The Slide
There now remains but the Slide to be learned, and as this is one of the prettiest of all the clog steps, it is well worth taking pains properly to acquire.
Fig. 6.—The slide (first position).
Fig. 7.—The slide (second position).
Fig. 8.—The slide (third position).
Stand as in [Fig. 6], throwing your weight on the left heel and right toe, which are to be kept stationary. Now move the left toe and the right heel in the directions shown by the dotted lines. Your feet will then be in the position shown in [Fig. 7]. Keep the left toe and the right heel stationary, and move the left heel and right toe in the direction indicated by the dotted lines in [Fig. 8].
By continuing this movement you have a steady gliding action from left to right, and, reversing the steps, you can, of course, move back from right to left.
This is really a hornpipe movement, but for clog dancing it is very suitable for the introduction of taps with heels and toes at every change of position. It is also possible to introduce shuffles during the movement, but the plain taps are probably more effective and quite difficult enough to learn without the introduction of more complicated movements.
It is possible to dance in clogs to any time, or even against time. Acquire the steps accurately and readily, and the measure will take care of itself. To practice the shuffles and their variations, the easiest plan is to have sixteen bars of music of two-four time, or even a verse of any song set to that time. As the feet become nimble and the actions familiar, you will be adept at dancing to any time or measure, whilst with shuffle and tap your feet will twinkle in the most orthodox and poetic manner.
Practice in the steps described will also enable you to invent movements for yourself, such as jumping in the air, striking the clogs together once or twice, rattling the clogs together on the ground, and numberless other side tricks and fancies. The regular steps are generally considered the best, however, and should always be executed when possible, as they form the essence and genius of the whole art.
Clog dancing is tiring, and it is advisable not to make the dance the central piece of an evening’s entertainment. It makes a good accompaniment or “gag,” but is not suitable for a pièce de résistance. Adroitly performed it will win approval; and what more can the home entertainer desire?