Aquarium Mermaids Multiskilled Entrepreneurs in the Creative Economy Tracy C

Aquarium Mermaids Multiskilled Entrepreneurs in the Creative Economy Tracy C. Davis and Sara Malou Strandvad

Perhaps all children who become obsessed with Ariel in The Little Mermaid wish, for a time, that they could become merpeople.1 A few fulfil the dream. Today, self-declared merpeople (usually cis-female mermaids, but signaled here with a gender-inclusive neologism) are on display in several contexts, on dry land as well as in water. The amateur leisure practices of mermaid cos- tuming and swimming are growing; they take place in local pools and at exotic tourist destina- tions and involve various time and financial commitments, as well as degrees of role immersion for the “mermaiding” participants and devotees (Hietzge 2014; Porter and Lück 2018; Stebbins 2001, 2007).2 Merpeople also surface (and descend) in newly popular performance niches as party attractions and entertainers at charitable events. These practices consolidate the figure of the mermaid among other staples — fairy-tale characters, pirates, and adventure heroes — as an identifiable and gendered fantasy type.3 Some practitioners transcend leisure pursuits and secure

1. This research was partially supported by the Alexander von Humboldt Foundation. 2. English is the lingua franca of the mermaid community and hence the English gerund “mermaiding” is used internationally. 3. For example, Mermaid Melissa, “Mermaid Pool Parties: Specialty VIP Events, Mermaid Events, Live Mermaid Sightings,” http://www.mermaidmelissa.com/mermaid-pool-party/; Aquamermaid, “Mermaid Parties for All Ages,” https://aquamermaid.com/pages/mermaidparty1; Elite Mermaids Entertainment, “Children’s Mermaid Parties,”

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120 Davis/Strandvad merpeople toswimtheoceansanddocumenttheirexperiencealongsidegilledcreatures. encases themonofinisspandex, latex, ortheheavierandmoreaestheticsilicone. Thisenables lations forpowerandmaneuverability, enablemoreefficientswimmingwhetherthemertailthat sede thecryptiddesignation. developments inthecurrentcenturymeanthatwithintheselocalesmermaidperformerssuper a newway, challengingtherationalconsensus. Indeed, creative, material, andbiomechanical sisted throughthemillenniainmanytraditions. Inaquariums, performershaveemergedin tids exploit identificationwiththemer-forms, mermaidsandmermenarenotsomuchcryp- performers haveforgedanewaestheticaswelljobcategoryinthecreativeeconomy. Morocco MallinCasablanca, hostoccasionalshowswithguestperformers. These aquarium in Nha Trang, Vietnam. Tanks inotherfacilities, suchastheone-million-liter Aquadream atthe merpeople haveregularlyappearedataquariumsoneveryinhabitedcontinent, suchas Vinpearl ences thatgatherinfrontoftheglassandwatchthemswimamongmarineanimals. Since2011, paid work. Among thelatter, merpeoplesubmergedinlargeaquariumtanksperformforaudi- Denver’s Downtown Aquarium, 11 August 2017. (Photo by Tracy C. Davis) Figure 1. (previous page) Alanna Erickson and Kendall Mackey ready for a meet-and-greet session at materials. views, performanceobservationandanalysis, and contentanalysisofaquariums’promotional at foursites messages orgetsomethingelseoutoftheshows? iums asscientificinstitutions;specifically, doaudiencesdecodetheintendedenvironmentalist excite visitors? This laysthegroundworkneededtodiscusshowperformancesrelateaquar do thesemessagesalignwiththeinterestsofaquariumsthatfeaturetheminordertoattractand ters andmarketing?Moreover, whichmessagesdoperformersconveyintheirshows, andhow develop theirperformativepersonas, andhowdoesgenderfactorinthedevelopmentofcharac- aquariums. What dotheirperformancesconsistofaestheticallyandtechnically?Howthey have ceasedtobemythological. on Instagram, advertiseonFacebook, andpaytaxesontheirearnings. Thus, literally, merpeople tion, insteadofluringsailorstotheirdeathsorpiningtradeflukesforlegs, theypostphotos the borderlandbetweenathleticsandperformingarts. Though objectsofallureandfascina- ented displays, butoffersanopportunitytotracetheemergenceofanewemploymentnichein in publicaquariums. This notonlyinvolvesunusualopticswithinotherwisescientificallyori- landlocked merpeopletopractice, andtoexhibitskills, alsoleadssomemerpeopletoperform is allverywellformerpeoplewholivenearorcantraveltowarmwaters, butthedesirefor 5. 4. Most significantly, technicaldevelopmentsinmonofindesign, streamliningswimmers’undu- Although folkloreassertstheexistenceofmer-creatures, andmanyformsoffantasyplay Aquarium 10–11 August 2017. 26 Mayobserved 2018 and 27 May 2018. SeaLife Munich show 22 April observed 2017. Denver’s Downtown show and lecture with Jesper Stechman 24 April observed 2017. L’Aquarium de Paris: show with Claire la Sirène the Myth” Julie); 5 Novemberfreediving observed 2016 (Karin), 16 February 2017 (Karin), and 15 July 2017 ( The following viewed. The is a list of performances Blue Planet, Copenhagen: Mermaid show titled “Facts about FIVE Minutes” 2013). (Arthurs Real-life Mermaid who Uses her £10,000 tail to Swim with Sharks and Jellyfish - and Can Hold her Breath for For example, Mermaid Hannah, “Hannah Mermaid swims & ocean animals” (Hannah Fraser 2010); and “The accessed 19 May 2018. http://www.elitemermaids.com/mermaids-for-kids; and “Hire a Mermaid,” http://www.hireamermaid.co.uk/. All To answerthesequestions, from2016to2018westudiedaquariummerpeopleperformances We addressthisphenomenonbyaskingfoundationalquestionsaboutwhatperformersdoin — disputed orunsubstantiatedanimals(Regal2011) 5 With thisempiricalfoundation, attentionturnstothepracticesofpersonamaking, — in France, Germany, Denmark, andthe USA — as outrightinventionsthathaveper — by meansofdetailedinter - 4 This - - - Aquarium Mermaids 121 - - Mako: Mako: (2006–10) and its spin-off its and (2006–10) posing in costume at photo shoots. posing in costume at photo shoots. — H2O: Just Add Water Water Add Just H2O: in the case of mer-tourism — Similarly, a study of mertourism, based on interviews with 13 customers aged 30–61 based on interviews with 13 customers aged a study of mertourism, Similarly,

(2013–16). Secrets of Island Hence, though a spiritual subculture built around merpeople’s other-than-human identi- though a spiritual subculture built around merpeople’s other-than-human Hence, TV exposure likely consisted of two Australian series, Australian two of consisted likely exposure TV While mermaiding is a recent phenomenon, its iconography draws from ancient mytholo- its iconography a recent phenomenon, While mermaiding is swimming in pools as a fitness activity practiced One German study focused on mermaid 6. ties does figure online where devotees build narratives around their mermaiding aspirations and ties does figure online where devotees build with inter these studies indicate that mermaid participants play practices (Robertson 2013), textual references to popular culture and a mutable fantasy character that connects with and textual references to popular culture and scholars researching the phenomenon of words, In other embodies environmental concerns. founded on contemporary mermaiding may read mythologies into practices that in fact are not the meanings of doing risk mis- or over-interpreting and by so mythological or literary sources, we aim to describe the ways in which aquarium mermaids com- As an alternative, mermaiding. By locating the pose their characters to see how their practices create links to mermaid folklore. we suggest that the lineages that connect contemporary mermaiding with mermaid folklore, not neces- mythology of mermaids becomes highly performative and develops in ways that do sarily cite mer mythologies accurately.

gies worldwide; a straightforward approach to studying mermaiding juxtaposes contemporary approach to studying mermaiding gies worldwide; a straightforward 2014; Porter and Lück 2018; based on these mythologies (Hietzge mermaiding with sources and are drawn by researchers of mermaiding these juxtapositions However, Robertson 2013). the few existing empiri- In fact, not necessarily by people who do mermaiding (Hayward 2018). all point in the direction that these practitio- cal studies of practitioners who swim as mermaids influenced by mermaid mythologies. ners do not see their activities as heavily them aged 20–23) who then taught mermaiding to by 25 physical education students (most of not heard of the “had study concluded that these girls The girls. a group of eight 10-year-old Their first ideas Andersen’s Little Mermaid before. old myths and stories like [Hans Christian] they discarded the Therefore, TV and Disney literature. on mermaids were moreover rooted in ‘being- and reconstructed changed the story themselves, tragic aspect of the Little Mermaid, (Hietzge and in contact with marine creatures” adventurous a-mermaid’ as much more lively, 2014:70). “Mermaiding” is differentiated from merely reading and viewing stories about mermaids from merely reading and viewing is differentiated “Mermaiding” of living in the aquatic to compose and display the experience because it allows practitioners (widely used as a gender- the popular phenomenon of mermaiding Broadly speaking, element. and being photographed, enacting a merperson by donning a fin-tail, inclusive term) entails a participatory media practice Mermaiding thus constitutes online. reporting these activities practitioners take center stage composes a bodily performance that lets (Carpentier 2011) and the practice’s citationality. This gives rise to questions about 1987). (Turner Mermaiding Practices Practices Mermaiding performance skills, the composition of shows, and how the employment of merpeople is part of of merpeople is part how the employment and of shows, the composition skills, performance - to return to the ques ultimately, in order, “experience economy” strategies of the the marketing tion of interpretability. at a mermaid school on Boracay Island, the Philippines, found that mythology had a minor role the Philippines, at a mermaid school on Boracay Island, par Instead, with their mermaiding experiences. in the fantasy play that the tourists connected water; expressed marine conservation-oriented beliefs; ticipants highlighted their connection to (Porter and Lück 2018:241). “beautiful” and “powerful women” and described mermaids as that participants found mermaid swimming surprisingly dif- both studies discovered Moreover, styl- of aesthetics in terms of color-coordination, ficult; and participants stressed the importance and ization of the body, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

122 Davis/Strandvad paying spectatorswhophotographtheminanartificial mented byacape), exemplifyinganewform:theprofessional aquariummerformer. Seenby wearing fishtailswithembeddedmonofins(inHugues’scase, asthesuperhero Anceos, aug- beachside amateur mermaids. formers arecategoricallydifferent fromtheburgeoningnumbersof “dry,” “chlorine pool,” and L’Aquarium deParis. All except Huguesareyoungwomen. Aquarium; andClaireBaudet(ClairelaSirène)herunderstudy HuguesRouleuxat and hercolleagues, includingHannahSphattandKendall Mackey, atDenver’s Downtown Dr. Daniela Rodler(MünchensNixe[Munich’sMermaid])atSeaLifeMunich; Tara Lundquist and RikkeHansen(FreedivingDarling)atDenBlåPlanet(The BluePlanet)inCopenhagen; mermaids: KarinPrehstLundMadsen(HavfruenKarin), JulieSørensen(MermaidJulie), Four setsofinformants(withstagenamesinparentheses)make upoursampleofprofessional Aquarium Mermaids perform inartificialaquariumsasself-inventedadditionstotheexhibitionsofmarinelife. river”), themerformersinoursampledeveloptheirownshows, diveonlyonbreathholds, and gral totheaesthetic. Incontrastto Weeki Wachee (Seminolefor “little spring” or “winding mermaids drawbreathwhilesubmerged. A fewfreshwaterfishmaywanderby, butarenotinte- reographed revuesunderwaterinaspring-fedenclave, lacedwithoxygenhosesfromwhichthe ,in Wonderlandmaids performwell-knownstories(suchasTheLittleMermaid Alice or ) andcho- in 1947, thisparkhasfeaturedperformingmermaidsasitsmainattraction. Companiesofmer Kokai’s analysisoftheshowsat Weeki Wachee Springs, Florida(Kokai2017). Sinceitsopening space theiractsopenup. fessional mermaidperformersunderlinenotonlythecitationalitybutalsoperformative mermaid personae, andtherebycontinuallygenerateworkforperformers. Inotherwords, pro- are constantlyreinventedtomaintaininterest, toshowdevelopmentsordifferentiationsofthe (jewelry,that thefigureanditsadornments makeup, hairstyling, and upper-body coverings) fessional merpeople, thedescriptionofmonsteraspurecultureisaccentuatedbyfact learn aboutourcontemporaryculture(inSixand Thompson 2012:275). Inthecaseofpro- anxieties, andfantasies,” andsobyanalyzingcryptidmonsterssuchasthefish/humanmerswe “the monster’sbodyisalways ‘pure culture,’ theembodimentofculturallyspecificfears, desires, powers beyondthoseofnormalhumans. LiteraryscholarJeffreyJeromeCohenarguesthat figure commonbeliefsbyexploringthewondersofbecomingacreaturethathasformand Hence, mermaidingengagescitationalliminalitywherebyitispossibletoplaywithandrecon- prodigy anddemon, sacredandprofane. both thebeautifulandharmlessaswellgrotesqueevil:marvelmonster, Braidotti, Robertsonsuggeststhatthemermaidcharacterasamore-than-humanfigureoffers human characters(e.g., vampires, werewolves, andfairies). CitingfeministphilosopherRosi (2013), canbeseenaspartofapopularculturaltrendperformativelyexploringmore-than- 7. The onlyresearchonprofessionalperformingmermaidsisperformancescholarJennifer 1996, p. 141). Thus, asacreaturethatisutterlyliminal. (Robertson2013:311) to segregateundesirablesfromwhatallegedlyconstitutesthe “pure” human(Braidotti courses ofracism, patriarchy, heteronormativity, andotherexclusionaryschemathatseek a human/animalhybrid)positionsitintheliminal, in-betweenzoneinvokedinthedis- Braidotti hastheorizedthattheothernessof “organic monster” (suchasthe Indeed, contemporarymermaiding, asreligiousstudiesscholar Venetia Robertsonshows fessional custom. Hereafter we useperformers’ stage names, and abbreviated versions of them, because that is the performers’ pro- — that is, theatrical 7 They performunderwaterwhile — habitat, mer mermaid, - - Aquarium Mermaids 123 - - as Karin, as Karin, — developed her mermaiding are professional mermaids who — and Claire Tara, Daniela, Karin, — they find mermaid colleagues to work with. Only Claire coaches as a way they find mermaid colleagues to work with. — 8

Our key informants interviews: following the otherwise2017, unless quotes All from Havfruen February 16 Karin, are indicated 2017; August 10–11 aquarium Denver staff, Munich; 2017, April 22 Daniela, Nixe Münchens Copenhagen; Sirène, la Claire Copenhagen; 2017, October 25 Rikke, Darling Freediving and Julie, HavfruenMermaid Karin, Paris. 2018, May 26 Anceos, Paris; 2018, May 26 Claire la Sirène is a French doctoral student writing about mermaid mythologies for a Claire la Sirène is a French doctoral student Our four key informants exemplify the entrepreneurial character of performing mermaids. Our four key informants exemplify the entrepreneurial character of performing mermaids. Karin is a Danish actor who moved from children’s theatre to training docents at the Danish at the Danish theatre to training docents from children’s Danish actor who moved Karin is a research veterinarian at the is a German (Munich’s Mermaid), Nixe” “Münchens Daniela, swam competitively before mermaid- and the youngest of our informants, American an Tara, 8. ium is transformed into a nightclub where Claire performs solo to a different crowd: instead of ium is transformed into a nightclub where attention must be earned but in both cases, squirming children there are writhing partygoers, she employs Aquadream in Casablanca, such as at When Claire performs elsewhere, and held. is a full-time social still a novice merformer, Hugues, mermaid or merman coperformers. merformers where his first contact with scene, worker; he participates in the amateur cosplay tails. came from a request to fabricate silicone into a start-up company. She has a strong online presence, including her own YouTube channel. channel. YouTube including her own online presence, She has a strong into a start-up company. de Paris are accom- performances at L’Aquarium Her Saturday afternoon and school holiday the aquar on some weekends In addition, 2). (fig. panied by a scuba diver costumed as a prince not professionals in the sense of making a sustainable they are Yet perform for paying audiences. at the four sites earn different incomes from aquar The mermaids income from mermaiding. degree in Communication Studies at the Sorbonne. Since 2011, she has forged a career as Since 2011, Sorbonne. degree in Communication Studies at the a back- With and recent success has caused her to take a hiatus from her thesis. a mermaid, Claire has gogo dancing, ground in modelling as well as belly and Following not least because the frequency of shows varies across the four cases. ium shows, careers combining different types of mermaiding our informants form patchwork from this, while and Claire make a living solely from mermaiding, Tara Only with other types of work. By teaching and training others Karin and Daniela have additional income streams. and Claire do Tara, to earn money. and Claire have created their own jobs in the aquariums in conjunction with Daniela, Karin, national aquarium in Copenhagen, The Blue Planet, where she established a theatre for young a theatre for where she established The Blue Planet, in Copenhagen, national aquarium the aquarium’s biologists’ Despite in 2013. building opened when the new aquarium audiences to management to persuade the aquarium’s she managed to introduce a mermaid, reluctance Karin summer of 2016. there since the solo acts have featured Mermaid perform. allow her to who took over the Julie and Rikke, freediving practitioners Danish alternates, coached two together; once a month one of the three of them train Today, leave. shows during her maternity The Blue Planet. show at them performs a solo has also performed around the world for the last decade, who, Ludwig-Maximilians-Universität in ballet and competi- She has a background and mermaid. model, as an underwater actress, TV shows, and has acted in commercials, certified scuba diver and freediver, is a tive swimming, and films. to full-time work after complet- transitioning from 2011–2017, ing at the Denver aquarium she August 2017 In of Denver. in event management at the University ing her bachelor’s degree Although she no longer performs at docents. started a new full-time job training the facility’s Wands part-time with the event entertainment company performs Tara the Denver aquarium, Denver mermaids are Hannah and Kendall also joined the aquarium as students. Wishes. and though no specific skills “look like they live underwater,” selected at auditions for their ability to are prerequisites.

124 Davis/Strandvad (Photo by Tracy C. Davis and Sara Malou Strandvad) swim-by as a united couple. L’Aquarium de Paris, 26 May 2018. Figure 2. Claire la Sirène and her Prince/safety a diver perform peak times. Denverkeeps upto30mermaidsonthepayroll;thisallowslike Tara to ing themostshowsinoursample, evenaftercuttingbackfromhourlyshowstofive per dayat paid liveperforming. at additionalsites, withdifferent companies, ortounderwatermodeling, underwater filming, or but rathertheirsuccessinlaunchingjobsforthemselvesthat in somecasesleadtootherwork als isnotformaltraining, skillcertification, aregulated workplace, orspecificadvocacygroups, amateurs. As anemergentfieldofemployment, what differentiatesthesewomenasprofession- and may, asdoesClaire, makecelebrityappearances atmer-conventions otherwiseattendedby tural forms. To recruit, network, andmentor, thesemermaidsmayutilizesocialmediaplatforms cies, governingbodies, orsafetyprotocols). The fieldismoreopenthanbetter-established cul- nor afixedinfrastructure(i.e., therearenospecificcultural intermediariessuchascritics, agen- tage industryhasemergedaroundthemermaidingtrend, ithas neitheracleartrainingladder approaching venues, settingupshows, andgenerating workforthemselves. Though acot- result ineconomicgain(HaynesandMarshall2018;Hjorth Holt2016;Swedberg2006). damentally entrepreneurialactivity, eventhoughitisnotmotivatedbyanddoesnecessarily omy haveturnedtoSchumpeter’stheoryexplainhowartisticinnovationconstitutesafun- is notwhatdrivesentrepreneurs. Researchersstudyingentrepreneurshipinthecreativeecon- and the “joy ofcreating” ([1911]2000:70). This meansthat, inSchumpeter’sview, moneyalone entrepreneurs are “the dreamandthewilltofoundaprivatekingdom,” “the willtoconquer,” bringing aboutaneworganizationofanindustry. According toSchumpeter, whatmotivates The DenverDowntown Aquarium morefullyinstitutionalizesthemermaids, present - Mermaids areentrepreneurialbecausetheyestablishingthis newaestheticform, who hasanagent photo shoots(fig. 3). Danielaistheonlyone and socialmediafeaturingtheircostumed means ofnewspaperstories, TV appearances, building uptheirmermaidingprofilesby markets, findingnewsourcesofsupply, and new methodsofproduction, openingnew tion: introducingnewgoods, developing Schumpeter’s theoryhighlightsinnova- take financialrisksinthehopeofprofit, mon meaningofentrepreneurshipisto Schumpeter (1883–1950). Whereas thecom- orize entrepreneurship, economistJoseph A. tion ofthistermfromthefirstscholarto- “entrepreneurial,” webuildonthedefini- and Culkin2009:101). fun. Findingtheworkisjob” (inRandle the filmindustrystated: “doingtheworkis an informantinastudyoncreativework aquarium mermaids, allthreeexemplifywhat ing andinventingtheirownemploymentas Prien amBavaria(Rodler2017). Byseek- Prienavera Waterpark inPrienamChiemsee, maids, whichshepromotesatplaceslikethe published ahow-tobookforyoungmer work, shealsohustlesforwork. Sherecently then utilizesinmorelucrativeon-camera ium gigswhereshecanpracticeskills In arguingthataquariummermaidsare — but evenso, togetaquar - - Aquarium Mermaids 125 gallon gallon and the intervals when — in favor of the illusory and fas- —

9 Figure 3. Daniela Rodler with media crew at Sea Life München, München, Life Sea at crew media with Rodler Daniela 3. Figure Strandvad) Malou Sara by (Photo 2017. April 22 -

There are precedents for submerged performances, such as “Professor James Finney and his Sister” who in 1896 1896 in who Sister” his and Finney James performances, submerged for “Professor as such precedents are There 1896:328). (Steelcroft costumes bathing Victorian underwater cards in clothed while tank 1360-liter a in played They perform mermaids. in 1000- in the 2010s sometimes feature Faires the carny tradition, Renaissance In (3,785 liter) tanks that accommodate flip turns at a depth of about one meter (ABC Action News 2013). Action (ABC meter one about of depth a at turns flip accommodate that tanks liter) (3,785 Thus, the merformers rep- the merformers Thus, 9.

Aquarium mermaids strive to make it look effortless to dive and then “interact” with their pub- “interact” effortless to dive and then Aquarium mermaids strive to make it look Properly executed, they cannot see through the saltwater and thick plexiglass. in fact, which, lic, logistics of breathholding performances should let viewers forget the the tank’s upper edge the mermaids breach for air and hang at Merformance cinating optic of the visible, durational submersion of a mermaid swimming amid aquatic spec- durational submersion of a mermaid swimming amid cinating optic of the visible, imagery act with precedents in technique (apnea diving), This constitutes a performance imens. and zoo exhibitions (Beßler 1995; Kraß and popular culture), visual culture, literature, (folklore, Nevertheless, Duzer 2013). Van and Davis 2016; 2010; Phillpotts 1980; Ritvo 1987; Strandvad atmospheric pressure increases as the mermaid the constraints of water affect breathing; of affecting the sinuses and compressing the lungs; and the alternating intervals descends, com- breathing-up (breathing to prepare for the next dive) and breathholding do not merely Elements pound the challenges of performing but define what is possible to do as a mermaid. however the physiological con- of aquarium mermaiding have traveled from other practices, merformance is As such, straints on agency in an aestheticized context lack direct precedents. not merely a recombination of elements but a new form. have full-time work during the work during the have full-time of and some Tara high season. also mermaid for her coworkers a Denver- Wishes, and Wands that stages par based company ties with mermaids, princesses, princesses, ties with mermaids, and figures, and action fairies, to appear contracts employees aquari- as guest mermaids at In all cases, ums across the USA. merely our informants are not aquariums’ “featured - attrac but also independently tions” contracting entrepreneurs. cultural resent contemporary in entrepreneurs who work precarious forms of “atypical” employment in the cultural sec- ways undertaking entrepreneurial action to sustain their aes- forming firms and in other tor, these entrepreneurial mermaids By doing so, 2015). thetic work activities (Ellmeier 2003; Essig not only out and improve skills in a range of activities, pursue a mode of labor where they carry merformers but also developing skills in costume perfecting the technical skills required as manage- and relationship merchandise sales, bookkeeping, choreography, design and building, social media utilizing They are also versatile marketers, ment with collaborators and employers. who promote themselves and report about their to communicate as cultural entrepreneurs of new endeavors (Dumont 2016). undertakings with pictures and short descriptions Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

126 Davis/Strandvad Entertainments Group, aconsortium of121attractionsscatteredacross24countriesinNorth removes hertail, drapes itoverhershoulder, andwalks away. and usuallygetitright(fig. 4). Subsequently, themermaidswimstoarockand, infullsight, they arenotabletoseethespectators, theperformerslearnwherehandsarelikelytobe, their handsontheglass, waitingforthemermaidtoplaceher handsoppositetheirs mermaid assheappearstorespondbywavingbackandthrowing bubblekisses. Visitors place transparent barriers. Alternately, theycan seeherthroughalower-level window, wavingtothe the mermaid. Shethenslipsintothe Amazonian pool, wherevisitorslookdownatherthrough tors’ pathway. Here, visitorsenjoyinteractingwith her, havingtheirphotostakenalongside up tohaveacloserlook. Sheismaneuveredinfrontofthepool, barelyoffsetfromthevisi- shallow poolinthe Amazonian habitat, wherea smaller audience repeats thispatternseveralmoretimes. Afterward, sheistransferredbyawheeledtrolleyto seated inahalf-circleamphitheatre. The mermaid descendsintoview, ascendstobreathe, then huge 16-meter-long by8-meter-high window allowsvisitorstogazeintothishabitatwhile sharks, zebrasharks, stingrays, barracudas, sea bass, morayeels, andhundredsofotherfish. The tiated byKarinbeginsasa7-minuteshowin4-million-litertankinhabitedhammerhead staff insistuponthisdidacticdebunkingbeforethemerformerappears. The diveformatini- how peoplethroughouthistorymistookvariousseacreaturesformermaids. The scientistson with a10-minutelivenarratedslideshowinfrontofthelargeoceantank. A lecturerexplains aquarium presentsitsthree-partmermaidshowFacts aboutthe Myth. The performancebegins the early2000s(BærenholdtandSundbo2007;Regeringen2003). OneSaturdaypermonth, the (Pine andGilmore1999), whichbothresearchersandpoliticianspromulgatedinDenmark This mandatereflectstheexperienceeconomyagendaofdevelopingservicesintoexperiences fascinating animalsfromallaroundtheglobe, rousingexperiences” (BluePlanet2013:6–7). life ofwater. A totalexperienceisprepared, combiningaward-winning, world-classarchitecture, lations. The aquarium’smandateisto “make children’sandadults’heartsbeatforthewondrous Exhibits featureseveraldifferentmarinehabitatsandanumberoflarge-scaleinformativeinstal- totaling 7millionliters and do. this hasimplicationsforwhatmerformers the aquariummermaids’forms(conveyedthroughcostumingandsilhouette, forexample). All facilitate orconstrainmerformers;andhowgenderisintegratedintobothmerphysiology sists ofacrossthevariantsalsoopensupadiscussionpoliticsintwoarenas:howinstitutions bodies, discourses, andobjects” (2015:59). Inourstudy, recognizingwhattherangeofacts constraints. Levinearguesthat “without forms, institutionswouldnotbeabletoimposeorderon ants inperformanceisonemanifestationofagency;theotherworkingwithinworkplacecon- for individualstoputtheirstampontheperformance. Recognizingboththeformandvari- stitutes the “social materials” ofmythologicalmermaidsbroughttolifewhilealsoleavingscope character choices, environmentalinteractionsrelatedtotheaquarium, andnarrative. This con- lower-body rangeofmovement), three-dimensionalchoreographywithintheaquaticspace, social possibilities, organizingmaterials:corporealityandcostuming(whichinturndetermines Adhering totheform, mermaidsworkwithintheirphysicalcapacitiestoexploitaestheticand Form iswhatconsistentfromoneperformancetothenext, andacrossallourcasestudies. Sea LifeMünchen, which openedin2006Olympiapark, isasubsidiaryofMerlin In 2013, Denmarkopeneditsnationalaquarium that doesnotmeanagencyisaltogetherforeclosed. (2017:1240) and westruggleeventorecognizethemanyformsoperatingonusatanyonetime. But to racialhierarchiesourbody’srhythms. We cannotworkoutsidethesearrangements, our agencyisdramaticallyconstrainedbyshapesandarrangements Caroline Levine, aNewFormalismtheorist, accountsforhow — in anewlocationontheshoreofØresund, southeastofCopenhagen. — creative entrepreneursinaquariumsettings — among thelargestinEurope, itstanks — the dedicatedfans — from builtspaces — — although — line are Aquarium Mermaids 127 - putatively — which also houses a Landry’s — cleaning up the oceans. The soundtrack exhorts The soundtrack cleaning up the oceans. — has been running daily mermaid shows (figs. 5 & 6). 5 & 6). has been running daily mermaid shows (figs. — Figure 4. Karin Prehst Lund Madsen immersed in the Amazonian pool pool Amazonian the in immersed Madsen Lund Prehst Karin 4. Figure 2016. November 5 Copenhagen, Planet, Blue The glass. the through interacting Strandvad) Malou Sara by (Photo - - turtle. Visitors observed the 30-minute show in corridors at two levels: observed Visitors turtle.

Since it opened in 2010, the Denver Downtown Aquarium the Denver Downtown Since it opened in 2010, In Paris, quarries in the Trocadéro Gardens between the Palais de Chaillot and the Seine Trocadéro quarries in the In Paris, America, Europe, East Asia, Asia, East Europe, America, Australia. and New Zealand, 700,000 liters of It features exhibits spread over water in 33 it meters; thus, 2,000 square the water and has one-tenth space of one-fifth the floor Copenhagen’s Blue Planet. mission Merlin Entertainment’s memorable “is to deliver unique, [...] and rewarding experiences. a relent- Through creativity and we aim less drive for excellence in our to immerse our visitors constantly delighting brands, under them & enriching their standing through fun learning” learning” standing through fun (Merlin Entertainments 2019). The occasional mermaid per formance by Daniela at Sea Life München accords with this, whether in the shallow waters of whether in the shallow accords with this, formance by Daniela at Sea Life München 400,000-liter in the 6-meter-deep as on the day we observed, the frigid Mediterranean pool or, and colorful fish, assorted a moray eel, tiger sharks, warmer tropical pool featuring reef sharks, a green sea Gonzalez, Daniela concentrated her interactions through the the panorama window at mid-depth where divers and one story below where much of the time the two scuba-outfitted safety plexiglass, eye out for who likes to nip at the mermaid’s fluke; they also kept an kept hold of Gonzalez, Daniela was wheeled on a trolley and deposited Following her dive, signs of stress in the sharks. public. next to the Mediterranean pool to meet the restaurant, complete with its own tank restaurant, several daily sched- Under the Sea exhibit, There are multiple shows per day at the 4-meter-deep and special eve- regular meet-and-greet opportunities, uled appearances in the restaurant’s tank, three mermaids Most dives involve two or parties. ning performances for corporate and private features three mermaids since 2011, in repertory One 9-minute script, at a time. and Hawaiian waters Pacific, Atlantic, from Stingray Cove touch pool after the show to meet the audiences to recycle waste and to go to the In addi- with voice-overs that the mermaids lip-sync. The narration is punctuated mermaids. mermaids pick of mermaid friends is playful and joyous as the “pod” this tion to being dutiful, they cannot see through the thick plexiglass) to up debris while urging the onlookers (whom Other shows are semi-choreographed water ballets set to contemporary 7). (fig. “always recycle” familiar or classical music; the music and choreography depend upon the mermaids’ skill and the prin- Tara, and energy level of these shows vary. duration, The content, ity with each other. dialogue-free us she wrote some of these nonnarrative, told cipal among our several informants, with one or “free swimming,” wide tank are always Performances in the dining room’s shows. tricks as at two mermaids doing window sweeps as they perform the same kinds of waves and but ad libitum. Under the Sea, Expanded and remod- were converted in 1867 into an aquarium for the Universal Exposition. firm Morita (Le is a commercial venture owned by the Japanese L’Aquarium eled in 2006, Then, a chance visit gave Claire the idea of performing as a mermaid. In 2010, 2016). Parisien By weekend nightclub. performances at L’Aquarium’s “dry” she gave for a year and a half, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

128 Davis/Strandvad median breathhold is17secondswithawide range ofdivetimes, compared toDaniela’s breathholds. A show’srhythm isgovernedbytheneedtoreoxygenatebetweendives. Karin’s dive withoutrespirationhoses. The timingofdivesandtricksdependsontheability tomanage through oxygenhosespositioned aroundtheirperformancespace, themermaidsinourstudy depth andunderwaterbreathholds. While Florida’sfamous Weeki Wachee mermaidsbreathe these skills. Karin, Daniela, andClaireallpaidforfreedivinginstructioninorder tomanage ers beforetryingonatail. All othermermaidswhowere interviewedneededtrainingtomaster bly, withoutholdingthenose. OnlyKarin’ssubstitutes, RikkeandJulie, wereproficientfreediv- mermaids havetoequalizetheincreasedpressureintheirears; ideally, thisisdoneimpercepti- that thebodyundulatesminimallyanddoesnotarclikeabanana. Moreover, astheydescend, the monofin, preferablyminimizingkneebendingand, tomaintainmomentum, makingsure ticing breathholdsandunderwaterrelaxation. Mermaidsalso traintomaximizeefficiencywith niques tomanagebreaththatstemfromoraresimilarthose developedforfreediving, prac- (2017:22). Forhumans, waterisalow-oxygenenvironment, somermaidsmustutilizetech- ics ofembodiedphenomenologyinthewaterrequiresattention totheseuniquecircumstances (Photo by Tracy C. Davis) up to fiveruns shows a day as patrons dine, 11 August 2017. Figure 5. Landry’s Restaurant in the Denver Downtown Aquarium are DJed. the nightclubperformances with voiceoversandsongs, while has acarefullyeditedsoundtrack 3:00 a.m. The afternoonshow noon, midnight, andagainat ited, sheperformedmid-after the nightclub. When wevis- tive dance-likeappearancesat holidays andmakesnonnarra- ences onweekendsandschool show isofferedtofamilyaudi- forms. Claire’snarrative-based saltwater tankswhereClaireper Spectacles, oneoftwolargecold the 8-meter-deep Sallede imens. The facilityincludes corals amongthe10,000spec- sive collectionofjellyfishand liters ofwaterfeatureanexten- hold. L’Aquarium’s 4million immersed performancestook director’s deskandtheideaof chance, herphotolandedonthe and sotheontologyeth- tions arenecessarilymaterial, metaphoric”: corporealfigura- a positionthatisnever ‘just’ ory, “rethinking waterdemands called fluidturninculturalthe- Neimanis notesabouttheso- philosopher Astrida feminist very specificconditions. Asthe Mermaids’ workoccursunder and Co-inhabitants Social Materials, Skills, ability - - Aquarium Mermaids 129 - - - bubbles. bubbles. and blow kisses with one or both hands. These actions, These actions, and blow kisses with one or both hands. Figure 7. Denver Downtown Aquarium recycling show with three mermaids, three with show recycling Aquarium Downtown Denver 7. Figure Davis) C. Tracy by (Photo 2017. 11 August — - - - all of which affect backward somer

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The underwater perfor mances of aquarium mermaids are structured around reper to be the sine qua non of the aquarium mermaid. seem easily interpreted mimed gestures, also incorporates props: first a conch shell, whose persona emphasizes playfulness, Daniela, then as a mechanism to disperse which she uses to mimic listening to a telephone, toires of tricks. Basic swim- toires of tricks. ming tricks feature turning the body around its own axis and executing the body, and affordances; as the body, well as propulsion from the costum- buoyancy, monofin, ing, and storytelling — which give skilled specialists scope for performance choices. mance with one impressively long opening dive but then had less opportunity to display a wide mance with one impressively long opening time at the window; and the Denver mer range of behaviors; Daniela maximized interaction aquar way, In that and capacities at the moment. maids varied patterns based on their needs atmospheric pressure, oxygen, such as water, ium mermaiding is determined both by constraints and water tem- salinity, the tail, perature mermaids Additionally, saults. repeatedly wave to spectators — Daniela is particularly add- adept at faking eye contact, ing a finger point or a raised thumb to be in view for 30 seconds at a time on dive after dive. The Denver mermaids, Hannah and The Denver mermaids, dive after dive. to be in view for 30 seconds at a time on Karin began her perfor Thus, each perform many dives in relatively short shows. Kendall, Figure 6. Diners at Landry’s Restaurant gather to watch a mermaid dive. Denver Downtown Aquarium, 11 11 Aquarium, Downtown mermaida watch Denver to gather dive. Restaurant Landry’s at Diners 6. Figure Davis) C. Tracy by (Photo 2017. August Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

130 Davis/Strandvad (Photo by Tracy C. Davis and Sara Malou Strandvad) of an over-sized vodka magnum, endorsing the club’s 27 May 2018. bottle service, Figure 8. Claire la Sirène in the nightclub show at L’Aquarium de Paris in front a mermaidcan dive, swim, orsurface; whiletheirpresenceaugments theillusionanddegree creatures arebothconstraintsand affordances:theirproximitycanconstrainwhereandwhen crew ance inanon-locationfilmshoot: thecamerasfixonherbutpassers-by coincident beingswhononchalantly givethemspace. Itisratherlikeaminorcelebrity’s appear Schools offish, smallsharks, rays, andeelsarenotsomuch “co-actors” withthemermaidsas tators throughtheopaqueplexiglass, mostotherbeings inthewaterareresolutelyindifferent. home inthewater. Whereas duringsubmergedperformancestheyfakeinteractionwithspec- score theideathatmermaidsareplayful:notasfreneticotters orasspeedyseals, butat stream bythemermaid’ssidesorareliftedoverheadintoanextended line. Tricks canunder enhanced ifthemermaidistechnicallyproficientwithequipment, especiallywhenthearms by thefeetwithinstiffmonofinbuiltintotail’sfluke thegraceandpowerofstrokeis schoolchild whocompletesaswimmingcurriculumlearnsthis, butwiththeelongationcreated in lumbarflexiontoretrovertthepelvisandcreaterhythmic whole-body undulations. Every dives. Mermaidspropelbythedolphinkick, which employsthelowrectusabdominismuscles the tank, willemphasizetheirhumanness;butthisimpression canbecounteractedbyskillful a costumedhumanbody:certainbehaviors, suchasbreathing-up whiledanglingatthetopof ence ofanimalswouldlessenthelikelihoodsuccess. sive undulationssotheplacidityofwaterisnotdisturbedcrucialtoeffect, sothepres- a sealswimmingthroughhulahoops. Calibratingtheswimmer’sspeedandminimizingpropul- bine aswim-through:trulyadeptpractitionercanascendthroughtheirownairexpulsionslike sports anover-sized vodkamagnum, endorsingtheclub’sbottleservice(fig. 8). coordinated patternswimming. At thenightclubinaquariumParis, Clairesometimes and emphasizewindowpasses(tomaximizetheirvisibilitytodinersacrossthelongtank) props thatthemermaidscollectanddepositinarecyclingbin;theirothershowsareprop-free illusory hand/armtricks. The Denvermermaids’lip-syncedshowutilizessymbolic “garbage” Later, shedescendswithaclearball, fivecentimetersindiameter, thatshesuspendstocreate Submerged, themermaidssuggestanirreconcilablecombinationof “nonhuman nature” and — may ultimatelybejustascompelling towatchbecausetheyarenotacting. Aquarium sea wide enoughdiametertocom- observed managedtoachievea None ofthemermaidswe ops andascendsinsequence. that asuccessionofringsdevel- repeated atshortintervalsso ented paralleltothesurface, three sites. Bubbleringsareori- is anothervariant, observedat in anarc. Blowingbubblerings toward onehandthendispersed clusters ofbubblesareexpelled usually withalternatehands, as plex variantis “throwing kisses,” toward spectators. A lesscom- into aheartshapedirected small bubblesthatare “drawn” quickly formsamultitudeof an expulsionofairthemermaid brought tothemouthandwith gist ofthisisthatbothhandsare ing “bubble heartkisses” is. The challenging gesture, butmak- Waving underwaterisnota — unaware ofthefilm - - Aquarium Mermaids 131 who com- — mermaiding caused sinus pain, ear dam- pain, mermaiding caused sinus — waving, placing hands on the glass, and point- and placing hands on the glass, waving, — headaches in the first months she performed. Sinus pain and ear infections are Sinus pain and months she performed. headaches in the first 2

but Julie and Rikke excel at appearing to be at home in the environment. Whereas Karin, Whereas Karin, be at home in the environment. but Julie and Rikke excel at appearing to

— Constraints and affordances speak to the physical properties of aquariums as well as design Constraints and affordances speak to the All mermaids do some window work Denver’s training protocols evolved by trial and error among a very mixed group of practi- evolved by trial and error among Denver’s training protocols risks inherent to diving. Claire visibly holds her nose to equalize pressure on each descent. This pressure on each descent. Claire visibly holds her nose to equalize risks inherent to diving. when this is especially because she invariably uses her right hand even is a constraint on grace, closest to the glass. dives are and at Copenhagen lengthy vary in depth, The tanks elements specific to mermaids. distance from surface to bottom but also the trans- necessary to traverse not only the vertical this by hav- Karin made a feature of to the glass. verse distance from the upper access point letting it fall picking up fistfuls of sand from the bottom and ing her first dive the lengthiest, dive manner, Julie and Rikke appear to descend in a leisurely out of her hands before ascending. This is work. making a point of exploring the space rather than emphasizing window after dive, and resultant ease especially in the ocean, freedivers, afforded by their extensive experience as and long dives. depth, with monofins, ing performing in the same tank, enhances the naturalism of her mersona with a silvery-grey enhances the naturalism of her mersona with a silvery-grey performing in the same tank, Rikke and Julie achieve the same illusion of Atlantic herring), tail (eerily resembling a North be part of it even appearing to their surroundings, exploring belonging by swimming leisurely, can swim Décor both determines where a mermaid while sporting colorful green and blue tails. the décor in Denver is faux reef; in Munich it and what she appears to be swimming amidst: grotto and Atlantis theme; Copenhagen features an asymmetrical rocky combines reef and a lost with adjoining rocky plinths in the midst of which is sandy bottom; and Paris’s setting is a vista and sponsors/advertisers, images about the aquarium, a large video screen with a succession of dive space Daniela’s In Munich, (during the shows) a graphic prohibiting flash photography. the marine biol- was constrained by the necessity to avoid the sharks; on the day we saw her, pump and ogists were concerned that they had been stressed on the previous day by a failed the mermaids invariably made In Denver, wanted to keep Daniela out of their customary space. This makes it appear that a long horizontal entrance and exit through an adjacent viewing area. area is also wide, Denver’s restaurant viewing they swim in from somewhere else for the show. the scuba- with a succession of window bays; but in order to remain visible and proximate to mermaids are constrained to just two bays. clad safety diver, Merforming is not just a matter of wearing an elaborate costume and making simple moves. moves. Merforming is not just a matter of wearing an elaborate costume and making simple Tanks’ conditions everything that merformers do in this emergent performance form. Water but so do the depth and breadth have an impact on audiences’ sense of access to the mers, Mersonas Mersonas Tara For dancing. and acting, in competitive swimming, tioners with backgrounds never had in-water on land, career by learning the swim patterns menced her mermaiding and still has never tried freediving mermaid training, and CO age, of naturalization within the exhibition environment. For example, mermaids at the Denver mermaids For example, environment. within the exhibition of naturalization as well as the that can give a mild shock, for the green eels Aquarium watch out Downtown a each other by thumping sonically warn surfacing; the mermaids especially while cruising rays, whose out for the tiger shark, Claire watches Aquarium, At the Paris in an open palm. closed fist smart and unprotected eyes mermaids’ In salt water, abrasion. cause an unpleasant touch can and logistical challenge. a constant physical so this is meters, limited to one or two visibility is they can inflict a nasty sting. the school of groupers are the chief hazard; Aquarium, In the Paris enable the fish to clear before hung a meter or two from the surface to Claire On one dive, yet are indifferent to the mermaids, the sea creatures avoid or most part, For the she surfaced. is for their own well-being and the This their best to be aware of them. the mermaids must do care imposed by all aquariums. imperative of animal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

132 Davis/Strandvad painful andcausecramping bruising. Siliconetailsaretheindustrystandard person, severelyconstraintheankles, whichmust manipulatethebuilt-inmonofin. Thiscanbe emerge nearlyseamlesslyfromtheirfish-scaledhips, thetails, evenwhendesignedforaspecific mermaids tooptimizefitandaesthetics. Whilethismeans thattheirhumanmidriffsappearto entious attentiontotheperformativeinteractionsthatconstituted hershow. and trajectory. Thus, herplayfuldemeanor beliedexceptionalstamina, consistency, andconsci- underwater workenabledhertohitmarkconsistently, andeachdivehadaclearintention completed atotalof17dives, eachanaverageof28seconds. Herexperiencedoingon-camera lasts 30minutes, andthoughshetakessignificantlylonger resttimesthanothermermaids, she down aline, swimming andapneatrainingatalocalclub. Though shedoesnotenjoyverticalfreediving ing withthe Austrian diverChristianRadlinacolddarkGermanlake;shecontinuallypractices her mouthbeforewavingalanguidarmonascent. face (kneesbent, armsoutstretched, backarched), wideninghereyes, andformingan “oh” with involved blowingabubblekiss, executingabackflip, thenclearingherlonghairawayfrom joy atthebubblesthatstreamedoutofshell’sotherside. A particularlycharmingsequence she heardnosound, butthenblowingairthroughit, andinsyncwiththechildrenshowing showed wonderment, forexamplelisteningwithaconchtoherear, signalingconsternationthat she wavedandpointed, itappearedtobeaspecificchildsingledoutforattention. Shealso of theglass. Daniela’sbubblekissesandringswerefortheassembledchildren. When was inthisclose-upposition, withaboutadozensmallfacescrowdingupagainsttheotherside covery” ofchildrenawaitingher, herfaceconveyingsurpriseddelight. Most ofherperformance vertically facingtheprimarywindowwheresheusuallydidwork, shemimedthe “dis- sizing “the playful, nice, butcaptivemermaid.” So, forexample, whenshedovelowthenrose me, it’smyself, it’spartofme.” Sheexplainedtousthat “I playthemermaidforthem,” empha- truly astagename. Evenso, shefeelsclosetohermersona: “What Idoismorethanarolefor ily conveyedtothepublic. ForDaniela, theMünchenNixeisadesignationonherwebsite, not Mermaid namesmayhelpwithmarketing, butintheaquariumcontextnamesarenotread- to determinethatnorm. is notamatterofbeingasmuchlikemerpeoplepossible, becausethere’snoexternalstandard men, andasenseofspeedisrelativetothevariousaccompanyingfishspecies, notpeople. This legs areboundtogetherbythemonofinandtail, locomotionemanatesfromthelowerabdo- and purposeful, conveyedthroughsteady, longstrides, howcanthistranslatetothewater? The sis alike, soconveyinghappinessdependsmoreontheface. Likewise, ifone’spersonaisfocused languid; finning, armstrokes, orbellypropulsionarenecessarytomaintainmovementandsta- persona isdifficulttoexpresswhentransferredanaquarium. Underwater, gesturesaremore is upbeatandempatheticmaybeconveyedwithbouncy, quickgesturesonland, butthesame former. To illustratethedistinctionbetweenpersonaandmersona, anindividualwhosepersona mermaid-plus-persona personality presentedtoandperceivedbyothers, butadditionally itate illusion;theyalsoconveyamersona. Likeapersona, amersonainvokesfacetofone’s to thespectators. What happensduringdivesvariesconsiderably:technicalskillsnotonlyfacil- merformers’ endurance, breathholdingskills, andproficiencywithgesturestricksaddressed 10. The siliconetailswornatCopenhagen, Munich, andParisare custom-made, enablingthe Out ofthepool, Danielaregardsherselfas “a mermaidwho[free]dives.” Shestudiedfreediv- All possiblechoicesarepureculture:customarysignifyingsystems, adaptedforthemersona. ascend parallel diving to ropea vertical that is attached to a heavy bottom weight. Freedivers most often train for depth disciplines by diving straight up and down in open water. They descend and 10 herskillsshowthebenefitsofthistraining. Herperformance inthetropicalpool — there isanadoptedcharacterthatindispensablyidentifiesthemer — hence theportmanteauof — beautiful, - Aquarium Mermaids 133 - and may — but this afforded a wide area in which she could do swim- — consequently, much of her dive time was taken up with traveling to and from consequently, —

emphasizing facial communication. She used small hand props such as the string of pearls She used emphasizing facial communication. Silicone tails are heavy (from 9–15 kg), yet the experience of swimming with them depends yet the experience of (from 9–15 kg), Silicone tails are heavy she played a mermaid who fascinated a prince, In Claire’s show for family audiences, the ostensible performing space unfurled a personal greeting to uniting with him, and after found in the prince’s clamshell, her signature moves were neither diegetic nor com- However, acknowledge a children’s party. which she manipulated à la with flowing ribbons, such as incorporating wristlets municative, she experimented with long fiber optic filaments in the nightclub shows, Similarly, eurhythmy. optimizes her ability to propel powerfully from her Her swimming style attached to her arms. and with her svelte lines results in exceptional grace and the illu- with little body arcing, core, that suits both fully at home in the water, This portrays a mersona of elegance, sion of length. sexualized) the enchantment plot of the afternoon show and the celebratory (but not especially she described her show rather than emphasizing a character, At nighttime, nightclub ambiance. be accessorized by upper-body adornments. Claire, Daniela, Rikke, and Julie designed and built and Julie designed and Rikke, Daniela, Claire, adornments. by upper-body be accessorized cups are Bikini a specialized costumer. half the cost of hiring silicone ensembles at their own manufactured affixed to a commercially the molded silicone to resemble shells, often fashioned stan- deviated from the at Sea Life München April 2017 dive 22 ensemble for the Daniela’s bra. color toned with her bodysuit; its sky-blue round-necked a long-sleeved dard by incorporating shells that curved up one side, by the addition of small silicone tail and was further harmonized the transition from shirt to Romanesque cuffs that disguised girdle, an ornate golden coral-like around one bicep. and an armlet hand, incorpo- and whether weights are body density, the mermaid’s trapped air, upon the amount of To descend takes work, 2017). or elsewhere to counteract buoyancy (Satine rated into the fluke and speed conditioning the assists on ascent with the mermaid’s angle while natural buoyancy for executing tricks such as hori- This has implications cause more drag. Larger flukes climb. share a the mermaids In Denver, and flips. formation swimming, zontal or vertical corkscrews, which are much lighter pastel colors), and large in various solid medium, set of latex tails (small, discomfort depending on the mer they cause Nevertheless, silicone. and more flexible than sashes (the the gap is disguised with fabric At the waist, maid’s shin and ankle circumferences. for Denver mermaids are reimbursed navels). management also insists on covering swimmers’ must be approved whose designs or sports bra tops, bikini their commercially purchased Lycra tails afford Both the latex and silicone looks. “family-friendly” by the management to ensure but otherwise mermaids cling to the decorative infrastructure at depth, “float” a horizontal tail that Claire wore for her nightclub performances The heavy to maintain a fixed position. exploited the She depth without undulating the fluke. enabled her to hold a vertical position at the making fluid wavelike motions with her arms, while “hang” physics of this repeatedly to then (at times) shoulder and ribs. elbow, followed by the wrist, fingers leading the movement, though wearing the tail pre- as a belly dancer, Claire prominently drew upon her experience “danced” She is the only mermaid we observed who cluded most moves typical to that form. of the Denver mermaids drew upon their dance back- though Daniela and some in her show, Claire has sig- and Julie, Rikke, Similar to Daniela, grounds to execute formation choreography. and trains once a week in a public pool to maintain nificant amounts of freediving experience her freediving skills. by The prince was played and was then united with him. accepted his gift of pearls, wearing scuba gear under his biologist who doubled as Claire’s safety diver, L’Aquarium’s simulta- Most of the story was carried by the voice-over: only at the point when they tunic. did the by forming two-handed heart shapes, neously saw each other and expressed affection Claire executed several kinds of waves; On entrance, miming fully advance with the narrative. a much larger distance to traverse to get to audi- she had in contrast to the Munich facility, ence level The space and lighting called for showing her whole form and bys and whole-body tricks. de- customizable as to texture, color, and calf circumference, with pectoral or dorsal fins pectoral or dorsal with circumference, and calf color, as to texture, customizable Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

134 Davis/Strandvad , Mermaid the eleventhdive. when Claireandherprincewereunited, notwaitingtoseethemswimoffhand-in-handafter the musicandvoice-overnarrative, thougheventhentheybegantodepartafterthesixthdive, during successivedives. The familyaudiencedidsignificantlybetterintheafternoon, aidedby ence’s attentionwanderedduringtheresttimesanditgrewincreasinglydifficulttorecover rests werefilledwithactivitiesperformedbytheprince. Duringtheeveningshows, theaudi- 42-second divesand42.5-secondrestsinthemidnightshow. Some, butnotall, oftheafternoon dive lengthsandresttimesmatch:34.5-seconddives35-secondrestsintheafternoon onds, whichaccordswiththemusicalmotifthatidentifieshercharacter. Overall, heraverage manded thepartygoers’attentiononherfirstdives, butitwanedthereafter. was meanttocoincidewithaspecialsoundtrackbutthisneveroperatedcorrectly. Shecom- to appear, acanonshotconfettiabovethecrowdandstrobelightpulsed. Herappearance bouncers werevigilantandeveryoneremainedsurprisinglysedate. Whenever Clairewasabout including ahenpartyaswellmixed-gendergroups. A fewmencruisedthecrowd, butthe show, thendeparted. The nextwaveofpartygoersweresomewhatyoungerandmorenumerous, VIPs: membersofaclubwhohaddinedtogether, paidforpremiumaccess, viewedaspecial around tables, anddancerswhostayedclosetotheirsocialgroups. The midnightcrowdwere emphasis isondancingratherthanastoryline, butitremainsentirelydecorous. ration intheDisneyprincesseswhileaimingforsomethingmoremysterious. Foradults, the she drawsuponthistoconceiveheracts;evenso, inperformancesforchildrenshefindsinspi- by saying, “I danceinthewater.” Herongoingdoctoralresearchisonmermaidfolklore, and 11. ing logic, yetassertsselfhood. sage ofexternalbranding. The ontologyflatlydenies magic, opensupthepossibilityofdoubt- adds uptothesumtotalofmermythology’shybridityandweirdness norconstitutesames- underwater models, forinallcasesthereisapersonalimage theyseektoconvey:thisneither supersedes specificcostumeandaccessorychoices. Mersonas alsodifferentiatemermaidsfrom same waybyanyoneelse” (2009:14). This distinctiveness isimportantforself-promotionand developed outoftheindividual’spersonalityandwhichcould neverbeadoptedandlivedinthe ence seestheideasandattitudeofthatindividualconveyedby anadoptedpersonathathas Peacock notes, suchperformingisintenselypersonal, and “when aclownperforms, theaudi- who havestrongculturalprototypes, mermaidsseektheir ownidentityintheform. As Louise This isintegraltotheirstanceasprofessionalsandentrepreneurs. Likeclowns, forexample, apart fromsuchtrademarks. Their mersonasaredistinctlytheir own, bothinlookanddeed. (1989).animated featureTheLittleMermaid Mermaidselsewheretakepainstosetthemselves in thewaterwhileaudiencehears “Under theSea,” ashow-stoppingnumberfromDisney’s interpolated byDisneyinto Andersen’s tale. Followingthe “recycling” plot, themermaidsfrolic when Kayafindsaforkshecannotresistrunningitthroughherhair, asignature moveof Ariel removes plasticsfromtheocean, and “Kaya” helpsPacificseaanimalsthatareintrouble themes show assignsthreemermaidsstandardattributesthatkeyintotheaquarium’smarineecology is inDenver’slong-running “recycling” show, butevenheretheresemblancesarefleeting. The all favortheprettyratherthanscary, nonhumanmermaidofsomefolklore. The exception In contrasttomermaidcosplay, whichcurrentlyfocuseson Ariel fromDisney’sTheLittle sec- Claire’s divetimesarenotablyconsistent. Manyoftheafternoondivesclockinat41–44 When weobservedthe Aquarium nightclub, itpulsedwithDJedsound, drinkersmingling shell bra, aqua-green tail, and long red hair. The goal of cosplay is to replicate the film’s apurple image as closely as possible. Thus, all such practitioners sport — 11 “Cora” comesfrom Australia andprotectsreefs, “Loni” isan Atlantic mermaidwho aquariummermaidseschewcorporatelyownedandidentifiableimages, thoughthey — yet Aquarium Mermaids 135 - - even — Figure 9. Rikke Hansen diving among the fish in the Ocean Tank at the Blue Blue the at Tank Ocean the in fish the among diving Hansen Rikke 9. Figure video) her from Hansen Rikke by (Still 2018. March Copenhagen, Planet, - - a — belief in mermaids as beautiful, strong, positive, feminine role models. The feminine role models. positive, strong, belief in mermaids as beautiful, — . Though Claire’s understanding of mermaids’ mythos is espe- Though Claire’s The Little Mermaid. then in whom or what

—

Denver only hires women: exhibiting a mersona was coextant with encouraging Tara, and Karin, For Daniela, In the poolside meet-and-greets, which were held in Denver, Copenhagen, and Munich, but Munich, and Copenhagen, Denver, which were held in meet-and-greets, In the poolside the opportunity arose. messages whenever conservation the merformers delivered not in Paris, in as they stated to deliver, the mermaids intended message related, also another, there is Yet “like is it mermaid show, Karin describes her As people’s lives. to bring magic into interviews: The message about magic is what tale.” we all want to grab the fairy know, you a fairy tale and, At the “are you real?” was and the often-posed query from children to, the audience responded The the mermaid was not some children loudly proclaimed that real. Copenhagen aquarium, so in Denver children express skepticism, even when in character, mermaids’ job is to remain “I child volunteered, One “I was hatched in the ocean.” like they respond with explanations the plot lines of Hans Christian botching legs and see your family,” know how you can get Andersen’s position that all the mermaids without contradicting endorsed, either scientific rationalism or ecology A sea crea- would they believe? A benev- ture or a land creature? A olent creature or a monster? swimming actor or a magical there Whatever the case, fish? could be no doubt that the mer hoping to instill Daniela found inspi- When developing her mersona, feminine portion of this formula is crucial. mermaid, in which a vengeful man-eating (Gutierrez 2001), ration in the movie She Creature takes over the navigation of the ship transport- captured by rogue Irish carnival employees, This “Forbidden Islands.” then feeds the crew to her own subjects in the America, ing her to Daniela per is not the kind of femininity evident in the smiling and impishly playful mermaid character might be inferred from the femmes Facets of this She Creature formed at Sea Life. nudity on her web- hints of airbrushed upper-body along with fatale of her commercial work, mermaids “flesh-colored” and “pink” Karin’s differentiation of but not at the aquarium. site, (nor also points to a spectrum of pop-culture sweetness and the menace posed by sea-bound playful, and Julie also regard mermaids as beautiful, Rikke matively Caucasian) female cryptids. These broad characterizations accord with the mermaid folklore and strong yet potentially evil. Underwater Gender Underwater she is not cially sophisticated, a message in emphasizing unique to Conveying this “magic.” of young chil- especially spectators, was a priority for all infor dren, mants. Essentially, if children Essentially, mants. are to believe in mermaids maids were all really female. be regarded though as an employment practice it could as a casting choice this is conventional, paid for him to get Tara described a patron whose partner as flouting antidiscrimination law. Though she and her colleagues thought a mertail. to swim in the shark tank: he dove wearing The of remark. its divergence from the paid merformers’ gender made it worthy this was great, and Paris contract with female performing artists: this plays Munich, aquariums in Copenhagen, desires of the performing entrepreneurs who sought to cultural stereotypes but also reflects the the contracts. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

136 Davis/Strandvad Hugues Rouleux) aquarium de Paris.” (www.instagram.com/p/BSNiYb4BLEC/; of courtesy Batnemo Anceos (@anceos) captioned: “So Proud to be a superhero at the Figure 10. Merman Anceos at L’Aquarium performing de Paris. Picture from Levine arguesthat the consistencyandrecognizabilityoftheircomponentssignifyagenderuniform. Caroline nearly identicalinform. Notwithstandingtheexcellenceofherbeautifullyrenderedcostumes, ticated goldenset. The bikinitopsandtailsvariedintexturesurfacedecorationyetwere play upasexualmystique. aquariums donot(AquaMermaid2019). Surprisingly, notevenClaire’snightclubperformances Wreck Bargivesomescopeforsexualizedfemininity(stripteasewithpasties, hipwiggles)the traditions ofEurope, Asia, and Africa. Whereas Sacramento’sDiveBarandFortLauderdale’s tops, sensuous undulation, femalebeauty, and anyundertoneoffemmefatalemenacewere therefore, washeldinthrallby thebinaryhierarchyofheterosexualflirtationevenwhenbikini ter, flittingamongstthefish, hewasnochallenge totheactionondancefloor. Merforming, of themermaidtraditionnorsubversive ofit. And behindtheplexiglass, immersed inseawa- feminine, orsomecombinationofthetwo, andpenalizedformovingoutofitsproper ture. Thus anybody, anypractice, anygenreorstylecouldbegenderedmasculine deviations. Gender’s “apparatus” entailsthepolicing, theenforcement, ofitsbinarystruc- distinctions, butisrepeatedlyassertedandreassertedthroughattentiontonorms ers havearguedpersuasivelythatgenderdoesnotemergeoutofgivenorpriorsex theorists suchasFoucaultandButlerhavegivenusstrongreasontodoso. These think- Although literaryandculturalstudiesscholarsdonottypicallyrefertogenderasaform, In theafternoon, Claireoptedforablueensemble;intheeveningsheworemoresophis- neither opposedtothecomplex mystique herepresentedwere fulness, ironicclowning, and knowledge, experience, play- of theclientele. The formsof absolutely nointeresttoany merforming amermanwasof a straightclub:thisqueerman not theproblem. L’Aquarium is par withClaire’s. Yet thatwas in time, hisaptitudewasnoton readily admitsthat, atthatpoint club inherstead(fig. 10). He Hugues, performedatthenight- occasion, Claire’sunderstudy, reinforce thisprinciple. Onone these performancesresolutely “social materials” organizedby merformances.aquarium The heteronormative apparatusof merpeople isborneoutbythe maids andthefemininityof Both thenormativityofmer als. (2015:94) multiplicity ofsocialmateri- order hereandthere, ona principle thatcanimpose an abstract, generalizable binary isanorganizingrule, way: themasculine-feminine sphere. To putthisanother - Aquarium Mermaids 137 - - imminent 12

This is neither a universal connotation nor necessarily sustainable in the future. In transgender children, mer- children, transgender In future. the in sustainable necessarily nor connotation universal a neither is This 2012). (Ehrensaft common is play identity As long as swimming, like gymnastics and figure skating, is perceived to have feminine qual- is like gymnastics and figure skating, As long as swimming, Moreover, safety and health are also taken care of by the mermaids themselves because there Moreover, The annual Coney Island Mermaid Parade in New York links mers (and other sea-themed other sea-themed links mers (and York Parade in New Coney Island Mermaid The annual ities, merforming is likely to follow suit. Swimming is not a competitive game that involves get- Swimming is not a likely to follow suit. merforming is ities, in which the body faces or sweaty; it is not a contact sport disheveled, ting dirty, injury; and it affords little opportunity for bravado or brutish masculinity (Schyfter 2008). masculinity (Schyfter 2008). little opportunity for bravado or brutish injury; and it affords The male 1995). statuary (Ryan and tones the body to resemble classical Swimming streamlines with connotations of primitive returned to nature arguably, swimmer’s nearly naked body is, As Susie Scott writes, Shilling 1993). 1998; Williams irrationality and femininity (Bendelow and is ‘noble savage’ [...] of the sporting world: an actor whose embodiment “The swimmer is the of being at and for whom fitness is an unintended consequence unadorned and unpretentious, Like mermaids. (2010:145). one with nature” 12. formances are year-round and multiple times per day in high season, mermaids are supplied mermaids times per day in high season, and multiple formances are year-round costume at but accessorize the rest of their sizes, with durable latex tails in one of three basic the perfor where At the other sites, guidelines. their own expense within the management’s fabricate their the performers not only supply but fully mances were initiated by the mermaids, and meticu- custom-fit to molds of the performers’ bodies own silicone tails and ensembles, professionally made ensemble costs around €5,000, A good lously painted and accessorized. getting work, Having an ensemble is requisite to and homemade versions about half that much. is difficult to recuperate the costs or lost earnings during it yet as some of our examples show, Damage eas- Daniela and Claire have numerous tails. Furthermore, the hours of fabrication. and from the onerous task of pulling on the ily occurs through contact with pool infrastructure, and economical to be able to repair the equipment, so it is prudent to have backup prosthesis, fabric and painting of it oneself. Three of our four sites have a are no standard procedures for protecting mermaids at work. a colleague in Copenhagen, In the fourth case, scuba diver in the tank while the mermaids dive. watch over street clothes with no training in diving stands on the top edge of the aquarium to the mermaid (during practice dives mermaids spot each other). Politics of Work Politics This means that mermaiding in all our cases. Mermaids’ work stems from hobby interests that partic- a fun activity (Kücklich 2005), “playbour” blends with leisure; it becomes a form of the fun of it with varying degrees of remuneration, ipants carry out with great enthusiasm for may benefit from these including private companies and aquariums, though other agencies, are Seeing mermaiding as an extended form of leisure also explains why merformers activities. where per Denver, In and diving certificates. training, expected to pay for their own costumes, costumes) with exuberant exploration across the signifying spectrum of sexualities (Robertson sexualities (Robertson spectrum of across the signifying with exuberant exploration costumes) mermaid Bette Midler’s wheelchair-bound are also evident in Queered aesthetics 2013:6–7). - Gaga’s derivative cita Lady 91), 2003; Coull 2015:48–50, 2007:130; Mock numbers (Mock challenge homage in season and the mermaid fantasy runway 2011), tion of Midler (Perpetua and family- a commercial in the aquariums, Meanwhile, Race (Duarte 2018). Drag 10 of RuPaul’s Like gogo dancers in cages on a dance the mermaids toward cis femininity. oriented ethos skews a sexu- dressing that in no way incite or invite aquariums’ feminine mermaids are window floor, mermaids. else drives the fascination with the Something alized response. taken out of the equation (Levine 2015:95–96). The important point is that, at this moment in at this moment is that, important point The 2015:95–96). the equation (Levine taken out of by any performer. cannot be entirely expunged probably that feminize merforming factors time, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

138 Davis/Strandvad 14. 13. www.youtube.com/channel/UCUWZWnvvRuDrog4ScSFObCQ. product intoanexperience, increasing itspriceandsalability(PineGilmore1999), cul- enhance customerexperience. With theriseofexperienceeconomythataimstoturnevery and themermaidshowstieinwithpublicityaquariumsuse tobringinmorevisitorsand fully. Inallfourcases, themermaidsgiveaquariums featurestheycanuseintheirmarketing marketing strategiesfortheaquariums, whichtheaquariums happilyacceptandpursuesuccess- nose clips cludes, healthissueswerenotofconcerntothemermaids(Guitton2017). Neithergogglesnor air (25%)resultedfrominattentionbysupervisorsorsafetydivers. Otherwise, Guittoncon- sample experiencedbackpain(mainlyfromcarryingtheirheavytails). Compromisedaccessto Guitton foundthatearissueswerethehighesthealthconsequence(87%), andthathalfthe 33% insaltwaterincludingoceans, divetanks, andaquariums), theneuroscientistMatthieu J. fessional mermaidswithatotalof19,147hoursworkexperience(10%thisinaquariumsand in coldwater, anddevisewaystoefficientlykeepwarmwhileswimming. Surveyingeightpro- ing interestingsnippetsthatfitthejargonofthesemedia. qualified collaborators, especiallyphotographers, andproduce mediacontent, includingnarrat- Daniela’s how-tobook[Rodler2017]), ourinformantsdemonstrate thattheyknowhowtofind maids, whichareoftendisseminatedonline. Intheir self-promotiononsocialmedia(andin encounters withspectatorswhoproduceinvaluablephotographic memorabiliawiththemer ket niche. This showsintheirdivesandthemeet-and-greetsessionswheretheyhaveclose highly skilledinanalyzingaudiencesandculturaltrendsatfindingouthowtofillamar demonstrate entrepreneurialcharacteristics. full-time jobinthecreativeeconomy. Yet, weargue, theotheraquariummermaidsinourstudy her ownbrand, Claireistheoneparticipantinourstudywhoexemplifiestransitiontoa a YouTube channelwithmorethan250,000subscribers. brand thattapsvariousincomestreamsofdifferenttypeslivegigsaswellonlinevideoson and Wishes, whereasClaireisanentrepreneur whomakesalivingfromherownmermaid worked asafull-timeemployeetrainingothermermaidswhiletempingmermaidfor Wands manage topatchtogetherfull-timeworkoutoftheirmultiplepart-timemermaidingjobs. Tara scope. While themermaidingincaseswestudiedconstitutepart-timejobs, Tara andClaire byists becausethemermaidstreatitasaprofessionalactivityandseektoexpanditsfor-profit have otherjobstofallbackon. Inthatsense, theirworkasmermaidsisdifferentiatedfromhob- mermaiding constitutesanactivitythattheparticipantspursueprofessionally. Evenso, they marks theirpersonalandonlineidentities. Inthesecases, leisureandworklivesblend, and jobs otherthanmermaiding, beingaprofessionalmermaidispart-timecareer, yethighly trations, andunmetexpectations. ForKarinandDaniela, whoearntheirprimaryincomefrom that theflexibilityofthispart-timeandself-createdworkgeneratesinsecurities, worries, frus- to furtherthisleisureactivity. Ontheotherhand, thedevotedmermaidperformermayalsofind from cosplayintomermaidingandhisshowasthesuperheromerman Anceos representsaway maid showsasastimulatingextensionoftheirfreedivingleisure. Similarly, Hugueshasmoved activities. This isthecaseforJulieandRikke, whohaveregulardayjobsandseetheirmer one handtheworkcanbeseenasanexcitingandsurprisingadditiontootherleisure are absentfromaquariummermaids’inthefourcaseswestudied. By usingtheseskills, themermaidsnotonlybuildtheirownmersonas; theyinfluencethe Mermaids needtolearnhowequalizepressureintheirears, judgehowlongtheycandive page www.havfruenkarin.dk/; and Daniela’s Facebook page www.facebook.com/MuenchensNixe/. See, for example, the Wands and Wishes Facebook page www.facebook.com/WWmermaids; Karin’s personal web- All fourofthemermaidswestudiedareespeciallyqualifiedas “experience” communicators: The irregularandflexiblenatureofperformanceworkinmermaidingmeansthatonthe — standard equipmentforswimmers — are partoffolkloricmermaids’outfitsandso 13 14 Bymakingasustainableincomefrom

- - - Aquarium Mermaids 139 seem to be — to inform the public through the — Figure 11. Karin Prehst Lund Madsen interacting with children during the meet- the during children with interacting Madsen Lund Prehst Karin 11. Figure 2016. November 5 Copenhagen, Planet, Blue The session. photo-op and-greet Strandvad) Malou Sara by (Photo - - -

Indeed, in all cases the aquariums’ scientific purposes in all cases the aquariums’ scientific Indeed, maid shows are accessible on a general admission ticket: they diversify visitors’ experience but are not differentiated as a des- tination from other demonstra- scientific of our sites conduct Two or day-to-day programming. featured exhibits, lectures, tions, ventures while another promotes third-party scientific research (Copenhagen and Munich), and Munich, and three are corporate (Paris, One is state-owned (Copenhagen) (Denver). it is not the kind or degree of scientism or monetization that determines Therefore, Denver). even when whether mermaids are compatible with an institutional mission: they all find a niche, directly supported in their performances by a opposed by the scientific staff (Copenhagen), or perform without an interface with any scientific mis- member of the scientific team (Paris), sion or personnel (Denver and Munich). Aquariums need to be relevant to their communities in order to generate sufficient revenue aquari- That said, to survive. Each ums are not all the same. one differs in its collections and which influences how emphases, merformances are both con- In all of ceived and perceived. the mer the sites we studied, Politics of Science and of Science and Politics Entertainment tural institutions like museums like museums tural institutions are challenged and aquariums with the intensified to keep up and experience- aestheticizing of commer oriented marketing cial products. With mermaid mermaid With cial products. aquariums visitors at the shows, and get a spectacular experience a chance to involve themselves - in an active role as photogra at the three of intensified phers, meet- our four sites that stage photo and-greet sessions and the gate. All this increases ops. aquari- while on the whole Yet, scientific ums are geared toward featur discovery and education, ing a mermaid draws audiences 11). through novelty (fig. collections, and enhance an appreciation for marine life’s variety and preservation and enhance an appreciation collections, namely that their objective is to re-enchant at odds with what the mermaids avow in interviews, These aquariums are the natural world by making visitors (especially children) believe in magic. in in addition to cartoon-like mascots, entertainment sites that display performing mermaids, They trade on the idea settings that draw upon mass market movies and pop culture imagery. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

140 Davis/Strandvad mally notcatchone’sattention. the viewers)norinterestingto watch. Indeed, inthesedeeptanksthewater’ssurfacewould nor breathed-up, whichisneither consonant withmermaidiconography(fromtheperspectiveof children’s eyelevel. All the mermaidscouldbeseendanglingattopoftanks when they sible merformers actoutthezoonomic physiologyofmermaids ally whenremovinghertailinfullviewofthespectators, afewchildrenstartcrying. Though mermaiding canneverbeaseamlesslyillusionisticperformance. Karinreportedthatoccasion- mermaid waspalpable, andsomechildrenaskedtofollowalong tothephotoshoot. Aquarium maid’s motionsorotherwisepretendtoswimwiththem. Insomecases, anticipationofseeinga be enhancedevenwhentheyenjoyedseeingthemermaids:we neversawachildimitatemer performances. in thesea? What aboutinanaquarium? This isnotanincidental pointarisingfromthese ones doandnotbelonginthesea(SeaLifeMünchen2017). So, doesamermaid “belong” teachers specificallyrecommendmakinganarrayofobjects and askingchildrentodecidewhich maid. Coincidentally, theinstructionalprotocolsthatSeaLifeMünchensendstokindergarten from upstagecentertowardtheglass, soeithermermaidsarenotmythicorthisisamer point. Butthelectureisbarelyconcludedwhenamermaidcomesintofocusinlongdescent stresses, mermaidsarethestuffoffolklore: The BluePlanet’sscientistsareadamantonthis As thelecturepreambletoKarin’sperformance bodily andspeciestransformations(2001:96ff). cryptids resembleswhatJaneBennettreferstoasa “principled inconsistency” thatallowsfor at thesametimeenablingskepticstoenjoybeautifulfiction. The “opensecret” ofthese ing system. blur distinctionsbetweennaturalandhuman-madebiosystems, insyncwiththeirartificialview- nature. This citationalityofnaturalmarineenvironmentsismanagedthroughandasmediathat life yetproducemarinewithdifference, afalsesynecdocheatsignificantremovefrom plastic” (Adamowsky2016:102). Henceaquariums, asmedia, arepredicatedonaccesstomarine alluring spectaclesthatrevealrealityasporousandsubjecttomodificationarethemselves ferences illusory “magic” constitutesamediumthatreliesuponhowaquarium “media coordinatedif- states, arebothgivenamaterialformandsimulated, tangible, virtuality. Their authenticand idity ofseawatersurroundingepistemicobjectsthat, asmediahistorianNatascha Adamowsky a boundaryproject(Hayward2012), whichgivesthevisualizingeyesupremacyoverflu- sional yetvulnerablesubmergedguestsorintruders. Thus, anaquariummaybeperceivedas spectators andexhibitsarephysicallyseparated, incontrasttoatseawherehumansareocca- tators experienceinacross-sectionalsynthesizedview. At theaquarium, exceptattouchpools, world thanbeingatsea, theyalsoconstructascale-modelidealizationofmarinelifethatspec- only anepistemologicalelaborationofaquaticlifeandadifferentontologytheunderwater ters atthepriceofreinvigoratinganthropocentrism” (2012:164). Suchaquariumspresentnot which Haywarddescribesas “a totalizingviewthatconcealsmeaningfulhuman-animalencoun- what Ralph Acampora, aphilosopherofappliedethics, names “zoöscopic practices” (2005), ers. Ratherthanprovidingauthenticmarineexperiences, large-scalepublicaquariumspromote domestications ofwater(2017), bothagreethatmake-believeisinducedinaquariumview- ums assimulationsoftherealthing(2012), andJenniferKokairegardsthemaswhollyartificial to visitors’experienceofthefishtanks. entertainment, mermaidssupportthisfunction:theirmythicalauraaddsanattractivejouissance able aestheticpower(Gillis2012:13). Yet, ratherthansubvertingthemissionofaquariumas of theseaasalocusrecreationanddiscovery, “both physicalandspiritual,” withconsider In ourobservations, thechildren’ssensorialconnection totheaquaticworlddidnotseem Merformers maysucceedinmakingsomechildrenbelievetheyareseeingmermaids, while Whereas EvaHayward, ascholarofgenderandenvironmentalstudies, characterizesaquari- — their needtobreatheabovethe waterlinepunctuatestheirintermittentappearanceat — for example, thefictiveandreal — at themomentofexperience. They create — staying underwateraslong pos- - - - - Aquarium Mermaids 141 -

shamanism: Figure 12. Rikke Hansen and Julie Sørensen with their homemade homemade their with Sørensen Julie and Hansen Rikke 12. Figure courtesy (Photo 2017. of November 20 Copenhagen, tails. www.instagram.com/p Sørensen; Julie and Rikke Hansen /BbteB30lzie/?fbclid=IwAR04G-sFSOOLFNKZ401IbJZ0ogr OPNHpgr2yz6luwFE4Gt6yVer_FTKayqI) - - -

However successful these However successful In principle, aquariums are a modern limen, where the threshold of land and water is tra- aquariums are a modern limen, In principle, argues Phenomena: Mermaids, is also editor of Fan an integrative neuroscientist who Guitton, performers were in “being mer were in performers rein- their intention to maids,” messages was force ecological One young boy not confirmed. proclaimed approv- in Munich (look, der Taucher!” ingly “ah, diver the diver!) when a safety divert darted by Daniela to girl pro- One the sea turtle. made of “The tail is claimed “I said and another plastic” a snor could only do that with - The mermaids’ authentic kel.” Tara ity was ever in question. emphasized that middle-school cyn- children can be downright in which case peer pres- ical, dismissing the sure can spread, So the mermaids’ authenticity. mermaids’ wishes to inspire in many cases were not fulfilled either with respect to ecology Whenever the mer or to magic. the children maid was in view, And stopped looking at the fish. when Daniela was out of view, they joyfully spotted the safety how can the In that case, divers. mermaids’ exoticism stand in for the grim reality of what marine life forms must cope with in as Anthropocene? Even if, the enchantment Bennett argues, how can enchantment Alaimo 2013), see also makes the world seem worthy of care (2001:12; As the instigator of ecocriticism, children? produced by a mermaid in an aquarium politicize constructing “insofar as human beings are bio-historical creatures predicated, Lawrence Buell, may be all their artifacts they cannot not inhabit, themselves in interaction with surroundings mermaids can neither speak as scientists nor as Thus, (2001:2). expected to bear traces of that” performance skills or political intentions. no matter what their marine mammals, visitors stand Thus, versed and terrestrials are invited to ponder existence across the divide. Aquarium mer on dry pathways but peer into cross-sections of representative aquatic-biomes. the animals are and precisely where formers have the potential to pose questions quite directly, their relation to water Yet of culture in bioculture. as they emphasize the presence displayed, (or species’ captivity is unambiguous: whereas every other creature in the tanks is constrained from their “ineradicable alterity” they have Ultimately, the mermaids are not. incarcerated), and seek to communicate before returning to their act, coswimmers precisely because they play, terrestrial home (Neimanis 2017:78). that the mysticism infused into mermaids links them not to the modern world but The challenge remains to connect we remember them vividly (2016:98). though imaginary, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00899 by guest on26 September 2021

142 Davis/Strandvad edge, butratherprovidingspectators experiential knowledge, notbasedonencounteringthewildorbrokeringanewformofknowl- sion ofadistilledbiome. Mermaidscontributetoabstractingexperience, drawingusawayfrom rivers, andlakes. Butwedonot. Instead, wegazeintomediamanipulatedtogivetheimpres- ful beings, defyingthemyththattheyaremythic. Aquariums positthatweglimpseintothesea, Or, perhapsitjustmakesviewerswanttoswimlikethemermaids:bebeautifulandpower contradictions. Ifthatisthecase, perhapsitcouldsparkconcernfortheirputativeenvironment. ing mermaidsaretentativelyfindingnewhomesthatexpresstheessenceofouranxietiesand Romantic-era Europeansfocusedontheirrivernymphs(Kraß2010), contemporaryperform- Europeans populatedtheirforestsandfountainswiththedescendantsofGreekNereids, and cates fortheenvironmentalconcernsneededbyourbatteredplanet. Perhaps, justasmedieval enchantment, thesensorium, andcriticalfacultiesinwaysthatmakemermaidseffectiveadvo- Dumont, Guillaume. 2016. “Multi-layered Labor:EntrepreneurshipandProfessional Versatility inRock Duarte, Amanda. 2018. DragRace’Season10, Episode7:CitizensDivided.”“‘RuPaul’s NewYork Times, Coull, JamieLee. 2015. “Faux Queens: An ExplorationofGender, SexualityandQueernessinCis-female Carpentier, Nico. 2011. MediaandParticipation: A SiteofIdeological-Democratic. Struggle Bristol:Intellect. Buell, Lawrence. 2001. Writing foranEndangered World: Literature, Culture, andEnvironmentintheU.S. and Braidotti, Rosi. 1996. “Signs of Wonder and Traces ofDoubt:On Teratology andEmbodiedDifferences.” Blue Planet. 2013. AnnualReport. Accessed 19November 2018. https://issuu.com/denblaaplanet/docs Beßler, Gabriele. 1995. Von Nixen und Wasserfrauen. Köln:DuMont. Bennett, Jane. 2001. TheEnchantment Life: ofModern Attachments, Crossings, andEthics . Princeton, NJ: Bendelow, Gillian A., andSimonJ. Williams, eds. 1998. EmotionsinSocialLife:Critical Themes and Bærenholdt, JørgenOle, andJonSundbo, eds. 2007. Oplevelsesøkonomi: Produktion, Forbrug, Kultur Arthurs, Deborah. 2013. “The real-lifemermaidwhousesher£10,000tailtoswimwithsharksand AquaMermaid. 2019. “The Wreck BarMermaidsInterview Alaimo, Stacy. 2013. “Jellyfish Science, Jellyfish Aesthetics:PosthumanReconfigurationsoftheSensible.” Adamowsky, Natascha. 2016. TheMysteriousScienceoftheSea, 1775–1943 . London:Routledge. Acampora, Ralph. 2005. “Zoos andEyes:ContestingCaptivitySeekingSuccessorPractices.” Societyand ABC Action News. 2013. “ABC Action News Weekend Edition:RenaissanceFestivalMermaids.” YouTube, References Climbing.” -season-10-episode-7-recap.html. 3 May. Accessed 25October 2019. www.nytimes.com/2018/05/03/arts/television/rupauls-drag-race Drag QueenPerformance.” PhDdiss., CurtinUniversity. Beyond. Cambridge, MA:HarvardUniversityPress. ed. NinaLykke andRosiBraidotti, 135–148. London:ZedBooks. In /__rsberetning2013. Princeton UniversityPress. Contemporary Issues. London:Routledge. [Experience Economy:Production, Consumption, Culture]. Copenhagen:Samfundslitteratur. www.dailymail.co.uk/femail/article-2302275/html. jellyfish Accessed 6 April 2019. www.youtube.com/watch?v=T1uhQFPkzwI. McGill-Queen’s UniversityPress. In Animals 13, 1:69–88. 14 April. Accessed 7December2018. www.youtube.com/watch?v=QeV19Fp34X0. Between Monsters, GoddessesandCyborgs:Feminist ConfrontationswithScience, Medicine andCyberspace, with WaterThinking , ed. CeciliaChen, JanineMacLeod, and Astrida Neimanis, 139–64. Montreal: — and canholdherbreathforFIVEminutes.” DailyMail, 1 April. Accessed 15October2018. Ethnography 17, 4:440–59. — children andadults — Medusirena Marina.” YouTube, 11February. — with ananthropocentricnovelty. - Aquarium Mermaids 143 46.

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