Hanes Clocsio Cymreig

Welsh Glog-dancing History

Gwneuthurwyr Clocsiau Prydeinig

UK Clog-makers List

‘PITER PATER’ Y FFORDD GYMREIG

Dr Prydwen Elfed-Owens,
Cadeirydd Cymdeithas Ddawns Werin Cymru

PITTER PATTER THE WELSH WAY

Dr Prydwen Elfed-Owens,
Chair, Welsh Folk Dance Society

English version HERE!

Mae clocsio'n cynhyrchu cymhlethdod o synau trwm ac ysgafn ac amrywiaeth o symudiadau rhythmig cyfatebol gyda'r droed dde a'r chwith. Mae'n arddangos medrusrwydd stepio ar ei orau.

Gall clocsiwr medrus greu amrywiol synau gyda gwahanol rannau o'r glocsen - y blaen, y sawdl, gwadn y droed a tharo pren yn erbyn pren. Y grefft yw cyfuno'r holl synau hyn mewn patrwm rhythmig sy'n bleser i wrando arno. Ychwanegir dulliau eraill i amrywio'r synau megis clocsio digyfeiliant a chlocsio ar lechen neu bren. Bydd y pwyslais ar y gallu i glocsio yn rhwydd a llyfn heb doriad o un symudiad i'r llall..

Mae gwahaniaeth rhwng clocsio a dawnsio mewn clocsiau. Mae clocsio'n golygu gwneud defnydd llawn o wadn pren y glocsen i gynhyrchu synau na ellid eu cael pan yn gwisgo pâr o esgidiau cyffredin. Golyga hynny greu patrymau rhythmig drwy gyfuno'r pedwar swn allweddol: blaen neu belen y droed, sawdl, y gwadn i gyd a chlocsen yn taro clocsen (Owen Huw Roberts, 2004).

Eglura Owen Huw fod clocsiau i'w cael mewn gwledydd eraill heblaw Cymru - fe'u gwisgir yn y rhan fwyaf o wledydd Gorllewinol Ewrop lle ceir glaw trwm. Byddai'n rhesymol disgwyl i bâr da o glocsiau bara am saith mlynedd, a hynny'n fendith i bobl sy'n gorfod byw ar incwm isel. Credir mai gwehyddion Ffleminaidd oedd y rhai cyntaf i gyflwyno clocsiau i Brydain, a hynny yn y drydedd ganrif ar ddeg, ond ni ellir dyddio'r glocsen sy'n gyfarwydd i ni ymhellach yn ôl na'r Chwyldro Diwydiannol.

Gwisgid clocsiau hyd at ganol y ganrif ddiwethaf mewn cymunedau amaethyddol, ardaloedd y chwareli a'r pyllau glo, gan eu bod yn diogelu'r traed, yn gyfforddus ac yn gynnes. Gwnaed gwadnau clocsiau ar gyfer gwaith dyddiol allan o bren gwern - ond pren ffawydd a ddefnyddir yn awr gan y ffatrïoedd sy'n masgynhyrchu gwadnau clocsiau. Mae clocswyr cyfoes yn debycach o ddewis clocsiau'r pren onnen am mai'r rhain sy'n rhoi'r swn mwyaf croyw a chlir - ond gan bod yr onnen yn goedyn meddalach mae oes y clocsiau'n fyrrach.

Step y glocsen yw'r unig ddawns sydd gennym ac iddi draddodiad di-dor. Ysgubwyd i'r ochr bob math arall o ddawnsio gan ddiwygiadau crefyddol y 18fed a'r 19eg ganrif am i'r selogion eu hystyried yn ddifyrrwch pechadurus - yn waith y diafol. Mae gwreiddiau step y glocsen yn ddwfn yn nhraddodiad y llofft stabl, y dafarn a'r ffair lle'r oedd cystadlaethau cryfder a stamina yn boblogaidd; dynion yn cystadlu yn erbyn ei gilydd i ddawnsio'n well na'i gilydd drwy arddangos stepiau mwy cymhleth neu driciau meistrolgar na allai neb arall eu cyflawni. Roedd gennym mae'n debyg, ar un cyfnod, ddwy ddawns wahanol - dawns stepio bur a dawns driciau - ond erbyn hyn fe'u cyfunwyd mewn un ddawns sydd fel arfer yn cynnwys defnyddio ysgub a channwyll ynghyn.

Mae'n debyg i Step y glocsen oroesi am ei bod yn haws i unigolyn guddio'i 'bechod' ar yr aelwyd neu mewn llofft stabl - a bu gan y sipsiwn Cymreig hefyd eu cyfraniad ym mharhad y traddodiad. Atgyfodwyd y diddordeb mewn Dawnsio Gwerin Cymreig tua chanol yr 20fed ganrif, a bu dynion y cyfnod hwnnw oedd a'u bryd ar ddysgu dawnsio yn ddigon ffodus i allu gwylio a dynwared clocswyr fel Hywel Wood, y sipsi o'r Parc ger Y Bala, a Charadog Pugh o Lanuwchllyn yn ymarfer eu crefft. Ni fu'r merched mor lwcus. Ceir ambell gyfeiriad prin mewn llyfrau at ferched yn dawnsio, ond byth ddisgrifiad o'u stepio.

Yn ôl Huw Williams ymddengys i glocswyr Cymreig ddysgu eu crefft drwy weld eraill yn perfformio - ond heb gymorth unrhyw gofnod ysgrifenedig. Hyd yn oed heddiw, caiff clocswyr gryn drafferth i ddisgrifio stepiau y buont yn eu perfformio ers blynyddoedd. Gan nad oedd i stepiau unrhyw enw neilltuol bu unigolion yn dyfeisio'i henwau eu hunain arnynt, a'r rhain efallai yn golygu rhywbeth iddynt hwy, ond dim byd i neb arall.

Mae gan bawb ei ffordd ei hun o gofnodi neu ddisgrifio stepiau ac yn ddiamau mae angen gwirioneddol yn awr i rywun eu henwi a'u cofnodi'n gywir. Ceisiodd Gwyn Williams, wneud hynny flynyddoedd yn ôl yn 'Dawns', a chafwyd casgliad o dermau gan Mrs Lois Blake yn ei llyfr "Traditional Dance and Customs in Wales", 1972. Wedi hynny lluniodd Huw Williams, Bryn Mawr/Pontypwl, lyfryn ar ddawns y glocsen, a llynedd buom ninnau yn enwi rhai o'r stepiau sylfaenol ar fideo a gynhyrchwyd gan Gymdeithas Ddawns Werin Cymru. Ond mae angen cyflawni llawer mwy o waith ymchwil yn y maes hwn. (Owen Huw Roberts, 2004).

Mae Simon Davies - ac yntau'n enillydd cenedlaethol ac yn feirniad - yn pwysleisio bod cyflwyno'r dull Cymreig o ddawnsio yn golygu defnyddio stepiau a phatrymau dilys a datblygedig. Ar hyn o bryd mae gan Gymdeithas Ddawns Werin Cymru banel sef - Simon Davies, Prydwen Elfed-Owens, Angharad James, Geoff Jenkins, Owen Huw Roberts, Huw Roberts a Huw Williams - yn cydweithio i ganfod a chytuno beth yw'r gwir ddull Cymreig o glocsio a chofnodi hynny ar gof a chadw. Y nod yw gallu cynhyrchu canllawiau i glocswyr, hyfforddwyr a beirniaid ar gyfer eu lansio yn Eisteddfod Genedlaethol Gwent 2004.

Gwybodaeth bellach: www.welshfolkdance.org.uk

Camau Cyntaf Clocsio Fideo a llyfryn perthnasol wedi ei lunio ar ran CDdWC gan Owen Huw Roberts ac Eiry Palfrey ac i'w cael gan: Dawn Webster, Ysgrifenyddes Gwerthiant CDdWC, Greenacres, Broadtreet Common, Nash, Casnewydd, Gwent Np18 2AZ 01633 272 662

Gwneuthurwyr Clocsiau J. Strong & Son, "Glen Cote", Upton, Caldbeck, Wigton: Ffôn: 016998 424 Walkley's Factory, Brooks Mill, Elland, Huddersfield: Tel: 01422 846 964

Clogging is producing a complexity of heavy and light sounds and a variety of rhythms with equal mastery of the right and left foot. It is a display of stepping dexterity.

The skilful clogger can produce a variety of sounds with different parts of the clog - the toe, the heel, the flat sole and by tapping wood on wood. The task is to combine all these sounds into a rhythmic pattern that is pleasing to the ear. Additional methods have been introduced to vary the sounds for example, unaccompanied clogging on a variety of materials such as slate or wood. The emphasis is on the ability to move smoothly from one metre to the other without a break.

There is a difference between clogging and dancing in clogs. Clogging means making full use of the wooden sole of the clog to produce sounds, which cannot be produced when wearing an ordinary pair of shoes. This entails creating rhythmic patterns using combinations the four key sounds: toe or ball of the foot, heel, complete sole and clog against clog (Owen Huw Roberts, 2004).

Owen Huw goes on to explain that the wearing of clogs is not confined to Wales - they are worn in most Western European countries that have a heavy rainfall. You could reasonably expect a good pair of clogs to last seven years, which an asset to people who were struggling to live on a low income. It is thought that Flemish weavers introduced clogs to Britain in the thirteenth century, but the clog, as we know it today only dates back to the Industrial Revolution.

In mining, quarrying and farming communities clogs were worn right up to the middle of the last century because of the protection, comfort and warmth they gave to the feet. The wood used for the soles of working clogs was alder, although mass - produced factory soles are now made of beech. Cloggers prefer ash because it gives the clearest and crispest sound - but it is also the least hardwearing but the clogs do not last very long.

Step y glocsen is the only dance that we possess which has an unbroken tradition. The religious revivals of the 18th and 19th centuries wiped out all other forms of dancing because the zealots regarded them as a sinful pastime - the work of the devil! It is deeply rooted in the stable loft, the tavern and the fair where contests of strength and stamina were popular. The men would compete against each other and the winner would be the one who could out-dance his opponents, displaying more intricate steps or tricks that the others could not emulate. At one time there were probably two separate dances - a pure stepping dance and a trick dance - but by now they have been combined into one dance that usually includes a broom and a lighted candle.

Step y glocsen most probably survived because it was easier for an individual to hide his 'sin' on the hearth or in a stable loft - and also the Welsh gypsies played their part in preserving the tradition. The revival of interest in Welsh Folk Dancing occurred in the middle of the 20th century, and male dancers were lucky enough to be able to watch and emulate clog dancers like Hywel Wood, the gypsy from Parc, near Bala, and Caradog Pugh from Llanuwchllyn who were still practising the art at that time. The girls were not so fortunate. There is the occasional reference in books about women dancing, but never any description of their footwork.

Huw Williams adds that Welsh cloggers seem to learn their craft by watching others perform - nothing is ever written down. Even today, cloggers finds it almost impossible to describe steps, which they have been performing for years. The steps have no name, so individuals invent names which may mean something to them, but which mean nothing to someone else.

Everyone has his own way of noting or writing down steps and there is, undoubtedly, a real need for someone to name and record them properly. Gwyn Williams, Bangor, attempted to do this in 'Dawns' years ago and Mrs. Lois Blake included the terms in her book "Traditional Dance and Customs in Wales", 1972. More recently, Huw Williams, Bryn Mawr/Pontypwl, wrote a booklet on clog dancing and last year we tried to give a name to some of the basic steps on the Welsh Folk Dance Society's video. But there is room and need for more research here (Owen Huw Roberts, 2004).

Simon Davies - himself a national winner and adjudicator - emphasises that the Welsh style means using authentic and authentically developed steps and patterns. Presently, a Welsh Folk Dance Society panel - comprising Simon Davies, Prydwen Elfed-Owens, Angharad James, Geoff Jenkins, Owen Huw Roberts, Huw Roberts, Huw Williams - is working to identify, agree and record the Welsh style of clogging. The aim is to produce guidelines for cloggers, trainers and adjudicators to be launched at the Gwent National Eisteddfod 2004.

Further information: www.welshfolkdance.org.uk

Camau Cyntaf Clocsio / First Clogging Steps Video & accompanying booklet produced on behalf of WFDS by Owen Huw Roberts & Eiry Palfrey Obtained from: Dawn Webster, WFDS Sales Secretary, Greenacres, Broadstreet Common, Nash, Newport, Gwent Np18 2AZ 01633 272 662

Clog Makers J. Strong & Son, "Glen Cote", Upton, Caldbeck, Wigton: Tel: 016998 424 Walkley's Factory, Brooks Mill, Elland, Huddersfield: Tel: 01422 846 964

Clever clogs for last half century!

By David Sudworth, Skelmersdale Advertiser Jan 22 2004

SKELMERSDALE'S last clog making firm is shutting up shop.

The Turton family has been supplying traditional footwear from a converted hen shed in High Street for the last 50 years.

During that time their products have been worn the length and breadth of the country - even in America.

The Turtons intend to cease trading in March, ending a tradition which has been passed down through generations.

1/Walkleys,

Unit 10 Mount Pleasant Mills,
Midgley Rd
Mytholmroyd
West Yorks
01422 885757

Factory, mass machine producing soles, uppers, rubber shods, irons, toetins etc Trade and Retail supplier.  Largest company in UK clogmaking

2/Strongs,

Caldbeck,
Wigton,
Cumbria
LA 7 8EU
016974 78424

Buys in tops and soles and assembles, carries stock to sell.

3/ Galloway Footwear, The Clog and Shoe Workshop

Balmaclellan
SW Scotland
DG7 3QE
Tel 01644 420 465
Fax 01644 420 777
e-mail [email protected]
http:// www.clogandshoe.co.uk

Manufacturer of own uppers onto bought in soles mainly from Turtons, but has used Walkleys.  Mainly shoe and sandal makers doing some clogs on side.  Only maker in Scotland

4/Walter Hurst

Work:38/40 Hallgate
Wigan
Lancs
WN 1 1LB
07979 950470
Home:29 Waverley Rd
Hindley
Wigan
WN2 3BN
01942 521 589
e-mail: [email protected]

Assembles from bought in parts mainly Turtons but also Walkleys.  See notes below.

5/ Jerry Atkinson (Kite Clogs)

44 Duke St
Kington
Herefordshire
01544 231683

Own handcut soles and uppers.  Does demonstrations, has website http://www.kc3.co.uk/chamber/jeremy-atkinson/ 

6/ Nelsons Footwear

22 Duke St
Settle
Nth Yorks  
01729 823 523

Own uppers mostly bought in soles but makes the 'odd fitting' sole' themselves!  Mainly shoe makers rather than clogmakers

7/ Greenwoods Clogs (Robin Longbottom)

80 Haworth Rd
Crossroads
Haworth
West Yks
BD22 7DF
Shop 01535 647 100
Home 01535 642 086

Can make own tops but buts in boot uppers, onto Turtons soles.  See notes below

8/Sandra Turton

129 High St
Skelmersdale
Wigan
Lancs
Day 01695 731 678
Eve 01257 453424

Machine Maker of own uppers and soles, supplier to Trade, closing down end March 04, see notes below

9/ Trefor Owen

'Bryn Haul'
48 Mount Rd
Canterbury
Kent
CT1 1YE
Tel/fax: 01277 4523 107
e-mail  [email protected]

Full time Hand Maker of own uppers, soles, rubbers, toetins etc.  Also in Cricieth, Gwynedd occasionally

All above who buy in from Turtons will have to use Walkleys or learn to make parts themselves.  Most do other things to supplement their income and are not purely clogmakers.  There may be a retired carpenter learning to make soles from Turtons.

Rhan-amser. Efallai bod rhai eraill: 
Part Timers, may poss be others: -

1/John Peters

01254 887 213

2/ Phil Howard

0161 494 0224

3/ Colne Valley Museum

Golcar
Huddersfield

If you know of other clog-makers, we'd be happy to add them to the list. Photographs also welcome. Thanks, Trefor.