She wears a warm, friendly smile and like a bird ready to fly, she stretches her arms and turns around on her toes with such grace that she leaves onlookers speechless. Linda Pollard Lake has spent a lifetime dancing and teaching the art and is one of the most respected modern and ballet dancers.

Afraid to be called a “diva of dance”, Linda is modest when talking about her skill. “This country has too many qualified and celebrated dancers for me to take the name ‘diva’. I would prefer to be called a good dancer and an excellent tutor,” she said. Born at Maraval Road, Port-of-Spain, Linda says that although she looks British, she is a true Trini. “Maybe I am a white Trini, but I am a Trini to the bone. Make no mistake about that,” she said laughing. She comes from a lineage of Scottish and British grandparents but her father, Henry Pollard was a French Creole born in Trinidad. Her mom, Elsie Talma was also born in Trinidad of Scottish parents.

Although Linda is considered a “town girl” she has a yearning for the rich culture that comes from the rural areas where the African slaves and indentured labourers settled. She has been mixing her choreography with a lot of the styles from African and East Indian cultures. “In order to satisfy the local audience there is always a need to fuse the modern styles of dance with the traditional styles that carry African and East Indian origins. Of course there is an audience for pure modern dancing and pure ballet dancing, but what is interesting is the fact that an artiste dares to mix and experiment with the various art forms,” she said gesturing with her hands.

Having spent some 40 years as a dancer, mastering modern and ballet dance, Linda heads Danse Assemble institute of Maraval Road, Port-of-Spain. She is the mother of two, Adam, 24, and Kristel, 21, who are both studying at Toronto University, Canada. In recent years Linda has been able to do a lot more work in modern dance as her children are no longer with her. “I am living a life that is dance. Apart from doing some social activities for the communities in and around the Port-of-Spain area, my total concentration is choreographing and tutoring kids and adults,” she said.

At her studio she tutors students from age three to 42. She said more and more people are getting into dance. “There is a new awareness in dancing. Everywhere you go you’ll see young children ready to learn the art and this is a good sign. The art of dance really helps one to relax. “Both the physical body and the mind are made to relax. As a result of this there is no stress. Dancing strengthens the body and mind. This is important. Cause there is so much tension and stress coming from the workplace and the schools. The need for higher education and the need to excel in one’s job can be really stressful, therefore the art of dance is recommended to add balance to one’s monotonous routine,” she said.

Linda graduated from the Dorine Bird School of the Performing Arts in England. She later attended the Imperial Society for Teachers also in England where she attained her diploma in modern dance. For ballet she said there is a need to condition the body from a young age. “One has to begin ballet at the age of four or five in order to become a ballerina. The art is very structured in that one can study the art by reading the various steps from a text. Just as one can write music, one can write a recital for ballet. The technique is so well dictated that one can instruct the art from sitting on a chair. It is like the mathematics of the academic side of things,” she said.

“In ballet the stories are told of the kings and queens and their adventures. The act where the princess will fall in love with the prince charming and they venture out in the fields having fallen in love.” These stories and costuming are traditional. The long skirts are used for the romantic stories while the short, outstretched skirts called “putu” is used for the high jumps and intricate movements. In ballet the French shoes are used and this is a soft shoe with sliding a base that assists the dancer to move fluently on stage. The pointed shoe is used to get the professional dancer on the tip of the toe.  Because of this balance on the shoe tip, the dancer can do the turns and the other very difficult moves. “It is the dream of every ballerina to reach this standard where they can master the art,” she said.

In modern dance the soul can be set free for movement that relates to the different emotions. “One can take the modern steps and place them in dance that depicts sadness or in a dance that depicts joy and happiness. “One can take these same steps and alter them to suit the story that carries a patriotic message,” she noted. This is why the modern dance is so popular, she added. Referring to the limbo dance, she noted that it depicted death and carries a powerful message where those involved call on the gods to bless the soul of the family members who have passed away. Originally the dance, which is of African origin, was done the night following the death of a family member. However, today the dance is done at many public functions which highlight the culture of the African people. “This is good because we get an opportunity to learn about the African people and how they deal with certain situations,” she said.

Linda said that while dance is used to complement many performances on its own it is “illusion”. “It is like catching a ghost. Once a recital is done, it is gone forever. To create this moment again is like an impossible task,” she explained. The dancer has to keep creating new styles that would go with the beat of the day, she said. “For example if an artiste would create a song about an old lady who wanted to learn about the city, then the dancer has to create the movement that would depict the scenes of this song.”

One of her cherised memories is working with the late Andre Tanker in a recital called Marina Osha, in which she played the role of a Caribbean black woman. This performance was one of the more popular pieces in 1992 and they were asked to do it time and time again. “It was a sensual piece. A piece that depicted the real woman in all her sexiness. In all her glory as she walks to fetch water. Although she was doing labour, having to fetch water from the well, she showed her womanhood in the way she walked and the way she smiled,” she said, describing the dance with much passion. Linda remembered Tanker as he sang the song and for her, it was as if he was singing for her alone. This, she says, was one of her best moments as a performer. She thanks God for the mercy bestowed on her and believes in praying each day before leaving her home. “I feel better when I know I have God’s blessings.”

He is hailed as the Jimi Hendrix of the 21st century — our own Ron E Carter, Trinidad-born musician who grew up on the streets of Tunapuna and later migrated to England. His is a household name in the UK; wherever he plays he’s given commendatory reviews. One patron at a restaurant where Ron played commented: “Interspersed with more original material the crowd and myself had forgotten we were in a restaurant as we applauded Ron Carter’s musical talent. This guy was special.”

He’s not to be confused with Ron Carter renowned American bassist once a member of Miles Davis band. But, to prove his worth, just pop in his sophomore album Play Hendrix in your stereo system — Ron’s tribute to the legend and you’d swear it’s the man (Hendrix) himself, the “psychedelic” rock guitarist whose music still lives on despite his fleeting career. He’s a natural. He explained that his reason for celebrating Hendrix on his 12-track album stemmed from him “being the most influential guitarist ever”.

Ron’s agility and inventiveness on the guitar is signature Hendrix but admittedly, at a first glance one couldn’t help but find a similarity in his appearance to that of Lenny Kravitz — the grunged-look hairstyle, his height, muscularity and dress code. Ron is currently in Trinidad on a business trip, touching base with fellow musicians with the intention of introducing his music to the Caribbean. We can look forward to much of that taking place before year’s end, he assured.

It wasn’t too difficult for Ron to find his niche among the already crowded music industry in England, since his reputation had preceded him. At age nine, he was playing piano by ear and had moved on to the guitar. He also plays keyboards. His father Gilbert Carter, a quantity surveyor played the piano and other members of his family were also musically-inclined. “Of the seven children in the family, six have dabbled in music to some degree,” he said. Two of his siblings teamed up for a dance competition on the once popular “The Ready Steady Go” programme in Britain. In the late 60s the Carter family was featured on the BBC2 television programme Man Alive, so the Carter name was gradually being introduced to the public.

In his teen years he was made an offer by CBS as a result of his versatility on various instruments but “my father suggested I get good qualifications first”, and music later. So, he went in pursuit of becoming a reputable lawyer representing impressive clients, names known the world over at one of England’s top ten law firms. A litigation lawyer, he was known for his dogged determination. Soon, he realised that his full-time profession left him little personal time, “something like all work and no play”, so he quit at the end of ten years. “I began to lose me, becoming too consumed with the job. But, always to the back of my mind, I assumed I’d be a musician. I knew where I wanted to go, what I wanted to do. “In the Middle East (where he practised law) I stayed in a semi-dry state with no bars.

So different to England so I got out my instruments and I wrote,” Ron said. He wrote well over 100 tunes but was quick to inform: “Now don’t get me wrong, that’s not 100 quality songs, but it was very, very prolific.” Ron made a nosedive into jazz, working with some of the best artistes in England. In 1997 he released his first jazz-fusion album Ad Idem (As One) which he described as having “some Caribbean undertones. You can’t get the Caribbean out of me, the rhythms are there mingling with all the others.”

However, he’s made a crossover to rock and for the last year and a half formed the band bearing his name. He’s incorporated the work of musicians of St Lucian ancestry Michael (bass) and Mark Mondesir (drums). Together, the Mondesirs appear on over 50 albums that have been released internationally, working with names like Whitney Houston, Neneh Cherry, S Club 7, Jeff Beck and Courtney Pine.

British singer, Yvonne Howard whose vocals are also heard on Play Hendrix found that Ron was being too modest. At this point she interjected: “Evidence of how good he is, is heard by what his listeners tell you. I was at an event where he played and someone said ‘I know Jimi Hendrix is dead, but I think he has been resurrected’.” “The band plays predominantly rock, with jazz, funk flavas,” and despite the crossover, he said, “we always had the ability to get through to an audience.”

The Ron E Carter band has played as far north as Scotland, England to south Cornwall. Their motive: “We strive for excellence. I’m constantly learning, progressing and try to produce a better and better album every time.” This year he celebrates his tenth year as a musician. His accomplishment, he said, came because he never “wished his life away. There’s a big wide world out there. The limitations are in our heads. The thing that they (music moguls/listeners) won’t take an islander seriously is nonsense. The world at the time is in need of music outlets; the amount of festivals are diminishing and we (Trinidad) are situated in a prime position to capitalise on that.”

Ron said his decision to link up with local musicians and give Trinidad and Tobago a taste of his music stemmed from a bond he still has with the twin isle. “Trinidad is still very important to me…and for me everything has to be right for what you want to do.”

FOR years I have been fascinated by the African hairstyle —the plaits, in particular.  And for years I have attempted to visit the hairdresser and get my plaits but something stopped me —the fear that I might be looked upon with scorn by the East Indian community.

An Indo-Trini told me with seething contempt: “Ah pretty Indian like you want to look like a Creole? The Creole straighten he hair to look like the Indian and you plait up yours? Yuh head need checking.” Yet each time, after getting my new hair, that I went in front the mirror I could not help admiring my new appearance. Imagine, I had “grown” long hair in one day. My hair is five times thicker than it was giving my face a fresh and youthful look. It was not the African thing I saw. It was me, looking good.

But during the five weeks I carried my afro plaits I was treated differently by people I knew. The Afro-Trinis looked at me differently. I could see more concern and care in their eyes than before. I realised that they would quicker help a “sister” and stay away from someone of a different race. All through the Carnival season I had no problems travelling at late hours after assignments. The African “brothers” were quick to accommodate me in their taxis. Calling out, and asking: “Sis, yuh ready?”

When I pulled up for gas, one pump-attendant (of African descent) looked at me and said, “family what band we playing in”. Jokingly I replied, “I have a band of children home waiting for me.” The one who could make a pass at me would say, “sexy woman”. Some went so far to say, “whey we liming tonight”. In my mind I would say “I don’t know about you but I would be sleeping comfortably in my bed.”

I have always been a girl on the go. Coming from a highly religious home where my father, Teeluck Jankie (now deceased) was a sadhu (Hindu saint). My mother Phool had 12 children of which I am the ninth. I was brought up listening to the mantras of the Vedas repeated from as early as five on mornings. I learnt how to pray and whenever I am faced with problems the mantras come to my lips naturally. This is why I believe I have so much respect for all of God’s children.

As a child I remember how much respect my father had for the Afro-Trinis. At the age of six I remember my father taking all his children and journeying to the lagoon lands in Cumuto (a village between Moruga and Barrackpore). We would get up onto the bull-cart drawn by a water buffalo and on the way there we had to pass through the Mandingo Village where the African slaves settled. There, their descendants, maybe the fifth and sixth generation now reside. While we were not allowed to look at them or talk to anyone, my father showed respect to all of them.

They referred to him as “Sadhu”. They would be quick to help if something went wrong with our bull-cart. Each house knew him and he knew them by name —Thomas, Frederick, Roso, Pellet  and other names I cannot remember. The Afro-Trinis never disrespected us as young girls. They were afraid of my father who always had a serious face. And more so, they respected the white tilak (religious mark) on his forehead. I remember, a lot of Africans would come to our home with their children to jharay (using mantras to get rid of ailments). My father would sit for two hours on evenings jharaying scores of young people who were “wheezing”. 

As a teenager I went to Cowen Hamilton Secondary School, Moruga, and most of my friends were Africans. I often shared my bodi and roti with them. I am sure many of them who would read this might be laughing now. Coming back to my hairstyle, I felt comfortable with it. When I went to my mother (who is now 80 years old) she laughed, and declared: “Yuh get plenty hair all of a sudden.” I knew she would not disapprove of my hairstyle. Many people of East Indian descent of the village of Realize/Mandingo laughed at me. But I knew who I was and the African plaits made me feel good.

My younger son looked at me in disgust and said: “I want to see how you sleeping with that hair.” My elder son didn’t care about my hair. He only wanted to know that I came home to prepare his hot food. Personally, I think I realise how the Afro-Trini women operate. I did not have to comb my hair for five weeks. I just took it up and put in a bun. I could fix my hair in seconds as compared to my normal hair when I have to use gel and clips to keep it from flying and looking messy. During the few weeks wearing the false hair, I walked to the beat of the African drum in my head enjoying every bit of it. I even remembered the drums as a child coming out of the village. It was so alive and full of expectations.

It was more than just some boys beating the drums to entertain. I heard the rhythm of a people who came to Trinidad as slaves from Africa and to me it was something great, something sacred. I grew stronger while I carried my plaits, for I didn’t really care what people thought of my appearance. It was not disrespectful in any manner.       

I also love the East Indian look. The long plait at the back with flowers all over and the bindi (head jewelry) falling on my forehead. The look from India is great. I have so many pictures where I looked like an East Indian movie star. Well, maybe prettier than them a bit. I loved to spend hours creating this look for the stage when I would do my East Indian dancing. But I had to take it off after the performance because it was not real. Within a few minutes the look would be gone and I was back to myself again. It was different when I got my afro plaits though. And there were times when I became lost in my work and in my daily chores, and I forgot I had the hairstyle.

I would only remember when I stepped outside of the office or in the road at home and people started staring again. I almost cried when my sister-in-law, Shirley, and my niece Crystal took the plaits off. I was losing the plaits one by one and I could not speak and laugh and carry on like they were doing. I just sat there watching the false hair fall to the ground. The weight had gone, the African feelings went with it. I miss my plaits and I am going to put some plaits on again soon. It might not be my entire head but I am going to get my plaits back. I promise. And I don’t care who likes it or not. I am being me — Trini to the roots.

PICTURE THIS. You’re walking along, minding your own business and a strange man walks alongside you, striking up a conversation. You try to ignore him and walk a little faster, but he keeps in step with you, saying things like, “Oh gorm, why yuh bussin’ style?” You’re angry, but still scared to do anything to attract attention. Mouthing obscenities about your manner, he grabs your hand. What do you do?

The curious came to find out at a session on self-defence awareness taught by three female karatekas of SKIFTT (Shotokan Karate-do International Federation of Trinidad and Tobago): Cindy Guevarra-Sammy, a second degree black belt (and assistant instructor for their Port of Spain headquarters), Laureen Thomas-Henry, a third degree black belt and one of two female instructors for SKIFFT’s Dinsley/Trincity area and Lorna Skinner, a second degree black belt and student. The three ladies (who work together at the company and are also good friends) are scheduled to compete in the Eighth World SKIF tournament which takes place in South Africa in September and had approached their company for sponsorship.

NIPDEC (National Insurance Property Development Company Limited) agreed and suggested as a way of giving back to the community that they teach some classes in self-awareness, thus giving women the confidence to properly react to certain situations. “In this way, we women can say yes, I can defend myself,” said Skinner, who took command of the first class held in NIPDEC’s training room last Tuesday. “We had planned to do this class earlier on, before Carnival,” said Thomas-Henry. “The timing was bad because we didn’t get a venue, so it was decided that we would do it after the season was over. It was something we always knew was necessary, due to the crime situation. What we teach women are the basics in self-defence; not necessarily how to become a super-hero, but how to become more aware of their situations and get out of them.” She also emphasised early on that women need to realise that they are important and must take control.

“Just because we are the ‘weaker’ sex, we don’t need to have a similar mind,” said Skinner. “Usually, we tend to shrink away from certain situations. We don’t look closely at people getting into a taxi. Most women tend to go to the back seats of maxis, in the corners. The best place to sit is in the aisle seat, so if anything goes down, you have a better chance to escape. And this way that some drivers have about locking their doors as soon as you enter, tell them about it. If a man tries to manhandle you, you can’t move. The best place for ladies to sit is in front. Remember, you’re paying for a service, you know!” Said Guevarra-Sammy, “We have an instinct, that woman’s intuition, and we need to sharpen it, and become more aware. If you get a weird, bad or strange feeling about a situation, get out of it. Don’t tell yourself it’s nothing. Act with your gut instinct. Nine times out of ten, it’s usually correct.”

They also spoke about a woman’s general demeanour, how she normally walks with her head down, occasionally looking up once or twice and having a handbag just resting on the shoulder. “That is another thing you have to be careful with, those bags,” said Skinner. Taking a bag from a participant, she showed the right way to hold the handbag, which is with having the zippers or flaps to the body and a strong grip on the strap. That way, you can feel if someone tries to pick your bag pocket, or make a grab for the bag itself.

“How many of us here have cars?”  “How many of us like to  jump out of the car and leave the engine running to open the gate?” “You should never do that. One, you could lose  your car to a thief jumping in and riding off when you have finished opening the gate. Two, they could force you into your house at knife point or gunpoint to attack you there. You need to put a system in place where you can arrange with a neighbour to ‘check for you’. Honk your horn, say “Ay, gyul, ah reach…” Have a conversation going so that whoever wants to try to get at you, can’t. Why? Because there is more than one of you around. And if you feel like someone is following you coming down your street, pass the house straight, go somewhere else.”

The fact that only a few women turned up did not dampen their enthusiasm in any way. In fact, it heightened it. All of the women who came, including two female students from the St James Secondary School got a chance to learn a few basic moves. “Let’s say that a man is coming towards you and decides to try to hold your hand,” said Guevarra-Sammy. “The first thing you would do is panic, not so? You would try to squirm and twist to get away, but it would not help you at all, you will just get tired.” Calling on Thomas-Henry to assist, she showed the class that a simple grip on the hand could be parlayed into a submission hold on the attacker, using a twisting motion, reversing his grip; the end result is having him end up on his knees. An audible collective gasp of surprise was heard, then an exclamation, “I want to try that!”

“Okay, how about if he come to choke you from in front now?” she asked, slightly breathless (but smiling). The victim should take her two hands and instead, clap between his arms and open hers with an outward, swift and forceful motion, using all her strength. No matter how hard he is holding her, his arms will be released. You should try though, to avoid having a person get his hands around your neck in the first place.) (But this is a move that you need to see, in order to understand it, as well as many others.) One thing that was stressed throughout the two-hour session was that they are not teaching women to duplicate moves that are seen on television, such as trying to wrest a knife or gun away from an attacker or giving blows to the throat and nose.

“Those moves can kill,” said Thomas Henry. “An upward blow to the nose with the base of the palm will cause the cartilage to shoot straight to the front of the brain. Next thing you know, you will be in trouble. What we teach are moves to disable your attacker so you can make a getaway and save your life. To get away from an armed assailant, well… you have to come to the class to find out.” To get involved in their next session, interested persons can call either of the women at NIPDEC at 625-8750, extensions 216 or 289. And by joining the class you will be helping to send the three ladies to compete in their  eighth World SKIF Tournament in South Africa, beginning September 23. Next Tuesday’s class will be held at the Eric Williams Medical Sciences Complex from 5 p.m.

THE 17th annual fundraising telethon in 19 years was held two Sundays ago and for the second time the beneficiary was the Foundation for the Arts.  Chairman of the Telethon for the Arts Committee, Lynne Murray, founded the event, having previously helped establish the Accident and Emergency Department of the Arima General Hospital and been on the founding committee of Montreal’s (Canada) Carifesta. She works as a senior consular officer in the Canadian High Commission. She is married with two grown sons.

Where does this woman get her expertise to initiate such worthy social projects, and equally important, how does she have such drive to sustain her commitment to these causes? Murray, a born Canadian, came to Trinidad 21 years ago with her Trini husband, Trevor Murray, who is acting permanent secretary in the Ministry of Agriculture, both having met in Montreal at university. She graduated from McGill University in business and social work and served as a social/community worker for several years in Canada, later drawing on both academic disciplines to help set up projects which grew into substantial institutions including Carifesta and the Telethon. She recounted: “I established the Telethon in 1984 for the FPA and it has since assisted over 65 organisations through the years including the Rape Crisis Society, Cancer Association, Lupus Association and Blind Welfare Association.”

Having done the telethon for the FPA from 1984 to 2000, in 2000 the Government asked her to do a telethon to fund the Arts Foundation to help the medical, funeral and other expenses of needy artistes. She recalled the need of the late Ras Shorty I, Lord Kitchener and Lord Pretender. She got the idea for a telethon —as it was already a well-known concept in North America— and she had recognised the rich body of talent in Trinidad and Tobago that could be tapped. “It was about fundraising and to inform the general public of the work of organisations like the Cancer Society.” Praising the many volunteers who had made the recent telethon a reality, she valued the positivity it generated. “I was glad to see everybody come together. It was very gratifying to know everybody is concerned. Having a good time and camaraderie was very important. The artistes were performing for free, giving you a donation, and made an appeal for donations too.

Their enthusiasm really made you feel it was a success. “The telethon was the only organisation with so many volunteers to raise funds for charity.  The  Lions and Leos helped, as did 300 employees of TSTT including San Fernando and Tobago plus the staff of TTT. There were well-over 100 performers. Ministry of Culture employees attended and assisted. “It raised $200,000, short of our target of $300,000, although the Government will match what we raised.  The telethon was done Trini-style. Where in North America would you see the Minister of Culture (Pennelope Beckles) come backstage to greet the artistes and thank them for their performances, and when challenged on stage to sing, she actually does? That was the highlight of the telethon. She was totally involved. I really appreciated her support.”

Murray thanked all who had worked for the telethon. She said the Telethon Committee included members of the Ministry of Culture, National Drama Association, National Dance Association, Tuco, Pan Trinbago, National Carnival Commission, Copyright Organisation of Trinidad and Tobago and Studio 66. She recalled she had first fund-raised in Trinidad when her then infant son Justin had suffered an asthma attack and she had to rush him to the Arima Hospital. This institution then had resembled “a war-torn garage”, she recalled. As a result, she raised funds for a new Arima Hospital Accident and Emergency Department, soliciting used equipment from Canadian hospitals, and recruiting the help of the Arima business community especially the Maharaj Group of Companies. “We held mayfairs on the site of the hospital to show people what we were aiming for, to raise funds, and artistes including Denyse Plummer, Gypsy, Scrunter and Poser performed to raise funds for the hospital. The Governments of Germany, the Netherlands and Trinidad and Tobago also answered requests for donations.”

She was asked about her drive to voluntarily set up all these projects and whether she was a restless activist. She replied simply: “I guess so.” Did she come from a highly-disciplined background to achieve all this? She replied matter-of-factly: “You have things to do and you get it done.” Murray confirmed that she had always been involved in many activities and organisations. So where did she get her energy for this activism? She said: “I believe that unless you are doing something constructive, you are wasting your time. [Pointing] I agree with that poster, ‘Live your life; Don’t waste it’. I have been blessed in so many ways. I have a job I enjoy in a beautiful country where I am accepted. I believe in the Almighty, and He has blessed me all these years.” She also saw Trinidad and Tobago as being blessed, saying she had not once feared that political/ethnic tensions would seriously erupt.

How was she able to sustain her volunteer work and not be overcome by the negativity including fear of crime pervading society? “I try to think positively and do not allow the negatives to deter me.  As to someone taking your life, I don’t have that fear. I have believed in God since age 12. I put a lot of faith in Him daily. You have to pray for this nation. I see us getting better. Carnival was safer this year.” She and her husband worship with the Christ Circle for Better Living, Diego Martin. What advice would she offer, to form a broad and long-term vision for this society? “Education is the key. I know someone 26 years old, half my age, saying they want to do this and that but that it is too much trouble. If you have always wanted to say study accounting, then go and do it. Just two nights a week, it soon adds up and you will get your ACCA. You can discipline yourself. You are never too old. My mother was 55 years old when she graduated.”

Announcing that telethon pledges and new donations would be accepted up to April 30 at any bank in Trinidad and Tobago, she said: “I’d like to see the corporate sector get more involved with the artistes per se, not just the telethon. They tend to forget about it until they need someone to play a pan or sing the national anthem or open a function. They forget that it is the artistes’ main employment and it is seasonal and they are not privileged to have medical insurance. When they have medical challenges they are unable to meet them. We have a large pile of applications for assistance. Last year we gave $25,000 to one calypsonian for medical expenses and funded a chutney singer whose arm had been chopped and who needed an 18-hour surgical operation. And remember this year the calypso tents didn’t do too well. We have to help the artistes with their medical expenses. For artistes who have died in need, it is important that their contribution to society is not forgotten and that they are buried with dignity.”  In conclusion she urged Telethon donors: “Please honour your ledges”.