First Year Reflections

Traditional Arts Program Officer Summer Confuorto looks back on a year spent supporting Massachusetts artists and culture bearers.

As I wrap up my first year as Traditional Arts Program Officer at Mass Cultural Council, I’ve been reflecting on the some of the many experiences that have helped to shape my understanding of this role, the field of traditional arts, and the incredible artists and cultural traditions across Massachusetts. From attending community events and engaging in professional development to meeting artists and working with colleagues and mentors in the field, it’s been a year of learning, listening, and connecting. I’ve also had the chance to experience a full cycle of Mass Cultural Council’s grant for individual artists, aptly named, the Grants for Creative Individuals program, which has broadened my thinking of grantmaking in many ways and shown me just how impactful this kind of support can be. As I look back, I’ll share some of the conversations and common threads that resonated the most, as well as the experiences that have helped guide my thoughts and approach moving forward.

In my past experience as an arts administrator at another organization, some of my most valued conversations and feedback came from artists directly. One of the first things I wanted to do when I began this role was to introduce myself to and hear directly from traditional artists and culture bearers, Indigenous artists, immigrant artists, and the organizations that serve them. I was able to have conversations with those who had been a part of past traditional arts programming at Mass Cultural Council, and attend their receptions and shows, to learn more about their art forms, needs and suggestions.

I was fortunate to be invited immediately by a past Mass Cultural Council Traditional Arts Apprenticeship grantee to attend a reception for an exhibit her apprentice was showing at the Weston Public Library, which featured the culminating work of their apprenticeship. Sunanda Sahay specializes in Mithila painting, an ancient art form practiced by rural women near the Indian border with Nepal, featuring scenes from mythology, village life, rites and rituals. She spent two years teaching Anjana Bhargava the essence, techniques and motifs of the art form. When she spoke, what I found most impactful was the value she placed on her one-on-one teaching relationship and its significance in the authentic transmission of artistic skills and cultural knowledge.

This sentiment was echoed in conversations with other traditional artists, some who had not yet been engaged by the Agency previously. These conversations made it clear that apprenticeship opportunities are essential to the preservation and continuation of their art forms. In response to this feedback, we highlighted the opportunity for mentor artists and apprentices to apply as part of our Traditional Arts Funding Priority within our Grants for Creative Individuals Program. This focus on apprenticeships (applicants are asked to describe their apprenticeship, if participating in one as a traditional artist) acknowledges the integral role they play in sustaining cultural knowledge and ensuring that these art forms are passed down to future generations.

To that end, I also wanted to be sure that those who might not have previously had much experience with grants or opportunities in the arts were aware of the programs at Mass Cultural Council and would be able to benefit from them. This process is ongoing and will take time, but I believe that continuing the work the Agency has been undertaking to build relationships and foster connections with artists and within communities is so important in expanding access to support and resources. On a personal level, I really enjoy meeting new people, reconnecting with artists I’ve met over the years, and am committed to continuing to learn about the various cultural art forms and traditions across the state. And as an Indigenous arts administrator who has grown up among Northeastern Native artists and art forms, I hold deep appreciation and respect for the traditional artists and culture bearers who are so dedicated to ensuring that their art forms continue to thrive and their commitment to educating future generations.

Over the past year, I was able to attend events like the Mashpee Wampanoag powwow, an Artists of the Amazon performance at the Brazilian Consulate in Boston, and the Annual Native American Artisans Market & Festival in Aquinnah, among others. While in Aquinnah, I was able to have some great conversations with Aquinnah Wampanoag artists, working in many different traditional forms, including wampum, clay (gathered from the nearby cliffs) and beadwork. Some expressed that they had not known about the programs and opportunities at Mass Cultural Council and a few months later, I was so happy to see these same names as applicants and grantees of our Grants for Creative Individuals program. I’ve also tried to broaden outreach to refugee and immigrant populations by connecting with organizations like the New American Association of Massachusetts and the Center for New Americans and learning from staff about their community, their significant work in supporting their constituents and again sharing Agency resources for their community members.

Another highlight of the year was meeting and speaking with Folk and Traditional Arts staff members at other State Arts Agencies (and/or their partner organizations) in New England. I was lucky to speak first with Elena Calderón Patiño at the Rhode Island State Council on the Arts, who immediately connected me with other New England staff members to speak with and invited me to serve on her folk and traditional arts panel. Since then, she has served as a mentor, sharing her experiences in the field and helping to shape my approach in working within communities.

I also had the opportunity to meet with staff at the Connecticut Museum of Culture and History, who administer the Southern New England Apprenticeship Program, and continue Mass Cultural Council’s previously established and longstanding partnership with them. The program provides funding to cross-state apprenticeship teams from Rhode Island, Massachusetts, or Connecticut and I was happy to recommend traditional artists from Massachusetts, including some of our most recent grantees. Having these connections has been beneficial in many ways, including being able to partner and collaborate with staff members across bordering states, and learning more about our regional network of traditional artists who actively practice and share their art forms.

On a larger scale of networking, I’ve also been able to participate in the Folk Arts Partnership Professional Development Institute (AFS PDI) managed by the American Folklore Society and a peer mentorship program with other folk and traditional arts staff members from State Arts Agencies (SAAs) and cultural organizations across the country. The opportunity to connect regularly with these colleagues via Zoom and learn about them, their states and their folk and traditional arts programs has been key. I’m grateful for the conversations centered around emerging ideas and practices in the field and having the opportunity to bring common issues we are experiencing to share with colleagues for input and to problem solve. As a new staff member at a state arts agency, it was so helpful to be able to immediately connect to others in similar positions and have access to professional development resources. The AFS PDI also provided the chance for us to more formally establish regular meetings and check-ins with a small cohort of New England staff members, which has served as a smaller regional supportive network.

This past fall I was also able to attend the Folk & Traditional Arts preconference for the National Assembly of State Arts Agencies, which was a wonderful in-person opportunity to network and connect with State Arts Agency (SAA) staff members from across the country. Over these few days I met so many colleagues (some I had never met and some I had met previously over Zoom) and learned so much about their traditional artists and the communities they come from, their work and their programming.

A panel led by the staff at Texas Folklife in particular, was a highlight as it showcased some fascinating programming that they’ve initiated to support the independence of folk and traditional artists in Texas, including programs like their digital storytelling initiative and Community Folklife Fellowship. The discussion sparked ideas for my own work, as well as inspired our small New England cohort to continue to meet about how we can support each other to incorporate some of our learnings into the work we all do. I am also incredibly grateful to the Instituto de Cultura Puertorriqueña (ICP) for their warm hospitality, coordinating deeply insightful and informative tours of La Goyco Community Center and Museo de las Américas as well as artist site visits. The opportunity to learn about the meaningful work they do in preserving and promoting Puerto Rican culture, while also providing important context about the island’s rich history and traditions, was extremely appreciated.

Lastly, one of the most meaningful parts of my first year has been co-administering Mass Cultural Council’s Grants for Creative Individuals program, which offers unrestricted grants of $5,000 to Massachusetts artists, culture bearers, and creative practitioners to equitably advance creative expression throughout our diverse communities. While the program is open to all creative disciplines, there is a funding priority specifically for traditional artists, and applicants who meet this funding priority will receive a modest rating advantage in the program’s scoring.

Over the past two cycles, the program has funded hundreds of artists, including dozens of traditional artists. On a personal level, it has been incredibly rewarding to meet with artists and culture bearers, attend their community events, and share information about the program, then later recognize their names among our applicants and grantees. These moments have again highlighted the importance of outreach and accessibility in grantmaking and reaffirmed how valuable this support is to artists who may not have engaged with Mass Cultural Council or applied for a grant before. I’ve been honored to meet so many talented, dedicated traditional artists through this program and I’m thankful for the work they do to keep these traditions alive.

Looking back on this first year, I am inspired by the depth of creativity and community care I’ve witnessed across Massachusetts and beyond. The artists, mentors, and colleagues I’ve met have generously shared their time, knowledge, and stories, reminding me of the role traditional arts play in shaping identity and preserving heritage. There is still a lot to learn and many relationships to build, but I’m proud of the steps taken to continue our support for traditional artists and culture bearers, through Grants for Creative Individuals and sharing other opportunities in the arts. As I move into year two, I remain committed to listening and continuing to learn from the vibrant communities that make up the traditional arts landscape of Massachusetts. I also want traditional artists to know that I am here as a resource, whether they’re looking for information, support, or want to share their creative practice, I would be honored to connect and learn more about the traditions they carry forward. Please feel free to contact me at summer.confuorto@mass.gov or 617-858-2713.

Images: Mass Cultural Council grantee Sunanda Sahay along with Anjana Bhargava; Annual Native Artisans Market & Festival in Aquinnah, MA; Vejigante costume by Puerto Rican artist and musician, Raúl Ayala, at the NASAA Traditional Arts preconference.