A group of men and women stand on the center of a circular group pf church pews and sing. Stained glass windows can be seen behind them.

The Northern Kentucky Brotherhood Singers workshop with Appalachian Ensemble at Davis and Elkins College through the Folk Arts Touring Network. Credit: Andrew Carroll / Augusta Heritage Center.

Established by Mid Atlantic Arts Foundation (MAAF) in 2018, Folk and Traditional Arts Network (FTAN) is a presenter based membership network designed to bolster the presentation of folk and traditional arts in the mid-Atlantic region.

Through its members, FTAN aims to provide audiences and communities with direct access to folk and traditional arts and artists, increasing their community’s appreciation and understanding of cultural practice and identity. FTAN engages artists and tradition bearers that represent the breadth and diversity of folk and traditional arts across the United States and beyond, exhibit artistic excellence in their practice and demonstrate the desire to develop and expand their public presentation expertise.

MAAF has partnered with the National Council for the Traditional Arts (NCTA) to assist with tour coordination and facilitate collaborative planning between FTAN members and touring artists and tradition bearers.

A list of current FTAN members is available below.

Questions regarding the Folk and Traditional Arts Touring Network should be directed to Jess Porter at jess@midatlanticarts.org.

The Folk and Traditional Arts Touring Network is made possible through the generous support of the National Endowment for the Arts.


Membership applications for the pilot program were accepted by invitation only.

New member applications are currently closed. Please sign up for the MAAF newsletter to receive updates about the program and application opportunities.

Current Tours

2019-2020 Folk and Traditional Arts Touring Network Engagements

All schedules are subject to change. Please check with the performance venue to confirm dates and times, and for ticket information.

Aurelio Martinez (Plaplaya, Honduras and New York, NY)

Aurelio Martinez stands in a door way by a brightly painted turquiose wall holding his guitar.  He wears a white shirt and his hair is in braids.

One of the most extraordinary Central American artists of his generation, Aurelio Martinez is a musical ambassador and champion of the Garifuna, a culturally threatened African Amerindian ethnic minority living primarily along the Caribbean coasts of Belize, Honduras, Guatemala, and Nicaragua. Hailing from the small community of Plaplaya in Honduras, he grew up immersed in Garifuna rhythms, rituals, and songs. With powerfully evocative vocals; talent as a composer, guitarist, and percussionist; and over 30 years’ experience, Aurelio is central to the perpetuation and innovation of this unique tradition. Aurelio now splits his time between New York City, home to one of the largest Garifuna communities in the United States, and Plaplaya in Honduras.

Garifuna culture reflects the complex roots of Aurelio’s ancestors, Africans who landed on the island of St. Vincent in 1675 after the wreck of a slave ship and intermarried with local Carib and Arawak peoples, only to be deported to Central America by the British in the late 18thcentury. In 2001 UNESCO proclaimed the language, dance, and music of the Garifuna as a Masterpiece of the Oral and Intangible Heritage of Humanity. The style of Garifuna music that Aurelio plays incorporates the guitar—adopted from the Spanish—and is called paranda. In 2005, Aurelio entered politics, becoming the first senator of African descent in the Honduran congress. While he left politics in 2010, he remains deeply involved with projects teaching Garifuna traditions to the next generation.

1/23-1/24/2020 Miller Center for the Arts – Reading Area Community College, Reading, PA
1/28-1/29/2020 Augusta Heritage Center – Davis and Elkins College, Elkins, WV

Native Voices : Katajjaq to Hip Hop | featuring Supaman (Crow Reservation, Montana) and Nukariik (Ottawa, Ontario)

This is a split image photo.  On the left, two women in white fancy dress face each other with their heads turned toward the camera.  They are outside against foilage.  On the right, a male dancer in fancy dress is turned to left profile and faces the camera.

From practitioners of the rarely heard Inuit women’s vocal tradition of katajjaq (throat-singing) and to a Fancy Dancer/hip hop artist/beatboxer from the Crow Nation, this program explores indigenous artistic expressions, both centuries-old and contemporary, in North America.

The Crow Indian Reservation, located in the Yellowstone River Valley in Montana, appears at first glance to be as far removed from the city streets of the Bronx as possible. For Christian Takes Gun Parrish, who performs under the name of Supaman, although the two geographic locales might be separated by thousands of miles, they are connected by similar problems that plague them. Supaman combines the best of New York’s hip hop beats with his own Native American traditional arts to speak to these very issues. The figure he creates in this cultural synthesis—a genre he has termed Crow Hop—demands an audience’s rapt attention when they first see his enigmatic, rhythmic, and visually arresting collage of traditional arts. He is, simultaneously, a Fancy Dancer, a hip hop artist, a beatboxer, and a voice for the Crow Nation.

Kathy Kettler and Tamara Takpannie are Nukariik, a duo that carries on the rarely heard Inuit throat-singing tradition and other age-old forms of Inuit entertainment such as drum dancing and a ja ja songs. A vocal game used to amuse children and women while men were out hunting, Inuit throat singing is an art practiced almost exclusively by women. Two singers stand or crouch facing each other and engage in a bit of friendly competition as one singer takes the lead and the other follows. During the vocal exchange, the voiced sounds and breath of each singer combine to form rhythmic melodies that imitate sounds from nature such as a mosquito or a river. The result is mesmerizing, as the singers playfully compete to see who will stop or laugh first. Skilled singers such as Nukariik blend and synchronize their voices so perfectly that it becomes difficult to distinguish between them.

11/20/19 Salisbury University – Cultural Affairs, Salisbury, MD
6/26-6/27/2020 Lake Placid Center for the Performing Arts, Lake Placid, NY


Augusta Heritage Center of Davis and Elkins College
Beth King, Director
100 Campus Drive
Elkins, WV 26241
Phone: 304.642.9722
E-mail: Beth@AugustaHeritageCenter.org

Lake Placid Center for the Performing Arts
James Lemons, Executive Director
17 Algonquin Drive
Lake Placid, NY 12946
Phone: 518.523.2512
E-mail: james@lakeplacidarts.org

Miller Center for the Arts at Reading Area Community College
Cathleen Stephen, Director
10 S. Second Street
Reading, PA 19603
Phone: 610.607.6205
E-mail: cstephen@racc.edu

Salisbury University Cultural Affairs
June Krell-Salgado, Director of Cultural Affairs
1101 Camden Avenue
Salisbury, MD 21801
Phone: 410.543.6271
E-mail: JEKRELL-SALGADO@salisbury.edu

Manage Your Grant

Changes in Project Proposal

Any changes in the content, schedule, or budget of your project as proposed must be submitted in writing for approval prior to being implemented. Requested changes must be submitted to Phillip Harmon, Grants and Operations Officer, at phillip@midatlanticarts.org.

Funding Acknowledgement and Crediting

Acknowledgement and Crediting requirements were included as Exhibit A of the Grant Award Agreement.

Grantees must clearly acknowledge support from Mid Atlantic Arts Foundation through use of both the credit language and logo as outlined below. Use of the Mid Atlantic Arts Foundation logo does not replace the credit language. Copies of the required crediting materials must be submitted as part of the final report.

Credit and Logo Usage Details
The following statement and the Mid Atlantic Arts Foundation logo MUST appear in all programs, websites and press releases produced by the funded organization or its agents in relation to the funded project. In addition, the following statement and the Mid Atlantic Arts Foundation logo should be included whenever possible, either jointly or separately as necessary, in all flyers and postcards, email communications, season brochures, social media posts and calendars, and any other print or electronic promotional and publicity materials produced by the funded organization or its agents in relation to the funded project.

  • This statement must be used in its entirety and cannot be altered in any way.

This engagement of [Artist] is made possible through the Folk and Traditional Arts Touring Network program of Mid Atlantic Arts Foundation in collaboration with the National Council for the Traditional Arts with support from the National Endowment for the Arts.

Website Link
Grantees are required to include a link to the Mid Atlantic Arts Foundation website at www.midatlanticarts.org when crediting Mid Atlantic Arts Foundation on their website. This link MUST remain active during the entire length of your grant period with MAAF. You are requested, but not required, to embed the link in MAAF’s logo.

Final Reports

Final report requirements and instructions were included as Exhibit B of the Grant Award Agreement.

Grantees are required to submit a final report which is due thirty (30) days after the end of the grant period on record as listed in the Grant Award Agreement.

Final reports are to be completed online using the Mid Atlantic Arts Foundation’s eGRANT system at http://midatlanticarts.egrant.net.  Please read the instructions in the eGRANT system carefully.

The account used to submit the Common Information Form for the grant must be used to complete the final report. If you do not remember your login and/or password, please use the link on the eGRANT login page to retrieve the information.

For questions about your grant and the crediting or final reporting requirements, contact Phillip Harmon, Grants and Operations Officer, at phillip@midatlanticarts.org or 410.539.6656 x109