Crane Colors
by Geri Glavis
Title
Crane Colors
Artist
Geri Glavis
Medium
Photograph - Photography
Description
Photography by Geri Glavis, copyright 2014.
The Sandhill Crane (Grus canadensis) is a species of large crane of North America and extreme northeastern Siberia. The common name of this bird references habitat like that at the Platte River, on the edge of Nebraska's Sandhills on the American Plains. This is the most important stopover area for the nominotypical subspecies, the Lesser Sandhill Crane (Grus canadensis canadensis), with up to 450,000 of these birds migrating through annually.
Cranes are a clade (Gruidae) of large, long-legged and long-necked birds in the group Gruiformes. There are fifteen species of crane in four genera. Unlike the similar-looking but unrelated herons, cranes fly with necks outstretched, not pulled back. Cranes live on all continents except Antarctica and South America.
Most species of cranes are at the least classified as threatened, if not critically endangered, within their range. The plight of the Whooping Cranes of North America inspired some of the first US legislation to protect endangered species.
They are opportunistic feeders that change their diet according to the season and their own nutrient requirements. They eat a range of items from suitably sized small rodents, fish, amphibians, and insects, to grain, berries, and plants.
Cranes construct platform nests in shallow water, and typically lay two eggs at a time. Both parents help to rear the young, which remain with them until the next breeding season.[1]
Some species and populations of cranes migrate over long distances; others do not migrate at all. Cranes are solitary during the breeding season, occurring in pairs, but during the non-breeding season they are gregarious, forming large flocks where their numbers are sufficient.
The cranes are large to very large birds, including the world's tallest flying bird. They range in size from the Demoiselle Crane, which measures 90 cm (35 in) in length, to the Sarus Crane, which can be up to 176 cm (69 in), although the heaviest is the Red-crowned Crane, which can weigh 12 kg (26 lb) prior to migrating. They are long-legged and long-necked birds with streamlined bodies and large rounded wings. The males and females do not vary in external appearance, but on average males tend to be slightly larger than females.[2]
The plumage of the cranes varies by habitat. Species inhabiting vast open wetlands tend to have more white in the plumage than do species that inhabit smaller wetlands or forested habitats, which tend to be more grey. These white species are also generally larger. The smaller size and colour of the forest species is thought to help them maintain a less conspicuous profile while nesting; two of these species (the Common and Sandhill Cranes) also daub their feathers with mud to further hide while nesting.
The long coiled trachea that produces the trumpeting calls of cranes. Sandhill Crane Grus canadensis.
Most species of crane have some areas of bare skin on the face, the only two exceptions are the Blue and Demoiselle Cranes. This skin is used in communication with other cranes, and can be expanded by contracting and relaxing muscles, and change the intensity of colour. Feathers on the head can be moved and erected in the Blue, Wattled and Demoiselle Cranes for signalling as well.
Also important to communication is the position and length of the trachea. In the two crowned-cranes the trachea is shorter and only slightly impressed upon the bone of the sternum, whereas the trachea of the other species is longer and penetrates the sternum. In some species the entire sternum is fused to the bony plates of the trachea, and this helps amplify the crane's calls, allowing them to carry for several kilometres.[2][3]
The cranes have a cosmopolitan distribution, occurring across most of the world continents. They are absent from Antarctica and, mysteriously, South America. East Asia is the centre of crane diversity, with eight species, followed by Africa, which holds five resident species and wintering populations of a sixth. Australia, Europe and North America have two species. Of the four genera of crane, two, Balearica (two species) and Bugeranus (one species) are entirely restricted to Africa, and the third Anthropoides has one entirely African species and one species that is found in Africa, Asia and Europe. The remaining genus, Grus, contains the most species and is the most widespread genus, although only a single species occurs in Africa as a wintering migrant.[2]
Most species of crane are dependent on wetlands and require large areas of open space. Most species of crane nest in shallow wetlands. Some species nest in wetlands but move their chicks up onto grasslands to feed (while returning to wetlands at night), whereas others remain in wetlands for the entirety of the breeding season. Even the two species of Anthropoides crane, which may nest and feed in grasslands (or even arid grasslands or deserts) require wetlands for roosting in during the night. The only two species that do not always roost in wetlands are the two African crowned-cranes (Balearica), which are the only cranes to roost in trees.[2]
Some crane species are sedentary, remaining in the same area throughout the year, others are highly migratory, travelling thousands of kilometres each year from their breeding sites. A few species have both migratory and sedentary populations.
The cranes' beauty and their spectacular mating dances have made them highly symbolic birds in many cultures with records dating back to ancient times. Crane mythology is widely spread and can be found in areas such as the Aegean, South Arabia, China, Korea, Japan and in the Native American cultures of North America. In northern Hokkaidō, the women of the Ainu people performed a crane dance that was captured in 1908 in a photograph by Arnold Genthe. In Korea, a crane dance has been performed in the courtyard of the Tongdosa Temple since the Silla Dynasty (646 CE).
The Sanskrit epic poet Valmiki was inspired to write the first śloka couplet by the pathos of seeing a male Sarus crane shot while mating.[9][10]
In Mecca, in pre-Islamic South Arabia, Allāt, Uzza, and Manah were believed to be the three chief goddesses of Mecca, they were called the "three exalted cranes" (gharaniq, an obscure word on which 'crane' is the usual gloss). See The Satanic Verses for the best-known story regarding these three goddesses.
The Greek for crane is Γερανος (Geranos), which gives us the Cranesbill, or hardy geranium. The crane was a bird of omen. In the tale of Ibycus and the cranes, a thief attacked Ibycus (a poet of the 6th century BCE) and left him for dead. Ibycus called to a flock of passing cranes, who followed the attacker to a theater and hovered over him until, stricken with guilt, he confessed to the crime.
Pliny the Elder wrote that cranes would appoint one of their number to stand guard while they slept. The sentry would hold a stone in its claw, so that if it fell asleep it would drop the stone and waken. A crane holding a stone in its claw is a well-known symbol in heraldry, and is known as a crane in its vigilance.
Aristotle describes the migration of cranes in the History of Animals,[11] adding an account of their fights with Pygmies as they wintered near the source of the Nile. He describes as untruthful an account that the crane carries a touchstone inside it that can be used to test for gold when vomited up. (This second story is not altogether implausible, as cranes might ingest appropriate gizzard stones in one locality and regurgitate them in a region where such stone is otherwise scarce.)
Greek and Roman myths often portrayed the dance of cranes as a love of joy and a celebration of life, and the crane was often associated with Apollo.
Throughout Asia, the crane is a symbol of happiness and eternal youth. In Japan, the crane is one of the mystical or holy creatures (others include the dragon and the tortoise) and symbolizes good fortune and longevity because of its fabled life span of a thousand years. The crane is a favourite subject of the tradition of origami or paper folding. An ancient Japanese legend promises that anyone who folds a thousand origami cranes will be granted a wish by a crane. After World War II, the crane came to symbolize peace and the innocent victims of war through the story of schoolgirl Sadako Sasaki and her thousand origami cranes. Suffering from leukemia as a result of the atomic bombings of Hiroshima and Nagasaki and knowing she was dying, she undertook to make a thousand origami cranes before her death at the age of 12. After her death, she became internationally recognised as a symbol of the innocent victims of war and remains a heroine to many Japanese girls.
Uploaded
March 19th, 2014
Statistics
Viewed 752 Times - Last Visitor from Fairfield, CT on 04/18/2024 at 6:34 PM
Embed
Share
Sales Sheet