Weeki Wachee Springs State Park, situated some 50 miles north of Tampa, Florida, is finest recognized for its mermaids. Since 1947, synchronized swimmers in shimmering tails have carried out for audiences within the park’s 400-seat aquariumlike theater, which is constructed roughly 16 ft beneath the floor of the Weeki Wachee River’s crystalline spring. As a younger woman, watching their water ballet by way of a wall of glass, I studied the mermaids’ each transfer in astonishment. Their abilities and attract had been otherworldly—the comfortable billowing of their hair, the graceful weightlessness of their actions, the poise they maintained in environs inhospitable to any mere mortal.
The Weeki Wachee mermaid present was amongst dozens of roadside sights that capitalized on the success of Esther Williams, a former aggressive swimmer who parlayed her abilities within the pool into film stardom within the Nineteen Forties and ’50s. Her movies, typically dubbed “aquamusicals,” had been recognized for his or her spectacular underwater choreography and synchronized-swimming sequences—in addition to their huge success on the field workplace.
However our fascination with ladies in water—a component lengthy related to femininity—goes again centuries. Historical Romans flooded the basins of amphitheaters to stage mythological reenactments that includes ladies swimmers as aquatic nymphs. Gilded Age selection theater was replete with self-proclaimed “water queens,” who carried out underwater stunts and tips at aquariums and dime museums. And in newer years, the variety of aquatic performers working as “skilled mermaids” has exploded. Mermaids have lengthy occupied a mythological, even erotic area of interest within the cultural creativeness: When ladies begin swimming, individuals can’t appear to look away.
By Vicki Valosik
Nowhere was this obsession extra evident than on the planet of late-Nineteenth- and early-Twentieth-century mass leisure, vividly conjured in Vicki Valosik’s Swimming Fairly: The Untold Story of Ladies in Water, an astonishingly complete account of girls’s aquatic pursuits, with particular give attention to the UK, the place aggressive swimming originated, and america, the place it subsequently flourished. On each side of the Atlantic, ladies swimmers resembling “Lurline the Water Queen” enchanted audiences with their “tank acts.” In these exhibitions, swimmers—billed as “natationists”—would carry out inside moveable water tanks, which had been rolled onto the levels of theaters and music halls. These solo exhibits included parlor tips (resembling underwater consuming, ingesting, and writing), demonstrations of underwater agility (resembling flips and contortions), and feats of endurance (resembling excessive breath-holding)—to not point out gliding across the tank trying stunning.
Remarkably, these swimmer-performers had been exempt from prevailing strictures on ladies’s modesty and bodily exercise. That could be as a result of they weren’t actually thought of ladies in any respect—they had been mermaids. Or they had been “nymphs,” or “naiads,” or “undines”; as Valosik writes, these descriptors “gave them an otherworldly patina that set them other than the necessities of mortal ladies.” Within the 1910s and ’20s, when ladies swimmers entered the world of aggressive sports activities, these labels continued—a approach of diminishing their achievements whereas additionally making these bold, bob-haired athletes appear much less threatening to gender norms that sought to maintain ladies at dwelling.
As Valosik charts the evolution of girls swimmers as each performers and athletes, the specter of the mermaid—a hypersexualized determine with supernatural attract—looms massive over each trajectories. Alongside the best way, Valosik interrogates the porous boundary between sport and spectacle, a skinny line that girls’s swimming, specifically, has at all times navigated. A aggressive synchronized swimmer herself, Valosik balked when she realized that using goggles is prohibited whereas competing, on purely aesthetic grounds: “Are we athletes first or are we performers?” she wonders. “Is what we’re doing a sport or is it leisure?”
For most ladies swimmers all through historical past, the reply has been each. Earlier than they had been taken severely as athletes, feminine swimmers had been in style with the general public and embraced by the leisure trade. Take the intrepid Australian swimmer-performer Annette Kellerman, who in 1905 scored the primary corporate-endorsement deal for a feminine athlete for her intently watched tried crossing of the English Channel; simply 4 years later, her swimming-and-diving act made her the highest-paid girl in vaudeville. This enthusiasm translated into early acceptance within the sports activities world: Swimming was the primary main aggressive sport for ladies within the U.S., and the primary full ladies’s group that the U.S. despatched to the Olympics, in 1920, comprised swimmers and divers.
Feminine swimmers helped ease Individuals into the concept of sturdy, succesful, bodily lively ladies—and helped ladies see themselves as such—by leaning into and subtly complicating the enduring fascination with water-dwelling beauties. The figures of the mermaid, the nymph, and the water queen all connote a sort of eroticized, passive to-be-looked-at-ness, to borrow the movie theorist Laura Mulvey’s time period. However the ladies of Swimming Fairly wore these labels whereas concurrently flipping them on their head, embodying energy, vigor, and autonomy.
As ladies grew to become extra taken with train on the flip of the Twentieth century, social anxieties exploded in regards to the “masculinization” of the American girl and the indecency of feminine bodily exertion. However the sleek swimmer-performers of vaudeville allayed these fears: They “twirled round glistening tanks in leotards, silk tights, and pearls,” Valosik writes, and their type of stunt-based “decorative” swimming was seen as “a bodily reasonable exercise”—though it was something however. Swimming, then, was seen as a type of bodily exercise that didn’t impinge on ladies’s supposedly innate femininity.
So when aggressive feminine swimmers took heart stage within the Twenties, the general public accepted them as an evolution of, relatively than an affront to, conventional womanhood. Take Gertrude Ederle, the so-called Grease-Smeared Venus (and the topic of a brand new film), who grew to become the primary girl to cross the English Channel in 1926, breaking the information of all 5 males who had preceded her. Upon finishing her historic swim, she was greeted with the primary ticker-tape parade in New York Metropolis historical past to honor a lady—and, with 2 million attendees, one of many metropolis’s largest as much as that time.
Ladies swimmers’ apparel additionally stoked curiosity of their endeavors. Valosik writes that the tank-dwelling performers of the Nineteenth century drew crowds with each their daring stunts and their skintight costumes—which, in fact, served a sensible objective. Nonetheless, promoters typically touted swimmer-performers’ state of undress: When requested why the tank of Annette Kellerman—who had led the cost for fitted one-piece bathing fits to interchange the dishevelled bathing costumes lengthy customary for ladies—was surrounded onstage by massive mirrors, the vaudeville impresario Edward Albee stated that “what we’re promoting right here is backsides.” Within the many years that adopted, the media took a equally prurient tack in its protection of girls’s aggressive swimming.
The fantasies connected to ladies in water could have drawn spectators to exhibits and races, however, as Valosik illustrates, what they noticed as soon as they received there defied their slim notions of womanhood. Feminine aggressive swimmers rose to reputation alongside the marketing campaign for ladies’s suffrage, and so they got here to embody ladies’s social and political strides, as evidenced by a 1911 New-York Tribune editorial that declared, “Fashionable Lady Is Making Fast Progress within the Water as Properly as on Land.” Kellerman’s one-piece go well with, the 1920 Olympic group’s bobbed haircuts, even Esther Williams’s athletic physique and the dynamic protagonists she performed modeled new sorts of feminine energy and self-reliance. Williams could have been billed as a passive “bathing magnificence,” however out and in of the water, she drove all of the motion.
Williams’s sly subversiveness is probably finest encapsulated by an change between her and the theater producer Billy Rose, from which Swimming Fairly will get its identify. At 19 years outdated, Williams, a nationwide freestyle champion, was solid as an “Aquabelle” in Rose’s 1940 Acquacade water present. “I don’t need quick,” Rose advised Williams, remarking on her swimming type. “I need fairly.” Williams responded, “Mr. Rose, when you’re not sturdy sufficient to swim quick, you’re most likely not sturdy sufficient to swim fairly.” By swimming “fairly,” Valosik exhibits, ladies had been in a position to subtly showcase their prowess, serving to normalize ladies’s bodily exercise—and athletic excellence.
As Valosik factors out, the sweetness and obvious effortlessness of the “fairly” swimming for which Williams grew to become recognized typically conceals ladies swimmers’ athleticism a bit too properly. Synchronized swimming, which was not too long ago renamed “creative swimming” (one thing Valosik has written about for this journal) has lengthy been related to showgirl leisure, regardless of its excessive bodily rigors; it gained Olympic recognition solely in 1984 and was swiftly subjected to sexist ridicule. The game has developed to be much more bodily demanding, partly in response to those dismissive attitudes, making a rift between swimmers who need it to turn into extra athletic and people who wish to stay loyal to its pageant origins. Even at this time, many aggressive groups don’t thoughts the siren affiliation, and have the phrase mermaids of their identify.
Watching clips of the U.S. artistic-swimming group, which this summer season will head to the Olympics for the primary time in 16 years, I really feel the identical wonderment as I did watching the Weeki Wachee mermaid performers—how are they doing that? Whether or not they’re elite athletes or small-town entertainers, ladies swimmers can typically appear superhuman. And throughout time, they’ve additionally typically discovered themselves saddled with cultural baggage and salacious curiosity. However their energy and expertise are what have stored us of their thrall—and quietly raised our consciousness. No siren music required.
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