The Seven Plagues of Styx

Understanding why invasive crayfish dominate Dutch waters requires looking back to the decline of Europe’s own “Noble Crayfish” (Astacus astacus). In the 19th century, Astacus astacus was a high-demand delicacy. In Paris alone, five million of these crayfish were consumed annually by 1860 (Koese, 2021). Overfishing, deteriorating water quality, and widespread canalization led to drastic population losses, and to compensate for the shortage, multiple non-European crayfish species were introduced from the late 19th century onward (Koese & Soes, 2011). Since 1972, at least seven invasive crayfish species, originating from the United States, Germany, and Turkey, have become established in the Netherlands. Although not directly harmful to humans, they can cause significant ecological and economic damage, including transmitting crayfish plague (a fungal disease lethal to the native species).

These invasive crayfish have thrived largely because human activities degrade water systems, creating conditions in which non-native species easily outcompete local fauna. Elevated levels of nitrogen and phosphorus, for instance, generate an excess of plant and animal food; effectively turning polluted waters into a “paradise” for the American crayfish (Koese & Soes, 2011).

Building on these insights, The Seven Plagues of Styx uses the invasive Red American Crayfish as a lens to examine how capitalist expansion, what Jason W. Moore terms the Capitalocene, drives not only the overexploitation of resources but also the inadvertent spread of opportunistic species. By foregrounding the interplay between polluted environments and systemic economic forces, the project questions the broader structures that enable invasive crayfish to flourish in Dutch waters.

The American crayfish represents not just a symptom of invasive species’ proliferation but a manifestation of broader environmental disruption. As polluted conditions give rise to a new, often unwelcome form of biodiversity, both flora and fauna are fundamentally affected, highlighting how systemic ecological damage paves the way for opportunistic newcomers.

In light of these ecological pressures, we sought to ground our artistic exploration in direct observation. We conducted fieldwork in waterways across the Netherlands, partnering with ecologists and local stakeholders to gather firsthand insights. We documented crayfish habitats via 3D scans, collected observational video footage, and recorded the animals’ underwater sounds. To gain a deeper understanding of these creatures, we acquired two crayfish: Kees and Rita. We purchased them from a local seafood market, where they were sold alive for human consumption. The trade in live crayfish raises ethical concerns, since these animals are often handled in ways that disregard their well-being. When Kees and Rita lived with us in our studio aquariums, we noted distinct behavioral differences; almost as though they each had their own character. When provided with ample food and shelter in a controlled environment, both exhibited minimal destructive tendencies; a stark contrast to their impact in disturbed, human-altered waters.

To create deeper local involvement, we organized ‘crayfish expeditions’ in Almere, inviting local residents to join us in field-based workshops. These participatory initiatives fostered deeper community engagement by raising awareness of the local ecological discourse. Equipped with portable audio recorders, participants documented underwater sounds of crayfish and their surroundings. Through this blend of citizen science and artistic research, the field recordings evolved into a shared, hands-on inquiry into the ecological impacts of invasive species.

At StrandLAB, we transformed the space into the “Temple of Styx.” A central altar built from polycarbonate structures evoked an aquatic atmosphere, reflecting light in rhythmic patterns reminiscent of rippling water. Physical theater maker Otto Calmeijer Meijburg portrayed Styx, channeling the perspective of water itself as it confronts the spread of invasive crayfish.

Large projections combined field documentation with generative imagery, immersing viewers in a narrative that oscillates between ecological fact and mythic fiction. Composer Paul van de Calseijde integrated the crayfish recordings into a surround-soundscape, occasionally blending them with jazz and rock motifs. This layering of sounds placed the audience within an aural environment where the distinctive rustling of crayfish stood out, reinforcing the ecological theme without romanticizing the underlying disruptions.

For The Seven Plagues of Styx, we translated water, an intangible and elusive entity, into a wearable form. Through an extensive material study, we replicated the fluid and reflective qualities of water by using techniques that capture wave-like movement and translucence, while also evoking the texture of aquatic environments. Drawing inspiration from fish eggs, crayfish anatomy, and air bubbles, we fashioned layered, bubble-like formations that visually connect with both aquatic life and the broader ecological narrative. We arrived at a stately costume that aims to portray Styx not merely as a mythological figure, but as a dynamic embodiment of water itself; one that underscores the shifting and sometimes volatile interplay between human intervention, invasive species, and the fluid ecosystems they inhabit.

By positioning crayfish as both symptom and symbol of ecological imbalance, The Seven Plagues of Styx draws attention to the human-driven factors that enable invasive species to proliferate. Rather than viewing the crayfish themselves as the source of devastation, the work examines how industrial and economic pressures degrade local environments, making them vulnerable to opportunistic newcomers.

In presenting myth, research, and performance together, The Seven Plagues of Styx aims to cultivate a deeper understanding of how capitalist logics transform ecological systems. The invasive crayfish serves as a vivid reminder that our interactions with nature often yield complex consequences; consequences that can be better understood through both scientific investigation and artistic inquiry.

This project was made possible by the support of the Creative Industries Fund NL, StrandLAB Almere, Flevolab and M.I.A.P. We extend our special thanks to Diane van der Marel, Fabian Helsloot (Waardenburg Ecology), Martijn Hokken (Waterschap Zuiderzeeland), Arnold Veen (HSV Almere), Bram Koese (Stichting Eis), Leif Czakai, Anne-Beth Schuurmans, Agata Mrugata, Wilkin de Boer, the participants in our workshops, and everyone who joined Testzone. Your contributions, insights, and encouragement were integral to shaping the research and presentation of The Seven Plagues of Styx.