TRACK 16 (Mar88-39-s02) Song 5: Truwu [Truwu A melody] [124]

This most popular and enduring song of the Walakandha wangga repertory was composed by Thomas Kungiung. It refers to a specific Walakandha, a deceased ancestor called Munggum (the father of Bruno Munggum Berrida), who flourished around the turn of the twentieth century (also mentioned in ‘Walakandha No. 4’ (track 35)). Here Munggum stands behind a beach hibiscus (Hibiscus tiliaceus) at Truwu beach and regards his descendants—whom he refers to as ‘Walakandha’ (see the notes to the previous track)—being battered by the waves. Waves in this case stand for the exigencies of life. When sung in the context of a mortuary ritual the song stands as an expression of ancestral sympathy for the pain being suffered by the living as they mourn a dead relative. This performance was recorded by Allan Marett at a burnim-rag ceremony held at Nadirri on 19 June 1988, and is discussed in detail in Songs, dreamings and ghosts (Marett, 2005, pp 112-116).

The text of ‘Truwu’ is sung to three different but related melodies. Marri Tjavin people whose traditional estates lie at the coast (such as Thomas Kungiung, heard here) perform the song to the Truwu A melody. This was the most frequently used melody for this song during the golden age (see further Marett, 2005, pp 117-20). The other two melodies, Truwu B and Truwu A/B, can be heard in tracks 17 and 18 respectively.

Song structure summary

VOCAL SECTIONS 1-3

Melodic section 1

Text phrase 1

Rhythmic mode 1 (without clapsticks)

Walakandha! The waves are crashing on them

Truwu! My dear country! Walakandha!

Melodic section 2

Text phrase 2

Rhythmic mode 1 (without clapsticks)

Munggum! He stands behind a beach hibiscus and peeps out

Truwu! My dear country! Walakandha!

Melodic section 3 (lower octave; vocal section 1 only)

Text phrase 3

Rhythmic mode 1 (without clapsticks)

Walakandha!

INSTRUMENTAL SECTIONS 1-2

Rhythmic mode 5a (fast even)

INSTRUMENTAL SECTION 3

Rhythmic mode 5b (fast doubled)