The Idaho Commission on the Arts has awarded six mentor artists and their qualified apprentices $3,000 each as part of the annual Traditional Arts Apprenticeship Program. The program is designed to facilitate learning partnerships between a recognized mentor artist and an apprentice to continue artistic traditions in a shared community.

For nearly 40 years, the Arts Commission has safeguarded Idaho’s unique cultural legacy by recognizing over 500 Idaho native, folk, and immigrant mentor artists, and their apprentices, who carry on Idaho’s artistic and occupational traditions and skills. As a recognized mentor shares skills, techniques, and knowledge, the program helps to ensure cultural continuity for future generations of tradition bearers. 

Congratulations to this year’s recipients of the Traditional Arts Apprenticeship Program: 

LEATHERWORKING Anna Severe (Castleford) & Pricilla Folkerts (Twin Falls)

Leatherwork definitely plays a huge role in my community and is part of its heritage. I have had the great privilege of knowing and working in the ranch world of Southern Idaho and Northern Nevada. Many of the people I work with have a long legacy of raising cattle and moving cattle across the range on horseback. There is still a lot of handcrafted leatherwork in this region and it is still highly prized by the cowboys and ranchers in this area. – Pricilla Folkerts

HORSEHAIR HITCHING Casey Backus (Ammon) & Lacey Bullock (McCammon)

Hitched work or hitching is a form of braiding. Because of the ability to build geometric patterns within the braid it is sometimes mistaken for woven work. While there is a woven form of horsehair work that requires a loom, hitching does not use any fixtures other than a mandrel. So, it is weaving without a loom. The historic cowboy tradition that utilized horsehair in this hitched form was plentiful and remarkably strong and required few tools. I utilize the same historic techniques in the process and use it for gear items that cowboys would use for daily ranch work.  – Casey Backus

NEZ PERCE HORSE TRAPPINGS Lynnette Pinkham (Lenore) & Jackie McArthur (Lenore)

Lynnette is the matriarch of the family. In all my artwork—that includes sewing, beading, jewelry such as necklaces that represent our plateau and Nez Perce culture—I consult with Lynnette. I respect and value Lynnette’s time and knowledge. I listen to her and do what I am told or taught to do. Lynnette instructed me to apply for this project for Nez Perce Horse Trappings. Lynnette was taught by many women and she is committed to her Nez Perce ancestors, ancestral land, and teachings as they connect her to them and embrace timeless love. I am told often that I am very fortunate to have Lynnette to both teach me and hold me in high regard and responsible as well. – Jackie McArthur

COEUR D’ALENE BEADWORK Philomena Nomee (Plummer) & Francis Arapis (Worley) & Vicki Tovey (Worley)

I am a member of the Coeur d’Alene Tribe of North Idaho. I was raised in a cultural home and have learned many aspects of our pride and heritage. I live on the Coeur d’Alene Indian Reservation and know that our culture and heritage are becoming lost because those that know and were able to teach are no longer with us. As an elder myself, at this time in my life I feel it is an honor and a responsibility to learn and pass this knowledge and skills on to others in the Tribe and in my community. – Francis Arapis

COEUR D’ALENE BEADWORK Roberta White (Plummer) & Cheyenne Meshell (Worley) & Natalie Mullen (Worley)

Tradition is a huge value in my life. Everything, from how I handle stressful situations, how I carry myself, how I think, how I pray, how I sing, how I teach, and how I help people, I have learned from the teachings of my mentors, elders, youth, and daughter. It is a huge part of my identity. There is a need in my community to continue these teachings to anyone who is willing to learn. Most of my audience is the youth. They are hungry for this knowledge, so I am too. – Cheyenne Meshell

SADDLEMAKING Chase & Whitley Carter (Pingree)

When my father was sixteen years old, he was given a quality set of my great-grandfather’s harnesses, as he had a desire to train draft horse teams. My father has taken exceptional care of the harness set and they are still his favorite set to use. Growing up, seeing my father’s love and appreciation for quality harnesses and horse tack instilled in me a desire to own, and someday build, quality saddles and tack for myself and others. It is my hope to be able to improve my skills so that what I build can be passed on to future generations, just like my great-grandfather did with his harnesses. – Whitley Carter