The Juba dance or hambone, originally known as Pattin' Juba (Giouba, Haiti: Djouba), is an African-American style of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks (clapping). "Pattin' Juba" would be used to keep time for other dances during a walkaround. A Juba dance performance could include steps such as the "Jubal Jew", "Yaller Cat", "Pigeon Wing" and "Blow That Candle Out".
The Juba dance was originally brought by enslaved peoples from the Kongo to Charleston, South Carolina.[2] It became an African-Americanplantation dance that was performed by slaves during their gatherings when no rhythm instruments were allowed due to fear of secret codes hidden in the drumming. Juba dancing was not just music, it was a show that they embraced in times where they felt they didn't have freedom. The sounds were used in the same manner as Yoruba and Haitiantalking drums to communicate and relay information.[3][unreliable source?] The dance was performed in Dutch Guiana, the Caribbean, and the southern United States.[4]
As early as the 18th century, the Juba dance was a vital means of preserving African culture and identity under the oppressive conditions of slavery. Over time, it evolved into a structured performance tradition, often accompanied by call and response chants or songs. Later in the mid-19th century, music and lyrics were added, and there were public performances of the dance. Its popularization may have indirectly influenced the development of modern tap dance. [citation needed] The most famous Juba dancer was William Henry Lane, or Master Juba, one of the first black performers in the United States. It was often danced in minstrel shows, and is mentioned in songs such as "Christy's New Song" and "Juba",[5] the latter by Nathaniel Dett.[6]
In the 1930s and 1940s, African American composer Florence Price drew inspiration from Juba when composing her symphonies. The rhythm and structure of the dance, deeply rooted in African traditions, made its way into informal concert music connecting folk culture and classical composition.
Hambone was famously adopted and adapted in the 1950s by rhythm & blues singer Bo Diddley for his "Bo Diddley beat", which was copied by many rock musicians. Today, the remains of the Juba dance are displayed and expressed in African American performance art, examples include stepping, body percussion and contemporary dance forms that honer historical rhythm and resistance to slavery. These expressions not only preserve history but also reflect the enduring power of movement and rhythm as tools for resilience and identity across multiple generations.
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