to continuity and improvement. Her work at FAAM centers on strengthening internal processes, expanding connections to educational spaces, and supporting the magazine’s efforts to bring Indigenous art and artists to wider audiences. Join us as we get to know Jessica!
First American Art Magazine: Welcome to the team. For readers meeting you for the first time, how would you describe yourself and the work you do?
Jessica Ma’ilo: I wouldn’t usually say this out loud because it sounds a little self-congratulatory, but looking at my career trajectory and life choices, I’m a builder, a helper, and a nurturer. I’m also a creative. I grew up in theater and music, and while I don’t perform as often now, the roles I’ve taken on all require creativity in different forms.
FAAM: How has that shown up in your professional life before joining FAAM?
In practice, it’s been a mix of building systems, supporting people, and creating spaces where things can grow. I’ve been an educator for more than 15 years, mostly in under-resourced schools where we were constantly navigating limited funding, resources, and broader societal challenges. The students themselves were always incredibly resilient, and they’re a big reason so many people stay in a broken education system.
I also founded and run a nonprofit, Sparkle Strong Foundation, in honor of my youngest daughter, Jewels. We started it at her hospital bedside earlier this year and made the decision to continue after her passing in July. It will always be her legacy. We saw where heart families living in the pediatric CICU needed support, and we had the knowledge and experience to step in and help fill that gap.
FAAM: What drew you to FAAM and made this role feel like a natural fit?
Although I’m not an artist myself, I grew up immersed in the Native art world. My uncle and late aunt, Tom Poolaw and Wendy Mahsetky-Poolaw, are artists, and my childhood was filled with art shows and gallery openings. My great-grandfather was renowned photographer Horace Poolaw, and I’ve traveled coast to coast for his exhibitions at the Smithsonian, MoMA, and numerous tribal galleries and museums.
My bachelor’s degree is in journalism and public relations, and while I went straight into education, that foundation stayed with me. Over time, especially through building side projects, I learned how to create websites and manage social media, which are now essential parts of publishing.
Being Native also matters deeply. Being able to understand the culture from an emic, an insider, perspective is invaluable. While there is no pan-Native culture, we do have this beautiful intercultural understanding, which I love. The silent nods when you spot another Native in public, the “who’s your folks?” when we meet a new cousin, or “what tribe are you?” when we spy another greasy frybread face in the crowd. It’s definitely an advantage when working in Native spaces.
FAAM: What part of your background do you think will most quietly shape how you approach this role?
There’s an important difference between my work at FAAM and my work in the classroom or with my nonprofit and other projects. FAAM isn’t solely my baby. While I care deeply about the greater good of the magazine, I’m also able to step back and look at things with a critical eye and identify where systems can be tweaked or improved. That balance between care and objectivity is something I bring intentionally.
FAAM: How do you balance respect for FAAM’s vision with the need to improve and evolve systems?
I’m always careful not to change or question something that’s integral to the vision. I spend time with the existing infrastructure first and ask for clarity when I need it. If I see something I genuinely believe can be improved, I ask. While the role should be self-starting, I also believe strongly in respecting the space you’re new to.
FAAM: Outside of work, what helps ground and recharge you?
Ironically, two opposing things. Being home is absolutely needed for me to ground myself. We’ve had such trauma within my family this year, so being home with my loved ones is vital. However, my other essential is travel. It really helps me reset just to be away from day to day and enjoy, explore some place new.
FAAM: As you step into this role, what do you hope your presence makes possible for FAAM and its community?
I hope to help make FAAM more accessible by building simple systems that readers can easily connect with and return to. I’d love to bridge my passion for education with the magazine and explore how FAAM can influence classrooms. Ultimately, I hope to help position this aspect of Native culture as part of the global picture, bringing Indigenous art and artists into spaces they’ve never been before.
