African children’s bird drawings


Bee-eater, drawn by Kadison Augustine Mada Duwai, Conservation Society of Sierra Leone, first prize in 13-16 years of age category

From BirdLife:

Winners of “My Spring” Drawing competition in Africa announced

Fri, Dec 21, 2012

Winners of “My Spring” Drawing competition in Africa announced

BirdLife International … is proud to announce the winners of the 2012 maiden edition of the Spring Alive drawing competition for children in Africa.

In all, nine (9) winners have been selected from a total of about 141 entries received after the close of a two and half months long competition on the 15th of November, 2012. The highly creative and impressive entries were received from school children aged 16 years and below in six African countries namely: Botswana, Sierra Leone, Malawi, Nigeria, Uganda and Zimbabwe.

The jury for the competition … were very pleased and highly elated to receive such a high number of creative and beautiful artistic paintings from school children in Africa. According to Julie Rogers … “The pictures are absolutely beautiful, and we’re honoured to be able to judge this competition. It’s so difficult to choose just one from each category! The effort and time put into drawing these wonderful pictures was inspiring”.

Evidently, to create a more fair and balanced platform for all entrants and as well increase the chances of winning, the entries were categorized into three different age brackets (6-9 years, 10-12year & 13-16years) and subsequently three winners (First, Second & Third) selected from each category by the competent jury.

The final outcome as determined by the jury is presented below:

Ages 6-9 years
First: Olamide Ajayi, Nigeria Conservation Foundation
Second: Jennifer Tshukudu, Birdlife Botswana
Third: Joshua Ajayi, Nigeria Conservation Foundation

Ages 10-12 years
First: Okere Tochukwu, Nigeria Conservation Foundation
Second: Ahimbsibwe Mary, Nature Uganda
Third: Nyakeh Benson, Conservation Society of Sierra Leone

Ages 13-16 years

First: Kadison Augustine Mada Duwai, Conservation Society of Sierra Leone
Second: Chibueze Agube, Nigeria Conservation Foundation
Third : Abdul Rahman, Conservation Society of Sierra Leone

As announced earlier, the first place winners in each category will receive a high quality digital camera whilst the second and third place positions will receive some consolations prizes. However all participants in the 2012 Africa edition of the competition will also receive Spring Alive branded stickers and bracelets from the BirdLife International Secretariat.

The Spring Alive Team congratulates the winners and thanks warmly all participants for their beautiful paintings!

Pictures are here (scroll down).

Also from BirdLife:

Great loss-The late Georges Henry Oueda

Fri, Dec 21, 2012

It is with deep regret that we received the very sad news that Georges Henry Oueda, Director of Conservation of NATURAMA (BirdLife in Burkina Faso) passed away.

Aged just 48, Georges was the single most knowledgeable expert in ornithology in his country. He was the Naturama IBA Coordinator and was known to many across the international bird conservation community. His contribution to nature conservation in Burkina Faso cannot be overestimated.

Throughout his tour of duty at Naturama, he was dedicated and committed to making a difference for both biodiversity and people. Georges was the driving force behind setting up and training local conservation groups at site like Oursi-Darkoye, Lake Higa and Sourou valley, now known as shining examples of community-based conservation. The recent designation of twelve wetlands in Burkina as Ramsar sites have largely been achieved by Georges’ coordination and monitoring training.

He had so many plans to continue and expand his work. His passing leaves a large gap, mostly of course in his family, and also in NATURAMA and the BirdLife Partnership as a whole.

George was an avid birder, a man of the people, an asset to Naturama and the Partnership. He fought a good fight and we will truly miss him. May His Dear Soul Rest in Peace

Those who wish to extend their condolences may use the general NATURAMA address: info@naturama.bf

Bronze sculptures from prehistory till now


Dancing satyr

By Christine Lindey in England:

Bronze

Royal Academy, London W1

Friday 26 October 2012

The first thing you see is a lone dancing satyr.

Cast in bronze with inset alabaster eyes by Hellenistic foundry workers about 2300 years ago, it was rescued from the sea bed by fisherfolk in 1997. Its presence is breathtaking. Dramatically lit and larger than life, so expressive are its pose and facial expression and so finely observed and modeled are its anatomy and musculature that despite having lost its arms and one leg it still exudes the abandonment and grace of a young dancer.

Its survival is partly due to the enduring quality of the materials and processes from which it was made. Cast bronze’s durability, versatility of surface finishes and ability to incorporate other materials has led it to be used by almost all major civilisations in Africa, Asia and Europe.

The Royal Academy’s ambitious exhibition ranges over time and space in a dizzyingly rich display of over 150 bronze sculptures. These range from the Nordic Chariot Of The Sun, elegantly modeled and gilded with tooled gold 14 centuries before the Christian era, to Anish Kapoor‘s Untitled, a gleaming lacquered convex disc which reflects all who gaze into its inscrutable surface.

Instead of grouping the works according to chronology or culture they are presented according to their subjects – human figures, animals, objects, reliefs, gods and portraits. Facing the Hellenistic satyr is David Smith’s mid-1950s Portrait Of A Painter in which geometric shapes denote limbs and body, a painter’s palette becomes a head while a cobbler’s last forms a foot. Initially created as an assemblage from welded steel and found objects it exemplifies the modernist rejection of the classical tradition, yet like many modernists Smith had his work cast in bronze, that most traditional material and process.

Such juxtapositions can lead us to make unexpected connections and discoveries.

Smith’s figure stands between two 19th century ones – Rodin’s naked youth personifying the Age Of Bronze appears to stretch and awaken to the progressive age before our very eyes. In contrast the tired face, exhausted stance and crudely fashioned clogs of Dalou‘s realist Great Peasant signifies the exploitation of his class. A precursor to countless portrayals of peasants in the ex-Soviet block it is the only overtly socialist work in the exhibition.

Among numerous other smaller figures is an equally realistic male Seated Figure created in Nigeria in about the 14th century and used in fertility rituals. Facing it is the 11th-century Cambodian Kneeling Woman, the pared down graceful curves of her body and drapery conveying her yogic serenity.

The finesse of selection from closely observed nature which underly the naturalistic 16th-century Nigerian Ife and Benin portraits, with their delicately judged decorative surfaces, make their contemporary European counterparts appear fussily detailed in comparison.

There is humour among the continual surprises. A dumpy rotund elephant from 11th century China makes you want to laugh out loud. Its ornately tooled surface echoes that on a pair of 16th century Benin leopards, aloof as aristocrats, while Nandi, cast in 12th-century southern India, is a well fed bull who almost chuckles with contentment.

Grouping by subject celebrates the creativity and skilfulness of all humankind and provides a commendable challenge to residues of Eurocentric superiority.

Yet it underplays the sculptures’ different socio-political contexts and risks limiting our responses to the works’ aesthetic and technical aspects.

Satiated by the sheer richness and variety available, like children in a toy shop we dart wildly across millennia, centuries and cultures, marveling at the undoubted beauty and craftsmanship of these works so having little energy left to consider their vastly differing conditions of patronage, creative intention and function.

Far from being a cute animal the 12th-century Indian Nandi bull represents a Hindu deity, a doorkeeper to the god Shiva. It shares no ideology or function with representations of animals such as Barye‘s Tiger Devouring A Gavial of 1832, a European sculpture which celebrates naked aggression and domination.Yet both are displayed under the same category.

However, while discouraging ideological interpretations of specific works such curating may spark questions and ideas which could be followed up by further study.

The exhibition’s design and lighting are excellent as is its stress on the collaborative nature of cast sculpture in which interdependent sculptors and foundry workers work closely together. An excellent and popular room is devoted to demonstrating various complex and dangerous casting processes and the variety of possible finishes. Burnished, bejeweled, lacquered, polished, gilded, inlaid with gold or silver, etched with decorative patterns bronze is fashioned into a multitude of surfaces.

Finally the sheer quality of craft, feeling and intellect which underlies the works gathered under one roof is stunning.

The figure sculptures in the first two rooms alone would make a visit worthwhile. It is expensive but if you get a chance to see this exhibition, grasp it.

Runs until December 9. Box office: (020) 7300-8000.

Greenshank migration and ringing


This video is called Greenshanks foraging on Norwegian mountain lake.

From the BTO Bird Ringing ‘Demog Blog’ in Britain, with photos there:

17 October 2012

A Greenshank fae Aiberdeen to Ireland to Spain

Raymond Duncan writes:

Over 250 Greenshank have been colour-ringed since 2005 in a joint Grampian/Tay RG project investigating the origins, site fidelity and onward movements of birds on autumn passage through the Ythan Estuary (near Aberdeen) and Montrose Basin, NE Scotland. Ten individuals have been resighted in Ireland and four in Spain.

Recent reports of juvenile ‘RL: Light green/blue LL: Blue/black’ have been particularly interesting not only because of the speed of travel but also because it is our first sighting that confirms some birds visit Ireland before re-orientating south to Spain and beyond for the winter. It was ringed as a juvenile on the Ythan Estuary on 11/09/12.

Dermot Breen then resighted and photographed it … 11 days later at Muckrush, Lough Corrib, County Galway, right over near the west coast of Ireland.

He prudently commented that he thought the bird was just passing through as Greenshank aren’t too common at this inland site. How correct he was. Five days later Daniel Lopez Velasco resighted and photographed it … at Ponteceso Estuary, A. Coruna, NW Spain.

Thanks very much to both for reporting these sightings. Please keep an eye out for colour-ringed Greenshank where ever you are. Holiday birders have reported colour-ringed birds in Morroco [sic; Morocco], the Nijer Delta and this regular spring visitor on the Cape Verde Islands.

“Nijer Delta” is probably a misspelling for the Niger Delta in Nigeria. I hope for the greenshanks that they won’t land there on soil polluted by Shell or other Big Oil corporations, killing them.