Endangered Hawaiian Bird Uses Beak and Body to Dig Out its Dinner

A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
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Endangered Hawaiian Bird Uses Beak and Body to Dig Out its Dinner

A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS

The ʻakiapōlāʻau has no need for a toolbox. The endangered Hawaiian bird taps the wood of trees, hacks into it with the lower half of its unusual beak, then switches to its long, flexible upper bill to probe the hole for insect larvae to eat.

New research provides the most comprehensive look yet at this Hawaiian honeycreeper's unique anatomy, showing that when the bird strikes the wood, even its legs get involved in the action.

The ʻakiapōlāʻau (pronounced ah-key-ah-POLE-ah-ow) is found only on the island of Hawaii and feeds mainly on insects, including larvae hidden in branches. There are no native woodpeckers in Hawaii, but the ʻakiapōlāʻau has evolved its own way of getting at prey inside wood, filling a similar feeding niche despite the two birds not being closely related.

Scientists had long observed how the ʻakiapōlāʻau feeds, but knew much less about the anatomy that makes this behavior possible. To investigate, the researchers examined three ʻakiapōlāʻau skeletons from the Museum of Vertebrate Zoology at the University of California, Berkeley, and compared them with skeletons of related continental finches from other museum collections.

"The anatomy of an animal ⁠is like the ⁠book, whereas the in-life behavior is like the movie," said Alexander Clark, a University of Chicago doctoral candidate and scientific affiliate with the Field Museum in Chicago who was the lead author of the study published in the journal Ornithology.

In that "movie," the first step is finding where the prey may be hiding. The bird first assesses a branch and sometimes taps it gently with its upper bill to feel for hollow spaces, Reuters quoted Clark as saying.

Once it selects a spot, the bird switches tools. It opens its mouth widely and begins to vigorously gouge the woody substrate with the lower bill only, while the upper bill is held as far away as ⁠possible. After creating an opening, it inserts the slender upper bill and searches from side to side for its prey.

"With its mouth fully agape, it almost looks like the little bird is yelling at the wood it's gouging," Clark said.

The researchers found that the upper bill is unusual beneath the surface as well. Its underlying bony structure is about 38% shorter than its outer covering. The section without bone can flex as the bird moves its head from side to side while probing.

"When I've witnessed this behavior, I could've sworn it was going to snap its bill – and yet, it doesn't," Clark said.

Perhaps the biggest surprise came from the legs. The bird has a proportionally short femur, or the first bone of the leg that articulates with the hip.

"If you're constantly clinging to and needing to maintain awkward positions on perches, it helps to lower your center of gravity, particularly by reducing the leg length," Clark said.

Researchers also found a well-developed attachment for a muscle ⁠that flexes the ankle.

"This ⁠muscle, when contracted, flexes the ankle, bringing the lower part of the leg towards the body. It's essentially the same movement as if you were to stretch out your leg, and raise your foot towards your shin. You're working the muscle I'm talking about," Clark said.

When the ʻakiapōlāʻau gouges wood, that movement helps lift the body and then drive it forcefully downwards. That differs from woodpeckers, which primarily initiate their drilling movement using neck muscles to cock back and then lunge forward.

"In ʻakiapōlāʻau, it's a whole-body affair," Clark said. "Like effectively swinging an axe, you have to put your whole body into it."

Repeatedly striking wood may also carry a risk of injury, and scientists do not yet fully understand how the ʻakiapōlāʻau's skull copes with the forces involved. Woodpeckers have reinforced bone structures between the eyes that help cope with stresses from drilling. The ʻakiapōlāʻau has something similar, Clark said, but nothing to the same degree.

Mastering the technique also takes time. Young ʻakiapōlāʻau remain with adults for an unusually long period while learning to forage, Clark said.

"It takes practice to use that bill," Clark said.

With Hawaiian honeycreepers facing the risk of extinction, Clark added, "there will never again be a time in Earth's history when their songs will make up part of the dawn chorus."



Endangered Hawaiian Bird Uses Beak and Body to Dig Out its Dinner

A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
TT

Endangered Hawaiian Bird Uses Beak and Body to Dig Out its Dinner

A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS
A close-up view of an 'akiapōlā'au bird showing its distinctive long, curved upper bill, in Pu'u Maka' Ala Natural Area Reserve, in Hawaii, US, September 3, 2022. Bret Nainoa Mossman/Handout via REUTERS

The ʻakiapōlāʻau has no need for a toolbox. The endangered Hawaiian bird taps the wood of trees, hacks into it with the lower half of its unusual beak, then switches to its long, flexible upper bill to probe the hole for insect larvae to eat.

New research provides the most comprehensive look yet at this Hawaiian honeycreeper's unique anatomy, showing that when the bird strikes the wood, even its legs get involved in the action.

The ʻakiapōlāʻau (pronounced ah-key-ah-POLE-ah-ow) is found only on the island of Hawaii and feeds mainly on insects, including larvae hidden in branches. There are no native woodpeckers in Hawaii, but the ʻakiapōlāʻau has evolved its own way of getting at prey inside wood, filling a similar feeding niche despite the two birds not being closely related.

Scientists had long observed how the ʻakiapōlāʻau feeds, but knew much less about the anatomy that makes this behavior possible. To investigate, the researchers examined three ʻakiapōlāʻau skeletons from the Museum of Vertebrate Zoology at the University of California, Berkeley, and compared them with skeletons of related continental finches from other museum collections.

"The anatomy of an animal ⁠is like the ⁠book, whereas the in-life behavior is like the movie," said Alexander Clark, a University of Chicago doctoral candidate and scientific affiliate with the Field Museum in Chicago who was the lead author of the study published in the journal Ornithology.

In that "movie," the first step is finding where the prey may be hiding. The bird first assesses a branch and sometimes taps it gently with its upper bill to feel for hollow spaces, Reuters quoted Clark as saying.

Once it selects a spot, the bird switches tools. It opens its mouth widely and begins to vigorously gouge the woody substrate with the lower bill only, while the upper bill is held as far away as ⁠possible. After creating an opening, it inserts the slender upper bill and searches from side to side for its prey.

"With its mouth fully agape, it almost looks like the little bird is yelling at the wood it's gouging," Clark said.

The researchers found that the upper bill is unusual beneath the surface as well. Its underlying bony structure is about 38% shorter than its outer covering. The section without bone can flex as the bird moves its head from side to side while probing.

"When I've witnessed this behavior, I could've sworn it was going to snap its bill – and yet, it doesn't," Clark said.

Perhaps the biggest surprise came from the legs. The bird has a proportionally short femur, or the first bone of the leg that articulates with the hip.

"If you're constantly clinging to and needing to maintain awkward positions on perches, it helps to lower your center of gravity, particularly by reducing the leg length," Clark said.

Researchers also found a well-developed attachment for a muscle ⁠that flexes the ankle.

"This ⁠muscle, when contracted, flexes the ankle, bringing the lower part of the leg towards the body. It's essentially the same movement as if you were to stretch out your leg, and raise your foot towards your shin. You're working the muscle I'm talking about," Clark said.

When the ʻakiapōlāʻau gouges wood, that movement helps lift the body and then drive it forcefully downwards. That differs from woodpeckers, which primarily initiate their drilling movement using neck muscles to cock back and then lunge forward.

"In ʻakiapōlāʻau, it's a whole-body affair," Clark said. "Like effectively swinging an axe, you have to put your whole body into it."

Repeatedly striking wood may also carry a risk of injury, and scientists do not yet fully understand how the ʻakiapōlāʻau's skull copes with the forces involved. Woodpeckers have reinforced bone structures between the eyes that help cope with stresses from drilling. The ʻakiapōlāʻau has something similar, Clark said, but nothing to the same degree.

Mastering the technique also takes time. Young ʻakiapōlāʻau remain with adults for an unusually long period while learning to forage, Clark said.

"It takes practice to use that bill," Clark said.

With Hawaiian honeycreepers facing the risk of extinction, Clark added, "there will never again be a time in Earth's history when their songs will make up part of the dawn chorus."


Egyptian Village of Al-Qudah Gains Nationwide Fame Through Football

Large crowds attend the final of the 2026 Al-Qudah Village Football Tournament (Al-Qudah Professional Championship Facebook page)
Large crowds attend the final of the 2026 Al-Qudah Village Football Tournament (Al-Qudah Professional Championship Facebook page)
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Egyptian Village of Al-Qudah Gains Nationwide Fame Through Football

Large crowds attend the final of the 2026 Al-Qudah Village Football Tournament (Al-Qudah Professional Championship Facebook page)
Large crowds attend the final of the 2026 Al-Qudah Village Football Tournament (Al-Qudah Professional Championship Facebook page)

A small Egyptian village in the Nile Delta's Sharqia Governorate has gained widespread media attention and popularity far beyond its borders thanks to football, after transforming an annual local tournament into a major sporting and social event attracting thousands of spectators, government officials, public figures, sponsors and advertisers.

The phenomenon reflects the growing influence of grassroots football in Egypt.

In recent years, tournaments organized by youth centers and played on makeshift dirt pitches across Egypt's villages and governorates have gained considerable prominence. Their organization and popularity have increasingly rivaled those of major competitions, while the talent of their players has captured the hearts and imaginations of fans.

The 2026 Al-Qudah Village Football Tournament concluded on Wednesday amid large crowds and an unusually festive atmosphere for such a small village.

Egyptian Minister of Youth and Sports Gohar Nabil attended the final alongside parliamentary representatives, government officials and community leaders, reflecting the tournament's growing stature.

The host team, Al-Qudah Village, secured the championship after defeating Mira 7-6 in a penalty shootout.

The final was played under floodlights before enthusiastic crowds that packed the stadium, surrounding roads and nearby rooftops.

As soon as the referee blew the final whistle, the village streets erupted in celebration. Fireworks lit up the sky as residents poured outdoors to celebrate their team's victory.

The prize money also reflected how far the competition has developed compared with other grassroots tournaments.

Organizers allocated substantial cash prizes for the finalists, awarding the winning team 40,000 Egyptian pounds and the runner-up 30,000 pounds, bringing the total to 70,000 pounds. One US dollar was equivalent to 53.92 Egyptian pounds.

The final also received live television coverage on a dedicated sports channel, using advanced filming and broadcasting technology.

The coverage highlighted the tournament's expanding audience and media presence, as it evolved into a sporting event whose reach extended well beyond the village and Sharqia Governorate.

Commenting on the occasion, the minister said the Al-Qudah tournament represented an outstanding example of how sports can strengthen community ties and promote sportsmanship and fair competition.

He stressed the importance of sustaining such initiatives and grassroots tournaments, which bring communities together through sports, help identify talent and foster a sense of belonging.

Youssef Kahraba, media officer and one of the organizers of the Al-Qudah Professional Championship, told Asharq Al-Awsat that the tournament had brought unprecedented nationwide recognition to the village.

He explained that its greatest achievement was the extensive media exposure it had generated, with the village's name becoming widely recognized across traditional media and social media platforms.

According to Kahraba, this has made Al-Qudah one of the most prominent Egyptian villages in the grassroots sports scene in recent years.

He said the most significant impact had been the spread of the village's reputation beyond Sharqia Governorate.

Videos of the tournament have attracted hundreds of millions of views across its various digital platforms, which broadcast matches and publish highlights and goals, substantially expanding its audience.

Kahraba added that the tournament's organizational and media success had prompted organizers of grassroots competitions in other governorates to contact the committee to learn from its experience.

They were particularly interested in preparing playing fields, managing matches, recruiting teams and referees, and attracting clubs that regularly participate in the Al-Qudah tournament to raise the competitive standard of their own local events.

The organizing committee member said the sports minister's attendance at the final marked a turning point for village residents, reflecting the level of recognition the tournament had achieved.

He described the visit as a source of immense pride for the community and proof that a grassroots sporting event originating in a small village could attract officials and decision-makers to the heart of rural Egypt.

Sports critic Ayman Haridi said the minister's presence at the final had given the tournament greater credibility, prominence and importance, while raising the profile of similar competitions held outside major cities.

He emphasized that sporting talent exists everywhere and simply needs an opportunity to emerge.

Haridi described tournaments held in Egypt's rural areas and governorates as a "gold mine" for discovering talented players.

He argued that such competitions provide a genuine alternative to expensive sports academies and could produce future stars of Egyptian football.

Speaking to Asharq Al-Awsat, Haridi explained that these tournaments also help broaden participation in sports, encouraging children and young people to spend their free time productively.

They channel young people's energy into physical activities that develop their skills and strengthen both their mental and physical capabilities.

Haridi also highlighted the wider social and sporting significance of grassroots football competitions in Egyptian villages and governorates.

He said their importance goes far beyond recreational matches, as they have become an integral part of local cultural and community life.

By bringing villagers together to prepare and organize competitions, these events strengthen social bonds and foster a spirit of friendship, belonging and fair competition among residents and young people.


Lebanon Concert to Celebrate Mohammed Abdel Wahab's Musical Legacy

The National Orchestra performs a tribute concert to Abdel Wahab at Casino du Liban (Maestro Andre Hajj)
The National Orchestra performs a tribute concert to Abdel Wahab at Casino du Liban (Maestro Andre Hajj)
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Lebanon Concert to Celebrate Mohammed Abdel Wahab's Musical Legacy

The National Orchestra performs a tribute concert to Abdel Wahab at Casino du Liban (Maestro Andre Hajj)
The National Orchestra performs a tribute concert to Abdel Wahab at Casino du Liban (Maestro Andre Hajj)

The Lebanese National Orchestra for Oriental Arabic Music will hold a concert on November 11 honoring legendary composer Mohammed Abdel Wahab, titled "In Love with Abdel Wahab, the Musician of Generations, and Eternity."

Lebanese singer Nadine Awad will perform a selection of the late composer's masterpieces at Casino du Liban. The occasion will mark a milestone in her artistic career, as she becomes the first Lebanese female singer to perform Abdel Wahab's "Min Ghair Leih" in its entirety onstage.

Maestro Andre Hajj, the orchestra's conductor and the artistic director of the evening's musical program, said his decision to feature a female voice stemmed from his confidence in Awad's talent and the vocal maturity that qualified her for the challenge.

"Nadine is the daughter of the late musician Fouad Awad. We worked together at a concert about two years ago, when she performed Abdel Wahab's 'Ana Lak Ala Toul.' Her voice caught my attention, and I waited for the right opportunity for her to take the stage as a soloist and perform a selection of his songs," Hajj told Asharq Al-Awsat.

Hajj described the complete performance of "Min Ghair Leih" by a Lebanese female singer as a remarkable undertaking, noting that it would be the first time a woman had performed the entire song onstage.

"I see this as an excellent opportunity for Nadine to showcase her exceptional vocal talent. My role was to bring that talent to light, particularly because I have always enjoyed discovering voices of such distinction," he said.

Hajj believes Lebanon has an abundance of singing talent that has yet to receive the recognition it deserves. He stressed the importance of continually seeking out new voices capable of carrying forward the legacy of authentic Arabic music left by its greatest performers.

He explained that the concert is built around three fundamental artistic elements essential to any vocal performance: music, voice and lyrics.

"We made sure all three were present. This was the principle the Rahbanis followed onstage to produce theatrical works of the highest caliber," he said.

The evening will open with the music of "Ana wa Hobbi," followed by Awad's performances of "La Mish Ana Illi Abki" and "Ya Msafer Wahdak."

Midway through the concert, Hajj and the orchestra will perform Abdel Wahab's celebrated composition "Al-Nahr Al-Khaled" (The Eternal River), composed in 1954 to lyrics by Egyptian poet Mahmoud Hassan Ismail.

Written in classical Arabic and composed in the Kurd maqam, the work celebrates the eternal Nile River and its profound place in the emotional and cultural life of Egyptian citizens and farmers. Its poetry and music evoke the beauty of the riverbanks and surrounding palm trees, expressing the deep bond between Egyptians and their river.

The program features a selection of Abdel Wahab's instrumental and vocal works, with the concert expected to last more than an hour.

Hajj noted the strong public interest in such performances, saying all tickets were claimed on the first day of the announcement.

The concert is being organized through a collaboration between the Lebanese National Conservatory and Casino du Liban.

Among the songs Awad will perform is "Emta El-Zaman," written by Amin Ezzat El-Hegin and regarded as one of the enduring romantic taqtuqas, a form of light Arabic song, in the history of Arabic music.

The evening will conclude with Awad's complete performance of "Min Ghair Leih," lasting approximately 30 uninterrupted minutes. It will mark the first such performance by a Lebanese female singer.

"The song has never been presented in this way in Lebanon before. I consider it an artistic event that will help strengthen Lebanon's cultural and artistic standing," Hajj said.

The concert is open to the public free of charge, allowing Lebanese people from different social backgrounds to participate in the musical evening.

Hajj stressed the importance of broadening the audience for orchestral concerts rather than limiting attendance to particular age groups or social circles.

"We need more concerts of this kind, and we must encourage schoolchildren to attend them. I believe artistic education begins at home and at school. There is an entire generation unfamiliar with the songs of the great artists of Lebanon and the Arab world," he said.

"That is why I call on schools to incorporate classical music concerts into their educational curricula, strengthen students' musical appreciation and take them to performances where they can discover authentic music."

Hajj noted that the national orchestra stages four such concerts every month, giving schools opportunities to include them in their artistic and cultural activities.

"What is the point of having the same people, from the same generation, attend these concerts every time? We need to broaden their reach and involve young people so they can discover their Arab musical heritage," he said.

"I am surprised to find that there is now a generation that has never heard of Fairuz, Farid Al-Atrash, Wadih El Safi or Sabah, or even Umm Kulthum and Abdel Wahab. I consider that a gap in general artistic and cultural knowledge."

He emphasized that the national orchestra belongs to the Lebanese people and has a responsibility to make its cultural offerings accessible to everyone.

"The national orchestra is not the exclusive preserve of anyone. It is a right of the Lebanese people, and it has a duty to ensure they can benefit culturally from all the concerts it presents."