The story is common in Jamaica. See Jekyll, 98–99. It was told me as a
“speak-acting” story, but as I could get no other of exactly the same
character, I do not know how common it used to be to present a Nansi
story in this way. The Nansi story is now given in the form of a
dramatic monologue or rehearsed simply as a tale.
For the story of “The Fifer,” six actors were required, one to
represent the boy, one the father, and four others the “wild beasts.”
“Anansi,” “Dry-head,” “Tacoomah” and “Tiger” were the “beasts.” Roe
said that “the one who takes the son’s part tells the story.” The
dramatization went on much like a school exercise performed by grown
men, with improvised action and (probably) extemporized dialogue. It
ended in a dance in which all six joined.
Compare Tremearne, 301; Harris, Nights, 370–373; Edwards, 87–88;
Parsons, Andros Island, 137–138.
The story seems to be drawn from such prohibitions against whistling at
night or whistling more than twice when walking at night or through a
haunted forest as are quoted by Sebillot, Le Folk-lore de France 1:
159, 283. He tells a Breton story of a lad who forgot the prohibition
and found himself mocked and followed by the Devil, who bore him off
just as he had reached home. Compare number 66, note.