Peacocking on Parliament Hill

Here’s my poster from the Evolution conference in Ottawa:

Evolution poster

The colours are a bit off in this shrunken version, but you can download a larger PDF version here. The poster covers some of my work on the lesser-known green peacock (a close relative of the familiar blue variety). Green and blue peafowl have markedly different body colours, and in the green species, the females are as colourful as the males. Interestingly, the two species have eyespot feathers that are nearly identical. Why are their eyespots so similar? I think it’s because these feathers are crucial for courtship, and females of the two species have similar taste.

One of the main results I’ve found is that despite appearances, there are subtle differences in the eyespot colours of the two species. These differences, while slight, might be readily apparent to birds since they have excellent colour vision. I think the differences are the result of adaptation to different light conditions. Blue peacocks live in India, and prefer bright, open habitat like riverbeds and agricultural fields. Green peacocks live in darker forested areas of Southeast Asia, and their eyespots may be slightly brighter and greener to take advantage of dim forest light.

It was my first Evolution conference, and I hope I can get to another. The talks were fantastic. Author David Quammen summed things up nicely in his public lecture: “Science is people.” This theme carried through the meeting, from Rosie Redfield’s tale of the pitfalls of falling in love with your hypothesis to a rally where scientists young and old marched together on Parliament Hill (see my pictures here). How often does that happen?

Life imitates [filmmaking] art

Congratulations to Myra Burrell – her peacockumentary has been short-listed for the Animal Behavior Society’s film festival!

Myra, a veteran of the natural history film program at the University of Otago in New Zealand, traveled to California with me in 2010. She helped with peacock field work, capturing more females than anyone thought possible. Somehow, in the meantime, she made a movie about the birds. It’s a short film that gives you an idea about what happens on a peacock lek, from the hen’s point of view.

It’s quite an honour to be among the 6 films selected for festival screening, since they must get on the order of ~100 applicants. If Myra wins, it would be oddly fitting: a wildlife film straight out of a park that moonlights as a real Hollywood set.

You can watch “Hen’s Quest” here.

The best parts? I love the music and Myra’s cinematography. I contributed writing (including the title!) and did the artwork; Brian McGirr turned my map drawing into a fantastic animation. Good luck, Myra!

Field biology goes to Hollywood

One of the weirder things about my field site is that it is also a Hollywood set. A number of movies, TV shows and commercials have been filmed at the LA Arboretum, going back to Tarzan Escapes in the 1930s.

The Arboretum had a regular appearance in the popular 1970s show Fantasy Island. In the opening credits, a midget rings the bell in the Queen Anne Cottage. This is a historic building on the Arboretum grounds that was built in the by the same wealthy California businessman who started the peafowl population in the area.

You can catch the Arboretum in many other films, since it provides a convenient stand in for the jungle a short drive away from downtown Los Angeles. Examples: The Lord of the Flies, Anaconda, The Lost World, Congo, Terminator 2, The African Queen, and too many campy horror flicks to count (Attack of the Giant Leeches?).

Several things were filmed during my three seasons there, leading me to realize that making a movie is a lot like doing field biology. Here’s how:

1. The hours. Field biologists often have to keep the same hours as their study species, working for as long as the animals are active. For some ornithologists, this can mean starting at 4 am. We were lucky with peafowl. They are late risers, coming down from their roosts around 7-8 am. They also tend to take a long siesta in the middle of the day. This meant that we had to work two shifts, coming in for several hours in the morning and returning after lunch until sunset. It made for some long days.

Film crews also seem to work long hours based on the amount of light, since our schedules would often coincide.

2. Tedium and futility. Most of the time spent watching animal behaviour is watching them do very little. Here’s an example: we saw about 20 mating events in 2010, in 500 man-hours of observation time. That’s over 24 hours of sitting quietly for each copulation.

Catching the beasts can be a little bit more active, but you still feel completely useless 90% of the time. Your main activities include: waiting for the animals to show up, looking for the ones you haven’t caught yet, waiting around for your traps to work, and worrying about all the reasons why they aren’t.

A lot of jobs in Hollywood might not be so far off. When AT&T filmed a commercial at the Arboretum last year, we met a guy whose sole responsibility was to keep the peacocks away from the set. His boss gave him a bag of bird seed. It was the cusp of the breeding season, and the crew had decided to place their set right in the middle of one particularly dedicated male’s territory. The poor guy was literally playing tag with that bird all day.

3. Costumes. Important in Hollywood, but also useful when trying to catch birds. After a few weeks in the field, most tend to settle in to a uniform, wearing the same thing nearly every day. If it works and you’ll just be getting dirty again tomorrow, why change?

Field clothes

Waterproof jackets come in handy when catching large birds. From left: Will Roberts, Myra Burrell and Roz Dakin. Photo by Bonny Chan.

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