Hoochie coochie

The hoochie coochie is a catch-all term to describe any of a number of sexually provocative belly dance-like dances. Such dances, or something similar, were performed at the Crystal Palace Exhibition in London in 1851, the Centennial Exhibition in Philadelphia in 1876, and the World's Fair in Paris in 1889. Although such dances became wildly popular in the United States during the Chicago World's Fair in 1893, there is no evidence of them being known by the name, "Coochie Coochie" until about a year after the fair closed, and "Hoochie Coochie" about a year later. Before, during and immediately after the fair, these dances were frequently called, "Mussel dance," "stomach dance," danse du ventre and sometimes, "Kouta Kouta." The transition from "kouta kouta" to "coochie coochie," and later, "hoochie coochie," may have been influenced by the expressions, "hoochy, coochy, coochy," "kutchy, kutchy," or "kutchy, kutchy coo," which were found in popular song lyrics from the 1860s and the 1880s.

Contents

• Band of skulls hoochie coochie
• THE JEFF HEALEY BAND HOOCHIE COOCHIE MAN Road House
• In popular culture
• References

Described by the New York Journal in 1893 as "Neither dancing of the head nor the feet", it was a dance performed by women of, or presented as having, Middle-Eastern or Eastern European Gypsy heritage, often as part of traveling sideshows.

The hoochie coochie replaced the much older can-can as the ribald dance of choice in New York dance halls by the 1890s.

The dance, primarily performed by women, female impersonators, or drag queens, was often overseen or managed by an individual known as a goochie man or Hoochie Coochie Man. This term could either refer to a man who observed or managed the performance. Alternatively, given the overtly sexual connotation of "goochie goochie," it could also imply that he was notably successful with women. This inspired the classic blues song "Hoochie Coochie Man", written by Willie Dixon for Muddy Waters, and covered by numerous musicians since. The dance was still popular at the Louisiana Purchase Exposition: the World's Fair of 1904, but had all but disappeared by the Second World War; the song was therefore harking back to an earlier "golden" era.