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Two people central to Radical Acts are Jane Marriott, the Director of Harewood House Trust, and Hugo Macdonald, the exhibition curator.

We sat down for a chat with Jane and Hugo, to look back on the evolution of Radical Acts and find out what visitors can expect.

Thank you both for finding the time to chat, especially in these busy two weeks before Radical Acts opens! Where did the idea for the Biennial come from?

Jane Marriott: Harewood House Trust is a charity and a museum, and it’s been set up as such since 1986. Our purpose is to conserve the House, the gardens and the wonderful collections. But more than that, we want to create exhibitions that excite our visitors, introducing them to new things, new artists, new ideas.

And so back in 2018 we decided that we wanted to do an exhibition about craft. It’s really interesting how many people have become interested in craft, in thinking about materials and in showing their support of local makers and artists. And of course, Harewood House, built in the late 1700s, has the most incredible craftsmanship from Chippendale furniture, to Robert Adam interiors. to John Carr architecture. So we thought Harewood is the perfect place to continue that great tradition of craftsmanship. When we started talking about the exhibition, we got brilliant feedback from people in the field, saying that makers and crafts in this country need that platform.

How did Hugo become involved?

Jane: What was really refreshing in the first conversation I had with Hugo was that, because his background is in writing, he puts craft within the context of how we live today. From that first conversation, I knew that he wasn’t just a wonderful curator, just picking beautiful objects; we’d be working with someone who would really take a step back and challenge us to think about craft in a different way. And so that’s when we invited Hugo to do the first Biennial, Useful/Beautiful, which was shown in 2019.

Hugo, can you tell us what you thought of Harewood when you first arrived and what inspires you about Harewood?

Hugo Macdonald: On my first visit I was overwhelmed, just like a lot of people probably are when they first come to a property of such magnificence. Every time I visit, I feel like I learn something new. There are so many layers not just to what you see, but also what you discover about people who have lived and worked in the House. The craftsmanship has been added to over decades and generations, centuries even. That’s where I find the challenge in curating the Biennial צ how do you introduce a contemporary layer that makes sense for what exists there already, but also brings something of today into the mix? How can we help people understand Harewood’s historic stories, but also put them in the context of contemporary life? How do we keep Harewood feeling alive?

How did you decide what to do for the second Biennial?

Jane: It’s not a case of saying, here’s what we want, Hugo, can you please do that? It’s a series of conversations. For the first Biennial, we invited multiple makers to respond to the House; we agreed that the format worked, but that this time we wanted to focus on a smaller number of really special makers. We also decided to exhibit pieces outdoors as well as indoors.

Our discussions began pre-Covid, thinking about the environmental crisis and what the role of these great estates can be in helping with that; to give this platform to great makers to talk about how craft can make a difference with sustainability, regenerative design, those sorts of topics. And then, of course, Covid came along and whilst we didn’t shift from those themes, we created a more nuanced response, which Hugo is very well placed to talk about more.

Hugo: The world was changing quite quickly, and our Biennial was an opportunity to address other connected subject matters that were coming to the surface. For example, how we think about well-being on a personal but also social and environmental level; and Black Lives Matter. The murder of George Floyd was a catalyst for many more conversations about racial and social injustice and given Harewood’s origins, we really wanted to include that as part of our exhibition. A lot of these subjects are things that craft deals with in a very open way, and craft can help ask important questions.

With that in mind, we decided to highlight people and projects who are engaged with asking questions about climate change and about society: how we relate to ourselves, the environment, each other. We called it Radical Acts because the word radical comes from the Latin word radix, which means roots; and each of the projects in the Biennial explores how things from the past can be a way of understanding the present. We have some very big names in the world of craft and we have some graduate students; it’s important to us that we are a platform that celebrates people at the top of their game, but also emerging interesting voices too.

Jane, what has surprised you about how Radical Acts has come together?

Jane: Probably how the makers bring such a wide variety of stories – very personal stories.

For example. we spent several hours speaking to Fernando Laposse, who talks about this incredible cooperative that he’s worked with in a village in Mexico, which is where he was born. He works with women who use the waste material from growing heritage corn to make these incredible luxury objects which are sold all around the world. His passion for the story and the women and this incredible cooperative really struck a nerve with me.

Then there’s Eunhye Ko, who is working with us as a younger maker coming into her career, with objects such as hair dryers and everyday electrical items. And you think, well, how on earth is that going to fit into a Biennial? Why will anyone be interested in that? But she works with them in in a very personal, creative way to challenge perceptions of things that we would throw away or replace much more quickly, like hairdryers or hoovers or everyday electrical items.

So I think the surprise for me is the variety, how personal those stories are and how we can relate to them. And I think people will really, really enjoy these 16 different stories from makers and feel a lot of empathy with them.

Hugo, how do you want people to feel when they visit Radical Acts?

Hugo: It has always been very important to us that we create a positive exhibition, an optimistic exhibition that feels entertaining and interesting, and that makes people feel like we can all do small things that join together to make a big difference to help address some of these challenges that we face in life. It is, like Jane says, a surprising exhibition, but we’re not telling people what to do. We are inviting people to come and see how these crafts-people are working in different ways to think about possible futures. And each of the exhibitors has a simple message behind their work that we hope will connect with visitors to Harewood, that visitors will take these ideas back home and think about how they relate to their own lives.

So, for example, Good Foundations International says water is precious. We mustn’t take it for granted. Good Foundations International go into communities who don’t have fresh water and help them to discover local sources, then build skills and businesses in the community to make ceramic water filters, which is an ancient technology for cleaning dirty water. Good Foundations International see firsthand what the impact is on people’s lives when they don’t have access to fresh water, and they alert privileged people to the fact that it’s a resource that should not be taken for granted. That’s one example of a simple message that we hope will connect with people because most of us switch on a tap without even thinking about it.

Hopefully people will reflect on the exhibition for a long time afterwards, and it might influence the small choices we make every day.

Hugo: Absolutely. I feel like exhibitions should be starting points rather than something that begins and ends. I want to open people’s eyes and minds to think about things slightly differently, or to understand how things connect; and to always feel included in that discussion. Never to feel like they are being lectured at or told. We really want to use the Biennial as a way of inviting people into Harewood and making them feel as welcome as possible. And like I said before, to introduce stories into this environment that are surprising, but also very relevant.

What would you say to each visitor as they view the exhibition?

Jane: I encourage you to experience the exhibition as a set of very personal stories, that will talk about that person or that studio’s approach to craft and what’s important to them. What you will hear is those makers saying it in their own voice. I suspect it will surprise a lot of people. I hope some of the choices seem quite bold and some will be quite poignant and quite thoughtful, like Mac Collins and his very personal response to the house and his own history and heritage. But there are also moments of just sheer joy and beautiful objects that are a window into it that particular maker and their achievements.

If I saw the visitor afterwards, I’d remind them that we’ve also got several podcasts and films with the makers – so you can return to those craftspeople who really stuck in your mind and inspired you to do something.

Hugo: One of my favourite things in the exhibition is actually not an exhibit. We have built a blank wall in the Servants’ Hall where we ask the question, What is your radical act? We hope this will encourage visitors to think about what they do in their day to day lives, and that could be something as simple as having a reusable shopping bag or reducing car journeys. That’s what I hope people will be thinking about as they move around the exhibition.

One thing people might be inspired to do is get hands-on with craft-making, and for that they can look forward to our Make it Harewood weekend in July. There will be workshops, music and food, all to show that everybody can be involved in craft and everybody can benefit in some way. It’s a wonderful recurring theme throughout the show, that working with your hands makes you feel happy. It improves your well-being mentally, physically, psychologically and Make it Harewood is a wonderful opportunity for people to have a go. So visit the website for more details on when that will be and who will be involved.

Thank you both!

Amy Lord and Rebekah Whitney. Photo by Tom Joy

Lord Whitney is the the Leeds-based creative studio behind Upon a Christmas Wish at Harewood House. Led by Amy Lord and Rebekah Whitney, it is an innovative artist-led studio creating immersive experiences and spaces that spark wonder and inspire curiosity. They build cinematic worlds that allow audiences to journey into their imagination, see things differently and explore the possibilities.

We sat down with Amy and Rebekah to chat about the studio’s origins, their inspirations, and the importance of unlocking your inner child…

Thanks for making time for us – it’s been a very busy few weeks installing Upon a Christmas Wish at Harewood! To start, can you tell us how Lord Whitney came to be?

Rebekah: The two of us met at university in Leeds many moons ago, on a graphic art and design degree. We had a similar aesthetic, but we were working on opposite sides of the studio – I was all about illustration while Amy was more into photography. Our tutor noticed the similar themes in our work and put us together – and we instantly hit it off. We found we had the same mind’s eye. We’d talk about an idea, go away to develop it, and when we came back together we’d have drawn the same picture of how we wanted it to look.

Amy: It was the worst timing though! It was practically the last week of our third year, all our work had been handed in, and only then did we find eachother. We were so excited to have finally found something that made us giddy. It felt like we were playing as children again – time would pass so quickly and the security guards kept having to kick us out of the studio at night.

Photo by Tom Joy

I love that phrase, ‘the same mind’s eye’. How do you two see the world?

Rebekah: I think we’re able to return to being kids, and see things as a child would – just letting your imagination run free. It turns out we were basically the same child, both enjoying taking things down to set them back up again, and now we’re able to do that as adults. I think that if you can tap into the thing you enjoyed as a child, you’ll probably enjoy it as an adult.

Amy: Definitely – that’s an important message we have in a lot of our work, things that gave you joy as a child will give you joy now.

Returning to the origins of Lord Whitney – you’ve graduated, having only just found eachother as creative partners. What happened next?

Amy: We didn’t set up Lord Whitney straight away – we both had a few years trying things out and feeling quite lost, not knowing if or how we could get a creative job in Leeds. We’ve both worked in film and TV, festivals, children’s workshops, photography… we’ve been on a journey, and all those different experiences feed into what we do now. It makes us unique!

It’s actually really interesting to note that we’ve had our studio for 10 years now, having started up after the last recession; and we’ve met lots of other creative businesses who are also 10 years old. There was clearly a phase when lots of creative people decided they wouldn’t get a job through someone else, so they may as well do it themselves! And now, after the initial shock of the Covid pandemic, we’re seeing people do the same thing again – new creative businesses are springing up all over.

Rebekah: Creative minds will thrive in a crisis – we’re problem solvers!

The Lord Whitney team install Upon a Christmas Wish. Photo by Paul Craig Photography.

What’s Leeds like as a base for a creative studio like Lord Whitney?

Rebekah: It’s great! There are so many more opportunities than when we first started and we have an amazing studio that we couldn’t afford in London. It’s the same in Sheffield and Manchester. In fact we haven’t done a London job in a while. We did plenty when Lord Whitney first started, and we never made it an issue, travelling to London several times a week. I’m glad we did that, because it encouraged London brands to look further afield for their creative work. But we love Leeds – we did consider moving in the early days but just couldn’t give up the north!

Let’s chat about Upon a Christmas Wish, the remarkable experience that you’ve created for Harewood. What was behind the concept of the House telling the story of a little girl’s Christmas wish?

Rebekah: Last year was awful, very traumatic and difficult [Upon a Christmas Wish was originally planned for Christmas 2020, and had to be postponed due to Covid restrictions]. When we began thinking about it in the first lockdown, we had a conversation about doing something positive. It was a scary time – like everyone we were navigating our business and worried about family and friends, but we were starting to see creatives trying to do positive things in their communities. So what could we do to create a moment of respite? How we could create an experience that helped Harewood’s visitors to feel relaxed or try to forget what they were going through?

Amy: When we started talking about positivity, we quickly got to how Bek felt being a mum, and specifically reading to her kids. We talked about the lull of a story – children don’t necessarily understand the words or meaning but when stories are read out loud they are really calming. Stories were so important to us as children, and still are now. In our work, you can see bits of Narnia, bits of Peter Pan… all these references peeking through. So we wanted to use a story to help people reconnect with their inner child and imagination, and make something relevant for adults and kids.

The Lord Whitney team install Upon a Christmas Wish. Photo by Paul Craig Photography.

How did the work develop once you’d had the concept?

Rebekah: There was a lot of research, working with the Harewood Collections team. They dug out articles and artefacts relating to Christmas, and we pulled out gems and nuggets to be included in the fictional story, like the Christmas theatrics. We also spoke to David Lascelles, Earl of Harewood, who remembered amazing Christmas parties when he was a boy, with plenty of merriment and Christmas cheer.

Amy: Absolutely, the research phase is so important. You come with an idea but the project is Harewood specific, so it has to be developed in its own context.

We wanted a strong narrative, so we found an amazing collaborator in Toby Thompson, the poet and writer, and got Buffalo on board for sound design early on. We love collaborating, it adds such strength and creativity to a project.

Rebekah: Obviously we did have to consider how to create an immersive experience during a global pandemic! Everything had to be spaced out, you can’t touch anything – so voice and sound was really important to make a safe, immersive show.

What’s your favourite part of Upon a Christmas Wish?

Rebekah: The toy room really excites me. That room in particular is a moment for children, and for the adults who remember setting up the games. When I was little I had a book called iSpy Christmas, which was full of detailed photographic spreads – you had to spot the tin soldier or the bear playing a drum – and that book heavily inspired this room. The toys have come alive and they’re setting up games for Sophie to play. And I love the big moon for the moment of calm and stillness.

Lord Whitney work on the toy room in Upon a Christmas Wish

Amy: I like the dining room because of the contrast to the previous room. You’ve started the experience in the music room, with a film and audio – it’s clear what’s going on. But then you step into the dark dining room as if you’re stepping into Sophie’s imagination. It’s unexpected and we like to challenge people’s expectations!

What would you say to someone about to enter Upon a Christmas Wish?

Amy: Let everything go and step into it with an open mind. We thought a lot about mindfulness and healing in creating this piece – we tried to create moments of mindfulness even if people don’t realise they’re having them. So really, we’re interested to see what people feel like when they come out!

Rebekah: If people feel a sense of wonder, like you feel as a child, at any moment, then that’s fantastic – job done.

Upon a Christmas Wish by Lord Whitney is open now at Harewood House. Christmas at Harewood tickets include timed entry to the House, as well as Harewood’s beautifully decorated gardens and grounds. Pre-booking is essential at harewood.org/christmas.

The West Garden at Harewood

During the COP26 climate change conference in Glasgow, the horticulture industry, alongside agriculture and many others, will be presenting its sustainability targets and demonstrating the progress being made towards net zero. Sustainable food production, urban tree planting, reduction in the use of peat, investment in renewable energy, increasing circularity in horticultural plastics and the responsible management of water resources are among many environmental issues affecting the horticulture industry that will be discussed at the climate change summit.

The role of Gardens

Gardens are vital to our health and wellbeing, as well as to the health of the planet. They provide space for relaxation, exercise and play, as well as for the growing of beautiful plants and nutritious food. Crucially, gardens also serve as valuable havens for wildlife and so are environmentally and ecologically important. It is estimated that UK gardens cover a total area of over 430,000 hectares – more than four times the total area of our National Nature Reserves*. And with the number of gardening enthusiasts in Britain now at 30 million*, there is a huge potential for gardeners to collectively play a major role in mitigating the impact of climate change. This can be done in many ways by adapting our gardening methods to reduce our carbon footprint, planting more trees and shrubs, and creating more wildlife habitats in our gardens to support biodiversity.

How are the gardens at Harewood contributing to the climate change emergency?

Soil

Crops being grown by the ‘no-dig’ method in the Harewood Walled Garden

Soil stores carbon captured from the atmosphere through plant photosynthesis. Soils generally contain about three times more carbon than the atmosphere. When soil is dug over, this carbon is released back into the atmosphere. The action of digging over the soil also destroys the intricate networks of beneficial fungi, microbes and organisms living in the soil. This symbiotic ecosystem of soil-borne organisms is known as the ‘soil food web’ and is vital to plant health, as well as to the health of the planet.

At Harewood, we use ‘no-dig’ methods to grow food crops in the kitchen garden. Instead of digging the soil over and releasing the carbon into the atmosphere, we apply composted organic matter to the surface and allow the soil food web to break it down naturally, thereby locking in the carbon whilst protecting the ecology of the soil and feeding our crops in the process.

Peat

Huge piles of leaves collected from the grounds at Harewood being converted into our peat-free compost and mulch

Peatland habitats as blanket bogs, raised bogs and fens cover around 10% of the UK total land area.* Peatlands have formed over many thousands of years, they are essential terrestrial and aquatic ecosystems and support a unique biodiversity. Undisturbed peatlands also store huge amounts of carbon below ground, but the carbon is released into the atmosphere and habitats are lost when peatlands are damaged or disturbed through activities such as drainage, peat extraction, agriculture etc.

We don’t buy peat composts or use any peat in our gardens at Harewood. Instead, we produce our own composts and mulches. This is done on site through the recycling of a wide range of green waste materials, including garden clippings, prunings and especially from the many tonnes of fallen leaves, which we collect from all around the gardens and parkland every autumn. We are also looking carefully at the sustainability of our supply chains to ensure that the plants and products we purchase in the future are peat-free.

Biodiversity

Harewood’s flower-rich gardens are beneficial to vast numbers of insect pollinators

Biodiversity loss through habitat destruction is a primary concern today and one which will be addressed during COP26.

As well as caring for the ‘world beneath our feet’ by protecting a myriad of soil-borne organisms through our ‘no-dig’ system, we work diligently to protect and enhance biodiversity throughout the gardens. Harewood contains a diverse range of habitats for an abundance of wildlife. Birds, fish and mammals, including bats, hedgehogs and otters live in the lakes, ponds, rivers, woodlands, grasslands and hedgerows, as well as the many old buildings, walls, ditches and even compost heaps and log piles. Our gardening practices support the stable food chains required to sustain this biodiversity. Vast numbers of bees, hoverflies, butterflies and moths visit the garden attracted by our amazingly rich flower borders, meadows and planting schemes. These provide a wealth of nectar pools and benefit huge numbers of pollinating insects. We create habitat piles for beetles and other woodland insects and adjust our mowing regimes according to the seasons so as to protect frogs, newts and toads emerging from the lake and migrating into the lakeside woodlands.

Trees

A gigantic veteran beech tree in the Lakeside woodlands at Harewood

Trees and woodlands are immensely valuable to us in the fight against climate change caused by increasing levels of atmospheric CO₂ and rising global temperatures. Many experts agree that trees are ‘our most powerful weapon against the devastating consequences of climate change and offer our simplest solution to helping avert the irreversible collapse of ecosystems’*. Global deforestation is a huge concern as habitats are destroyed and the planet’s ecosystems are put at risk. Alongside drastically reducing our CO₂ emissions, we simply must plant millions of trees to restore habitats and create the climate-cooling woodlands and urban greenspaces of the future.

Trees are champions of carbon capture. They absorb CO₂ from the atmosphere through photosynthesis and can lock it up below ground for many years, even centuries. Native broadleaf woodlands play a vital role in locking up hundreds of tonnes of atmospheric carbon per hectare.

Protecting ancient trees and established woodland ecosystems is essential. At Harewood, we plant trees for landscape continuity and conservation, as well as grow young trees from seed in our tree nursery. A large part of our work in the park and gardens is the monitoring and protection of veteran and ancient trees. Not only are these old trees carbon sinks, they are also unique ecosystems and therefore important habitats for wildlife. We responsibly manage and maintain a large number of mature trees at Harewood, thereby preserving our parkland trees and the habitats they support for future generations.

Water

Drought-tolerant, perennial lavenders have replaced annual bedding displays at Harewood

Water supplies for public use are under pressure across the UK. It is reported that we need to reduce our demand and cut down on wastage to avoid many areas facing water deficits in the future. The amount of water available for households, industry and farming etc is limited and there is little capacity to meet increases in demand. Such pressures can affect the availability of water to a range of important habitats, such as bogs, fens and marshes, and place them under threat. Water resources will continue to be affected by population growth and climate change, so it is important that we keep the use of drinking water for the garden to a minimum and look to collecting rainwater wherever possible.

Here at Harewood, we have considerably reduced our consumption of water in the gardens. The irrigation system on the Terrace, which was installed in 1993 as part of the restoration project, has now been permanently decommissioned. The twice-annual planting of spring and summer bedding plants has been scrapped in favour of more drought-tolerant perennials, such as lavender. In the kitchen garden, we selectively spot-water our crops and keep this to an absolute minimum through the use of mulches: either compost, wool matting or cardboard. Mulching suppresses competing weeds and prevents the evaporation of soil moisture. We also have a rainwater barrel for collecting rainwater from the glasshouse roof and use watering cans fitted with a fine rose held low over seed drills to avoid wastage.

By using the ‘no-dig’ method, we also avoid soil erosion in the kitchen garden. When the soil is dug over and broken up, subsequent rainfall washes loose particles of soil, along with fertilisers, into land drains and eventually into water courses, where it forms as silt deposits. This ultimately affects the condition of the downstream freshwater environment. By adopting the ‘no-dig’ method and keeping watering to a minimum, soil erosion and siltation are considerably reduced.

Plastics

Plastic pots are continuously washed and re-used for plant propagation at Harewood

We all know how useful plastic is in the garden, but it is also widely known that plastic and the processes by which it is made are not good for the environment. Some plastics can take hundreds of years to break down and some can contaminate soil and water as they degrade, causing harm to wildlife.

The decision to plant drought-tolerant perennials at Harewood, such as lavender, as a change to buying in thousands of bulbs and bedding plants each year, was made entirely for environmental reasons. Drought-tolerant perennials not only save water, they reduce soil disturbance caused by regular changeover lifting and planting. This helps the ‘soil food web’ to establish and also prevents soil erosion. And as well as reducing our carbon emissions from vehicle transport, the thousands of lavender plants provide a benefit to insect pollinators and support biodiversity. But one of the main reasons for the change, however, was our desire to seriously reduce the amounts of plastic trays and pots coming into the garden. We also wash and re-use our plant pots and trays for growing a wide range of plants and vegetables from seed and cuttings at Harewood.

Fossil Fuels

Zero-emission robotic mowers powered by renewable energy being trialled in the grounds at Harewood

It is widely known that diesel and petrol-powered engines produce CO₂ emissions, which pollutes the atmosphere. In the garden, this includes lawnmowers, strimmers and hedgecutters. In large parks and gardens like Harewood, covering hundreds of acres, this range extends to include large and small tractors, ATVs (all-terrain vehicles) and chainsaws etc.

As well as investing in electric ATVs to facilitate the efficient transportation of staff and goods around the gardens, we are phasing out our petrol-powered hand-held equipment, such as hedgecutters and leaf-blowers and moving over to electric, battery-powered alternatives. This is expensive to do all at once so phasing is important, but the results so far are impressive. Not only are these machines re-charged using renewable energy produced at the Harewood Estate’s biomass energy centre, making them even more eco-friendly, they are safer for the staff to use at close quarters because they produce no toxic emissions. The acquisition of a battery-powered lawnmower for small areas this summer proved to be well worth the investment. We also invested in a battery-powered chainsaw, which offers our grounds team excellent performance without toxic emissions and no risk of spills or contamination from handling petrol. We recently had two models of robotic mowers on trial at Harewood and are looking at having further trials for cutting the larger areas. This could provide an environmentally-friendly alternative to using diesel tractors and gang mowers to cut the parkland areas and also remove the risks of soil compaction around the roots of our veteran trees.

Food

Organically-grown vegetables intermixed with flowers in the Harewood Walled Garden

Harewood offers people the opportunity to visit a place of great beauty and to engage in creative and thoughtful activities, which provoke new perspectives on art, nature and life. Health and wellbeing, the environment, sustainability and biodiversity is at the heart of what we do here in the park and gardens, and food plays an extremely important part in the overall experience of Harewood today. The food journey doesn’t begin at the table, but in the Walled Garden where it is grown using organic methods and with considerable concern for the environment and the impact on climate change. The soil is carefully nurtured using ‘no-dig’ methods to protect the soil food web, lock in carbon, save water and prevent siltation. We grow fresh, nutritious vegetables, fruit and herbs without the use of pesticides and intersperse our plots with nectar-rich flowers for bees and other pollinating insects.

Produce is harvested fresh and transported half a mile by electric vehicle to the Courtyard restaurant. The chefs take all that we can produce from the Walled Garden and also creatively use a range of farm products and foraged food from the Harewood Estate, thereby seriously reducing the food miles of their overall stock. The vegetables, fruit and herbs from the garden are delivered without any packaging and all stackable crates are washed and re-used. Any damaged or surplus fruit or vegetables from the garden are sent to the Bird Garden for feeding the birds and animals, and all trimmings are composted and returned to the garden as mulch, thereby creating a zero-waste system.

-Trevor Nicholson, Head Gardener

*Sources 

http://www.wlgf.org/garden_resource.html

https://www.rhs.org.uk/garden-inspiration/get-gardening/2021-gardening-predictions

https://www.iucn-uk-peatlandprogramme.org/about-peatlands/uk-peatlands

https://www.woodlandtrust.org.uk/trees-woods-and-wildlife/british-trees/how-trees-fight-climate-change/

Bali Starlings

When preparing an aviary for a bird species its as simple as putting down some wood chip and a couple of plants to make it look nice, right?

Well actually we put a little more thought into it than that and try to replicate the natural ecosystems of the bird as closely as we can. Aviary designs in zoological collections are always a balancing act between providing enough cover for the birds and making it possible for visitors and keepers to be able to see the birds.

Other factors which effect what we can plant are of course the Yorkshire climate, which means we must substitute tropical plants for cold hardy plants, and toxicity. Some plants can be poisonous, especially to parrot species who like to chew everything they can get their beak on.

Mimicking a bird’s natural ecosystem is particularly important when it comes to species with an active conservation programme, such as the Vietnam pheasant (Lophura edwardsi). This will see parent reared pheasants from zoological and private collections returned to Vietnam to form a release programme. It is therefore important that the environment that the pheasants are reared in is as close as possible to that which they will encounter in their new home and will help them to adapt more easily.

There is very little known about the habits of the pheasant in the wild, which has not been seen since 2011, and the study of their behaviour within zoological collections can help the conservation programme to ensure that they are releasing birds into areas with the habitat they prefer.

However, in the case of the Vietnam pheasant their behaviour within zoological collections can help to show conservation programmes how the birds interact with their habitat. There is very little known about the habits of the pheasant in the wild, which has not been seen since 2011, and the study of their behaviour within zoological collections can help the conservation programme to ensure that they are releasing birds into areas with the habitat they prefer. At Harewood we have kept and bred the Vietnam pheasant for many years and are currently assisting the release programme in association with the WPA (World Pheasant Association) by providing information on the birds roosting and perching habits. Information about which perch size and location are preferred by the pheasant will help to furnish release pens and provide knowledge of the bird’s behaviour seldom seen in the wild.

Vietnamese pheasant

It’s not just perching and vegetation which can be helpful to conservation programmes. Several conservation projects use artificial nest boxes, tried and tested in a captive environment, to help provide breeding opportunities for species which have had lost nesting sites due to habitat destruction.

Although the main threat to the Bali myna comes from poaching, they also suffer from a lack of nesting hollows due to deforestation.

Artificial nest boxes have been used in the reintroduction of the Bali myna (Leucopsar rothschildi) to help provide them with nesting opportunities. Although the main threat to the Bali myna comes from poaching, they also suffer from a lack of nesting hollows due to deforestation. The provision of nest boxes has helped to stabilise released populations and allow birds to breed in their natural habitat giving the population the bests chance to thrive. Wild populations of the Bali myna are estimated to be between 50-80 birds. They are under constant persecution from poaching for use in songbird competitions and the pet trade. Nest box design and popularity are first tested in zoological and private collections to find the most suitable designs. At Harewood we have been keeping and breeding Bali Mynas for at least 30 years, which have been sent to collections across Europe.

Another project benefitting from artificial nest boxes is The World Parrot Trust lovebird project, which helps several lovebird species in Africa. The project is investigating the use of nest boxes to replace natural nesting areas destroyed by habitat loss due to agriculture. At present this project is focussing on Lillian’s lovebird (Agapornis lilianae) but will expand to feature the Black-cheeked lovebird (Agapornis nigrigenis) which we keep and breed here in the bird garden. At present we are contributing through donations and are hoping to start a project assessing the preference of different box designs and nesting materials, the results of which will be reported to the project to assist their work. We will also be assisting the project by providing genetic samples to compare wild and captive populations and assess species hybridisation.

A Lillian’s Lovebird in a nest box

The biggest factor affecting the progress of the conservation programmes we support is the destruction of their ecosystem and to give these projects the best chance of success, we hope that COP26 will provide protection for these ecosystems and the species within them.

Find out more about the birds mentioned in the blog below …

Bali Myna

Bali Myna – Asian Species Action Partnership (speciesonthebrink.org)

Lovebird project

Parrot Encyclopedia | Lilian’s Lovebird | World Parrot Trust (parrots.org)