Once possessed of the spirit, the form of the Morris step needs little
explanation and description, for the steps are few and simple. With an
eye upon the foregoing notes and, it is hoped, a personal memory of the
experiment as recommended, the learner will readily grasp the description
that follows here.

Roughly, the Morris step is alike throughout all the dances; it varies
only in force, length (i.e., the length of the stride varies more or
less), and height (i.e., the foot is lifted more or less).

The foot, when lifted, is never drawn back, but always thrust forward.
The toe is never pointed in line with the leg, but held at a right-angle
to it, as in the standing position. The foot, therefore, the forward or
stepping foot, is lifted as in walking, as if to step forward, then the
leg is vigorously straightened to a kick, so as to make the bells ring.
At the same instant that the forward leg is straightened, a hop is made
on the rear foot; the dancer alights upon the toe, but lets the heel
follow immediately and firmly, so that he stands upon the flat foot. A
good snap-shot photograph of one in the act of walking, when the forward
foot has made about three-fourths of its stride, gives a perfect
illustration of the Morris dancer's step.

As with the step, so also with the jump, which in so many cases begins
and ends a measure; the dancer jumps, roughly, as high as his own foot,
holding when in air legs and body straight, alighting upon the toes, but
only so as to break the shock sufficiently for comfort, then letting the
heels come firmly down. In alighting from the jump, the knees are bent
just enough to save the dancer from injurious shock, and are straightened
immediately.