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Cuatro by Diomedes Matos 

Photo by Bob Stone 

Inside front cover: 

"Nuestra Senora de Pueblito de Queretaro" 

by Charles M. Carrillo 

Courtesy of 

Photo by Ron Behrmann 

Inside back cover: 
"Nuestra Senora de Dolores bulto" 
by Charles M. Carrillo 
Courtesy of 
Photo by Ron Behrmann 

Back cover: 

Weaving by Delores Churchill 

Photo by Tom Pich 

Message from, the Chairman 
Message from the Director- 
Message from the Sponsor- 
Message from Music Center at Strathmore 

Master of Ceremonies 
Bess Lomax Hawes Award 

Concert Credits 

Charles M. Carrillo 

Santero (carver and painter of sacred figures) 

Santa Fe, NM 

Delores E. Churchill 
Haida (Native Alaskan) weaver 
Ketchikan, AK 

Henry Gray 

Blues piano player, singer 

Baton Rouge, LA 

Doyle Lawson 

Gospel and bluegrass singer, arranger, bandleader 

Bristol, TN 

Esther Martinez 

Native American linguist and storyteller 

San Juan Pueblo, NM 

Diomedes Matos 

Cuatro (10-string Puerto Rican guitar) maker 

Deltona. FL 

George Na'ope 

Kumu Hula (hula master) 

Hilo. HI 

Wilho Saari 

Finnisb kantele (lap-harp) player 

Naselle. WA 

Mavis Staples 

Gospel, rhythm and blues singer 

Chicago, IL 

Treme Brass Band 
New Orleans brass band 
New Orleans. LA 

2006 Bess Lomax Hawes Award 

Nancy Sweezy 

Advocate, scholar, presenter, and preservationist 

Lexington. MA 

NEA National Heritage Fellows 1982-2005 




July 27, 2006 

I send greetings to those gathered for the 2006 National Endowment for the 
Arts National Heritage Fellows concert. 

Americans are proud of our strong cultural heritage. Since our founding, the 
arts have influenced American life and fostered creativity and expression in our 
citizens. For more than two decades, the NEA has honored outstanding American 
folk artists whose work conveys the diversity of the human experience. Our 
country is a richer place because of the talent and contributions of these artists, 
and this event is an opportunity to celebrate the artistic legacy that makes our 
Nation great. 

I appreciate the NEA for your support of the arts throughout America. I also 
commend this year's fellows for your hard work and dedication to your craft. 
Your efforts enrich our society and strengthen the creative spirit in America. 

Laura and I send our best wishes. 



Welcome to the events celebrating the 2006 National Endowment for the 
Arts National Heritage Fellows. Now in its 25th year, this award is the highest 
honor the United States of America bestows on folk and traditional artists. 
Through this program the NEA honors artists whose excellence and ongoing 
dedication enriches the nation's culture. The many artists and groups we have 
recognized provide a panoramic view of our nation's varied cultural heritage. 
Congratulations to our 2006 Fellows who will be joining a distinguished 
cohort of previous recipients. 

I had the opportunity to attend this year's Spanish Market in Santa Fe 
where I was able to introduce Heritage Fellow Charles Carrillo as one of this 
year's honorees. Charles has said that he tells his students to study master- 
pieces of the carving tradition and to "see the santos [saint figures] with their 
hearts and feel them with their eyes." This is our opportunity to experience 
first-hand, with our eyes and hearts, some stellar creators and creations of 
America's artistic heritage. 

We welcome a new sponsor for the Heritage events, the Darden Restaurants 
Foundation and the employees of the Darden Restaurants. Darden has made a 
five-year commitment to sponsoring the concert and related activities and we 
appreciate their commitment to this program and to broadening the impact of 
these awards, both within the recipients' home communities and nationwide. 
Thanks to them for their support. 

Now please join me in applauding the 2006 National Endowment for the 
Arts National Heritage Fellows. 

2^ ^e**- 

Dana Gioia 


National Endowment for the Arts 


These happy events are the culmination of a process that begins with a sim- 
ple letter of nomination from someone, anyone, who feels that a particular artist 
might be deserving of an NEA National Heritage Fellowship. In January of 2006 
nine panelists convened in Washington, DC, to consider 217 nominations for 
NEA National Heritage Fellowships. Over a four-day period they read materials, 
listened to audio recordings, looked at a variety of visual samples, and at the end 
of considerable discussion they recommended a slate of new Fellows. Now we 
have the opportunity to honor and celebrate this select group of individuals, each 
of whom has demonstrated a lifetime of mastery and service. 

Last September the Heritage Fellowship events took place during the time 
span between the two destructive hurricanes that struck the Gulf Coast. At that 
point, Heritage Fellow Earl Barthe had narrowly escaped from Hurricane 
Katrina and had relocated with his family near Houston. Michael Doucet and his 
family watched anxiously from here as Hurricane Rita made landfall in south- 
western Louisiana on the day after the Heritage concert. Over the past year both 
of these artists have done what you might expect of Heritage Fellows — they have 
worked to rebuild and to reinvigorate their artistic and cultural communities. 
Earl Barthe is back in New Orleans with other family members reconstructing 
his home and shop and advocating eloquently for the need to restore and rebuild 
local architectural treasures. Cajun musician Michael Doucet has played a leader- 
ship role in raising money to replace lost musical instruments for artists affect- 
ed by the hurricanes and he continues to tour and educate audiences around the 
country about the cultural traditions of southwest Louisiana. 

The dedication of these Louisiana artists reflects the spirit and the legacy of 
the NEA National Heritage Fellows. While the artists we recognize on this occa- 
sion deserve accolades for their significant artistic accomplishments, they are 
also inheritors of a tradition of dedication to the ongoing enrichment of culture 
and community in the United States. Congratulations to all of our recipients 
in 2006. 

\3*/~n 'J^y-j 

Barry Bergey 
Director, Folk & Traditional Arts 
National Endowment for the Arts 


On behalf of Darden Restaurants Foundation and our family of local 
restaurants, I am honored to extend my congratulations to each of the 
2006 NEA National Heritage FeUows. 

I commend each of you for your passion and dedication to your 
art form. 

Darden employees at Red Lobster, Olive Garden, Bahama Breeze and 
Smokey Bones restaurant companies know first-hand what extraordi- 
nary things can happen when dedicated people have the opportunity to 
pursue their passion. I'm fortunate to work at a company that's com- 
mitted to providing every person in the organization the opportunity 
to fulfill his or her personal and professional dreams, regardless of 
where or how they start. 

We celebrate you because we believe great art is the foundation for 
all dreams. Again, thank you for your passion and dedication, and for 
the inspiration you provide us. 



Clarence Otis, Jr. 

Chairman & CEO 

Darden Restaurants, Inc. 


It is our great pleasure to welcome this year's NEA National Heritage 
Fellowship Awards program to the Music Center at Strathmore. With 
this fellowship, the NEA acknowledges artistic excellence, cultural 
authenticity, and contributions to the fellows' fields. Strathmore, a 23- 
year-old multidisciplinary arts center and itself dedicated to nurturing 
art, artists and community through performing and visual arts, is a 
most fitting venue for this distinguished event. 

Since the opening of the Music Center on February 5, 2005, 
Strathmore's new world-class space for music making has received 
rave reviews for its acoustical and architectural features as well as 
for its integrated education facilities. Each year, more than 500,000 
people — parents and children — visit Strathmore to learn about and 
appreciate the visual and performing arts. 

Hosting the NEA National Heritage Fellowship Awards enables 
Strathmore to continue to foster future generations of art and music 
lovers, artists, and performers, while celebrating our community's cul- 
tural heritage and treasures. We are so pleased to be a partner in this 
meaningful and artistic occasion. 


Eliot Pfanstiehl 

President & Chief Executive Officer 


-L-WF* -^ Nick Spitzer is the host of American Routes, the public 

radio program from New Orleans devoted to the sources 
and symbols of blues and jazz, country and gospel, 
roots rock and soul, as well as related ethnic, regional, 
popular, and classical styles of the music and musicians 
that define the landscape of American vernacular 
culture. American Routes, distributed by Public Radio 
International, is heard locally Saturday nights on 
Washington's WAMU-FM. Recognized for an informed and witty style in 
presenting traditional artists and communities, Nick is also known for 
cultural features on All Things Considered and Nightline, documentary 
CD recordings, and PBS films. Long involved in work with cultural 
creolization of African-French communities, Spitzer served as the first 
Louisiana State Folklorist and then spent a decade at the Smithsonian — 
initially as senior folklife specialist and as artistic director for the Folk 
Masters concert series produced in coUaboration with Carnegie Hall and 
Wolf Trap, and the American Roots 4th of July concerts broadcast from the 
National Mall. He has served as the Mellon Professor in the Humanities at 
Tulane University and is currently professor of folklore and cultural con- 
servation at the University of New Orleans. In 2005 Nick was given the 
New Orleans' Mayor's Arts Award. A strong advocate for the cultural 
rebuilding of the city post-catastrophe, he was named Louisiana Humanist 
of the Year in 2006. 



4 « 

The Bess Lomax Hawes National Heritage Fellowship, this 
year awarded to Nancy Sweezy, honors "keepers of tradi- 
tion" who through their efforts as organizers, educators, 
producers, cultural advocates or caretakers of skills and 
repertoires have had a major beneficial effect on the tradi- 
tional arts of the United States. A member of the Lomax 
family of pioneering American folklorists, Bess Lomax 
Hawes has committed her life to the documentation and 
presentation of American folk artists. She has served as an 
educator both inside the classroom and beyond, and has nurtured the field of 
public folklore through her service at the National Endowment for the Arts. 
During her tenure as Director of the NEA Folk Arts Program (1977-1993) an 
infrastructure of state folklorists was put in place, statewide folk arts 
apprenticeship programs were initiated, and the National Heritage Fellowships 
were created. In 1993 she received the National Medal of Arts for her many 
contributions in assisting folk artists nationwide and in bringing folk 
artistry to the attention of the public. 


The National Endowment for the Arts would like" to express its appreciation 
to the National Council for the Traditional Arts (NCTA) for its assistance 
in planning the 2006 NEA National Heritage Fellowships events, which were 
coordinated for NCTA by Madeleine Remez. The NCTA is a private non-profit 
corporation founded in 1933 and dedicated to the presentation and documen- 
tation of folk and traditional arts in the United States. The 2006 National 
Heritage Fellowship nomination process was administered by Mark Puryear. 


Paul Douglas Michnewicz 
Production Manager 

Sissie Lang 
Set Design 

Tony Cisek 
Lighting Design 

Dan Covey 
Sound Design/Production 

Pete Reiniger 

Charlie Pilzer 
Music Hall at Strathmore 

Jon Foster, Production Stage Manager 
Stage Manager 

Valerie Bijur Carlson 
Assistant Stage Manager 

Rachel Cross 
Production Assistants 

Hannah Smith 

Sarah Pilzer 
Logistics Coordinator 

Danna Boshak 
Video Projection/Production 

Kirby Whyte, Creative Video of Washington 
Sign Language Interpreter 

Miako Villanueva 
Radio Production 

Mark Yacovone, WDUQ Pittsburgh 

Location Producer: Alex Van Oss 

Recording: Aaron Lasko, Coupe Studios, Boulder, CO 

Riccardo Schulz, Pittsburgh Digital, Recording and Editing 
Program Notes 

Andrew Wallace, Barry Bergey 
Program Book Design 

Scott Sever son/Shelter Studios, Inc. 

Walk-in music features recordings of NEA National Heritage Fellows 
from previous years. 




"Our tradition is that santos are a part of our lives, not just something 

we hang on our wall, not just something we look to maybe every third day. 

But rather we talk to our santos. They are part of our lives. 

We don't just live with our saints. They live with us. 

We invite them into our homes to live with us." 


Charles Carrillo has taken on the New Mexican Hispanic folk tradition of santero 
as his life's work, mastering all aspects of this complex art form so that all peo- 
ples can appreciate and understand it. He has blended craft, conservation, schol- 
arship, teaching, and innovation throughout his career and is largely responsi- 
ble for the resurgence of interest in Spanish Colonial folk art in New Mexico. 

The tradition of the santero, a carver and painter of images of saints, is an old 
one. The depiction of saints for religious purposes dates to the 18th century in 
Hispanic New Mexican communities. Charles Carrillo started his creative journey 
in 1978 when he began researching the techniques, materials, and subject mat- 
ter of the early santeros. Once he had mastered the skills of the santero, he 
began to teach others the lost art form, sharing his knowledge and techniques 
with all who were interested, including his wife and children, who have become 
noted artists in their own right. A nominator noted that Charlie has developed 
an eye for the personal styles of santeros from past periods who did not sign 
their names, insights into individual hallmarks that only another artist would 
recognize in a fellow craftsman's work. Today he is recognized not only as the 
primary authority on this subject but also as the most accomplished artist prac- 
ticing in this regional tradition. 

Testimony to his skills includes many awards, including the Museum of 
International Folk Art's Hispanic Heritage Award, as well as numerous First 
Place, Best of Show, and Grand Prize entries in the Annual Traditional Spanish 
Market in Santa Fe. This past summer, he received the Lifetime Achievement 
Award at the Spanish Market. His work has been exhibited at all of the major 
galleries featuring colonial art in the Southwest, and he has served as curator 
for several prominent exhibits. Carrillo has earned a doctorate in anthropology/ 
archaeology from the University of New Mexico, and now teaches a course on 
New Mexican folk art at his alma mater as his continues his research on the 
historic santeros of the state. 

His commitment to tradition has led him to work within the religious commu- 
nity of northern New Mexico as an artist and an advocate. Toward this end he 
has taken a leading role in the rebuilding of La Morada de Nuestra Senora de 
Dolores del Alto (chapter house of the Penitential Brotherhood) after it was dam- 
aged by a tragic fire and vandalism. One of his nominators said of Carrillo that 
he "has a splendid sense of tradition and a deep knowledge of its particulars, 
which he respects and adheres to and aids his friends to come to love; he has the 
knack — the genius — to make an old tradition new every day..." 



•"V 1- 



"I feel that as a Haida weaver I am just a weaver passing over 

and under the warp of my ancestors who are the foundation of this art 

form... [My students] will keep the art alive so it continues long after I am 

gone and no one remembers my name... this art form belongs to all of us." 


Delores Churchill has dedicated her life to learning, preserving,, and presenting 
the weaving art forms of the Native Peoples of the Northwest Coast, contribut- 
ing enormously to the revival and continuation of these ancient art forms. 
Delores is a Haida master weaver of baskets, hats, robes, and other regalia. 
Using such materials as spruce root, cedar bark, wool, and natural dyes, she 
creates utilitarian and ceremonial objects of unmatched beauty and cultural 

Delores Churchill was born in Massett, Haida Gwaii in the Queen Charlotte 
Islands and moved to Ketchikan when she was 16. After a career in hospital 
work, she began to learn weaving from her mother, Selina Peratrovich, at a 
time when there were just three active Alaskan Haida weavers. Peratrovich 
asked her daughter to burn her baskets for the first five years of the appren- 
ticeship because "I am well known for my baskets. If you say you learned from 
me, you better be good." Delores did indeed master Haida weaving and went on 
to learn Tlingit, Tsimshian, and Chilkat techniques as well. She then passed 
her knowledge on to her four daughters who, in turn, have taught traditional 
weaving to their children as well as other students. Most Haida, Tlingit, 
Tsimshian, and Aleut weavers that are practicing today do so because Delores 
or one of her students taught them. Her daughter April says, "Because of her 
devotion to her tradition, her Haida Eagle clan carries forward an unbroken 
line of weaving tradition that stretches back thousands of years." 

Now, after more than 30 years of learning and teaching, Churchill is recog- 
nized around the world for her weaving skills. In 2002, she received the First 
Peoples Fund Community Spirit Award for excellence in the arts. 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 
thought of in the past tense." To speak to this point, she recently helped the 
people of Klukwan village replicate a 500-year-old spruce root hat found frozen 
in a glacier on the Yukon- Alaska border. 




"I played the harmonica, but I started on the piano when I was ten. 

I taught myself. I had a teacher, Mrs. White, but after about a month she 

said, 'Henry, you don't need me, you ought to be teaching me.'" 


Henry Gray's seven decade long career as a blues and boogie woogie pianist 
spans both the geographical and musical roots of the genre and makes him 
arguably one of the most influential blues musicians of the past half century. 

Henry Gray grew up on a farm near Baton Rouge, Louisiana. By the age of 
12 he was spending his free time away from the cotton fields playing in the 
churches and juke joints nearby where he earned a reputation as a formidable 
musician. After serving in World War II, he joined the rural migration north to 
Chicago where his stints in south side clubs brought him to the attention of 
bluesman Big Maceo Merriwether, the preeminent blues pianist in the period 
that defined the Chicago blues. Under Maceo's mentorship, he emerged as one 
of the architects of Chicago blues, spending 12 years with the legendary 
Howlin Wolf's band. During the 1950s and 1960s, he also worked as a sideman 
on many record labels, including Chess and the Louisiana Excello labels, and 
played with a long list of bluesmen such as Sonny Boy Williamson, Elmore 
James, Buddy Guy, B.B. King, Tabby Thomas, Silas Hogan, and Guitar Slim. 

In 1968, Gray returned to Louisiana to care for his mother after his father's 
passing and took up work as a roofer for the East Baton Rouge Parish School 
Board. Although he continued to work at his day job, Gray kept up his busy 
music career playing in clubs and at festivals in Southern Louisiana, helping 
create the "swamp blues" style of the region. Over the past 20 years he has 
recorded a number of well-received albums, both solo and with his band Henry 
Gray & the Cats, and he has again begun touring and appearing at festivals. 
In 1998, Henry Gray's contributions to the blues world were honored with a 
Grammy nomination and he recently received four W C. Handy award nomina- 
tions. New Orleans scholar Dave Kunian sums up Gray's career: "If you've 
listened to blues music in the last half-century, you've heard pianist Henry 
Gray... he recorded and played for everybody... [and] helped create the blue- 
print for Chicago blues piano and all that it would be... whenever you hear 
someone play a familiar blues riff or turnaround on the piano, there is a good 
chance they learned it from Henry Gray — or someone who learned it off 
Henry Gray." 





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"I love the sound of music and I love to sing harmony. 

That's my thing, just putting four voices together or five. To me there's 

nothing any sweeter to hear than a church choir singing, you know, or 

a church congregation with everybody lifting their voice up in song 

and praise. There's a beauty to that and a feeling like no other." 


Doyle Lawson has taken the white and black gospel quartet singing traditions 
of the South and integrated them into bluegrass music, creating a new stan- 
dard of excellence, and pushing this venerable art form to a new and 
different level. 

Doyle Lawson grew up in Ford Town, Sullivan County, near Kingsport, 
Tennessee. His mother, father, and sister all sang gospel music and the family 
listened faithfully to the radio broadcast of the Grand Ole Opry. Inspired by the 
radio performances of Bill Monroe, Doyle took up the mandolin at the age of 11. 
By the time he was 19, Lawson decided that he wanted to be a professional 
musician. He mastered the guitar and banjo as well as the mandolin and got 
his first band job with the incomparable Jimmy Martin. For the next 15 years 
Lawson played with stellar bands, including Martin, J.D. Crowe, and the 
Country Gentlemen. In 1979, he decided to form his own group that would 
have its own unique sound, soon dubbing the group Doyle Lawson & 
Quicksilver. From the beginning, the group's emphasis has been on tight 
quartet singing and a repertoire that emphasized gospel songs. Many brilliant 
singers and instrumentalists have been a part of Quicksilver over the past 25 
years, but the group's sound has always been the result of Lawson's meticulous 
attention to detail and gentle leadership. 

Although the band has numerous recordings of the classic bluegrass reper- 
toire, the group is best known for Lawson's stunning gospel vocal arrangements. 
In fact, it might be said that Doyle Lawson's efforts resulted in a renaissance of 
tight harmony bluegrass singing. For the past five years, Doyle Lawson and 
Quicksilver have received annually the International Bluegrass Music 
Association's Vocal Group of the Year award. 




"People still come to my house wanting 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... This is my po'eh (my path). I am still traveling." 


Esther Martinez, also known as P'oe Tswa (Blue Water), has spent her entire 
life keeping the language of the Tewa people alive through the stories of the 
people of O'Kang or San Juan Pueblo. New Mexico state folklorist Claude 
Stephenson succinctly sums up her contribution to Tewa culture: "She serves 
as the rock that has firmly anchored the ancient and tuneless stories of the 
people to the present and guaranteed their survival for the pueblo people of 
the future." 

Martinez, affectionately referred to as Ko'oe (Aunt) Esther throughout the 
six Tewa pueblos north of Santa Fe, was raised by her grandparents in San 
Juan Pueblo, often traveling by wagon to visit her parents who lived and 
worked in Ute country to the north. As a child, she was steeped in the commu- 
nal traditions of the pueblo before being sent to Indian School in Santa Fe. 
This was a difficult experience, but Martinez took from it a conunitment to the 
education of children. After school she married, raised a family, and worked at 
Los Alamos for a time before returning to school at the Native American 
Linguistics Institute in Santa Fe where she began to work on developing a 
Tewa dictionary. She then went on to teach children how to read and write the 
Tewa language in the San Juan Pueblo Day School for 15 years. At the same 
time, she compiled Tewa dictionaries for each of the pueblos, as each has a dis- 
tinct dialect, and she worked with the Wycliffe Bible translators to translate 
the New Testament into Tewa. 

In 1988, at the age of 76, Martinez embarked on a new career presenting 
her stories in English to non-Tewa audiences through Storytelling International, 
traveling throughout the country to share the Tewa way of life and worldview 
through her stories. She has also served as a cultural consultant to the Crow 
Canyon Archaelogical Center, the Anasazi Heritage Center, and the Los Alamos 
Laboratories. Among Esther Martinez' many honors are the "Living Treasure 
Award" from the State of New Mexico, the Teacher of the Year award from the 
National Council of American Indians, and the New Mexico Arts Commission's 
Governor's Award for Excellence. 


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"I've come to understand that strumming the cuatro... 

has the power to attract and unite the people of Puerto Rico and even 

other cultures. The cuatro has at least three hundred years of history to the 

people of Puerto Rico and like many other people have said before, 

the cuatro to me is like the flag." 


Diomedes Matos has been described as the "master's master" cuatro maker 
by luthier and cultural advocate William Cumpiano. The cuatro, a distinctive 
10-string guitar regarded as the national instrument of Puerto Rico, is played 
by jibaro musicians from the mountainous inner regions of the island. 

Born in 1940, Matos was surrounded by instrument makers where he grew 
up in the Puerto Rican village of Camuy. By the age of 12, he had built his first 
guitar and from then worked to perfect the construction of a wide variety of 
traditional stringed instruments, including cuatros, requintos, classical gui- 
tars, and the Puerto Rican tres. Matos learned his trade by observing master 
builders and by the time-honored technique of trial and error. After years of 
experimentation, he built his first cuatro when he was 20. Today his cuatros are 
sought after and played by the premier Puerto Rican musicians, including the 
world-renowned Yomo Toro. 

Diomedes continued to build instruments after moving to New Jersey and 
quickly became known in the large Puerto Rican community in the New York- 
New Jersey region, not only as a superb maker of traditional instruments but 
also as a musician of the first rank. He has played and recorded with many of 
Puerto Rico's notable artists, including Yomo Toro, Luis Perico Ortiz, Luselenia 
Tirado, Ernestina Reyes, and Ramito. Popular singer Paul Simon asked Matos 
to build an instrument and accompany him on the soundtrack for the 
Broadway show The Capeman. 

An unselfish teacher, Matos has participated in the New Jersey Folk Arts 
Apprenticeship Program and has taken on numerous apprentices. Speaking of 
the important knowledge to convey to apprentices, he says, "I feel that one of 
the most important skills when building the Puerto Rican cuatro or any instru- 
ment is patience. When you are patient you work at a slower pace, unhurried. . . 
When I build an instrument, I am very patient, but I work expeditiously, 
because I want to find out how the instrument is going to sound." 



"My full name... means 'the light that would lead the way' 

or 'the protector of things of Hawai'i'... in hula the first thing: you must 

teach is respect. First, respect for yourself, because if you have respect 

for yourself, you will have respect for the next person. Rule number two 

from the old days is 'A'ohe I pau ka 'ike I ka halau ho'okahi' 

(Think not that all wisdom lies in one school.)" 


George Na'ope's full name is George Lanakilakekiahiali'i Na'ope, but through- 
out the Hawaiian Islands he is known simply as "Uncle George." He is honored 
and revered for his knowledge and mastery of traditional hula and chant. 
He is one of the Islands' foremost kumu hulas (master dance teachers), and has 
played a leading role in the renaissance of traditional Hawaiian culture by 
establishing hula festivals throughout the world. 

Uncle George Na'ope was born in 1928 in Kalihi, O'ahu and raised in Hilo, 
Hawai'i. He began his studies of hula at the age of three under the training of 
his great grandmother, Mary Malia-Puka-o-ka-lani Na'ope who lived to be more 
than 100 years old. By the age of 12, he was already performing on recordings 
of Hawaiian music. Upon graduation from high school, he moved to Honolulu 
and opened the George Na'ope Hula School. After serving for two years in the 
Corps of Engineers during the Korean conflict, Na'ope returned to Hawai'i and 
became a cultural advocate for the County of Hawai'i. 

While in this post Na'ope founded the Merrie Monarch Festival, which is 
now in its 45th year. A turning point in the renaissance of Hawaiian culture, 
the festival is focused on the traditional chant and dance of the islands. He 
then went on to establish the Lili'uokalani Keiki Hula Festival, the Kalakaua 
Invitational Hula Festival, and the Kupuna Hula Festival. Meanwhile Uncle 
George has continued to teach as a kumu hula and has founded several hula 
halaus in the United States and Japan. Recognized by the Governor and Hawaii 
State Legislature with the designation "Living Golden Treasure," he welcomed 
both President Franklin Roosevelt and President John F Kennedy to Hawaii 
and more recently represented Hawaii at the royal wedding of Japan's 
Emperor Akahito. 






"I write a lot of music. My tunes don't have words because 

I'm not a poet and I know it but I write a lot of music... right now 

I'm working on my 37th book of tunes." 


Wilho Saari can trace the tradition of iranteie-playing back five generations in 
his family. The kantele, a family of stringed instruments related to the lap 
harp or zither, is regarded as the national instrument of Finland. This is due 
in large part to Saari's great-great grandmother, Kreeta Hapasalo, known as 
Kantele Kreeta, who took this ancient regional folk instrument and gave it 
national prominence. She supported her 1 1 children by traveling throughout 
Finland performing for the public, and performing at the courts of the King of 
Sweden and the Tsar of Russia. 

In 1915, Wilho's family moved to Naselle, Washington, joining many 
Finnish immigrants living along the Columbia River estuary in southwestern 
Washington. Wilho grew up listening to and absorbing his father's way of 
playing the kantele. The whole family was musical and Saari mastered several 
instruments growing up, but it wasn't until 1982, at the age of 50, that 
Wilho began to play the kantele. Finnish tradition reserves the playing of the 
instrument to the patriarch of the family, and it wasn't until after his father's 
death that Wilho felt entitled to play the instrument. He first played at a local 
wedding and then appeared at Finnish and Scandinavian festivals in the 
region. His mastery of the kantele had an immediate impact. At the time the 
kantele was vanishing as a part of Finnish cultural expression in the community, 
but Saari's playing and teaching has revived the instrument in Finnish- 
American enclaves throughout the United States. 

While Wilho has a large repertoire of traditional Finnish songs, melodies, 
and gospel hymn, he is also a prolific composer of songs and tunes, estimating 
that he has written over 1,700 to date, including songs dedicated to each of 
his six grandchildren. 

Over the past 25 years Wilho Saari has received both regional 
and national recognition for his playing of the kantele, but perhaps his most 
important contribution comes from his willingness to play for weddings, 
funerals, anniversaries, and other festivities in the local Finnish- American 
community, keeping an awareness of the instrument and its long tradition in 
the minds of Finnish- Americans who otherwise would have no knowledge of 
this extraordinary symbol of their culture. 




"I saw these kids — I was a teenager and we were in New York 

and some kids were singing and they were jumping around the stage and 

singing loud and kind of clowning, you know. And Pops grabbed me because 

when I went on stage I started doing that. And he said, 'Mavis, what is 

wrong with you?' You know, he said, 'You don't — you don't do that while 

singing God's music... This music is sacred and you sing from your heart. 

You be sincere and sing from your heart, and you'll reach the people 

because what comes from the heart reaches the heart.' " 


In 1963, NEA National Heritage Fellow Pops Staples attended a church service 
led by Dr. Martin Luther King, Jr. After the service Pops told his family, "If he 
can preach it, we can sing it." Thus a remarkable family of gospel and socially 
conscious soul singers became the spiritual and musical voices of the civil 
rights movement. Their sound was built around Pops's loping guitar riffs 
and his daughter, Mavis's powerful vocals. The Staple Singers' hits, such as 
"Respect Yourself," "I'll Take You There," and "Let's Do It Again," have become 
standards in the gospel and rhythm and blues repertoire and propelled them 
to worldwide fame. 

While her work with the Staples Singers alone would put Mavis in the first 
rank of American singers, her solo career is equally impressive and has made 
her an inspirational force in modern popular culture and music. She began her 
career singing with the family group in 1950 singing in local churches and on 
the radio. In 1956, the Staples had a major hit with "Uncloudy Day" that made 
them one of the country's top gospel groups. The 1960s and 1970s saw them 
emerge as major popular artists, with numerous Top Forty hits. 

Mavis recorded her first solo album in 1969, and has followed it up with 
more than a dozen recordings covering an astonishing range of music, includ- 
ing collaborations with artists as diverse as Prince, Bob Dylan, and Marty 
Stuart that have showcased both her versatility and her strength as a solo 
artist. During her career, Staples has appeared in many films and television 
shows, ranging from The Last Waltz to Soul Train to The Cosby Show. 

Bonnie Raitt wrote in support of Mavis Staples's nomination, "... her voice to 
me is a reminder of how music can herald joyful news and bring people together, 
of the power and spirit of family, and the persistent energy and soul... Now, 
when soul-affirming art is so desperately needed, I can think of no better time 
to celebrate Mavis Staples's voice and her ongoing artistic contributions." 




>„. ' ", 




- -■ — — > 

-1 -:'. 













"I love making people happy and I love working with the kids. 

I'm always trying to teach kids how to play the bass drum or the snare drum 

to try to keep the tradition going because the children are our future... 

One of the main things I tell them is if you're going to join anybody's band 

the first thing you do is be on time. Number two, you find out the uniform 

that you're going to wear on the gig. And number three is when you come 

to a gig, before you start playing, the last thing you do is a tune up..." 


The Treme neighborhood, in the Sixth Ward on the outskirts of the French 
Quarter, was the birthplace and home of many generations of New Orleans's 
finest jazz musicians. Central to that tradition are the parade bands that play 
for funerals, street parades, and family celebrations. Benny Jones, St., a 
50-year brass band veteran and son of noted musician Chester Jones, founded 
the Treme Brass Band more than 15 years ago, following his role as a drum- 
mer with the Olympia Brass Band and as a leader of the Dirty Dozen and 
Chosen Few Brass Bands. 

Although they are known internationally through their recordings and 
tours, the Treme Brass Band is still firmly rooted in the New Orleans street 
band tradition and regularly plays for Social Aid and Pleasure Club parades, 
Mardi Gras Indian gatherings, and jazz funerals. Their gig at Donna's, a club 
in the Treme district, has packed the house every Friday night for years, 
while band members often sit in at Preservation Hall if the group isn't 
working elsewhere. 

Hurricane Katrina had a devastating effect on the lives of the Treme band 
members, as it did with most all of New Orleans's working musicians. They 
had to get out of the city with nothing more than the clothes on their backs, 
and several lost their homes and all of their possessions. They were scattered 
all over the country, as far away as Arizona. What happened next is indicative 
of the importance of the Treme Brass Band to the city. Longtime fans organ- 
ized a support network that raised money to bring the group back to New 
Orleans, buy them new instruments, and find work in the schools teaching 
jazz workshops. The effort included an appearance on CBS News Early Show in 
New York, which garnered still more help from around the nation. 

As with most of New Orleans's brass bands, the membership in Treme is 
fluid, a mixture of old masters with the 'rat-tat-tat' born in their blood and 
young innovators adding more contemporary sounds. Many veterans of Treme 
have gone on to found other bands, including the Rebirth, New Birth, and 
Little Rascal Bands. 




"My earliest hook was seeing some pottery in a shop somewhere. 

I can't even remember where. And I had never seen pottery before. 

I had seen china and porcelain... but I just had never seen pottery. And I was 

attracted... [to those] coffee pots and coffee cups... I immediately bought them 

and began drinking out of them and they were heavy and rather large but 

they weren't this delicate little china thing that I had seen all my life 

and I liked them very much for that... for the fact that they were strong 

and sturdy and sort of honest...." 


Nancy Sweezy has been one of the most influential advocates, scholars, 
presenters, and preservationists in the field of folk arts, making an especially 
important contribution to traditional pottery and craft of the American South. 
Her interest in craft began with pottery lessons in her native New England in 
the 1950s. That eventually led to an association with Ralph Rinzler, who was 
then working with the Newport Folk Festival Foundation. Collaborating with 
Rinzler, she established a craft program and sales operation within the 
Newport Folk Festival. 

Later, Rinzler, Sweezy, and weaver and NEA National Heritage Fellow 
Norman Kennedy founded the not-for-profit organization Country Roads, Inc., 
dedicated to the research and marketing of folk crafts. In 1968, Country Roads 
purchased the historic Jugtown Pottery in Seagrove, North Carolina, and 
Sweezy moved there to direct the operation. Her efforts included initiating 
apprenticeship programs, implementing more effective marketing methods, 
developing new glazes to replace the prohibited traditional lead glazes, and 
improving firing techniques to make the pottery more durable. She later wrote 
the authoritative book on Southern pottery for Smithsonian Press entitled 
Raised in Clay: The Southern Folk Pottery Tradition. 

In 1985, Sweezy organized the Refugee Arts Group in Boston and through 
that organization administered festivals, workshops, exhibitions, apprentice- 
ships, and school programs focusing on Cambodian, Lao, Hmong, and 
Vietnamese folk artists. In the 1990s, she began a study of Armenian folk 
crafts, resulting in the Indiana University Press publication Armenian Folk Art, 
Culture, and Identity. In October of 2005, Nancy Sweezy, along with potter 
Mark Hewitt, curated the exhibition The Potters Eye: Art and Tradition in North 
Carolina Pottery at the North Carolina Museum of Art and she and Hewitt 
wrote the University of North Carolina Press book of the same title. 






Dewey Balfa * 
Cajun Fiddler 
Basile, LA 

Joe Heaney * 
Irish Singer 
Brooklyn, NY 

Tommy Jarrell * 
Appalachian Fiddler 
Mt. Airy, NC 

Bessie Jones * 

Georgia Sea Island Singer 

Brunswick, GA 

George Lopez * 
Santos Woodcarver 
Cordova, NM 

Brownie McGhee * 
Blues Guitarist/Singer 
Oakland, CA 

Hugh McGraw 
Shape Note Singer 
Bremen, GA 

Lydia Mendoza 
Mexican- American Singer 
Houston, TX 

Bill Monroe * 
Bluegrass Musician 
Nashville, TN 

Elijah Pierce * 
Columbus, OH 

Adam Popovich * 
Tamburitza Musician 
Dolton, EL 

Georgeann Robinson * 
Osage Ribbonworker 
Bartlesville, OK 

Duff Severe * 
Western Saddlemaker 
Pendleton, OR 

Philip Simmons 
Ornamental Ironworker 
Charleston, SC 

Sanders "Sonny" Terry * 
Blues Harmonica Player/Singer 
Holliswood, NY 

Sister Mildred Barker * 
Shaker Singer 
Poland Springs, ME 

Rafael Cepeda * 
Bomba Musician/Dancer 
Santurce, PR 

Ray Hicks* 

Appalachian Storyteller 
Banner Elk, NC 

Stanley Hicks * 
Instrument Maker 
Vilas, NC 

John Lee Hooker * 
Blues Guitarist/Singer 
San Carlos, CA 

Mike Manteo * 
Sicilian Marionettist 
Staten Island, NY 

Narciso Martinez * 

San Benito, TX 

Lanier Meaders * 
Cleveland, GA 

Almeda Riddle * 
Ballad Singer 
Greers Ferry, AR 

Simon St. Pierre 
French- American Fiddler 
Smyrna Mills, ME 

Joe Shannon * 
Irish Piper 
Chicago, IL 

Alex Stewart * 
Sneedville, TN 

Ada Thomas * 
Chitimacha Basketmaker 
Charenton, LA 

Lucinda Toomer * 
African-American Quilter 
Columbus, GA 

Lem Ward * 

Decoy Carver/Painter 

Crisfield, MD 

Dewey Williams * 
Shape Note Singer 
Ozark, AL 

Clifton Chenier * 
Zydeco Accordionist 
Lafayette, LA 

Bertha Cook * 

Knotted Bedspread Maker 

Boone, NC 

Joseph Cormier 
Cape Breton Violinist 
Waltham, MA 

Elizabeth Cotten * 
Syracuse, NY 

Burlon Craig * 
Vale, NC 

Albert Fahlbusch* 
Hammered Dulcimer 
Scottsbluff, NE 

Janie Hunter * 
African- American 
Johns Island, SC 

Mary Jane Manigault 
African-American Seagrass 
Mt. Pleasant, SC 

Genevieve Mougin * 
Lebanese-American Lacemaker 
Bettendorf, IA 

Martin Mulvihill * 
Irish-American Fiddler 
Bronx, NY 

Howard "Sandman" Sims* 
Tap Dancer 
New York, NY 

Ralph Stanley 
Appalachian Banjo 
Coeburn, VA 

Margaret Tafoya * 
Santa Clara Pueblo Potter 
Espanola, NM 

Dave Tarras * 
Klezmer Clarinetist 
Brooklyn, NY 

Paul Tiulana * 
hrupiaq Eskimo 
Maskm aker/Dancer/Singer 
Anchorage, AK 

Cleofes Vigil * 

Hispanic Storyteller/Singer 

San Cristobal, NM 

Emily Kau'i Zuttermeister * 
Hula Master 
Kaneohe, HI 

Eppie Archuleta 
Hispanic Weaver 
San Luis Valley, CO 

Periklis Halkias 
Greek Clarinetist 
Astoria, NY 

J imm y Jausoro * 
Basque Accordionist 
Boise, ID 

Meali'i Kalama * 
Hawaiian Quilter 
Honolulu, HI 

Lily May Ledford * 
Appalachian Musician/Singer 
Lexington, KY 

Leif Melgaard * 
Norwegian- American 
Minneapolis, MN 

Bua Xou Mua 
Hmong Musician 
Portland, OR 

Julio Negron-Rivera 
Puerto Rican Instrument 
Morovis, PR 

Alice New Holy Blue Legs 
Lakota Sioux Quill Artist 
Oglala, SD 

Glenn Ohrlin 

Mountain View, AR 

Henry Townsend 

Blues Musician/Songwriter 

St. Louis, MO 

Horace "Spoons" Williams * 
Philadelphia, PA 

Alfonse "Bois Sec" Ardoin 
Creole Accordionist 
Eunice, LA 

Earnest Bennett * 
Anglo-American Woodcarver 
Indianapolis, IN 

Helen Cordero * 
Pueblo Potter 
Cochiti Pueblo, NM 

Sonia Domsch 
Czech-American Bobbin 
Atwood, KS 

Canray Fontenot * 
Creole Fiddler 
Welsh, LA 

John Jackson * 
Fairfax Station, VA 

Peou Khatna * 
Cambodian Court 
Silver Spring, MD 

Valerio Longoria * 
Mexican- American 
San Antonio, TX 

Joyce Doc Tate Nevaquaya * 
Comanche Flutist 
Apache, OK 

Luis Ortega * 
Rawhide Worker 
Paradise, CA 

Ola Belle Reed* 
Appalachian Banjo 
Rising Sun, MD 

Jenny Thlunaut * 

Tlingit Chilkat Blanketweaver 

Haines, AK 

Nimrod Workman * 
Appalachian Ballad Singer 
Mascot, TN/Chattaroy, WV 

Juan Alindato 
Carnival Maskmaker 
Ponce, PR 

Louis Bashell 

Slovenian Polka Accordionist 

Greenfield, WI 

Genoveva Castellanoz 
Mexican- American 
Corona Maker 
Nyssa, OR 


Thomas Edison "Brownie" Ford* 
Anglo-Comanche Cowboy 
Hebert, LA 

Kansuma Fujima 
Japanese- American Dancer 
Los Angeles, CA 

Claude Joseph Johnson * 
African- American Religious 
Atlanta, GA 

Raymond Kane 
Hawaiian Slack-Key 
Wai'anae, HI 

Wade Mainer 
Appalachian Banjo 
Flint, MI 

Sylvester Mcintosh 
Crucian Singer/Bandleader 
St. Croix, VI 

Allis on "Tootie" Montana * 
Mardi Gras Chief/ 
Costume Maker 
New Orleans, LA 

Alex Moore, Sr. * 
Blues Pianist 
Dallas, TX 

Emiho * and Senaida Romero * 
Hispanic- American 
Craftsworkers in Tin 
Santa Fe, NM 

Newton Washburn 
Split Ash Basketmaker 
Littleton, NH 

Pedro Ayala * 
Mexican- American 
Donna, TX 

Kepka Belton 

Czech-American Egg Painter 
Ellsworth, KS 

Amber Densmore * 
Chelsea, VT 

Michael Flatley 
Irish-American Stepdancer 
Palos Park, IL 

Sister Rosalia Haberl * 
German-American Bobbin 
Han km son, ND 

John Dee Holeman 
Durham, NC 

Albert "Sunnyland Slim" 
Luandrew * 

African-American Blues 
Chicago, IL 

Yang Fang Nhu 

Hmong Weaver/Embroiderer 

Detroit, MI 

Kenny Sidle 

Anglo- American Fiddler 

Newark, OH 

Willie Mae Ford Smith * 

African-American Gospel 


St. Louis, MO 

Clyde "Kindy" Sproat 
Hawaiian Cowboy 
Singer/Ukulele Player 
Kapa'au, HI 

Arthel "Doc" Watson 
Appalachian Guitarist/Singer 
Deep Gap, NC 

John Cephas 
Piedmont Blues 
Woodford, VA 

Fairfield Four 
African-American Gospel 
Nashville, TN 

Jose Gutierrez 
Mexican Jarocho 
Norwalk, CA 

Richard Avedis Hagopian 
Armenian Oud Player 
Visalia, CA 

Christy Hengel 
Concertina Maker 
New Ulm, MN 

Vanessa Paukeigope Jennings 
Kiowa Regalia Maker 
Anadarko, OK 

Bias Kementzides 
Pontic Greek Lyra Player 
Norwalk, CT 

Ethel Kvalheim 
Norwegian Rosemaler 
Stoughton, WI 

Mabel E. Murphy * 
Anglo-American Quilter 
Fulton, MO 

La Vaughn E. Robinson 
Tap Dancer 
Philadelphia, PA 

Earl Scruggs 
Bluegrass Banjo Player 
Madison, TN 

Harry V Shourds 
Wildfowl Decoy Carver 
Seaville, NJ 

Chesley Goseyun Wilson 
Apache Fiddle Maker 
Tucson, AZ 

Howard Armstrong* 
African-American String Band 
Detroit, MI 

Em Bun 

Cambodian Silk Weaver 

Harrisburg, PA 

Natividad Cano 

Mexican- American Mariachi 


Monterey Park, CA 

Giuseppe and 
Raffaela DeFranco 
Southern Italian Musicians 
and Dancers 
Belleville, NJ 

Maude Kegg * 

Ojibwe Tradition Bearer 

Onamie, MN 

Kevin Locke 
Lakota Flute 

Mobridge, SD 

Marie McDonald 
Hawaiian Lei Maker 
Kamuela, HI 

Wallace McRae 
Cowboy Poet 
Forsyth, MT 

Art Moilanen* 
Finnish Accordionist 
Mass City, MI 

Emilio Rosado * 
Utuado, PR 

Robert Spicer * 
Flatfoot Dancer 
Dickson, TN 

Douglas Wallin * 
Appalachian Ballad Singer 
Marshall, NC 

Etta Baker 

African-American Guitarist 
Morgantown, NC 

George Blake 


Native American Craftsman 

Hoopa, CA 

Jack Coen 

Irish-American Flautist 
Bronx, NY 

Rose Frank * 

Nez Perce Cornhusk Weaver 

Lapwai, ID 

Eduardo "Lalo" Guerrero * 
Cathedral City, CA 

Khamvong Insixiengmai 
Laotian Singer 
Fresno, CA 

Don King 

Western Saddlemaker 

Sheridan, WY 

Riley "B.B." King 

Blues Guitarist/Singer 

Itta Bena, MS/Las Vegas, NV 

Esther Littlefieleld 
Tlingit Regalia Maker 
Sitka, AK 

Seisho "Harry" Nakasone 
Okinawan-American Musician 
Honolulu, HI 

Irvan Perez 

Isleno (Canary Islands) Singer 

Poydras, LA 

Morgan Sexton * 
Appalachian Banjo 
Linefork. KY 

NiMtas Tsimouris * 

Greek-American Bagpipe 


Tarpon Springs, FL 

Gussie Wells * 
African-American Quilter 
Oakland, CA 

Arbie Wilhams* 
African- American Quilter 
Oakland, CA 

Melvin Wine* 
Appalachian Fiddler 
Copen, WV 

Francisco Aguabella 
Afro-Cuban Drummer 
Manhattan Beach, CA 

Jerry Brown 

Southern Stoneware Tradition 


Hamilton, AL 

Walker Calhoun 

Cherokee, NC 

Clyde Davenport 
Appalachian Fiddler 
MonticeUo, KY 

BeUe Deacon * 
Athabascan Basketmaker 
Grayling, AK 

Nora Ezell 

African- American Quilter 

Eutaw, AL 

Gerald R. Hawpetoss 
Regalia Maker 
Milwaukee, WI 

Fatima Kuinova 
Bukharan Jewish Singer 
Rego Park, NY 

John Yoshio Naka* 
Bonsai Sculptor 
Los Angeles, CA 

Ng Sheung-Chi 
Chinese Toissan muk'yu 
Folk Singer 
New York, NY 

Marc Savoy 
Cajun Accordion 
Eunice, LA 

Othar Turner* 

African- American Fife Player 

Senatobia, MS 

Tanjore Viswanathan* 
South Indian Flute Master 
Middletown, CT 

Santiago Almeida * 
Conjunto Musician 
Sunnyside, WA 

Kenny Baker 
Bluegrass Fiddler 
Cottontown, TN 

Inez Catalon * 
French Creole Singer 
Kaplan, LA 


Nieh olas * & Elena Charles 
Yupik Woodcarver Maskmaker/ 

Bethel. AK 

Charles Hankins* 
Lavallette. XJ 

Nalani Kanaka die & Pualani 
Kanaka die Kanahele 
Hula Masters 
Hilo. HI 

Everett Kapayou 
MesquaMe Singer 
Ta m a, IA 

Mcintosh County Shouters 
Spirit! 1 al /Shout Performers 
Townsend, 6A 

Elmer Miller * 

Bit & Spur Maker/Silversmith 


rampa, DO 

Jack Owens * 

Blues Singer Guitarist 

Bentonia, MS 

Mone & Vanxay 
Laotian Weavers/ 
Needleworkers, Loommakers 
St. Louis, MO 

Liang-xing Tang 
Chinese-American Pipa 
(lute) Player 
Bayside, NY 

Liz Carroll 

Irish- American Fiddler 

Chicago, IL 

Clarence Fountain & 
The Blind Boys 
African- American 
Gospel Singers 
Atlanta. GA 

Mary Mitchell Gabriel* 
Passamaquoddy Basketmaker 
Princeton, ME 

Johnny Gimble 
Western Swing Fiddler 
Dripping Springs, TX 

Frances Varos Graves * 
Hispanic-American Colcha 
Ranchos de Taos, Nil 

Violet Hilbert 
Skagit Storyteller 
Seattle, WA 

Sosei Shizuye Matsumoto 
Japanese Tea Ceremony Master 
Los Angeles. CA 

D.L. Menard 

Cajun Musician/Songwriter 

Erath. LA 

Simon Shaheen 
Arab-American Oud Player 
Brooklyn, NY 

Lily Vorperian 
Armenian Marash-Style 
Glendale. CA 

Elder Roma Wilson 
African- American 
Harmonica Player 
Blue Springs, MS 

Bao Mo-Li 
Chinese- American 
Jing Erhu Player 
Flushing, NY 

Mary Holiday Black 
Navajo Basketweaver 
Mexican Hat, UT 

Lyman Enloe * 
Old-Time Fiddler 
Lees Summit, MO 

Donny Golden 

Irish- American Stepdancer 

Brooklyn, NY 

Wayne Henderson 
Appalachian Luthier /Musician 
Mouth of Wilson, VA 

Bea Ellis Hensley 
Spruce Pine, NC 

Nathan Jackson 
Tlingit Woodcarver/ 
Ketchikan, AK 

Danongan Kalanduyan 
Filipino- American 
Kulintang Musician 
San Francisco, CA 

Robert Jr. Lockwood 

Delta Blues Guitarist/Singer 
Cleveland, OH 

Israel "Cachao" Lopez 

Miami FL 

Nelhe Star Boy Menard * 
Lakota Sioux Quiltmaker 
Rosebud, SD 

Buck Ramsey * 
Cowboy Poet/Singer 
Amarillo. TX 

Obo Addy 

Ghanian- American Drummer 

Portland, OR 

Betty Pisio Christenson 
Ukranian-American Egg 
Suring. WI 

Paul Dahlin 

Swedish- American Fiddler 

Minneapolis, MN 

Juan Gutierrez 
Puerto Rican Drummer 
New York, NY 

Solomon* & Richard Hodpii 
Hawaiian Falsetto 
Pukalani and Wailuku, HI 

Will Keys* 

Appalachian Banjo Player 

Gray. TN 

Joaquin "Jack' Lujan 
Chamorro Blacksmith 
Barrigada. GU 

Eva McAdams 
Shoshone Regalia Maker 
Fort Washakie, WY 

John Mealing & 
Cornelius Wright, Jr. * 
African- American Railroad 
Work Song Singers 
Birmingham, AL 

Vernon Owens 
Stoneware Potter 
Seagrove, NC 

Dolly Spencer 
Inupiat Dollmaker 
Homer, AK 

Edward Babb 

Shout Gospel Trombonist & 

Band Leader 

Jamaica, NY 

Charles Brown * 

Blues Pianist & Composer 

Berkeley. CA 

Gladys LeBlanc Clark 
Cajun Spinner & Weaver 
Duson, LA 

Georgia Harris * 
Catawba Potter 
Atlanta, GA 

Wen-yi Hua 

Chinese Kunqu Opera Singer 

Arcadia, CA 

Ali Akbar Khan 

Sarod Player & Raga Composer 

San Anselmo, CA 

Ramon Jose Lopez 
Santero & Metalsmith 
Santa Fe, Nil 

Jim* & Jesse McReynolds 
Bluegrass Musicians 
Gallatin, TN 

Phong Nguyen 

Vietnamese Musician /Scholar 

Kent, OH 

Hystercine Rankin 
African-American Quilter 
Lorman. MS 

Francis Whitaker * 
Rl arVk-BTn i th /Orn am en ta.1 
Carbondale, CO 

Apsara Dancers 
Cambodian Dancers 
and Musicians 
Reston, VA & 
Fort Washington, MD 

Eddie Blazonczyk 
Polish-American Polka 
Bridgeview, IL 

Dale Calhoun 
Tiptonville. TN 

Bruce Caesar 
Sac and Fox-Pawnee 
Anadarko. OK 

Antonio De La Rosa* 

Tejano Conjunto Accordionist 

Riviera, TX 

Epstein Brothers 
Klezmer Musicians 
Tamarac, FL 

Sophia George 
Yakama-Colville Beadworker 
Gresham, OR 

Nadjeschda Overgaard* 
Danish-American Hardanger 
KimbaUton, LA 

Harilaos Papapostolou * 
Greek Byzantine Chanter 
Potomac, MD 

Roebuck Pops" Staples * 
Gospel/Blues Musician 
Dolton, IL 

Claude "The Fiddler" W illiams * 
Jazz/Swing Fiddler 
Kansas City, MO 

Frisner Augustan 
Haitian Drununer 
Brooklyn, NY 

lila Greengrass Blackdeer 
Hocak Black Ash 
Black River Falls, WI 

Shirley Caesar 
Gospel Singer 
Durham, NC 

Alfredo Campos 
Horse-Hair Hiteher 
Federal Way, WA 

Mary Louise Defender Wilson 
Shields, ND 

James 'Jimmy Slyde" Godbolt 
Tap Dancer 

Hanson, MA 

Ulysses "Uly" Goode 
Western Mono Basketmaker 
North Fork, CA 

Bob Holt* 
Ozark Fiddler 
Ava, MO 

Zalrir Hussain 

North Indian labia Drummer 

San Anselmo, CA 

Elliott "Elke" Mannette 
Trinidadian Steel Pan 
Morgantown, WV 

Mick Moloney 
Irish Musician 
Philadelphia. PA 

Eudokia Sorochaniuk 
Ukrainian Weaver/Textile 
Pennsauken. NJ 

Ralph W. Stanley 
Southwest Harbor, ME 



Bounxou Chanthraphone 
Laotian Weaver/Embroiderer 
Brooklyn Park, MN 

Dixie Hum m i n gbirds 
Gospel Quartet 
Philadelphia, PA 

Felipe Garcia 
Afro-Cuban Drummer/Santero 
Los Angeles, CA 

Jose Gonzalez 
Hammock Weaver 
San Sebastian, PR 

Nettie Jackson 
Klickitat Basketmaker 
White Swan, WA 

Santiago Jimenez, Jr. 
Tejano Accordionist/Singer 
San Antonio, TX 

Genoa Keawe 
Hawaiian Falsetto 
Singer/Ukulele Player 
Honolulu, HI 

Frankie Mannin g 
Lindy Hop 

Corona, NY 

Joe Willie "Pinetop" Perkins 
Blues Piano Player 
La Porte, IN 

Konstantinos Pilarinos 
Orthodox Byzantine Icon 
Astoria, NY 

Chris Strachwitz 
(Bess Lorn ax Hawes Award) 
Record Producer/Label Founder 
El Cerrito, CA 

B. Dorothy Thompson 
Appalachian Weaver 
Davis, WV 

Don Walser 

Western Singer/Guitarist 

Austin, TX 

Celestino Aviles 
Orocovis, PR 

Mozell Benson 
African-American Quilter 
Opelika, AL 

Wilson "Boozoo" Chavis * 
Zydeco Accordionist 
Lake Charles, LA 

Hazel Dickens 

Appalachian Singer/Songwriter 

Washington, DC/Montcalm, WV 

Joao "Joao Grande" Olivera dos 


Capoeira Angola Master 

New York, NY 

Evalena Henry 
Apache Basketweaver 
Peridot, AZ 

Peter Kyvelos 
Oud Maker 
Bedford, MA 

Eddie Pennington 
Thumbpicki n g-Style Guitarist 
Princeton, KY 

Qi Shu Fang 

Beijing Opera Performer 

Woodhaven, NY 

Seiichi Tanaka 

Taiko Drummer/Dojo Founder 

San Francisco, CA 

Dorothy Trumpold 
Rug Weaver 
East Amana, IA 


Kiowa Sacred Song Leader 

Mountain View, OK 

Joseph T. Wilson 

(Bess Lomax Hawes Award) 


Silver Spring, MD/Trade, TN 

Ralph Bhzard * 
Old-Time Fiddler 
Blountville, TN 

Loren Bommelyn 
Iblowa Tradition Bearer 
Crescent City, CA 

Kevin Burke 
Irish Fiddler 
Portland, OR 

Francis & Rose* Cree 
Ojibwe Basketmakers/ 
Dunseith, ND 

Luderin Darbone/Edwin Duhon* 
Cajun Fiddler and Accordionist 
Sulphur, LA/Westlake, LA 

Nadim Dlaikan 
Lebanese Nye (reed flute) 
Southgate, MI 

David "Honeyboy" Edwards 
Delta Blues Guitarist/Singer 
Chicago, PL 

Flory Jagoda 

Sephardic Musician/Composer 

Falls Church, VA 

Clara Neptune Keezer 
Passamaquoddy Basketmaker 
Perry, ME 

Losang Samten 

Tibetan Sand Mandala Painter 

Philadelphia, PA 

Bob McQuillen 
Contra Dance 
Peterborough, NH 

Jean Ritchie 

(Bess Lomax Hawes Award) 



Cultural Activist 

Port Washington, NY/Viper, KY 

Domingo "Mingo" Saldivar 
Conjunto Accordionist 
San Antonio, TX 

Basque (Bertsolari) Poets 
Jesus Arriada, 
San Francisco, CA 
Johnny Curutchet, 
South San Francisco, CA 
Martin Goicoechea, 
Rock Springs, WY 
Jesus Goni, Reno, NV 

Rosa Elena Egipciaco 
Mundillo (Puerto Rican 
bobbin lace) 
New York, NY 

Agnes "Oshanee" Kenmille 
Salish Beadworker and 
Regalia Maker 
Ronan, MT 

Norman Kennedy 
Weaver, Singer, Storyteller 
Marshfield, VT 

Roberto and Lorenzo Martinez 
Hispanic Musicians 
Albuquerque, NM 

Carmencristi n a. Moreno 
(Bess Lomax Hawes Award) 
Mexican American Singer, 
Composer, Teacher 
Fresno, CA 

Norma Miller 
African American 
Las Vegas, NV 

Ron Poast 

Hardanger Fiddle Maker 

Black Earth, WI 

Felipe I. and Joseph K. Ruak 
Carolinian Stick Dance Leaders 
Commonwealth of the 
Mariana Islands 

Manoochehr Sadeghi 
Persian Santur Player 
Sherman Oaks, CA 

Nicholas Toth 
Diving Helmet 
Tarpon Springs, FL 

Anjani Ambegaokar 

North Indian Kathak Dancer 

Diamond Bar, CA 

Charles "Chuck' T Campbell 
Gospel Steel Guitar Player 
Rochester, NY 

Joe Derrane 
Irish-American Button 
Randolph, MA 

Jerry Douglas 
Dobro Player 
Nashville, TN 

Gerald "Subiyay" Miller * 
Skokomish Oral Tradition 
Bearer, Carver, 
Basket Maker 
Shelton, WA 

Milan Opacich 

Tamburitza Instrument Maker 

Shererville, IN 

Eliseo and Paula Rodriguez 
Straw Applique Artists 
Santa Fe, NM 

Koko Taylor 
Blues Musician 
Country Club Hills, IL 

Yuqin Wang and Zhengli Xu 
Chinese Rod Puppeteers 
Aloha, OR 

Chum Ngek 

(Bess Lomax Hawes Award) 

Cambodian Musician and 


Gaithersburg, MD 

Eldrid Skjold Arntzen 
Norwegian American 
Watertown, CT 

Earl Barthe 

Decorative building craftsman 

New Orleans, LA 

Chuck Brown 

African American musical 


Brandywine, MD 

Michael Doucet 
Cajun fiddler, composer, 
and band leader 
Lafayette, LA 

Jerry Grcevich 
Tamburitza musician, 
prim player 
North Huntingdon, PA 

Grace Henderson Nez 
Navajo weaver 
Ganado, AZ 

Wanda Jackson 
Early country, rockabilly, 
and gospel singer 
Oklahoma City, OK 

Herminia Albarran Romero 
Paper-cutting artist 
San Francisco, CA 

Beyle Schaechter-Gottesman 
Yiddish singer, poet, 
Bronx, NY 

Albertina Walker 
Gospel singer 
Chicago, IL 

James Ka'upena Wong 
Hawaiian chanter 
Waianae, HI 

Janette Carter* 

(2005 Bess Lomax Hawes 


Appalachian musician, 


Hiltons, VA 



Dana Gioia, Chairman 
Eileen B. Mason, Senior Deputy Chairman 
Tony Chauveaux, Deputy Chairman for 

Grants & Awards 
Ann Guthrie Hingston, Director, 

Office of Government Affairs 
Mike Burke-Kirby Office of 

Government Affairs 
Felicia Knight, Director, Office of 

Victoria Hutter, Office of Communications 
Donald Ball, Office of Com m unications 
David Low, Office of Communications 
John Hewett, Director, Development 
Carrie Holbo, Development 
Barry Bergey, Director, Folk & 

Traditional Arts 
Rose Morgan, Folk & Traditional Arts 
Catherine Vass, Division Coordinator 



Tom Adams 

Dennis Blackledge 

Danna Boshak 

Dudley Connell 

Kendra Denny 

Amy Grossman n 

Rhonda Jenkins 

Josh Kohn 

Julia Olin, Executive Director 

Madeleine Remez 

Ehssa Staley 

Joseph T Wilson, Chairman 

The National Endowment for the Arts and the 
NCTA would also like to acknowledge the 
invaluable assistance of the following individ- 
uals and institutions: 

The Honorable Howard McKeon, 
United States House of Representatives 


Michael Stewart 

Mary Ekstein 

Lettie Holman 

American Folklife Center, 
Library of Congress 

Documentary Arts 

Bethesda Doubletree Hotel 

Four Seasons Van and Travel 

The House of Musical Traditions 


The staff at The Music Hall at Strathmore 

Bob Stone 

Mike Petillo 

Malcolm Knapp 

Jon Lob man 

Chelle C. Shand 

Josephine Binford 

Holly Churchill 

Mark Puryear 

Major support for the National Heritage 
Fellowship events is made possible through 
the enthusiastic support of the Darden 
Restaurants Foundation and the Darden 
family of restaurants — Red Lobster, Olive 
Garden, Bahama Breeze and Smokey Bones 
Barbeque & Grill. 



WAMU is the official Media Sponsor. 



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