There was not much love lost between some performers even before jobs began to dry up. Jennings remembers introducing himself to an old juggler and being greeted with the admonition, "Don't give me your troubles. Get lost." Fearful of having their material stolen, some jugglers would leave routines out of their acts if they knew other jugglers were in the audience. They wouldn't tell others where to find equipment, and Harry Lind wouldn't make clubs for new performers unless they were recommended by someone he knew well. 

In the post-War period, that animosity was stiffened by competition for jobs. Jennings viewed the changes with dismay, and tried to figure out a way to preserve the art, even if the artists should some day not have employment. "What I was trying to do was preserve the art of juggling," he said. "I was afraid the work was going away and the art would vanish because no one would be doing it anymore." 

He decided that a formal jugglers organization could bring jugglers together in a spirit of friendship, helping them bridge their differences and at least maintain an interest in the art as a practice, if not a vocation. 

He found an ally in Roger Montandon, a juggling aficionado in Oklahoma who began publishing "The Juggler's Bulletin" in 1944. That newsletter compiled information on jugglers and their acts. Montandon began calling for an organization of his subscribers, and built a file of professionals as more jugglers signed on. Another early proponent was Doug Couden, a school assembly circuit juggler Montandon credited as "probably having done more to contact and talk juggling to juggling enthusiasts than any other man in the country." 

But it was difficult to organize jugglers because they were all on the road performing in different venues. Jennings saw his best opportunity within the International Brotherhood of the Magicians, which he served as an officer. He promoted his idea of a juggler's group in the IBM newsletter, "The Linking Ring," and wrote to jugglers on Montandon's mailing list to promote his ideas. In May 1946 at a Society of American Magicians convention in Washington, D.C., several jugglers got together for an informal jam session. They included many of the prominent early IJA members - Montandon, Bob Blau, Lou Meyer, Charles Carrer, Dell O'Dell, Joe Fleckenstein, Homer Stack and Leo Rullman. 

The following month many of those also met at the I.B.M. convention in St. Louis, where Jennings and Charles Carrer were booked as headliner acts. However, that occasion couldn't produce the eight people Jennings felt were necessary for a properly constituted body.

Things did work out, however, the following year at the IBM convention at the William Penn Hotel in Pittsburgh. Jennings The poster promoting Happy Dayze, the widely traveled clown. was on the planning committee, and scheduled a formal juggling session on June 17, the second day of the convention, ostensibly to demonstrate the art to magicians. About 20 jugglers gathered for the session in the hotel ballroom, and many of them had been privy to discussions the previous evening when Jennings had let everyone know he hoped the gathering would serve a larger purpose. 

The morning went as planned until young Bobby Jule introduced two Italian boys he said were amateur jugglers from his neighborhood. In reality, they were Sergio and Vinicio Chiesa, professional jugglers with the Ringling Circus! The joke was on the jugglers when one brother stepped forth to do a nine ring cascade, and then the other did eight rings while spinning one on his leg and balancing a ball on a head pedestal! 

At noon Jennings and about half the crowd retired to the hotel's Embassy Restaurant to create an organization and sign on as founding members. By-laws had been previously drafted, and were discussed with the larger group. Another point of discussion was the name. Jennings recalled, "We discussed whether it would be called 'International' or 'American.' It became International because I was writing to Jack Taylor and a few other jugglers in England, and to Selma Braatz in Germany." 

The group of eight who became founders included four active jugglers of the same generation (Jennings, Roger Montandon, George Barvinchak and Bill Dunham), two older jugglers (Harry Lind and Jack Greene) and two students (Bernie Joyce and Eddie Johnson) who had never performed or attended a jugglers meeting before. Doc Baldwin, who became a charter member, held an office in the I.B.M. and had advised Jennings on the legalities of the process. Greene acted as chair of the meeting and minutes were kept on the back of a menu and on hotel stationery. Jennings made it a point that acceptance of a membership would be conditional on the pledge "to render assistance to fellow jugglers." 

The meeting ended on agreement that the IJA be dedicated to preserving and furthering the art (rather than the business) of juggling, and to promoting friendship among its members. 

The fledgling organization planned a convention for 1948 year in Jamestown, N.Y., the home of early member Doc Cosby and founder Harry Lind. Doc, a naturopath, was a mover and shaker in the community, while Lind was something of a recluse. Between Cosby's connections throughout the community and good publicity work by George DeMott, the first convention was a tremendous success for the 38 members attending. At the business meeting, the constitution and by-laws proposed in Pittsburgh were adopted. There was discussion of whether to include an art such as rope spinning in the association, and members wisely decided it was best not to try to define the limits of juggling. Dues were set at $1 initiation fee and $1 a year, and new members had to be recommended by existing members. It was decided that the "Juggler's Bulletin" should remain independent and not be the association's enterprise. 

Reporters and photographers from Look magazine and Fox MovieTone News covered the events and spread the story across the country. One particular publicity stunt memorialized in Look was a photo of young Dottie O'Dell, who worked with Pride Shannon, standing precariously on the top ledge of a five-story building juggling clubs. "She did have a rope around her!" Jennings confessed. 

The convention show was a grand affair. Harry Lind and Jack Greene represented the old-timers with club passing. Lou Meyer did comedy juggling, and young Bobby Jule presented flawless technique. George DeMott showed his versatility by promising not juggle anything that anyone before him juggled, and fulfilling his promise. A 50-year tradition was born when emcee Vin Carey invited all jugglers to join him on stage at the finale, and they filled the stage with a "Big Toss-Up" of flying objects. 

The poster promoting Happy Dayze, the widely traveled clown.

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