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On Beyoncé’s latest album, Cowboy Carter, the singer-songwriter opens her song “Ya Ya” by welcoming listeners to the rodeo chitlin’ circuit. She also referenced the circuit in her pre-launch album marketing.
It made many listeners want to learn more about the chitlin’ circuit.
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“The label ‘the chitlin’ circuit’ itself is relatively new as far as being used en masse, because there were other kinds of references,” says Bryan Pierce, the director of curation at the National Museum of African American Music.
Post-emancipation, Black communities began opening businesses to cater to both Black performers and patrons, Pierce says. But before there were large theaters, there were tiny music venues found in small, rural communities.
“The thing that is so important to the story that we often don’t talk about are the country juke joints,” Pierce says. “You have these islands all throughout the Mississippi Delta, but they had juke joints and they were Black owned.”
According to Pierce, by the turn of the 20th century, performer Sherman Dudley saw a business opportunity to organize Black performers without the demeaning depictions of his community prevalent in the minstrel shows that made him popular.
“By 1909, [Dudley] established his first clubs in [Washington,] D.C.,” Pierce says. “From there, he decided he wanted to have a circuit of clubs around the United States that was specifically for African Americans to perform, and not so much as minstrel music, but these new genres, recognized as blues and jazz.”
The Dudley circuit, as it was called, began to fizzle out by 1916, and eventually folded into the Theater Owners Booking Association (T.O.B.A.), a more formal circuit of more than 100 theaters across the South that extended as far west as Oklahoma.