The first representation of elements of synchronised swimming were the works of Annette Kellerman in the early 20th century, who started her career by swimming long distances of open water around America and the United Kingdom. After receiving much attention from the media, Kellerman soon saw huge potential for profit to be made from her swimming skills, “If she had to swim, she could turn it into a spectacular performance” (Gibson 2005, p18). This would later develop in many different shows and venues across Europe and America including: London Hippodrome, White City Amusement park and Wonderland Boston. With her reputation as the “Australian Mermaid”, Kellerman later pursued her career as an actress and started performing in silent films where the majority contained aquatic themes, such as Venus of the South Seas:
“Feature numerous underwater sequences: firstly Kellerman is seen swimming underwater and battling pearl thieves as Shona Royale, the daughter of a South-Sea pearler; and later, she starts in an extended ‘fantasy’ underwater sequence…” (Cooke 2012, p149)
What started off as purely swimming demonstrations was developed with underwater movements, dives and costume that produced a completely different type of performance. “She had created something entirely new and throughout her career she was to perfect this and raise it to an art form” (Gibson 2005, p18). Annette used her skills as a trained dancer and successful athlete to create a new way of moving though the water and entertaining an audience.
In my performance I hope to expand these underwater movements, along with physical theatre, to create a story for the audience.
“…a merciless, selfish and unscrupulous form of femininity, ready to undergo occult rituals in order to kill, provoke diseases, conjure up demons and/or foretell the future” (Brȋnzeu, 2001, 251). The fascination with the witch within the world of entertainment is as captivating and intriguing as ever. Prominence of accusations of witchcraft rose in the early later sixteenth century and continued until the early eighteenth century.
“James I instituted the law that anyone found guilty of witchcraft would be sentenced to death if they injured or killed another person through the use of magic or if they were caught using witchcraft on a second occasion for a more menial matter such as destroying cattle, soliciting unlawful love or causing another person to lose their goods. It was also a capital offence to use a dead body in the practices of witchcraft. ‘Witches, it was rightly said, could not harm folk who were liberal to the poor, and the most Christian preservative against witchcraft was to be charitable’(Thomas 1970: 674).
Burning at the stake, Hangging, Community Vigilante ‘justice’ – scratching and clawing the face of the witch.
Trial by Ordeal
Ordeal by Fire
The accused had to pick up a red hot iron bar and hold it while they walked three or four paces. Their hand was then bandaged. After three days they had to return to the court where the bandages were removed. If the wound was beginning to heal they were innocent but if the wound showed no sign of healing then they were pronounced Guilty.
Ordeal by Water
The accused had their hands and feet tied together. They were then thrown into water. If they floated they were guilty but if they sank they were innocent.
Ordeal by Combat
Noblemen would fight (usually to the death) in combat with their accuser. The winner of the battle would be considered to be in the right.
Yorkshire Life Aquatic: Dry land synchronised swimming team focus mainly on the artistic side of synchronised swimming. They perform a number of devised site specific performances, workshops and community projects around Yorkshire and use “…movement inspired by real synchronised swimming techniques and celebrating the beauty of real women and feminine role models” (Yorkshire Life Aquatic 2014).
Lucy Meredith, one of the founders of Yorkshire Life Aquatics, was previously a competitive synchronised swimmer, ranking top in her county in 1993-1994. After retiring at the age of 18, she wanted to use her passion and love for synchronised swimming and turn it into an art form suitable for performance and drama workshops.
“… have always missed being involved in synchro but there are not actual opportunities to train unless it’s for competitive reasons. You can’t just do it for fun…
Zoe, a Leeds based choreographer, had rather similar ideas so we decided to work together on it. That’s how Yorkshire Life Aquatic started.” (Meredith 2014)
She described in her interview the ways in which they have adapted synchronised swimming as a sport into a performance. Many of the rules and regulations of the sport have been abandoned in order for their aims and objectives as a theatre company to flourish as well as allowing them to perform with limited restrictions. Similar to Aquabatix they too allow themselves, during the performance, to touch the sides/ floor, produce long amounts of deck work and use props, all of which are strictly prohibited in the sport of synchronised swimming.
Although I am unable to find video of their performances, I love the use of costume and props they use in performances and hope to incorporate this in my solo performance.
Performing at an advertising campaign for NIVEA: “Dare to Dip”
One group of synchronised swimmers who decided to turn their love for the sport into a performance is Aquabatique who made a splash during the popular television programme Britain’s Got Talent in 2012, where they managed to secure a place in the final. Aquabatique is only one of the acts performed by Aquabatix which was founded in 2004 by two retired international synchronised swimmers. Since then they have continued to progress in popularity and now host many events as well as being evolved in a variety of national television programmes including Sport Relief and Splash. Aquabatique describe themselves as “…a completely unique act created by our aquatic family at Aquabatix so that the joy or water based entertainment can reach anyone” (Aquabatique, 2012)
Not only have Aquabatix developed performances in tanks but they also explored different places to preform including in lakes, waterfalls and outdoor pools. This got me to start thinking about where I would like to stage my performance and thought the idea of doing a witch performance would be very suited to the lake outside the University however, I was advised against this due to health and safety restrictions.
