EAAFP’s Story #5, “Do you know all the crane species in East Asian – Australasian Flyway?” sends the imagination soaring. Quirky, pithy notes on the 9 species (besides these 9, 4 reside in Africa, one is solely in USA, and one lives in Australia) are a pleasure to read. I bask, doing my best to picture how I might see each of the nine on location. The glorious Siberian Crane (you only see its black wingtips in flight) – I think Poyang Lake is where I’d go, and I’ve seen photos of that sumptuous wetland reserve in China. I’m unsure where the Red-crowned Crane, “tall and elegant” with a black neck and tail feathers, and I will intersect. Bhutan is my best place to view the shorter Black-necked Crane with a white eye ring that gives it a glaring visage. The Hooded Crane with its mini frontal grey-and-red hood, and its brown-grey bustle – who knows where? The blue-and-grey White-naped Crane is drawn with splashes of shades of grey – again, where? The tallest flying bird on Earth, the Sarus Crane, with its red head and neck, has a subspecies way up north in Australia, where I’ll travel when Covid-19 is beaten or finally peters out. The voluminous Eurasian Crane (“has no beautiful features or cultural background but has the best adaptive capacity”) is, for me, best viewed in Estonia, my now-deceased parents’ homeland. I have a dream to see the Demoiselle Crane, the tiny one of the fifteen, soaring over the Himalayas. And Nebraska is the spot to witness tens of thousands of grey-brown Sandhill Cranes. Lockdown … sigh.
How lucky can a neophyte be? I had expected to have to dig through books, new and old, and websites, and to then master map making to come up with simple motivational location maps. Maps impel. Maps document. Maps communicate.
Well, it turns out that the International Crane Foundation, in putting together its astonishing Crane Conservation Strategy, released less than three months ago, also commissioned fifteen maps that suit my purposes exactly. You can find the maps here.
From the composite image above, I note that only the Brolga is Australia-specific. A larger, wide-ranging population can be found in northern and northeastern Australia. A small, locally endangered population (listed as threatened by both Victorian and NSW authorities) lives in pockets in the bottom south of NSW (and into Victoria’s north) and in Victoria’s west (into South Australia, also, apparently). By contrast, the Sarus Crane’s only Australian range is the Gulf of Carpentaria up to “the tip” (Cape York). A distinct population mostly lives in India/Pakistan.
So … 2020 is the year to head west from Melbourne in April to attempt to see flocking or breeding Brolgas. In June we’ll do an exciting road trip up the red centre to Darwin and then in July make our way east, with some chance of seeing breeding Sarus Crane couples on the way, ending up in the Atherton Tablelands, where a sizable Sarus Crane cohort flocks together in the dry season.
In Amsterdam we stumbled across a store, shut at the time, that features stuffed animals and birds. To my amazement, I saw what I believe are a Sarus Crane, a Black Crowned Crane, and a Grey Crowned Crane, one from Asia or Australia, two from Africa. Two of the species are vulnerable, one endangered. I suppose the only saving grace that sprung to my mind is that these three threatened species must have some front-of-mind awareness in the Western world. But immediately I was seized by repugnance. The three birds must surely have been killed in situ and smuggled into Europe. To do that, then stuff them, then sell them … they’re under threat, hey! As to the buyers…
A desperate sadness seized me.
At the Rijksmuseum three days ago, before the main crush of crowd arrived, I spotted a couple of cranes in a 1680 painting, “The Floating Feather,” by Melchior d’Hondecoeter. The unmistakable spectacular Black Crowned Crane in the centre, which I’ve never seen, is found only in Africa. The other crane below and to the right of the big one seems to be a Sarus Crane (again, not yet sighted by me), which I understand is found only in Asia or northeast Australia. Why were these included? Did the artist see them live or just paint from specimens brought back from overseas? Fascinating.