TRACK 4 (Mar97-13A-s5) Song 1: Puliki
In this elicited performance, recorded by Marett on the beach at Mandorah in 1997, Colin Worumbu Ferguson, now a mature man in his late 40s, sings the same song. Here he structures the item in a similar way to that adopted by his relative Billy Mandji in track 2 above (see the music analysis section at the end of this chapter for more details). Given that Worumbu is Billy Mandji’s brother’s son and one of the inheritors of his songs, it is not surprising that this performance adopts these characteristics of Mandji’s style. The similarity even extends to imitation of Mandji’s voice quality. Marett has pointed out that at Belyuen, the imitation of the voice of a deceased singer is important for the efficacy of mortuary ceremonies (Marett, 2005, pp 68-69).