NEA arts

2009·1.7 MB·English

by  National Endowment for the Arts

ENDOWMENT
FOR THE ARTS
America's
and Traditional Artists
Honoring Our Nation's A Nightto Remember: In the News: The Arts and Civic
Cultural Heritage The 2006 NEA National Engagementanti Operation
Heritage Fellows Concert Homecoming
NEAARTS
Honoring Our Nation's Cultural Heritage
NEA
National Heritage Fellowship Program
"The class of 2006." That’s the way Mavis Staples In the end, a slate is
described herselfand the other distinguished recipients recommended to the
ofour nations highest form offederal recognition of National Council on
folk and traditional artists, the NEA National Heritage the Arts and the
Fellowships. In September 2006, a group of 1 1 musi- National Endowment
cians, craftspeople, dancers, storytellers, and cultural for the Arts Chairman
conservators came to Washington, DC to be honored for final approval.
for their lifetimes ofcommitment to creative excellence The process culmi-
and cultural heritage. Admission to this class is no small nates in September
accomplishment. These artistsjoined such luminaries as with a banquet in the
B.B. King, Bill Monroe, Ali Akbar Khan, Michael Flatley, Great Hall ofthe
FolkandTraditionalArtsDirector
and Shirley Caesar as honorees. Library ofCongress, an
BarryBergeywith2006NEANational
Each year a panel ofexperts spends four days dis- Heritage FellowMavisStaplesat awards ceremonyon
cussing thousands ofpages ofmaterials and reviewing theawardsceremonyandconcert Capitol Hill, and a
hundreds ofmedia samples supporting the more than rehearsal atthe Music Centerat public concert. This
Strathmore.PhotobyTomPich.
200 nominations received from the American public. year the concert was
held for the first time at the new Music Center at Strath-
NATIONAL COUNCIL ON THE ARTS more in nearby Bethesda, Maryland.
DanaGioiaChairman
JamesBallinger The events in 2006 marked the 25th year that these
BenDonenberg fellowships were awarded, and more than 325 artists and
MakotoFujimura
David H. Gelernter groups have now been recognized as NEA National
NATIONAL
Chico Hamilton
Heritage Fellows. With the generous support ofDarden
ENDOWMENT MarkHofflund
FOR THE ARTS Joan Israelite Restaurants and Darden Restaurants Foundation, we
CharlottePowerKessler
plan to celebrate the 25th anniversaryin 2007-8 with
Agreat nation Bret Lott
deservesgreatart. JerryPinkney special concerts, tours, exhibitions, publications, and
FrankPrice
GerardSchwarz media programs around the country.
TerryTeachout The cumulative history ofthe NEA National Heritage
Dr. KarenLiasWolff
Fellowships provides a striking portrait ofour nation.
EX-OFFICIO Bess Lomax Hawes, the NEA Folk Arts Director who
AppointmentbyMajorityandMinority conceived and initiated the program, perhaps said it best:
leadershipofsixMembersofCongresstothe
Councilispendingforthe 110thCongress. “Ofall the activities assisted by the Folk Arts Program,
these fellowships are among the most appreciated and
NEAARTSSTAFF
applauded, perhaps because they present to Americans
PauletteBeete Editor
Don Ball ManagingEditor a vision ofthemselves and oftheir country, a vision
BarryBergey Contributor
Beth Schlenoff Design somewhat idealized but profoundly longed for and so,
in significant ways, profoundlytrue.”
ONTHECOVER:
2006NEANational HeritageFellowCharlesM. Carrilloworkingona
Barry Bergey
newaltarscreenforSantaMariade la PazChurch inSanta Fe.Photo
byPaul Rhetts,courtesyofwww.nmsantos.com. Director, Folk and TraditionalArts
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NEAARTS
A Remember
Night To
NEA
The 2006 National Heritage Fellows Concert
A celebration was underway applause from the audience.
as members ofNew Orleans’s As Spitzer introduced
Treme Brass Band paraded Tewa linguist and storyteller
through the aisles ofthe Esther Martinez, he said,
Music Center at Strathmore. “Fanguage is the music of the
The audience enthusiastically storyteller.” Accompanied by
joined in,jumping to its feet her daughter and grandson,
and clapping hands in time Martinez taught Spitzer to say
with the bass drum as the a few words in Tewa and
band mounted the stage. So shared passages from her
began the 2006 NEA National favorite stories.
Heritage Fellows concert. Tight harmonies and sonic
Produced in partnership fingering are the hallmarks
with the National Council for ofbluegrass and gospel artist
the Traditional Arts, the Doyle Fawson who, with his
annual concert is the culmi- band Quicksilver, wowed
nation ot the new Fellows’ the crowd in the program’s
awards week in Washington, TheTremeBrassBandopenedthe2006NEANational Heritage second half. Dressed in a
Fellowsconcertwitha paradethroughtheconcerthall aisles.
DC. rlhe Music Center was a PhotobyTomPich. vibrant yellow suit, kumu
first-time host for the 2006 hula George Na’ope brought
concert, which featured performances and craft demon- Hawaii to the mainland, playing ukulele with his band
strations by the Fellows. after a traditional dance performance by some ofhis
Emceed by Public Radio International radio host students.
Nick Spitzer, the concert’s first act included cuatro Master santero Charles Carillo shared the stage with
maker and player Diomede Matos, who performed with his blue-tinged portrait ofSan Rafael. Bess Fornax
his students, the Camacho Brothers, and his son Pucho; Hawes honoree Nancy Sweezey also shared the stage
and blues pianist Henry Gray, backed by a four-piece with a slideshow ofphotos from her decades long career
band and demonstrating his legendary barrelhouse as an advocate for the folk and traditional arts.
style. The evening’s final performer, gospel and rhythm-
Invoking a centuries-old family tradition, Finnish and-blues artist Mavis Staples, kept things up-tempo as
kentele player Wilho Saari demonstrated his skill on the Spitzer called the 2006 class ofNEA National Heritage
36-string lap harp. Saari’s great-great-grandmother Fellows to the stage for a group bow. The concert ended
“Kantele Kreeta” originally popularized the instrument as it began, with the audience applauding, dancing, and
in 19th-century Finland. hollering for more.
Welcomed to the stage byher singing granddaughters, In the pages that follow, a briefbiography ofeach
Haida traditional weaver Delores Churchill also Fellow is presented along with an excerpt from inter-
appeared in the program’s first half. Churchill noted that views that the NEA has conducted with the artists. Read
she had been a bookkeeper until age 45. “Then I became full versions ofthe interviews at www.nea.gov/honors/
insane and became an artist,” she recalled, prompting heritage/Heritage06/NHFIntro.html,
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NEAARTS
CHARLES M. CARRILLO
Santero (Carver and painter ofsacred figures)
Santa Fe, New Mexico
Atrained archaeologist, Charlie Car techniques ofsanteros, and why he
rillo developed his interest in santeros remains compelled by his craft.
during a research project in the late
1970s. He explained, “As I read NEA: What special skills do you think
through documents I was fascinated santeros need?
with all the references to santos.... CHARLES CARRILLO: You need the
decided one day to paint an image of desire to understand traditions. Some
[Santa Rosa de Lima] based on a his- ofthe santeros in the past weren’t
toric picture I had seen ofher from great artists. The artwork is some-
New Mexico." In 1980, Carrillo made times very crude. But they had a deep
his first appearance as a santero at feeling for what they were trying to
New Mexico’s Spanish Market, a bi- impart with their images.
annual traditional crafts market. This is not just about art, it’s about
Carrillo’s work is in the permanent a people’s philosophy. It’s about a peo-
collections ofmuseums, including the ple’s way oflife, a people’s outlook on
Smithsonian Museum ofAmerican NuestraSerioradelPueblitodeQueretaro life. The santos express not only the
History in Washington, DC, the (OurLadyoftheVillageofQueretaro)bultoby hopes and dreams ofpeople, but also
Museum ofInternational Folk Art in CharlesM. Carrillo. CollectionofPaul Rhetts the sadness. We need our saints for
and BarbeAwait.PhotobyRon Behrmann,
Santa Fe, and the Denver Museum of courtesyofwww.nmsantos.com. the good things in life and the
Art. His honors include the Lifetime tragedies. The total package. And in
Achievement Award at the Spanish Market and the New Mexico there’s a saint for everything.
Museum ofInternational Folk Art’s Hispanic Heritage
Award. NEA Are the techniques being used today differentfrom
In this excerpt from an NEA interview, Carrillo spoke the past?
about what it takes to be a master artist, the traditional CARRILLO: I’ve been the one pushing for the re-intro-
duction oftraditional pigments and other traditional
elements. Twenty-five years ago at the Spanish Market,
very few people were using natural pigments, natural
homemade varnishes, natural production methods of
hand daubing the wood, or usingcottonwood root for
carving, and so on. Now it’s the norm, the standard.
NEA Why do you continue to be so invested in this work?
CARRILLO: It’s a passion. I look forward every morning
to getting up and doing what I do. Notjust the making,
but the research, too. I love to find new historic images
that inspire me to do newthings. I love to teach.
CharlesM.Carrilloshowshisworkduringthe2006NEANational Teaching about the santos and New Mexico historyis
HeritageFellowsconcert. PhotobyTomPich. a passion.
NEAARTS
DELORES CHURCHILL
E.
Haida traditional weaver
Ketchikan, Alaska
Delores Churchill is a Fiaida master weaver ofbaskets,
hats, robes, and other regalia. Using such materials as
spruce root, cedar bark, wool, and natural dyes, she
creates utilitarian and ceremonial objects ofunmatched
beauty and cultural significance.
Churchill learned these skills from her mother, Selina
Peratrovich, a nationally recognized master weaver.
Peratrovich asked her daughter to burn her baskets for
the first five years ofthe apprenticeship. “I am well
known for my baskets,” Peratrovich told her daughter.
“Ifyou sayyou learned from me, you better be good.”
Churchill’s honors include a Rasmuson Foundation
Distinguished Artist Award, the Governor’s Award for
the Arts, and an Alaska State Legislative Award. She
continues to teach young people the knowledge and
skills related to the weaving tradition, observing: “As
long as Native art remains in museums, it will be AseaweedbasketbyDeloresE. Churchill. PhotocourtesyofDelores
thought ofin the past tense.” E. Churchill.
In this excerpt from an interview with the NEA,
Churchill reminisced about how her children learned to and sit byMother and watch herweave. Then one day
weave and teaching others Tlingit weaving. she came in with a basket and put it in front ofmy
motherwho asked, “Who made that nice basket?” And
NEA: Did your children April said, “I did, Grandmother.” From then on, Mother
learn weaving in the started teaching her.
traditional way?
DELORES CHURCHILL: What advice do you have foryoung basket makers?
Yes. In fact one time CHURCHILL: It takes years before one can do a basket like
when [mydaughter] the ones I see in the museums. It’sjust like ballet. My
April wasvisiting my daughter took ballet. She wasn’t allowed to get into toe
mother, she said, shoes foryears. She had to learn all the steps and all the
“Grandmother, I would moves before she could get into toe shoes. It’s the same
like to learn to weave,” thing with basketry. Before you can do an artistic piece
and Mother said, “No, there are years when you’rejust learning to prepare your
no, mydear. You’ll neg- materials. Preparingyour material is actuallythe most
lectyour housework important part ofit. When the university asked me to
and your children ifyou teach an evening class because there were so many
start weaving so, no, you DeloresE.Churchill demonstrates people wanting to learn to do basketry, my mother told
Haida basketweavingduringthe
shouldn’t do that.” So 2006NEANational HeritageFellows me, “You’re not ready.” For the next two years all I did
April wouldjust drop in concert.PhotobyTomPich. was material preparation.
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NEAARTS
HENRY CRAY
Blues piano player and singer
Baton Rouge, Louisiana
Baton Rouge, Louisiana, blues pianist
Henry Grayhas performed for more than
seven decades, having “played with every-
body from the Rolling Stones to Muddy
Waters.” He has more than 58 albums to
his credit, including recordings for the
legendaryChess blues label.
Gray helped to create the distinctive
sound ofthe Chicago blues piano while
playing in Howlin’ Wolf’s band in the 1950s
before returning to Louisiana in the 1960s
where his big, rollicking sound became part
ofthe region’s “swamp blues” style. Having
received a Grammy nomination and four
W.C. Handy nominations, Gray continues
to tour as a soloist and with his band Henry
Gray and the Cats.
Gray spoke with the NEA about the
start ot his long career and the future ofthe
blues.
HenryGraytakestheaudienceonatourofthe"swampblues"he
NEA Tell me a little bit aboutwhen you started learning helpedcreateduringhisperformanceatthe2006NEANational
HeritageFellowsconcert.PhotobyTomPich.
to playthe piano.
HENRY GRAY: When I was a child mygrandmother
bought me an old piano. I started out playing a harmon- NEA: Do you see any challengesto keeping the blues
ica when I was about six or seven, but I didn’t like that tradition alive?
thing. I liked my piano and I just started to play. GRAY: The blues are here and are going to be here to stay.
I grew up in rural Louisiana, a little town called Now they’ve got a whole lot ofthis stuff, the rap and all
Alsen. I doubt there were 100 people there. There was a that, but that’s not like the blues. The blues have been
lady, Ms. White, who had a piano and starting when I here and are always going to be here.
was seven or eight I would go by there. She played the
blues and showed me a whole lot ofstuffon the piano. I NEA What advice do you have foryoung artists who are
was quick to learn. All I wanted was to get the funda- learning piano blues?
mentals ofit and learn the keys. After learning that, 1 GRAY: Keep at it. Just keep at it because you’re not going
had it made. to learn it overnight. There’s too much going on with it
You know, my daddy whupped me a couple oftimes for you to learn it overnight. You just have to keep at it
because I’d skip school to go over to Ms. White’s to play and keep going. You’re going to make a lot ofmistakes,
piano. I didn’t want to go to school. I just wanted to play but you’ll correct them.
the piano.
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NEAARTS
DOYLE LAWSON
Gospel and bluegrass singer, arranger, bandleader
Bristol, Tennessee
—
Raised in a musical household his parents were part of NEA: Do you have any advice foryoung gospel or
an a cappella trio and later his father formed a quartet bluegrass musicians?
Doyle Lawson decided to be a professional musician as LAWSON: I don’t thinkthere’s any one for-sure answer.
a teenager, becoming proficient on the mandolin, banjo, Sometimes some things work out and sometimes they
—
and guitar. Before forminghis own group Doyle Lawson don’t. The one thing I can say is that ifyou trulybelieve
—
and Quicksilver in 1979, Lawson played with bluegrass thatyour mission in life is to play this music, then stay
legends Jimmy Martin, J.D. Crowe, and the Country the course. You’ll have to endure the hardships along
Gentlemen. He has appeared on nearly40 albums, many with the good times, and there will be hard times.
ofthem with his own band.
Although Lawson’s band has
numerous recordings ofthe classic
bluegrass repertoire, the group is
best known for his stunning gospel
vocal arrangements, which resulted
in a renaissance oftight harmony
bluegrass singing. For several years,
Doyle Lawson and Quicksilver have
received the International Bluegrass
Music Association’s Vocal Group of
the Year Award.
In a conversation with the NEA,
Lawson talked about his music,
shared some advice for young musi-
cians, and revealed why he’s kept
singing for more than 40 years.
NEA: You play both religious and
secular music, correct?
DOYLE LAWSON: I started offplayingjust bluegrass Doyle Lawson(left)andhisbandharmonizeduringthe2006NEA
National HeritageFellowsconcert.PhotobyTomPich.
music. But gospel music has always been an integral part
ofbluegrass as far back as the man we call “the Father of
Bluegrass,” Bill Monroe. He had the Bluegrass Boys and NEA:What has keptyou performing through the years?
the Bluegrass Quartet and theyalways played a fair LAWSON: I love the sound ofmusic and I love to sing
amount ofgospel. And that carried right on down harmony. That’s my thing, putting four or five voices
through the Stanley Brothers, Flatt and Scruggs, all the together. To me there’s nothing anysweeter to hear than
earlybluegrass pioneers. Gospel music was still a part of a church choir singing or a church congregation with
that. Gospel was not only a part ofbluegrass, but part of everybodylifting theirvoice up in song and praise.
the country world, too. When I came along, I introduced There’s a beauty to that and a feeling like no other.
a lot of different songs new to the world ofbluegrass.
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NEAARTS
ESTH ER MARTI N EZ
Native American linguist and storyteller
Ohkay Owingeh, New Mexico
Known as P'oe Tswa (Blue Water) and Kobe (Aunt) who spoke eloquently ofMartinez’s contributions and
Esther, master storyteller EstherMartinezwas a much presented her with a plaque. Chairman Dana Gioia
beloved tradition bearerofthe Tewa people. New Mexico noted upon learning ofher passing: “New Mexico and
state folklorist Claude Stephenson succinctlysummed up the entire country have lost an eloquent link to our past.
hercontribution to Tewa culture: “She serves as the rock We can find solace in remembering her lifelong com-
that has firmlyanchored the ancient and the timeless mitment to keeping her culture alive and vibrant. Our
—
stories ofthe people to the present and guaranteed their prayers are with Esther and her family and all those
survival for the pueblo people ofthe future.” who have come to know and love her.”
Martinez was raised by her grandparents in San Juan Congress has since passed the Esther Martinez
Pueblo, New Mexico (now called Ohkay Owingeh), Native American Languages Preservation Act of2006.
where she was immersed in the pueblo’s communal Introduced by U.S. Representative Heather Wilson (New
traditions. As an adult she became an advocate for the Mexico-lst District), the hill authorizes the Department
conservation ofthe Tewa language. Tier efforts included ofHealth and Human Services to award competitive
storytelling, teaching, and the compilation ofTewa grants to establish native language programs for students
dictionaries for each ofthe six Tewa dialects. “When under the age ofseven and their families to preserve the
my grandfather said something that I didn’t know,” indigenous languages ofNative American tribes.
Martinez said about creating the dictionaries, “1
would ask him and I would write it on a paper.
It took me a long time.”
In her late 70s, Martinez traveled through-
out the U.S. with Storytelling International,
for the first time telling her traditional stories
in English to non-Tewa audiences. Martinez
eagerly embraced her role as a tradition bearer,
especially among the pueblos’ young people.
She said, “People still come to my house want-
ing help with information for their college
paper or wanting a storyteller. Young folks
from the village, who were once my students
in bilingual classes, will stop by for advice in
traditional values or wanting me to give Indian
names to their kids or grandkids . . . Ihis is my
po’eh (my path). I am still traveling.”
Martinez was killed in an auto accident in
September 2006 after attending the NEA
National Heritage Fellowships ceremony in
Washington, DC. During the awards ceremony on 2006NEANational HeritageFellowEstherMartinezwithdaughter
Josie,NEAFolkandTraditionalArtsDirectorBarryBergey(left),and
Capitol Hill earlier that week, she wasjoined by U.S. NEAChairman Dana Gioia(right)atthe LibraryofCongressbanquet.
Representative Tom Udall (New Mexico-3rd District), PhotobyTomPich.
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NEAARTS
DIOM EDES MATOS
Cuatro (10-string Puerto Rican guitar) maker
Deltona, Florida
Diomedes Matos has been referred to as the
“master’s master” cuatro maker. The cuatro,
a distinctive 10-string guitar known as the
national instrument ofPuerto Rico, is played
byjibaro musicians from the mountainous
inner regions ofthe island. Matos was
surrounded by instrument makers where
he grew up in the Puerto Rican village of
Camuy. He built his first guitar at age 12,
later mastering construction techniques for
several traditional stringed instruments in-
cluding cuatros, requintos, classical guitars,
and the Puerto Rican tres. His instruments
are in great demand; even popular singer
Paul Simon asked Matos to build him an
instrument and accompanyhim on the
soundtrack for the Broadway show The Capeman. DiomedesMatos(left)showsoffoneofhishandmade cuatroswhile
playingwithhisson Puchoatthe2006NEANational Heritage
Matos has passed on his extensive knowledge to
Fellowsconcert. PhotobyTomPich.
future tradition bearers through programs such as the
New Jersey Folk Arts Apprentice Program. He said, “I What reallyinspired me was a cuatro maker named
like teaching even more than cuatro-making itself, espe- Roque Navarro. He passed awaysome years ago. I used
ciallywhen I see a student’s progress and maturity.” to walk from my house to school every day and on the
Matos spoke with the NEA way I’d see Mr. Navarro working on guitars and cuatros
about becoming a cuatro maker in his workshop. One day, when I was about 10 years old,
and shared his advice for young I was watching him from the fence in front ofhis house
instrument makers. and he invited me in and showed me what he was doing.
I knew from that first visit that’swhat I wanted to do.
NEA Tell me a little bit about how
you were attracted tothetradition NEA What advice do you have foryoung cuatro makers
of making these instruments? and players?
DIOMEDES MATOS: Myyounger MATOS: I always tell them to keep the tradition going,
brother is a luthier [stringed- don’t lose this knowledge. And tryto do what I do—
instrument maker], too. On my teach other people. Keep learning and become a teacher,
mother’s side ofmy family there too. I also tell them to tryto be as best as possible. The
—
are a lot ofmusicians my uncles more they learn the better theyget. It’s a process that
and my otherbrothers playguitar requires a lot ofpatience—don’t stop after making one
and cuatro and they know how or two. Keep making cuatro after cuatro because the
Acuatromadeby
to workwith wood. They are DiomedesMatos. more experienceyou have the betteryou’ll become at it
craftsmen, too. PhotobyRobertStone. and the better the finished products will become as well.
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NEAARTS
GEORGE NA’OPE
\\
11
Kumu hula (hula master)
II
Hilo, Hawaii
George Na'ope'sfull name is George Lanakilakekiahiali’i are very interested in the culture. I’ve been telling them,
Na’ope, which means “the protectorofthings ofHawai’i.” though, that while it’s wonderful that all these non-
As a kumu hula, Na’ope has taken this charge quite Hawaiians are learning Hawaiian culture, they need to
seriously for nearly six decades. “Uncle George,” as he is remember to learn their own culture as well. When
known throughout the state, is recognized as a leading we [Hawaiians] became part ofAmerica, most ofour
advocate and preservationist ofnative Hawaiian culture people forgot our ancient dances.
worldwide.
Na’ope was three when he first studied hula
under his great-grandmother. He himselfhas
been a teacher for nearly 60 years, passing down
his knowledge ofancient hula, which is hula
developed and danced before 1893.
In 1964, Na’ope founded the Merrie Monarch
Festival, an annual week-long festival oftradi-
tional Hawaiian arts, crafts, and performances
featuring a three-day hula competition. The state
ofHawaii designated Na’ope a “Living Golden
Treasure” in 1960.
Na’ope spoke with the NEA about why he
founded the Merrie Monarch Festival and about
passingon the tradition to the next generation.
Why did you feel there was a need forthe
Merrie Monarch Hula Festival?
GEORGE NA'OPl I felt the hula was becoming
too modern and that we have to preserve it. [David] GeorgeNa'opewatchesoneofhisstudentsperformatraditional
Hawaiiandanceduringtherehearsalforthe2006NEANational
Kalakaua [king ofHawaii 1874-91, aka The Merrie
Heritage Fellowsconcert. PhotobyTomPich.
Monarch] brought the hula back to Hawaii and made us
realize how important it was for our people. There was
nothing here in Hilo, so I decided to honor Kalakaua NEA What isthe main messagethatyou thinkthatthe
and have a festival with just hula. I didn’t realize that it hula and the chanting is conveying?
was going to turn out to be one ofthe biggest things in NA'OPE: We must remember who we are and that our
our state. culture must survive in this modern world. Ifyou love
your culture you will teach tradition and the love ot
Can you tell me a little bit aboutyourteaching? the hula. Teach it and share it and not hide it. I tell the
NA'OPE: I’ve been teaching now for about 58 years. I’ve young people to learn the culture and learn it well, pre-
taught in Japan, Guam, Australia, Germany, England, serve it so their children and their children’s children
North and South America, and also in the Hawaiian can continue with our culture and that our culture will
Islands. I’ve mostlybeen teaching in Japan because they live forever.
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