Cindy, thanks so much for the further info, and your interest.
I corresponded with him one time, he replied he would be willing to travel. Maybe other harplisters in that region can read this and take some action to bring him into more public attention.
You get an idea here of the difficulties of trying to revive a broken tradition. It's wonderful that the harp tradition in South America is so strong and is not broken, or showing signs of becoming so. Do you know how far back the harp tradition there goes?
This is a living tradition, no need to revive and wonder what it was really like. I'm not strong on historical inquiry, but from notes by Alfredo Rolando Ortiz in one of his books (Latin American Harps: History, Music and Techniques), I understand harp came with Spaniards in the early 1500's, arriving at ports such as Veracruz, Cartagena, Buenos Aires, and points between.
The harp reached landlocked Paraguay, up river from Buenos Aires, and bloomed into what we have today. I believe some insights might be found in a movie The Mission, set in the 18th century and depicting what was by then a very mature syncretic musical tradition.
From Colombia (Cartagena) the harp spread to Venezuela, splitting in two regional styles. The arpa llanera style developed in the lowland plains of the vaste Orinoco river. A highland style developed in the present Venezuelan state of Miranda, on the river Tuy. I call it Mirandina, but it is also called Tuyera or simply Central. I gather that this style is much less persistent than the arpa llanera style which is prevalent in much more sparsely populate areas. (You can google these various terms to find examples on Youtube.)
Is it a written tradition?
Do they still play any of the older music and older styles, or have things mostly moved on to modern styles?
quitapesares, diamantes, cari-cari, kirpa, zumba que zumba, guacharaca, gavilan, cunavichero, mamonales, caracoles
Thank you, Cindy, for your interest, it has been a motivator for me to write.