The performances of the Thaurer Muller at balls, in inns, at club evenings and other gatherings during carnival as well as at the parade, the "Thaurer Mullerlaufen", which takes place every four to five years, are the best examples of the proverbial "colourful hustle and bustle" of carnival.
People have been going to carnival in the Tyrolean municipality of Thaur near Innsbruck for centuries. The exuberant and sometimes wild customs were first documented by official bans. However, the Thaur locals only cared a little about what was not allowed. Despite a few interruptions, the "Muller" - as in the MARTHA villages (= Mühlau, Arzl, Rum, Thaur and Absam) in general - passed on their customs and knowledge from generation to generation. "That's how it's been until now and hopefully it will continue for many hundreds of years to come," says Michael Zarfl, chairman of the Thaurer Muller association.
The custom symbolises how winter gives way to spring - an event that is longed for every year, not only in Thaur, which is still a rural village. For this purpose, costumes are sewn and decorated with fringes, wooden plates and bobbles (= Zaggelen), masks are carved and hats are adorned with ribbons, mirrors and furs until one of the many special figures has been created. Each of them performs different dance steps, jumps and Schuhplattler, and so there are many different things to see at the "Einimullen" at balls or club evenings between the kick-off in January and the "funeral" on Nonsensical Thursday, when carnival is carried to its grave again.
„We are one of the few who can say that they are original and unadulterated. And we are proud of that.“
The sequence is strictly adhered to: First, the player gets into position in the room and begins the Mullerwalzer - in three-four time, of course. Then the witches and Klötzler make room for the performance. A witch absolutely needs a broom and a certain charming cheekiness. A Klötzler needs the typical robe, which is sewn with small plates of light-coloured or colourfully stained wood, and an athletic physique so that these plates start to move and rattle when they dance.
Only when the two have cleared the way do the spring and summer figures "trester" in, as the rhythmic dancing is called. They include the white man with his white trousers adorned with ribbons, the mask of a young man, the small hat with glass bardings, the embroidered braces and the taler necklace and the Melcher, who resembles the white man in many ways but wears short leather trousers. While the white man dances in and repeatedly jumps over his thin, curved "Ulrichstecken", the Melcher must be a good Schuhplattler.
The old man - a figure who can usually be found on the Altbäurische float during the parade - is no longer quite as lively as the two of them. The symbolic figure of an old Thaurer innkeeper with knee breeches, blue socks, a gold embroidered eagle and an old mask prefers to step over his walking stick instead of dancing.
The most magnificent and probably best-known Thaurer Muller figure is the Spiegeltuxer , which outshines all other figures with its colourful head structure: small mirrors, flowers and glass balls, white cock feathers and dark rooster bumps, colourful ribbons at the back of the head and three taler chains on the robe characterise this pretty summer figure. And because the men behind the mirrored tuxedo mask not only have to carry all the weighty splendour, but also have to carry it with them, they are required to have a great deal of strength, skill and stamina. Incidentally, the mirrors are not just reserved for the Spiegeltuxers; a square one can also be found in the middle of the Radel, the semi-circular headdress of other figures, and for good reason: after all, the winter demons are supposed to recognise themselves in them and run up and away in fright.
Autumn and winter are symbolised by Zaggeler, Fleckler and Zottler. The former are easily recognisable by their light or dark blue robes, which are sewn with colourful Zaggelen and bells. Black rooster feathers and a rabbit fur adorn the headdress, while the larva and movements are less friendly and funny than those of the summer figures. Old sources reveal that there have been Fleckler in the Thaurer Fasnacht in the past - and it was precisely these sources that inspired a Thaurer to revive this colourful autumn figure in the 1970s. Their headdress is similar to that of the Zaggeler, but instead of a hare's fur, a fox's pelt is used - a transition, so to speak, to the Zottler, the wild, rough representative of winter.
In addition to the fox,Zottler also adorn themselves with peacock feathers on their heads and hand-picked fringes made from potato sacks on their garments, which are dyed in the typical Muller colours of green, yellow, red and blue. Different rules apply to these figures than to the others: It is no longer a cheerful Muller waltz or Plattler that sets the pace here, but rougher music that suits the behaviour of the Zottler.
This is also where the frog comes into play, which is not a carnival figure but a dance figure: The Zottler lies on his back on the floor with his knees bent and jumps up again from this position. If he lies on the ground, a Melcher or Weißer can climb onto his satchel: Spring triumphs over winter.
The order in which the various figures show their skills is fixed during a performance. The music for the dance in the circle is the "Reith im Winkel". The spectators are then muffled: They are given a tap on the shoulder, which is supposed to bring fertility and drive away all evil, followed by a shot of schnapps. For the subsequent free dance, the mullers then look for a woman to waltz across the dance floor with, often one who has actively helped them make or repair their outfits. Because even though mulling is a man's job and the mullers are proud of everything they can do themselves on their garments, the finer work is still in the hands of the women.
