Drum Country

By Arlene Nash-Ferguson

"Go back to Arawak Cay and find your next story," my friend Jackson Burnside instructed as we ended our telephone conversation about Jack Saunders and his wonderful cowbells. I did not have far to look for the story. It was sitting right under a nearby coconut tree.

It seemed like every little person in the park was heading over to that coconut tree, under which John "Chippie" Chipman sat. Each child was clamouring for one of the little drums displayed around him. Made especially for children from paint cans and the like, these drums are literally pint and quart size, colourfully painted, and headed in real goatskin, complete with a shoulder strap. They have become the status symbol of the Junkanoo Summer Festival at Arawak Cay – you ain' sayin' nothin' if you are less than four feet and do not have your own drum! "This is drum country," Chippie summed it all up. And the fact that he seldom has any to carry home at the end of each Saturday night says it all.

Most of the children flocking around 'the man with the drums' had no idea that they were in the presence of a legend. The colourful shirt and straw hat, the ease with which he took time to interact with each child and fit the drum properly, gave no hint of his fame and legend as a cultural icon in The Bahamas. But perhaps the unquenchable determination to be himself and celebrate his culture, while maintaining natural ease with everyone he meets is the secret of his greatness.

All official accounts of Chippie's life story begin with the late Howard Chipman and Ethelyn Taylor who gave birth to John "Chippie Chipman" on October 25th 1928. At an early age, Chippie demonstrated his love for music and learnt how to play the saxophone. This love for music would always be a great part of his life, and it was logical that he would see the entertainment industry as his preferred field. By this time he had met the lovely Rebecca Oliver from Abaco, and she too shared his love for music and dance. They became a formidable dance act, performing at every hotel and hot spot on New Providence.

When Becky became too heavy to lift, Chippie began concentrating on his drumming so that he could be an accompanist for Becky, who had opted to concentrate on the fire dance. The rest is history. In the 1950s, 1960s and 1970s Becky became the queen of the fire dance, as Chippie evolved into an outstanding drummer. They took their crafts around the world, representing The Bahamas in outstanding fashion and gathering wide acclaim as true cultural ambassadors for The Bahamas.

Chippie and Becky also became a fixture at the parades, Becky blazing the trail in this male-dominated world for other women to participate. Chippie became a premier Junkanoo group leader, a formidable and consistent foe for every other group.

Beyond this, Chippie will forever be remembered for his role in the evolution of Junkanoo musical instruments. On his urging, his friend Donzel 'Donnie' Huyler, an auto mechanic, made the first pair of locally made bells, propelling Donnie into history as well. This move effectively sounded the death knell for imported bells, and established a tradition of Bahamian bells that is proudly carried on by many to this day. When it became increasingly difficult to obtain the wooden kegs in which salt beef was imported, Chippie spearheaded the change to the tin barrel. Both of these steps significantly impacted Junkanoo music. He was also among the first to use crepe paper in place of tissue paper.

And so, the 'man with the drums' is a true-true- Bahamian cultural legend with a long and distinguished career in service to his country. Yet beneath the legend and the coconut tree on this sunny Saturday afternoon, is simply Chippie, the warm open-hearted fun-loving human being that is so dear to so many. And on the lilt of his rich voice, he takes me with him through the years of his fascinating life. He laughingly tells of the first time he saw Becky on a boat, while he was selling clothes for his father, and how he told the crew that if they spoke to the young lady for him, he would outfit them all. "Everyone was dress to kill after that," he says. He says that shortly after he met her he took her dancing, and when they hit the floor for a rumba, everyone stopped dancing to look at them dance. "She was born to dance," he says. I listen as he tells of not being able to afford to go into the Paul Meeres as a paying customer, but becoming smitten with entertainment while catching glimpses of the shows with Becky, sparking their decision to go into entertainment themselves. He recounted how my father, the captain of St. Alban's cricket team, could not, as the last batter, help his team win a game against St. Agnes one particular day. "I had my band hide in the bush", Chippie said, and when St. Agnes win, then I bring them out."

Six o'clock comes, and Chippie rises to rush with the children in the Kiddies Rush. As he has done countless times in his life, he will again take time to give children a special cultural experience. Almost on a daily basis, he is entertaining at schools, charities, churches and other organizations, sharing the Bahamian cultural heritage freely with all. At seventy-seven years of age, he answers every call to share his gifts, and he never misses the opportunity to represent his country. This is the stuff of which legends are made.

And so, when Chippie sounds the drum call for the Peoples Rush to begin on Independence morning let us not only heed that call, but also follow Chippie's example of patriotism and love for his country and pride in his heritage. Thanks for being you, Chippie. Happy Birthday Bahamas.

The EduCorner is produced by Educulture Bahamas Ltd, 31 West St. at Petticoat Lane. Please address comments to Educulture@coralwave.com or 328-DRUM