The primary focus of the Trust Fund is to assist with the development of the Garifuna people in Belize. Mike Polonio, the National President of the NGC said, Right now the NGC is being stretched thin, with no resources and currently members of the NGC use their own resources "The contribution from this fundraiser will be used as seed money for officers and to continue needed services within the communities."

Upon entering the Jungle Pavilion room at Old Belize from a rear door, we were welcomed with a selection of bitters to drink and with the beat of Garifuna drums. The room reflected the essence of the night; to the left was a vast array of Garifuna food, buffet style; to the right was the cash bar, and the right corner of the room had a display of Garifuna artifacts from the Luba Garifuna Museum in Belize City.

The tables and chairs for the patrons were in the forefront of the room; the sound system of Rudy Cruz was upstage left; and behind the patrons’ tables, downstage right was a realistic display of cassava bread being baked on a huge komal (budari). This cassava bread scene had a semi-circle of huge stools, made from the trunks of trees, around it. The main stage was in the front of the room. An open space in the center of the room (center stage) between the buffet and the cash bar was utilized for performances.

The program provided a wealth of information on the history, culture, music, dance, food, words and phrases of the culture.

Directors of Ceremonies were Gwen Nunez-Gonzales and Ralph Martinez. Laru Beya Boys and the drummers from Laruni Hati Dance Group ensured that their drums spoke to us all night. The members of Pulali Dance Group and Dangriga Performing Arts Company engaged us with their dancing. Ms. Garifuna Belize 2006, Estelle Martinez, was in attendance. She hails from the capital of the South – Hopkins.

We were invited by Gwen and Ralph to join in the first dance presentation (Mali), which was performed at center stage. The invitation made me feel inclusive of a communal group, and not as a spectator to an event.

Mali is a traditional dance that is usually done during the healing portion of the Dugu (Mass for the dead). This was the opening door to our interaction with the Garifuna culture. The Mali was led by an elder, Buyei John Mariano, who spoke to his ancestors throughout the dance. During this circular piece, men and women acknowledged the cardinal points by moving in a clockwise direction, and then moved to the middle of the circle. By gesturing with their hands they would receive everything of the world, and after moving in an anti-clockwise direction, they would scatter those things.

As the evening progressed we experienced dances such as Abeimahani, Cheri Kanari, Juanaragua, Asederehani, Combination (punta & hunguhungu), and Arumahani. Our focus would shift interchangeably from the communal space (center stage) to the main stage for the various dances.

Abeimahani "is a semi-sacred women’s song that is sung without instrumental accompaniment. Standing in lines, linked by their little fingers, women gestured rhythmically to a musical form of irregular metre. This song type is derived from the Carib Indian heritage of the Garifuna and is closely related to many Amerindian and ultimately, Siberian song styles.?

Both of the Directors of Ceremonies were very upbeat and vibrant and kept us engaged, as they guided us from one experience to another. They tempted us to sample the food, and once we did there was a constant stream of people flowing between the buffet table and our respective tables.

I was amazed by the amount and variety of food. Some I have heard of; others were new to me. The presentation of the food was very creative. On one end of a long table was a huge wooden bowl (the type that is used to wash clothes and knead in), with slices of Creole bread inside it. Blue tins with Wood & Dunn Dairy Maid Butter (locally known as creamery butter), were placed in front of the bowl. The length of the table was laced with food and in between the food containers were ruguma ? cassava strainer, hurricane lamps, large and small drums, a huge wooden carving of a person, turtle shell, green bananas, cassava roots, green coconuts, and some Garifuna recipes. The aroma was tantalizing.

Cassava bread, stewed conch, chicken fingers, cassava chips with sauce, tahara (fried green banana), stew chicken, sahou (green banana porridge), hudut ("fish cooked in coconut broth called sere, and served with mashed platains or yams"), bundiga (fish served in a combination of grated green banana cooked in coconut milk), fish fingers, darasa, cassava and potato pudding were some of the mouthwatering food options.

The following recipe for sahou was on display: 1lb cassava, 4 cups coconut milk, 1 tsp. cinnamon. Peel, wash, and grate the cassava and coconut together. Strain the milk from both and boil. Add sugar, cinnamon, nutmeg, and stir slowly until it is thick.

I made more than one food trip and from observation, I was not alone. The people seated at my table would try something, and suggest it to others who would sample that dish on their next trip. It was a festive time; the singing and the drumming seemed effortless and endless. The beauty for me was that the experience was always in motion and interactive.

Many of the songs were sung in Garifuna, but one that was sung in English captured my attention. Later I learned that Roysus Bregal of Dangriga wrote "Symptoms of AIDS" "AIDS is a killer, ask Mr. Thriller and Ms. Feather and they will tell you that AIDS is a serious little fella. Murderer he killed Mrs. Sexy and Mr. Vexy, so check yourself before you wreck yourself. Mr. Fred, take these symptoms of AIDS to Mr. Ted for me. Symptoms of AIDS: loss of weight, fever after fever, loose stools, arm pits, and dry, dry cough."

Whenever the chorus was sung, the singers would mime the words. Even though it was funny, the message was powerful.

The clothing worn for the dance presentations were very colorful, traditional, and significant within the context of the meaning of the dances.

The Garifuna Clothing Presentation highlighted traditional men and women"s working clothes, and formal attires in different styles.

As the evening drew to a close, Lugua Centino, Andy Palacio and Adrian "Doc" Martinez took to the main stage and increased the level of jubilation with Paranda. This is a dance that is usually done at most brams. The smiling faces, the rocking bodies, the nodding heads, the empty plates and glasses reminded me of the final day of a family reunion.