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Jookin' PB
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Table of Contents

Preface
Acknowledgments 1. Dancing Under the Lash
The Middle Passage * The Plantation Environment * Bals du Cordon Bleu 2. Shoddy Confines: The Jook Continuum
The Great Transition * Jook Houses, Honky-Tonks, After-Hours Joints * Rent Parties, Chittlin' Struts, Blue Monday Affairs 3. Upper Shadies and Urban Politics
Monday Night at the Paradise Ballroom * Bells, Buzzers, and Air of Legitimacy * Night Clubs, Show Bars, Cabaret Parties * Dancin' in the Streets * Black Elite Affairs Postscript
Notes
Index

Promotional Information

The first analysis of the development of the jook and other dance arenas in African-American culture

About the Author

Katrina Hazzard-Gordon is Associate Professor of Sociology at Rutgers University, Camden, and the founder and director of the Diaspora Dance Theatre and Research Group.

Reviews

Whites have steadily borrowed from African-American dance. We glean just how rich the black dance tradition is from this vibrant, engaging social history, which hops from the decks of slave ships to honky-tonks, membership clubs and cabarets. Rutgers sociologist Hazzard-Gordon takes us inside Reconstruction-era jook houses where food, gambling, drink and fellowship were offered, and where dances like the shimmy, Charleston, snake hips, funky butt, twist and slow drag crystallized into cultural forms. She deciphers dance as a medium through which blacks have articulated group experience, whether in resisting slavery or in preserving a sense of identity in urban ghettos. Illustrated. (Sept.)

"We glean just how rich the black dance tradition is from this vibrant, engaging social history, which hops from the decks of slave ships to honky-tonks, membership clubs and cabarets.... [It] takes us inside Reconstruction-era jook houses where food, gambling, drink and fellowship were offered, and where dances...crystallized into cultural forms."
-Publishers Weekly
"Here's a book I've longed for-historically rich, empirically inspired and, above all, reverent to the funk and drive and moral spirit of the Grand Atlantic Black Dance Tradition."
-Robert Farris Thompson

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