Schuhplattling (shoe-slapping) originated in the 11th to 14th Centuriesand can be traced back to the 11th-14th century as a Burschentanz (men only dance, women participating later on).  It is considered a mimic of the behavior of the male Auerhahn, or Spielhahn, who courts the female by flapping his wings and kicking up his feet around a circle.  Likewise, a Schuhplattler keeps his hands raised and, by slapping his feet and Lederhosen, immitates the flapping of the Auerhahn's wings.   The woman plays her part in all this by twirling, or spinning, as a way to challenge the man to show more in his dance.   Indeed, it is difficult for the man to "catch" the moving woman to get to waltz with her.

There are many Schuhplatteln in the lower Germany (Bavaria), Austria, and some in Switzerland, each from their own town or region.   Most of the dance names come from the town name.   The Birkastoana Glöckerl, for instance, means "Birkenstein (the town) bells".   Other dances from town names are the Meisbacher, the Reit im Winkl, the Haushammer, the Steire (a region in Austria), and the Ammerseer.   Some are animals and general places, like the Auerhahn (the bird that influenced this form of dance), the Gamerlsprung (mountain goat spring, or leap), the Ambosstanz (anvil, of the blacksmith, dance), the Mühlradl (grain wheel) and the Almtanz (mountain-meadow dance).

Schuhplatteln are both an art form and, more importantly, a way of good living (the rural culture).   The Tracht (formal dresswear) worn by the men and women dancers, has remained unchanged, for the most part, for over 200 years.   The Bayern Verein Alpengrün Tracht dates back to what was worn in Bavaria in the mid- to late-1800's.

It is an honor to keep these traditions intact, for without a past, there can neither be an identity... nor a future.

The Schuhplattle is a very regal and powerful form of dance, and I will take you through a step by step instruction of a basic Schuhplattle dance.   This is the way my club, the Bavarian Verein Alpengruen, does it, which may be different than other clubs.  Also, this is the way I teach Schuhplatteln.  This also may differ from other instructors.

First, your posture should be similar to the picture on the right.  Here I stand with my weight evenly distributed over the balls of my feet, with weight off the heels (although the heels may touch).  This is very important in order to maintain balance.  Weight over the balls of the feet is like the stance a tennis player, or other athlete, takes.  From this stance, you are able to redistribute your weight as the dance progresses.  My hands are held high, elbows at 90 degrees (roughly).  For the beginner, you won't be able to react quickly enough if you keep them this high during the dance, but you should start with this form.  Leave your hands a little lower, maybe half-way toward your thighs, while you are doing the hits of the dance.  Have your knees bent very slightly, not bent back (hyperextended).

It is very important that you go through the dance motions very slowly, working your speed up gradually.  Once the hits become second nature after much repetition, then you will be able to speed up.  Do not slap hard either, because it is not important in the beginning and you probably don't have the Lederhosen (leather pants) that absorb much of the shock.

The ultimate goal:   To do the dance without thinking of each and every hit; letting it flow.  The hits are "told" to you by the music, which is very important.