TheChitlin' Circuit was a collection of performance venues found throughout the eastern, southern, and upper Midwest areas of the United States. They provided commercial and cultural acceptance forAfrican-American musicians, comedians, and other entertainers following the era of venues run by the "white-owned-and-operatedTheatre Owners Booking Association (TOBA)...formed in 1921."[1] The Chitlin Circuit sustained black musicians and dancers during the era ofracial segregation in the United States from the 1930s through the 1960s.[2][1][3]
The name derives from thesoul food dishchitterlings (boiled pig intestines).[1][3] It is also a play on the term "Borscht Belt", which referred to particular resort venues (primarily in New York State'sCatskill Mountains) very popular with Jewish performers and audiences during the 1940s through the 1960s.[4]
Chitterlings are part of the culinary history of African Americans, who were often limited to the intestines of the pig to eat as opposed to the bacon or ham.Henry Louis Gates Jr. suggests the food symbolized acquiring a taste out of necessity and eventually coming to like it.[5]
According to theOxford English Dictionary, the earliest known use of the term "Chitlin' Circuit" was in a 1966 article in theOakland Tribune, quotingLou Rawls.[6] In the 21st century, the term is applied to the venues, especially in the South, where contemporary African-Americanblues singers such asBobby Rush,Denise LaSalle, andO.B. Buchana continue to appear regularly.
Ebony magazine prefers the term "urban theater circuit" for recent work like that of playwright and actorTyler Perry. In a January 2004 interview with Perry, the genre's leading practitioner,Ebony wrote his work marked "a new chapter in the urban theater circuit as a whole—a genre that has been dogged by criticism from some Blacks in the traditional theater. Perry, as the most visibly recognized player in the circuit, has felt the brunt of this criticism." "They say that Tyler Perry has set the Black race back some 500 years with these types of "Chitlin' Circuit" shows. The problem with the naysayers is that they don't take the opportunity to see my shows,' Perry argued. "With my shows, I try to build a bridge that marries what's deemed 'legitimate theater' and so-called 'chitlin' circuit theater,' and I think I've done pretty well with that, in bringing people in to enjoy a more elevated level of theater.'"[7]
In 2025,Beyoncé named her concert tour theCowboy Carter and the Rodeo Chitlin' Circuit Tour, which supports her 2024 albumCowboy Carter.[3]
Leading figures in establishing the Chitlin' Circuit were the BlackIndianapolis entrepreneurs Sea andDenver D. Ferguson.[1] After the collapse of theTheatre Owners Booking Association (TOBA) in 1930, the Ferguson brothers drew on bandleader and influential columnistWalter Barnes and his contacts to bring top Black entertainers to Indianapolis in the 1930s.[8] When their businesses' licenses were revoked in 1940, they opened Ferguson Brothers, a booking agency, which grew rapidly and became the most powerful Black-ownedtalent agency in the country.[9] They helped various orchestras, bands, andvaudeville shows book gigs, includingJay McShann,King Kolax,Tiny Bradshaw,Roosevelt Sykes,Claude Trenier, theBama State Collegians, Carolina Cotton Pickers,Snookum Russell,Milton Larkin,Clarence Love,Gene Pope, and theInternational Sweethearts of Rhythm, and organised tours around the South playing to Black audiences.[10] MusicianSax Kari described Denver Ferguson as "the man whoinvented the chitlin’ circuit".[11]
The Chitlin' Circuit was primarily by, for and about black people.[1][3] There are discrepancies among different sources about when the Circuit peaked, whether it was the 1930s, after World War II, or during the heyday ofthe blues.[12] Several definitive books reviewed onNPR's Fresh Air have recognized "the names and careers of men and women – and, yes, some of the toughest of these people were women – who ran bars, booking agencies and clubs, where traveling musicians could come into a black community, play, make money and go to the next town."[13]
The exclusionary systems of racial segregation necessitated the creation of a touring circuit for numerous African American, then Negro or Colored, musicians to make a living in U.S. cities from Indianapolis, Indiana and Clarksdale, Mississippi to "unlikely places like North Dakota and Minnesota"[1] and more:
[V]enues ranged from rudimentary juke joints in rural areas to nightclubs, restaurants, and higher-end theaters in larger cities. For decades, the circuit was strongly associated with blues, jazz, rock, and soul musicians and singers such as Billie Holiday, B.B. King, Denise LaSalle, and James Brown. Entertainers felt they had “made it” if they performed at one of the highly coveted venues: Atlanta’s Royal Peacock, Baltimore’s Royal Theater, Chicago’s Regal Theater, Detroit’s Paradise Theatre, Harlem’s Apollo Theater, Philadelphia’s Uptown Theater and Washington, D.C.’s Howard and Lincoln Theaters.
The Chitlin' Circuit "eventually brought about the birth of rock 'n' roll" in the 1950s as the Civil Rights Movement emerged.[13]
 | This sectionneeds additional citations forverification. Please helpimprove this article byadding citations to reliable sources in this section. Unsourced material may be challenged and removed.(April 2024) (Learn how and when to remove this message) |
Noted theaters,nightclubs, and dance halls on the Chitlin' Circuit included:
Seasonal venues included the still-standing auditorium at John Brown's Farm (also known as "theKennedy Farm") outside Sharpsburg, Maryland;[26] Carr's and Sparrow's Beach inAnne Arundel County, Maryland; and Rosedale Beach inMillsboro, Delaware.
According toRuth Brown, an artist needed to play at four specific theaters to prove they had made it: the Regal in Chicago, the Howard in Washington, D.C., the Uptown in Philadelphia, and the Apollo in New York City. This was called the "litchman chain".[27][1]
The song "Tuxedo Junction" was written about a stop along the Chitlin' Circuit inBirmingham. Once the performance was over, the band would leave for the next stop on the circuit. After composing the music,Erskine Hawkins explained the reason for the title toBuddy Feyne, who created lyrics to express the concept.[28]
| This sectionneeds additional citations forverification. Please helpimprove this article byadding citations to reliable sources in this section. Unsourced material may be challenged and removed.(April 2024) (Learn how and when to remove this message) |
Notable performers who worked on the Chitlin' Circuit included:
A historic marker designated by the Mississippi Blues Commission on theMississippi Blues Trail was placed in front of the 100 Men Hall in Bay St. Louis, Mississippi. The 100 Men Hall is one of the rare still standing, still active blues venues on the trail. The second historic marker designated by the Mississippi Blues Commission on the Mississippi Blues Trail was placed in front of the Southern Whispers Restaurant on Nelson Street inGreenville, Mississippi, a stop on the Chitlin' Circuit in the early days of the blues. The marker commemorates the importance of this site in the history of theblues in Mississippi.[29][30] In the 1940s and 1950s, this historic strip drew crowds to the flourishing club scene to hearDelta blues,big band,jump blues, andjazz.
Denver D Ferguson.