Javascript must be enabled to continue!
Haida’s Song
View through CrossRef
Haida Didn’t Know it, but Bob Wright was thinking of setting him free. A longtime attraction at Wright’s Sealand of the Pacific, the male orca had reached twenty-three feet, and despite being paired with several females, he had failed to impregnate any of them. In June 1982, the oceanarium’s director, Angus Matthews, proposed an exchange to the Canadian government. In return for a permit to capture two young killer whales in local waters, Sealand would release Haida to the wild. It was a bold plan, made possible by recent scientific breakthroughs. Using Haida’s own calls, researchers had deduced that he was a member of L pod, one of the three southern resident pods identified and named by Mike Bigg. But the orca’s training for release would begin only after Sealand acquired new whales. Following a successful capture, Matthews explained, the oceanarium would move Haida to a pen in Pedder Bay, where the long-captive orca could learn to catch live fish and make acoustic contact with his family. But Matthews cautioned that success would ultimately depend on the whale himself. “Haida will be given his own choice,” he emphasized, “of joining his old pod and becoming a born-again whale, or returning to his friends at Sealand.” In late August, the Department of Fisheries and Oceans (DFO, formerly the Department of the Environment) approved the project and assigned Bigg to supervise it. The respected scientist cautioned the public that there was no guarantee Haida would survive, but he argued that the release “needs to be tried.” Critics disagreed. Some accused Sealand of plotting to abandon Haida now that he had served his purpose. Likening the plan to “throwing out the family pet when it is no longer young and amusing,” one local woman warned that Haida’s “trust in humans will probably result in a bullet from a gun-happy fisherman.” The fiercest opposition came from Greenpeace, which denounced the entire proposal. Declaring rehabilitation “unlikely,” Greenpeace Canada president Patrick Moore argued that to move the imprisoned whale to a “halfway house” in Pedder Bay would be “to condemn him to death—alone.”
Title: Haida’s Song
Description:
Haida Didn’t Know it, but Bob Wright was thinking of setting him free.
A longtime attraction at Wright’s Sealand of the Pacific, the male orca had reached twenty-three feet, and despite being paired with several females, he had failed to impregnate any of them.
In June 1982, the oceanarium’s director, Angus Matthews, proposed an exchange to the Canadian government.
In return for a permit to capture two young killer whales in local waters, Sealand would release Haida to the wild.
It was a bold plan, made possible by recent scientific breakthroughs.
Using Haida’s own calls, researchers had deduced that he was a member of L pod, one of the three southern resident pods identified and named by Mike Bigg.
But the orca’s training for release would begin only after Sealand acquired new whales.
Following a successful capture, Matthews explained, the oceanarium would move Haida to a pen in Pedder Bay, where the long-captive orca could learn to catch live fish and make acoustic contact with his family.
But Matthews cautioned that success would ultimately depend on the whale himself.
“Haida will be given his own choice,” he emphasized, “of joining his old pod and becoming a born-again whale, or returning to his friends at Sealand.
” In late August, the Department of Fisheries and Oceans (DFO, formerly the Department of the Environment) approved the project and assigned Bigg to supervise it.
The respected scientist cautioned the public that there was no guarantee Haida would survive, but he argued that the release “needs to be tried.
” Critics disagreed.
Some accused Sealand of plotting to abandon Haida now that he had served his purpose.
Likening the plan to “throwing out the family pet when it is no longer young and amusing,” one local woman warned that Haida’s “trust in humans will probably result in a bullet from a gun-happy fisherman.
” The fiercest opposition came from Greenpeace, which denounced the entire proposal.
Declaring rehabilitation “unlikely,” Greenpeace Canada president Patrick Moore argued that to move the imprisoned whale to a “halfway house” in Pedder Bay would be “to condemn him to death—alone.
”.
Related Results
"We can do our own thing here on Haida Gwaii": The Haida Nation's response to COVID-19
"We can do our own thing here on Haida Gwaii": The Haida Nation's response to COVID-19
The Council of the Haida Nation (CHN) is the National government of all Haida citizens—and their response to the COVID-19 pandemic on Haida Gwaii—is the central focus of this study...
Photographic record of the tsunami impacts on western Haida Gwaii following the Mw 7.8 Haida Gwaii earthquake on October 28, 2012
Photographic record of the tsunami impacts on western Haida Gwaii following the Mw 7.8 Haida Gwaii earthquake on October 28, 2012
The Mw 7.8 Haida Gwaii earthquake on October 28th, 2012 (October 27th local time) was caused by northeast thrusting of the Pacific plate beneath Haida Gwaii, along a fault off the ...
Introductory notes before zebra finch song have unique timing properties while sharing acoustic properties with song
Introductory notes before zebra finch song have unique timing properties while sharing acoustic properties with song
ABSTRACT
Preparatory neural activity precedes the initiation of simple movements and a key feature of this preparatory activity is its trial-by-trial correlation wi...
Kajian Intertekstual pada Lirik Lagu Iwan Fals “Tikus-Tikus Kantor” dan pada Lirik Lagu Slank “Gosip Jalanan”
Kajian Intertekstual pada Lirik Lagu Iwan Fals “Tikus-Tikus Kantor” dan pada Lirik Lagu Slank “Gosip Jalanan”
Song lyrics are a literary genre, because there are similarities between existing elements and elements possessed by poetry, so it can be said that song lyrics and poetry are the s...
Song Perception in the Song Sparrow: Importance of Different Parts of the Song in Song Type Classification
Song Perception in the Song Sparrow: Importance of Different Parts of the Song in Song Type Classification
AbstractSong sparrow (Melospiza melodia) males have repertoires of 6 to 12 song types, each song consisting of four or five contrasting phrases. Song types vary both within individ...
The Development of Geographic Song Preferences in Female Song Sparrows Melospiza melodia
The Development of Geographic Song Preferences in Female Song Sparrows Melospiza melodia
AbstractPrevious work suggests that early learning plays a role in auditory preferences of female songbirds. We explored whether early experience shapes preferences for local geogr...
The Space Between Us: Exploring Colonization And Injustice Through Red: A Haida Manga
The Space Between Us: Exploring Colonization And Injustice Through Red: A Haida Manga
RED: A Haida Manga is an Indigenous comic book based on a traditional Haida
narrative, and it was created by Michael Nicoll Yahgulanaas, who is of Haida descent. This
major researc...

