Cover Aprille Tijam, steward of Philippine cultural heritage, at Ayala Museum (Photo: Rex Reynaldo Cabugon)
Aprille Tijam, steward of Philippine cultural heritage, at Ayala Museum (Photo: Rex Reynaldo Cabugon)
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For more than three decades, museum professional Aprille Tijam has shaped how Philippine institutions care for artworks, bringing rigour, ethics and Filipino values to the practice
Curating an exhibition is often seen as a matter of selecting objects and arranging them in space. For Aprille Tijam, the work begins long before the gallery doors open. As associate director and head of exhibitions and collections at the Ayala Museum, she has spent more than three decades refining the careful, largely unseen labour that allows art to travel, be preserved and shared with the public.
Tijam’s speciality lies in collections management, a discipline that governs how artworks are documented, negotiated, transported and conserved. It is a field that demands both precision and judgement: each loan agreement, condition report and lighting decision contributes to the long-term care of cultural heritage. Through her work, the museum’s collections move across borders, including international collaborations such as recent exhibitions on the Manila–Acapulco Galleon trade presented in Singapore and Mexico.
Guiding this work is a philosophy rooted in professionalism—what Tijam describes as the intersection of theory, practice and ethics—alongside the Filipino value of asal, or proper conduct. In a sector where women now comprise much of the workforce, she sees leadership not as authority alone, but as the steady balance of discipline, empathy and responsibility.
Above Aprille Tijam at the Visible Storage of Ayala Museum, a space that offers public access and insight into the museum’s collection supporting research and stewardship (Photo: Rex Reynaldo Cabugon)
Aprille Tijam at the Visible Storage of Ayala Museum, a space that offers public access and insight into the museum’s collection supporting research and stewardship (Photo: Rex Reynaldo Cabugon)
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Q&A
After more than three decades in museum work, how have you seen the field evolve?
When I began, museum practice was more inward-looking. The focus was on the collections themselves—organising exhibitions, documenting objects and managing programmes within the institution. Over time, the practice has become more outward-facing. Museums now think more intentionally about their audiences and communities.
Today, we engage with stakeholders, collaborate with international institutions and bring programmes beyond the museum through travelling exhibitions and digital platforms. At the same time, the standards of collections care remain constant. Our responsibility to preserve and document artworks continues to be the core of the work.
Where do you feel your work has had the most lasting impact?
Much of my contribution has been in strengthening collections management practice within the museum. When people see an artwork on display, they rarely see the many processes that allow it to be there.
Behind the scenes, there are negotiations, legal documentation, insurance, conservation protocols and careful handling procedures. Establishing clear governance and ethical standards in these processes builds credibility for institutions and ensures that we care for artworks responsibly.
I see my role as helping maintain that sense of professionalism. As a leader, the protocols we follow also shape the work of the team, and hopefully influence collaborators as well.
You often speak about the Filipino value of asal. How does this inform your work and leadership?
Asal is something we learn from childhood. It comes from the family, from school and from the values we carry into our professional lives. In many ways it is difficult to translate directly into English, but it relates to conduct, respect and integrity.
When you bring those values into your work, they influence how you collaborate with others and how you carry out responsibilities. Of course, professional training and academic learning are also important, but values shape how you apply that knowledge in real situations.
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Above Aprille Tijam with A Zóbel Chronicle, a chronological overview of the life and work of Filipino-Spanish abstract artist Fernando Zóbel (1924–1984), co-written by Aprille Tijam and Tenten Mina for Ayala Museum (Photo: Rex Reynaldo Cabugon)
Aprille Tijam with A Zóbel Chronicle, a chronological overview of the life and work of Filipino-Spanish abstract artist Fernando Zóbel (1924–1984), co-written by Aprille Tijam and Tenten Mina for Ayala Museum (Photo: Rex Reynaldo Cabugon)
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In a field that involves high-stakes negotiations and international loans, what qualities are most important in leadership?
For me, it comes down to professionalism and consistency. If you commit to something, you must follow through. In museum work there are real risks because we are responsible for artworks, sometimes travelling across countries and institutions.
Being detail-oriented helps, but so does remaining calm and focused when problems arise. Your voice as a leader is not only in what you say—it is also in the actions that support your words.
When colleagues and partners know that you keep your commitments, it builds trust. That trust becomes essential when working on complex projects.
How do you mentor younger women entering the arts and cultural sector?
Mentorship often happens through conversation. I try to keep my door open so colleagues can approach me for advice or simply to talk through ideas. Sometimes the guidance is informal—small discussions that help someone think through a decision.
I also share readings and resources whenever I can. Not everyone has the opportunity to attend conferences or specialised training, so sharing knowledge is important.
Many students also reach out for interviews or research, and I always try to make time for them. When I was younger, I wished there had been more people willing to share their experiences. In that sense, mentoring is also a way of paying it forward.
What would you say to young women considering a career in museums?
When I was growing up in the province, I never imagined there was a career in museum practice. I did not grow up visiting museums regularly, so I did not know such a path existed.
Over time I discovered how rich and meaningful the work can be—from caring for beautiful artworks to collaborating with people across cultures. Museums play an important role in preserving our heritage and sharing our stories.
For the next generation, that work is essential. Cultural heritage does not preserve itself—it depends on people who are willing to care for it and pass it on.
As we celebrate our 25th anniversary this year, Tatler honours 25 remarkable women whose vision and courage are transforming industries, communities and the national conversation—each one taking a decisive step and leaving an enduring mark on Philippine society
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Syrah is Tatler Philippines’ Power & Purpose editor, where she spotlights extraordinary journeys shaping the Philippines and Asia. She covers business, innovation, impact, and culture—chasing the people, ideas and forces shaping how we live and think today.
