2002
FESTIVAL
PHOTO
ALBUM

Folklife Stage Schedule

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Folklife of the Eastern Mediterranean
By Tina Bucuvalas, with Stavros Frangos and Robert Stone

"Returning from Greece"
by Konstantinos Kavafis

Konstantinos Kavafis both personified and wrote about the complex mixture of peoples that has enriched the history of the Eastern Mediterranean for thousands of years. Kavafis, an internationally recognized Greek-Egyptian poet whose family originated in Constantinople, set much of his poetry in Hellenic times—when the paths of the Eastern Mediterranean peoples converged in a tangle of political, commercial and personal relationships that continues today.

Floridians whose ancestry can be traced to the Eastern Mediterranean live throughout the state. In several urban areas, their communities have had a significant impact upon local culture: Tarpon Springs has a large percentage of people with Greek ancestry; many Sephardic Jews whose families came from Cuba, Turkey, Greece and Tunisia have settled in South Florida; and Jacksonville is home to large communities from Palestine and Lebanon. In addition, many smaller Turkish, Armenian, and Egyptian communities are scattered throughout the state.

Greeks
Thomas Burgess, a historian of Greek emigration, wrote, "Greek wanderers from all classes may be found, Odysseus-like, in every nook and cranny of the world." Certainly this is true in the U.S., which hosts the largest population outside Greece. While most came from the Peloponnesus or islands in search of better economic prospects, almost as many ethnic Greeks emigrated from Turkey as a result of political unrest in the early part of the twentieth century.

Greeks were among the early settlers in Florida. In the mid-eighteenth century, Scottish physician Andrew Turnbull dreamed of creating a profitable plantation in Britain’s newly acquired Florida lands. Turnbull, whose wife was the daughter of a Greek merchant from Smyrna in Asia Minor, believed that Mediterranean peoples would be well suited to Florida’s climate. He recruited 1,405 colonists from Europe. There were predominantly Minorcan, but also included about 500 Greeks from Asia Minor (Smyrna), the Peloponnesus (Mani), and Corsica. Although the New Smyrna colony did not succeed, the former colonists moved to St. Augustine and many of their descendants live there today.

Tarpon Springs
There are many large Greek communities throughout Florida, but the most widely known is in Tarpon Springs. Greek men, primarily from the Dodecanese Islands, have been diving for sponges in the waters near Tarpon Springs since 1905. The men were recruited to continue this traditional occupation when it was discovered that Florida’s waters provided the only U.S. habitat for natural sponges. Those who did not dive staffed or maintained the boats, sold the sponges, or practiced other related maritime occupations. The divers gradually brought their families and their strong religious beliefs to Florida where they flourished.

Today, the sponge industry endures and Tarpon Springs preserves its strong Greek character and maritime heritage. In recent years, many Greeks who moved to the industrial north for work have returned to the Tarpon Springs area. Moreover, Greek-Americans and Greeks from all areas continue to re-locate to this area that stretches more than forty miles from Port Richey to the north and Clearwater to the south. As a result, there is a strong and diverse Greek community that includes enclaves from virtually all parts of Greece.

Though today most sponge divers use modified scuba gear, a few still wear the traditional canvas and rubber suit topped with a heavy helmet made from copper, brass and plate glass by Nick Toth. Toth’s grandfather, Antonios Lerios, was born on the Greek Island of Kalymnos. As a boy he moved to Istanbul, Turkey, where he worked in the shipyards, eventually becoming a master mechanic and machinist. He came to Tarpon Springs in 1913, when he was 21, and soon became known as the best diving helmet craftsman. Over the years he continually refined his design, making the helmet more comfortable, improving airflow and increasing visibility.

In the early twentieth century, sponge divers often went to sea on ships that stayed away from home for several months. Although the men often ate fresh fish, they broke the monotony of their diet with a preserved meat called kavourma. Before sailing, the crew was responsible for preparing enough kavourma to last an entire trip. The preparation of kavourma became a local social occasion as well as a necessity. Although sponge divers no longer need to take kavourma, some Tarpon Springs residents continue to make the dish for special occasions or to teach others about the tradition. Nick Toth will demonstrate the tradition for festival visitors.

Religious Art
Greek Floridians maintain a wide variety of traditional arts, many of which have a close relationship to family and religion—the areas of greatest cultural conservatism. An essential Orthodox belief is that the icon is a vehicle of divine power and grace. Through the icon, the represented becomes present. Orthodox tradition has fixed many features in the depiction of the saints and holy family so that the relationship between the prototype and recurring images would not be lost. Nevertheless, there have been periodic and regional variations in iconographic style and detail. In Greek Orthodox churches, icons are displayed on walls, on the proskynetarion--the stand that holds the day’s icon, and on the iconostasis--the screen that separates the chancel from the nave. Most Greek families display icons in the bedroom, the most private areas of the house.

Florida is lucky to include several well-respected Orthodox iconographers among its citizens. Born in the United States, Elias Damianakis (New Port Richey) completed a twelve-year apprenticeship in iconography and has made extensive visits to Byzantine monuments and holy sites to further his knowledge. Damianakis adheres to strict Orthodox prototypes in creating portable icons, wall murals, frescos, and Byzantine window design, but infuses his work with a warm personal style. He mixes his own paints, using fine quality color pigments from around the world which result in luminous, permanent colors. Damianakis, whose work is found in Florida, California, New York and Greece, received a Florida Folk Arts Fellowship in 2001.

Domestic Arts
Through the home, women take an active hand in teaching values and ways of life. Traditional domestic arts express the aesthetic vision of the individual through media that fulfill the basic needs of family and community. In Florida, many Greek American women practice domestic arts such as needlework, home decoration, and food preparation.

Until the past few decades, young Greek girls learned needlework such as embroidery, crochet, and tatting in order to make items for their dowries. Many Greek American women learned needlework arts from family and friends and continue to create household items of great beauty. There is significant exchange in this area, as Greek American women draw inspiration from Greek examples and share American patterns with friends and relatives in Greece. In Tarpon Springs, women also create the colorful costumes of their ancestral homes for children to wear to celebrations such as Epiphany or Greek Independence Day. In many parts of Florida, altar cloths and the vestments worn by priests, altar boys, cantors, and other participants in the Greek Orthodox Liturgy are formally prescribed yet often dependent upon the needlework skills of parishioners for their fulfillment.

Panagiota King (Sarasota) was born in northern Greece, where some families continue the custom of providing a dowry for their daughters. All the linens needed for the bride’s new home are typically included. When she was a little girl, King would sit on her mother’s lap for hours, watching her embroider traditional designs on tablecloths, curtains and pillowcases for dowries. King’s mother was the first in their area to embroider on a treadle sewing machine, and she later taught the art. King remembers, "The young girls would come to our house….The girls would bring their treadle machines and their lunch, and all day they would practice. In 15 days they could do everything she could do, but not as fast." King married an American missionary, and has adapted the art form to her life in Florida. "In Greece," she explains, "everything has a doily on it or a tablecloth or something like that." Since those items are not as common here, she concentrates on apparel. Her embroidery on blouses, shirts and jackets is very much in demand. Although her mother specializes in white-on-white, King is known for her color work on both treadle and electric sewing machines.

In many parts of Greece, people decorate the churches with palm leaves on Palm Sunday. In Florida, some Greek Americans still plait the fronds in a decorative manner or weave them into objects associated with the events of Palm Sunday, such as donkeys and riders, or into decorative crosses. The priest distributes palm crosses to the congregation at the end of the Palm Sunday service. Parishioners place them on the family icons for good luck throughout the year. Every year, Kalliope Joanos (Tallahassee) makes hundreds of crosses in a unique style that originated in her native island of Patmos.

Recreational Activities
Music is embedded in a whole range of social obligations such as church picnics, baptisms, Greek fraternal celebrations, and weddings. Greek music played in Florida encompasses a wide range of folk and popular genres, including many distinctive regional variations that utilize unusual traditional instruments. People often want to hear the old rural Greek songs, so musicians regularly include the old as well as the new in their repertoires. In recent decades there have been significant changes in Greek instrumental music: the bagpipe is very rare, only a few musicians in the country play the santouri, the bouzouki has become the most common lead instrument and electric amplification is now an inescapable feature.

Spiros Skordilis is a master of several types of Greek music: rebetika, laika, and kantada. He first learned Greek music from his father in Athens. As a young man Skordilis formed and played bouzouki in two popular trios, the Laiki Orchestra and the Blue Trio. His work gained him contracts with Columbia Recording Company, then with RCA. Skordilis soon won more fame by recording his own compositions, some of which became standards in Greek popular music. During the era of military rule in Greece, many musicians were harassed. As a result, Skordilis toured the U.S. and Canada, then settled in Tarpon Springs. In 1986-87, he served as a master artist in the Florida Folklife Apprenticeship Program. Today he performs and teaches bouzouki, while continuing to write songs with his wife Kay.

The lyra is the most popular melodic instrument on the island of Crete. A bowed instrument similar to the violin, it usually has three strings tuned in fifths. Musicians play the lyra in an upright position, resting it on the knee when seated. If standing, they place a foot on a chair and rest it on their thigh. In an unusual fingering technique, musicians press against the sides of the strings with the tops of their fingernails instead of pressing the strings with fingertips. An instrument that frequently accompanies the lyra is the Cretan laouto, which is typically larger and tuned lower than the mainland version. Cretan laouto players often play melodies on the four pairs of metal strings, rather then chords and rhythm like mainland players. Sometimes two laoutos accompany the lyra, with one playing melody and the other rhythm and chords.

Cretan lyra player/maker and vocalist Kostas Maris (Holiday and Miami) is an impressive musician and craftsman who produces handsome instruments that play very well. He has played at the Smithsonian's Folklife Festival in Washington DC and at Carnegie Hall. The Folklife Collection of the Museum of Florida History includes a lyra made by Maris’ father, the late lyra musician Elias Maris. Maris' laouto playing partner, Nick Mastras (Holiday), is also an excellent musician and participates in the local chapter of the Pan-Cretan Association.

Greek traditional dancing occurs in a variety of formal and informal contexts, such as weddings, holiday celebrations, or regional fraternal organization and church parties. Although Greeks and Greek Americans share many dances, there are myriad variations of such basic dances as the kalamatiano, sirto, or tsamiko by those from different regions of Greece or the United States. Greek Orthodox churches often sponsor dance troupes, such as the Opa! Dancers from Holy Mother of God Greek Orthodox Church in Tallahassee, led by Alexandros Theodoropoulos.

Visitors to Greek dances sometimes overlook the structure of the dances as they are swept up in the event. Musicians usually follow the lead dancer in such as way that their playing accents his or her movements. In the curved line dances, it is the lead dancer’s prerogative to improvise on the basic steps with flips, whirls on the heel, and slaps to the shoe. Ideally, the dancer becomes so absorbed in the music that kefi, a state of high emotion, inspires him or her to dance without premeditation. A handkerchief allows the second dancer to aid the leader in the improvisations. The third dancer keeps to the regular steps, thereby providing a model for the rest of the line. Finally, the last dancer places the left hand in the small of the back and ensures that the dancers maintain the curve by always moving slightly backwards.

In many Greek American communities, the tradition of the coffeehouse still survives. The coffeehouse offers men the opportunity to relax with friends after the day’s work, often by playing cards, reading Greek newspapers, exchanging news and gossip, and solving the world’s political problems while drinking thick, concentrated Greek coffee. We will dedicate a corner of the Folklife Area to recreating this venerable institution.

East and South: Turks, Armenians, Arabs
Turkey, Armenia, and the Arabic speaking lands all possess distinctive cultural traits, but share an intricately entwined history and many traditions with each other. Culturally and geographically, Turkey straddles Europe and Asia. In ancient times, the great civilizations of East and West—Hittite, Greek, Persian, Roman and Byzantine, met in this region connected to the Mediterranean Sea as well as the Tigris and Euphrates Rivers. Beginning in the early 6^th century AD, Turkey was successively invaded by the Persians, Arabs, Seljuk Turks and Mongols. Between the 13^th and 15^th centuries it was gradually conquered by the Ottoman Turks, who ruled it until the establishment of the Republic of Turkey after World War I.

Armenia has similarly served as a bridge for civilizations throughout history. Over almost three millennia, the region was successively ruled by the Persian Empire, Alexander the Great, the Roman Empire, Byzantium, the Arabs, Seljuqs, Mongols, Tatars, the Ottoman Empire, Safavid Persia, and the Russian Empire. In spite of political incursions and persecutions, the Armenians developed a sophisticated culture. Today, Armenia is a small, independent democracy of 2 million bordering Turkey to the west, Georgia to the north, Azerbaijan to the east and Iran to the south.

In the 6^th and 7^th centuries, peoples from the Arabian Peninsula invaded regions of Asia, Europe and Africa—thereby disseminating the Arabic language and Islam. At its height, the Arabian empire was the seat of a great civilization that stretched from the Atlantic Ocean to central Asia. Arabs prized education, and made great strides in fields such as medicine, mathematics and science. Although Arab dominance ended with the rise of the Seljuk Turks in the 11^th century and Ottoman Turks in the 13^th, much of the culture in the former empire was built on Arab foundations. The term Arab originally meant the Semitic peoples of the Arabian peninsula, but over time it has come to mean people whose primary language is Arabic.

Music in Turkey and the Arabic-speaking countries frequently features similar distinctive sounds in both vocals and instrumentals. Early Arab musicians may have borrowed musical elements from the Egyptians, Assyrians, and Sumerians. Classical Arabic music consists of a repertoire of traditional music that has been passed down for generations in the Arabic-speaking world. It is usually performed by an ensemble consisting of the oud, violin, kanoun (a very complex dulcimer-like instrument), darbukka and riqq (similar to the tambourine). The western violin was adopted in this genre over a century ago, but the tuning was changed to gdgd in order to facilitate the appropriate ornamentation style.

The present forms of many instruments emerged during the Islamic Golden Age of the eighth through tenth centuries. The lute evolved from the Arabic oud, which was introduced into Spain by the Moors. Shaped like half a pear, the oud produces a deep mellow sound when its six rows of two-strings are played with a plectrum. The tablah or darbukka is a small hand-drum with goat or fish skin stretched over a wide-necked vase-shaped body made of clay or metal. Musicians place it under the left arm or between the legs, striking it in the middle for strong beats and on the edge for sharp in-between beats.

Joe Zeytoonian (Margate) grew up in an Armenian community in Massachusetts. His parents, who emigrated from Maras, Turkey, passed along their musical skills to Joe and his brothers. Since leaving his career as a radar systems programmer to become a professional oud player in 1980, Zeytoonian has performed on many recordings and in venues throughout the U.S. and in Europe. Zeytoonian has received two Florida Individual Artist Fellowships (1989-90, 1995-96) and the Florida Folk Heritage Award.

Born in Havana, Cuba of Turkish-Sephardic and Polish/Russian parents, Myriam Eli (Margate) was raised in San Juan, Puerto Rico. As a child surrounded with Middle Eastern music and dance, she often danced or played percussion instruments during family gatherings.  Eli teaches, choreographs, and performs dance, in addition to playing a variety of percussion instruments. In 2000 she won a Florida Division of Cultural Affairs Dance Fellowship. Together, Zeytoonian and Eli formed Harmonic Motion, a group that performs and teaches a variety of traditional music and dance forms. They regularly participate in performances and workshops of traditional Turkish, Armenian, Egyptian, North African, Raqs Sharki (oriental or eastern dance), Sephardic (Judeo-Spanish), and Moorish flamenco music and dance. They also collaborate in presentations of jazz, avant-garde, modern, flamenco, Indian, Balkan, and African music—sometimes blending traditional with modern music to create new forms.

Turkey’s rich cultural heritage is seen in the wide variety of its folk dances, which differ between the central Anatolia, east Anatolia, Aegean, Black Sea or Mediterranean regions. Dances are performed during weddings, gatherings, festivals, religious and national holidays. Whether they reenact daily life or tell a story, they often reflect the different social roles of men and women. Dr. Mutlu G. Çitim-Kepic directs the University of Florida’s Turkish Folk Dancers. Members of the group include both students and permanent residents of Turkish heritage.

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Sephardic Jewish History and Traditions in Florida
By Annette Bacola Fromm

Who are Sephardic Jews?
Sephardic Jews originally came from medieval Spain in the era known as the Golden Age. At that time, Jews, Muslims and Catholics lived together, and their unique interactions led to rich secular and sacred cultural expressions.

When King Ferdinand and Queen Isabella joined their kingdoms and ascended the throne in the late fifteenth century, they allied themselves with Catholic Church officials to create a united Catholic Spain. In 1492 they succeeded in expelling Jews and Muslims from homes in which they had lived for over four hundred years.

Many Sephardic Jews who fled Spain found new homes in Holland, North Africa, and Italy. The majority of the refugees were welcomed with open arms into the young Ottoman Empire in the Eastern Mediterranean. There they established major communities and their special Iberian Jewish culture continued to grow.

After leaving Spain, the Sephardic Jews retained pride in their Iberian origins and placed emphasis on the purity of their descent - two features of Spanish grandeza by which Sephardim in general have been characterized. The traditions, which developed hundreds of years ago, continue today.

Sephardic Jews in Florida
Sephardic Jews were probably among the first Spanish settlers in Florida. Many Jews remained in Spain after the expulsions. They publicly practiced Catholicism, but secretly continued Jewish rituals. Known as conversos, some of these secret Jews sought homes in New Spain.

The first documented Jews in Florida territory were, in fact, Sephardic. The three moved to Pensacola from the Jewish community in New Orleans to establish new businesses. Florida’s most famous Sephardic Jew was David Levy Yulee, our first representative to Congress. Yulee’s family emigrated from Morocco via Gibraltar, St. Thomas and Cuba before settling in central Florida. In the twentieth century, increasing numbers of Sephardic Jews have found work in tourism, agriculture and other businesses throughout Florida. Some fled the crumbling Ottoman Empire in search of economic opportunity. Others came spending a generation or two in Cuba or New York. At the end of the twentieth century, a new wave of Sephardic Jews came from Morocco and Israel, bringing a somewhat different range of cultural practices.

Sephardic Cultural Traditions
Though much of Jewish culture is determined by the tenets of the religion, it has also been shaped and colored by the customs of their neighbors in many countries around the world. The folklife of the Sephardic Jews arose in the multi-cultural setting of the Iberian Peninsula and continued to take a unique shape in the pluralistic setting of the Eastern Mediterranean. Music and poetry expressed this unique historical experience through the use of Iberian modes and the Judeo-Spanish language. Life cycle customs and holiday celebrations reflected the influences of Muslim and Christian neighbors. All forms of expressive culture are rich with flavor and meaning.

After leaving Spain, the Sephardic Jews spoke Judeo-Spanish or Ladino—medieval Spanish with Hebrew, Turkish and Slavic words. Judeo-Spanish distinguished them from other residents of the eastern Mediterranean. It also served as an anchor reminding them of their Spanish past. The variety of forms of traditional literature expressed in this language range from romantic poetry to evocative proverbs to ballads to folktales capped with moralistic endings.

One of the most recognized and important forms of Sephardic folk culture is the romances or ballads. They preserve the form and content of the Spanish ballad tradition from the Middle Ages, as well as themes known in other European ballad traditions. Sephardic romanceros (ballad singers) have borrowed from the popular poetry of the peoples among whom they lived after their exile from Spain. Thus there are often Greek, Turkish and Arabic influences in the songs. Other song forms maintained by Sephardic singers are wedding songs, lullabies and laments— songs sung after a death.

Susana Behar (Miami) learned the vocal traditions of her mother's Turkish Sephardic family while growing up in Havana, Cuba. Due to the harsh political realities engendered by the Castro regime, Behar's family emigrated first to Venezuela in the 1960s and then to Miami in 1983. In both locations, she maintained her connections with the tradition by singing whenever she had the opportunity. Many of the songs she sings are historical ballads in Ladino that relate stories about love or humorous events. Her repertoire also includes some Sephardic religious songs, such as those sung at the Passover dinner.

Proverbs (refranes) form a rich body of Judeo-Spanish folk-literature that are used daily. However, Sephardic Jews have maintained the archaic Spanish pronunciation: reflan. Proverbs reflect the life, thoughts, and unique philosophy of Sephardic Jews wherever they live. They often consist of a phrase that describes a situation, elaborates an idea, pokes fun at an idea, or changes an idea. The primary function of the proverbs is to teach.

There are hundreds of Sephardic proverbs that comment on subjects touching all parts of human life. The themes range from such topics as the Jew as seen by himself and others, the figure of the rabbi, Jewish holidays, to the behavior of the Jew in his world. The following are three examples of Sephardic proverbs:

Seas bienvenido mal si vienes solo. Bad things never come alone.

De los ocho fina los ochenta. From eight to eighty.

El querer es poder. To want is to be able.

Although her parents came from Salonika in Greece, Daisy Newell (Boynton Beach) grew up in New York City. During family visits with relatives every Sunday, she listened as her uncle played the mandolin and sang old Spanish songs. Today as part of the Sephardic performing group, Los Pregoneros, she passes on these traditions as she performs Ladino songs, tells old proverbs, and performs skits about such topics as arriving in America.

Handworked textiles formed an important part of every young Sephardic bride's dowry or ashugar. The dowry was the collection of possessions that a bride brought into marriage. It could include fine embroideries and pulled thread textiles for household use, clothes, a sewing machine, silver serving pieces and even wool-stuffed mattresses and pillows! The contents of the dowry were included in the written marriage contract, or ketubah, that accompanied every marriage.

Since Jewish law states that a man cannot live with a woman without a contract, the ketubah outlines such marital obligations as the provision of money, property rights and conjugal relations. However, the ketubah has a long history as a work of art as well as a legal contract. American ketubah are written in both Hebrew and English calligraphy, often with a well-known Jewish saying gracing the top of the page. The artist consults with the bridal couple to choose an appropriate passage from the scriptures, then illustrates the document with beautiful designs that have symbolic significance in Jewish culture. Art teacher Eileen Brautman (North Miami Beach) believes there is a renewed interest in this art form. Brautman began turning her attention to the study and practice of ketubah more than twenty years ago. After thoroughly researching the history and symbols of this art form, she attended classes in Hebrew calligraphy in order become proficient in lettering. When her son Michael married, he received her first ketubah as a wedding present.

Greek-speaking Jews
Not all Jews in Greece were descendents of the exiles from Iberia. When they first arrived in the Ottoman Empire, the Sephardic Jews were greeted by indigenous Greek speaking Jews. A reverse form of assimilation quickly took place and the local Jews learned the Spanish customs of the newcomers. However, in the northwestern corner of Greece near Albania, several isolated communities retained their unique Greek-Jewish traditions.

Annette Bacola Fromm (Miami Beach) grew up in a Jewish home filled with Greek folk music, Greek food adapted for Jewish food laws and Greek Jewish customs. Her grandfather and mother told her stories of Ioannina, the city of the lake ruled in the early nineteenth century by Ali Pasha Tepelenis. They also related tales of the quintessential trickster, Hodja. These tales, which are preserved throughout the Eastern Mediterranean, are filled with the crazy antics of the Hodja. Fromm also learned to cook delicious Sephardic dishes such as eggplant and cheese and stuffed grapeleaves from her mother.

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American Folklife Center
http://lcweb.loc.gov/folklife/
This Library of Congress page is designed for locating documents, sites, and Internet resources pertaining to folklife, anthropology, and history.

AFC Florida FWP Site
http://memory.loc.gov/ammem/flwpahtml/
Focusing on Florida’s recources in the American Folklife Center’s "American Memory" Web Page, this site includes stories, descriptions of traditional culture, history, and folklife documented in the 1930’s under the WPA Federal Writers Project.

The Culture Concept
http://fga.freac.fsu.edu/academy/culture.htm
This site produced by the Geographic Education and Technology Program at Florida State University includes lesson plans, activities, glossaries, and references for integrating the study of culture into a range of classroom subjects.

Cultural Arts for Teachers & Students
http://www.carts.org
This site offered activities and lesson plans for folklife and oral history projects.

Florida Folklife Program
http://dhr.dos.state.fl.us/folklife/
This site provides an overview of programs offered by the Florida Department of State.

My History is American History
http://www.myhistory.org/
This National Endowment for the Humanities site includes resources for documenting and studying family histories and family folklife.

Smithsonian Institution Center for Folklife and Cultural Heritage
http://www.folklife.si.edu
This site is useful for finding activies and resources of the Smithsolian Institution.

Prepared by Dr. Gregory Hansen

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Thank you to our sponsors!

American Folklife Center, Library of Congress
Columbia County Tourist Development Council
Dean & Company, Inc.
Duffy Soto
Florida Blacksmith Association
Florida Department of State, Division of Historic Resources, Florida Folklife Program
Florida Folklore Society
Florida Media, Inc
Friends of Florida Folk
George Steinbrenner
Hamilton County Chamber of Commerce
Hamilton County Tourist Development Council
Visit Florida
Lake City Community College
National Endowment for the Arts
South Florida Folk Festival
Southern Arts Federation
Stephen Foster Citizen’s Support Organization
The New York Yankees Tampa Foundation
The Seminole Tribe of Florida
Town of White Springs
WCJB Television, Gainesville
WJXT Television, Jacksonville

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