Idaho – The Idaho Commission on the Arts (Arts Idaho) has awarded seven mentor artists and their qualified apprentices $3,000 each as part of the annual Traditional Arts Apprenticeship Program. This program is designed to promote learning partnerships between recognized mentor artists and an apprentice to perpetuate cultural traditions.

Folk and traditional arts are developed over generations and are embodied by artists who have mastered their craft after years – often a lifetime – of unwavering dedication. Art forms specific to Idaho include saddle making, silversmithing, Nez Perce weaving, leatherworking and many more. Across the state, these art forms evolve in tandem with the communities they’re rooted in. Arts Idaho is committed to uplifting the state’s unique cultural legacy by recognizing over 500 Idaho native, folk and immigrant mentor artists and apprentices, who carry on these traditions and skills. As mentors share their knowledge, they strengthen the program by ensuring cultural continuity for future generations of tradition bearers.

Congratulations to this year’s recipients of the Traditional Arts Apprenticeship Program! Hear from awardees about their individualized trades below:

Chase Carter (Pingree) & Leeroy Winward (Downey) 

SADDLE MAKING 

“Chase and I have known each other for over 10 years. I’ve ridden horses for numerous family members of Chase, and I consider us part of the same ranching community. We decided to do some trading, and I started some colts for him in exchange for a saddle. I now own 3 saddles made by him and continue to appreciate the quality of his work and the clean look of his saddles. This is why I want to learn to build a saddle with Chase. I would love to learn to build saddles that fit horses well, are effective for their rider’s purpose, and look clean and sharp.” – Leeroy Winward 

Tom Matus (Kuna) & James Trujillo (Meridian) 

WATERFOWL CARVING

“In my community, the tradition of carving decoys has always been more than a hobby. It’s a quiet thread that ties together generations of hunters, craftsmen, and storytellers. Even though I didn’t grow up carving, the moment I was introduced to it, I could feel the weight of history behind the craft. Over the years, especially after meeting Tom Matus and watching him work, I began to understand that decoy carving isn’t just about shaping wood, it’s about shaping identity.”

 – James Trujillo 

Dean Philbrick (Irwin) & Walter Gerald (Boise) 

GUN ENGRAVING

“Although I have never worked with Dean Philbrick directly, his reputation is well known. He has been engraving for more than fifty years and trained under some of the most respected master engravers in the world. In a craft where hands-on learning is essential and knowledge is passed quietly from one maker to another; his depth of experience is rare. The opportunity to spend time learning in his studio would be an invaluable step in my growth as an engraver and a chance to learn from someone who has devoted a lifetime to the craft.” – Walter Gerald 

David Powell (Athol) & Buddy Tetreault (Spirit Lake) 

HARP GUITAR LUTHERIE

“I knew there was something about Buddy akin to myself, a quality I valued and could trust. He stopped by a couple times over the next year or so very enthusiastic about wanting to help make guitars with us, but I was always too busy running the business to devote time to an employee. He told me he was originally a saddle maker/leather worker and is good with hand tools and blade work so I thought he would make a good luthier. He also showed me and electric guitar kit he put together and finished. I was blown away! Not only has he already done some lutherie on his own, but he also has a vast knowledge of tone woods and has researched many makers and their techniques from around the world. He is the perfect candidate for an apprenticeship of this nature, and I expect to see great things from him.” – David Powell 

 Estefanía & Miguel Sanchez (Boise) 

FLAMENCO DANCING

“I have been part of Flamenco for as long as I can remember. I grew up surrounded by music, rhythm, and dance through my family and community, and I began learning by watching, listening, and participating from a young age. Flamenco has always been part of my everyday life. I am known in the community by the artistic name El Yaquitano, which reflects my Roma (Gitano) and Yaqui Native American heritage. This apprenticeship is important to me because it gives structure and intention to learning that is already part of my life. I want to deepen my understanding of Flamenco, my cultural responsibility, and my own voice within the tradition.” – Miguel Sanchez 

Dan & Julia Schwarz (Dillon, MT) & Leandra Martin (Twin Falls) 

BOOT MAKING

“Traditional western craft plays a central role in my cultural heritage and community, where skills are valued not as hobbies but as practical knowledge passed down through use. In the rural western culture I come from, handmade objects like boots, saddles, and leather goods are deeply connected to daily life, work, and identity. These traditions reflect self-reliance, respect for materials, and pride in skilled labor. Cowboy boot making represents a shared history of function and artistry, where objects are built to endure and tell the story of the people who made and wore them.” – Leandra Martin 

David Walker (Rathdrum) & Micaiah Jones (Priest River) 

BLACKSMITHING

“Micaiah Jones stands out from most students I teach. At a young age, he has shown unusual focus, consistency, and aptitude for foundational technique. He applies feedback quickly, demonstrates patience with repetition, and takes the craft seriously rather than treating it as a one-time experience. Because of this, the apprenticeship will provide focused one-on-one instruction beyond a typical class setting, allowing for higher expectations, deeper skill refinement, and more challenging projects. This level of mentorship is intended to accelerate his development, reinforce correct habits early, and prepare him to continue seriously in traditional blacksmithing.”  – David Walker