SUMMER 2016

L O S A N G E L E S Z O O A N D B O T A N I C A L G A R D E N S

Mayor of Los angeLes

Eric Garcetti

Los angeLes Zoo CoMMission

Karen B. Winnick, PresidentBernardo Silva, Vice President

Yasmine Johnson Tyler Kelley

Marc MitchellRichard Lichtenstein, Ex-Officio Member

Los angeLes Zoo adMinistration

John R. Lewis, Zoo DirectorDenise M. Verret, Deputy DirectorBeth Schaefer, General Curator

Lisa Naples, D.V.M., Chief VeterinarianMei Kwan, Director of Administration and Operations

Tom LoVullo, Construction and Maintenance SupervisorKirsten Perez, Director of Education

Darryl Pon, Planning and Development DivisionDenise Tamura, Executive Assistant

gLaZa offiCers

Richard Lichtenstein, ChairNick Franklin, Lori Winters Samuels,

Laura Z. Wasserman, Vice ChairsPhyllis Kupferstein, Secretary

James K. Bray, Treasurer Connie M. Morgan, President

gLaZa trustees

Peter Arkley, Margot Armbruster, Charles X Block, Michael Bustamante,

Tracy Cohen, Richard Corgel, Brian Diamond, Gregory D. Fuss, Lisa Ferigo Gaston,

Cassidy Horn, David V. Hunt, Frederick Huntsberry, Diann H. Kim, Mona Leites, Betty White Ludden,

Beth Price, Patricia Silver, Slash, Jay Sonbolian, Erika Aronson Stern, Madeline Joyce Taft, Dana Walden,

Jennifer Thornton Wieland

trustees eMeriti

Willard Z. Carr, Jr., Richard Corgel, Ed N. Harrison,Mrs. Max K. Jamison, Lloyd Levitin, Mrs. John F. Maher,

William G. McGagh, Dickinson C. Ross, Shelby Kaplan Sloan, Thomas R. Tellefsen, Polly Turpin

gLaZa adMinistration

Eugenia Vasels, Vice President, Institutional AdvancementHugh J. Miller, Vice President, Chief Financial Officer

Kait Hilliard, Vice President, MarketingLisa Correa, Director of Membership

Dawn Petersen-Amend, General CounselSara Rodriguez, Director of Special Events

Pete Williams, Director of Information Technology

ZOO VIEW (ISSN 0276-3303) is published quarterly by the Greater Los Angeles Zoo Association, 5333 Zoo Drive, Los Angeles, CA 90027. Periodical Postage paid at Los Angeles, CA. GREATER LOS ANGELES ZOO ASSOCIATION ANNUAL MEMBERSHIPS: Individual $55, Individual Plus $79, Family $134, Family Deluxe $175, Contributor $300, Wildlife Associate $500, Conservation Associate $1,000, Safari Society $1,500. Each membership category includes unlimited admission to the Los Angeles Zoo, one-year subscriptions to ZOO VIEW and ZOOSCAPE, and invitations to special events. For more information, call (323) 644-4200 or log on to www.lazoo.org. Copyright © 2016 Greater Los Angeles Zoo Association. All rights reserved. Reproduction of the whole or any part of the contents of this publication without written permis- sion is prohibited. POSTMASTER: Send address changes to ZOO VIEW, 5333 Zoo Drive, Los Angeles, CA 90027-1498.

CONTENTSSUMMER 2016 $3.00

THE QUARTERLY MAGAZINE OFTHE GREATER LOS ANGELESZOO ASSOCIATION

VOLUME L NUMBER 2

INSIdE FRONT COVERA pair of perenties—large monitor lizards known for their striking patterns—arrived in April.Photo by Jamie Pham

FRONT COVERTyrannosaurus rex ruled the late Cretaceous period (68 to 65 million years ago). Photo by Jamie Pham

BACk COVERA male bighorn sheep was born in March. Photo by Jamie Pham

editor

Brenda Posada

assoCiate editor Sandy Masuo

Web editor Brandi Andres editoriaL CoMMittee

Kait Hilliard, John Lewis, Connie Morgan, Kirsten Perez, Beth Schaefer, Eugenia Vasels, Denise M. Verret

Zoo PhotograPher

Tad Motoyama

PhotograPher & Photo editor

Jamie Pham

design and ProduCtion Norman Abbey, Pacific Design Consultants

Printing ColorGraphics

Proofreader Lynne Richter

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N u r t u r i N g w i l d l i f e a N d e N r i c h i N g t h e h u m a N e x p e r i e N c e

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THEY’RE BAAACk!!The animatronic dinosaurs

dazzling guests in the Zoo’s new temporary

exhibit owe their authenticity to a golden age of paleontological

discovery.

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HOGWASH!Debunking popular myths and

misconceptions about animals.

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EdUCATION EVOLUTIONZoo educators convene to

discuss the future of conservation education.

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SPONSOR SPOTLIGHT AEG sponsors a night of magic

at the Zoo for children with serious healthcare

concerns.

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dONOR PROFILE Selig Legacy Society members

ensure the Zoo lives on for future generations.

ART AMONG US An amazing array of artwork

is on display around the Zoo.

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e know they’re not real. Even the youngest among us knows

that dinosaurs went extinct mil- lions of years ago. Still, standing

before a life-size replica of Carnotaurus—one of 17 animatronic creatures on display in “Dinosaurs: Unextinct at the L.A. Zoo”—can be a smidge unsettling. The beast’s eyes shift; its head tilts in your direction. Is he sizing you up for a meal? His mouth opens, revealing coni-cal teeth befitting his carnivorous lifestyle (Carnotaurus means “meat-eating bull”), and the creature unleashes a thunderous roar that sends tiny shivers down your spine. a No, they’re not real, but the attention to detail that char-acterizes these creatures lends a remarkable authenticity to the entire display—the kind of realism that spurs imagination and causes you to wonder: “What if…?” a Enhancing the effect, the dis-play’s landscaping includes species similar to the foliage that flourished

BAAACK!!THEY’RE

The Zoo’s Temporary exhibiT brings Dinosaurs To Life

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G Lean and lightweight, Coelophysis was a powerful

predator. It had more than 100 sharp, serrated teeth.

G The Dilophosaurus’ distinctive double crests may

have served to attract mates or intimidate rivals.

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when dinosaurs roamed the earth, including ferns, cycads, conifers, and ginkos. a Ahead, squeals of fright and delight surround the Dilophosaurus display. This large, crested dinosaur was depicted in Jurassic Park as being able to spit venom. At the Zoo, it periodically blasts guests with a jet of water. Kids squeal and scatter, then try to lure their unsuspecting parents into the splash zone. a Among the most popular stops along the self- guided tour is a tableau showing a Tyrannosaurus rex in the act of predating a Triceratops. The scene is based on fact rather than fancy: Fossil evidence

Dilosophaurus

The Zoo’s Temporary exhibiT brings Dinosaurs To Life

G Tyrannosaurus rex was one of few predators who

could take on the tank-like Triceratops.

G We know from fossilized skin impressions that Carnotaurus was covered in small scales and bony lumps called osteoderms.

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G Slow-moving

Edmontonia relied

on its bony plates and

spikes for protection

from predators.

G A colorful, life-size

Pachyrhinosaurus

provides an irresistible

photo op.

E Specially trained

guides educate guests

about the links between

prehistoric and

present-day animals.

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tells us that the two species not only coexisted but likely engaged in fierce battles. Paleontologists have un-earthed Triceratops bones with bite marks and serration patterns corre-sponding to T. rex’s unique and deadly

dentition.

A Golden Age

This isn’t the first time dinosaurs have invaded the Los Angeles Zoo. In the summer of 2004, the Zoo’s Australia House was temporarily converted into an indoor dino showcase. Yet what a difference a decade makes! Our un-

derstanding of dinosaurs has grown by leaps and bounds in recent years. Evolving technologies (such as the use of drones and satellite imaging to map potentially fossil-rich sites) and an increase in paleontology profession-als have led to what some are calling a “golden age” of dinosaur discovery. Using CT scanners, 3-D printers, and simulation software, today’s scientists can more accurately deduce how di-nosaurs moved and behaved. And longstanding assumptions that dino-saurs were predominantly green or gray (shades that would have allowed them to blend into their environ-ments) are being challenged by the-ories that color may have played an important role in dino society—as it does for modern-day birds—helping individuals to recognize each other and attract mates. Cellular research is providing further evidence that di-nosaurs sported a more robust color palette than previously believed. The designers and engineers at Billings Productions—the Texas-based company that created the Zoo’s animatronic display—incorporate the latest scientific research into their work, making for a more vibrant, more authentic experience than was possible just a decade ago. Designed to educate as well as en-tertain, “Dinosaurs: Unextinct at the L.A. Zoo” highlights connections be-tween extinct creatures and animals at the Zoo. Behavioral parallels are drawn, for example, between the T. rex—the top of the Cretaceous food chain—and the African lion, a mod-ern apex predator. Anatomical simi-larities between Carnotaurus and the Komodo dragon (highly flexible jaws and hefty neck muscles) suggest similar hunting and feeding behav-iors. Like the Komodo, Carnotaurus probably attacked prey with slashing bites and swallowed huge chunks of flesh whole.

The toothy snout of Suchomimus (whose name means “crocodile mim-ic”) resembles the Zoo’s Tomistoma, an Asian crocodilian, and points to a similar fish-based diet. After observing the Zoo’s double-wattled cassowary, guests are excited to learn that its dino doppelganger, the Citipati, similarly used its feath-ers to protect and warm its eggs. Fossil evidence suggests another commonality: like cassowary males, Citipati dads probably performed the bulk of egg care duties. Specially trained guides are on hand to answer questions and show visitors how learning about the pre-historic past can help us protect our planet’s future.

Can You Dig It?ost of the animatronic creatures are roped off for their protection, but kids can get their hands dirty at the fossil

dig, an interactive activity that pro-vides a glimpse into paleontological field work. Guests brush away sand to unearth a Maiasaura fossil, learn-ing about the tools and techniques of the trade—and more importantly, the type of information paleontolo-gists can (and can’t) extrapolate from bones alone. Another fun feature is a robotic Stegosaurus with a control panel that allows guests to manipulate the crea-ture’s movement. A life-size Pachyrhinosaurus (a col-orful cousin of the Triceratops) offers an irresistible selfie spot. (Be sure to

G Although Utahraptor died

out 100 million years ago, its

close relatives survived and

gave rise to modern birds.

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Tweet your pics to #DinosAtTheLA-Zoo so we can see them, too!). The creature’s name—and its spectacular nasal ornamentation—are reminis-cent of the rhinoceros, and like the rhino it was a large-bodied herbivore (plant-eater). Pachyrhinosaurus may have used its “nasal boss” (the bony growth above its nostrils) to butt other members of its herd and estab-lish dominance. Learning from the Past Just as living animals give us insights into the lives of prehistoric crea-tures, the reverse is also true: We can learn much from the lives and times of dinosaurs. Their tale is a complex and cautionary one. The disappearance of dinosaurs was part of a mass extinction event that was likely caused by an asteroid that collided with Earth and set off a cataclysmic chain of events, includ-ing drastic changes to the Earth’s climate. That event, occurring at the end of the Cretaceous period, was the fifth such mass extinction (each wiping out at least one-fourth of all

species) in our planet’s history. Sci-entists believe we are now on the brink of another such event—labeled the “sixth extinction.” This time it is not an asteroid or comet causing the damage, but human activity. Extinction is a natural phenom-enon; it’s the rate at which we are losing species that is cause for alarm. According to the International Union for the Conservation of Nature (IUCN), species are vanishing at up to 1,000 times the natural or “back-ground” extinction rate. The atmospheric changes that oc-curred at the end of the dinosaurs’ reign wiped out approximately 70 percent of species living at that time. If today’s rate of climate change con-tinues unchecked, scientists predict a similarly staggering loss of biodi-versity is in our planet’s future. But just as human beings are re-sponsible for today’s biodiversity crisis, they can also reverse the problem. Dinosaurs didn’t have people to work toward their preservation. There was no World Wildlife Fund

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H F The exhibit

highlights connections

between dinosaurs and

L.A. Zoo residents.

G Dinosaurs have fascinated adults and children since the first nearly complete skeleton was discovered in the mid-19th century.

F Strong evidence suggests

most theropod (“beast footed”)

dinosaurs, including Utahraptor,

possessed feathers.

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(founded in 1961) to preserve species and habitats; no IUCN Red List of Threatened Species (created in 1964) to assess and classify species; no En-dangered Species Act (signed into law in 1973) to regulate legal protections. There were no zoos to pool their col-lective resources to study wildlife, breed endangered species, and edu-cate and inspire the public. We weren’t around to protect the dinosaurs, but we can each take action to prevent the loss of endan-gered species today. We can learn more about how our actions affect the planet and take steps to mini-mize our environmental impact. The Los Angeles Zoo contributes funding, fieldwork, expertise, and veterinary services to numerous conservation efforts around the globe and has been a leader in the recovery efforts for the California condor, Arabian oryx, peninsular pronghorn, and others. Supporting the Zoo, whether through donations, memberships, or ticket purchases, helps us further our conservation and education mission.

hirty years ago youngsters in-vestigating dinosaurs would have discovered very differ-ent creatures than the ones presented in this exhibit.

And thirty years from now, we can assume even more dynamic dino-

saur displays, as our understanding of these fascinating creatures continues to evolve. But even as we refine our picture of what dinosaurs looked like and how they sounded and behaved, they will always remain creatures of our imagination. Let’s work together to ensure that the same doesn’t happen to the Asian elephant or the Indian rhinoceros or the Komodo dragon—or any of the other species in our collective care. j

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F The rosettes on the

jaguar’s body have a

spot in the center, one

way to distinguish these

leopards.

F Fourteen-year-

old Kaloa quickly

adapted to his new,

enriched environ-

ment.

G A fossil dig activity gives

guests a glimpse into the world of

paleontological discovery.

G Diabloceratops (“devil-

horned face”) was named

for the curved horns erupt-

ing from its frill.

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Dinosaurs: Unextinct at the L.A. Zoo runs through October 31. Entry is $5 per person (in addition to regular Zoo admission or membership); and free for children under age 2. An augmented-reality app featuring special content (including 3-D views of all the dinosaurs) can be downloaded for free. To save time, download the app to your smartphone or tablet before you visit. Included with the app is a quiz that guests can complete to earn a small gift in the dino gift shop. For more information or to buy tickets, visit www.lazoo.org/dinosaurslosangeleszoo.

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When you hear the words “The

Los Angeles Zoo,” what comes

to mind? Animals, of course!

Artwork, maybe not so much.

Yet the 113-acres of the L.A.

Zoo and Botanical Gardens

displays a surprising amount

of art, much of it easily acces-

sible to visitors. a This art is

especially valuable—not in the

same way as a priceless Monet

in a gilt frame—but because

this art brings artistic concepts

such as texture, shape, color,

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Art Among Us The Zoo has more than animals on view - it also displays an amazing array of artwork.

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C Animal fence at the Children’s Discovery Center

C Animal fence at night

F Art at the Children’s Zoo

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and form to young children and to the general public. Some of these pieces came to the Zoo through private donors, others were specially fabricated to enhance an exhibit. The Zoo also benefits from the Public Works Im-provement Arts Program (known as “Percent for Art”), which means that one percent of all direct construction costs for projects undertaken by the City of Los Angeles are set aside for public art projects. Through this com-mitment, artists have been commissioned to create zoo-inspired work, and that’s great, because watching people interact with a sculpture, we can see that many visitors get as excited about art as they are when they witness a Tasmanian devil do laps. So come, let’s discover some of the art at the Zoo. But wait! Before you even enter the Zoo, you’ll see a large steel fence with animal silhouettes bordering the Children’s Discovery Center. Funded through the Percent for Art program, the fence was an installation piece by a local artist, Michael Amescua, who has done many public art projects in Southern California, including the MTA Gateway Transit Center in Los Angeles, Paseo Colorado in Pasadena, the Los Angeles International Airport, and the Los Angeles County Courthouse in Chatsworth.

See, there’s art already.

Romanelli Sculpturesear Reggie’s Bistro, opposite the alligator’s exhibit, you’ll see a statue of a proud lion, which almost looks like it was sculpted of sand. It’s a relic from Holly-wood’s past, when film pioneer William Selig—he’d

had hits with productions such as Wamba, Child of the Jungle—turned some of his animal actors into the “mane attraction.” He opened a combination movie studio and zoo in what’s now the Lincoln Park neighborhood. The Selig Zoo opened in 1915 and continued under various names and ownership for about 30 years. In addition to live animals, it featured 15 concrete elephant and lion sculptures at the entrance, done by Italian artist Carlo Romanelli. Romanelli was a sixth-generation master sculptor born in Florence; he also created the patron saint statue at St. Michael’s Church in L.A. By the 1960s, Selig’s menagerie was long gone, the sculptures were decaying, and the gates to the old zoo were torn down. Most of the animal figures wound up in a salvage yard, where they lingered for more than 30 years. They were finally tracked down by a Zoo docent and do-nated back to the Zoo. While some pieces were beyond repair, restoration work on the others began in 2002—a monumental task that included inventorying, X-raying, testing concrete strength, and digitally recreating missing pieces. Today, you can find four Romanelli sculptures spread throughout the International Marketplace area, including a lioness and her cubs. On one sculpture, you can clearly see the name of the artist etched into the concrete—it looks so fresh, like he just wrote it this morning.

Dinosaurs Among the Cycadsfter you pass through the International Marketplace, you’ll come to a cycad (pronounced “sigh-kad”) gar-den. Look closely and you’ll find some prehistoric creatures posed among the equally prehistoric plants.

The plants are real—cycads are living fossils, the old-est woody stemmed plants on Earth—but the T. rex and Triceratops are just for fun. These metal sculptures were herded sometime in 2007 by DJ Smetana, then the Zoo’s Park Maintenance Supervisor.

Art at the Children’s Zoohe two-acre Winnick Family Children’s Zoo opened in 2001, funded in part by a generous grant from the Winnick Family Foundation. Benefactor (and long-time Zoo Commission president) Karen B. Winnick is

a children’s book author, and not surprisingly, the same sense of wonderment and color that you’d find in a book for children is evident here. Throughout the space you’ll find commissioned pieces by Armando Alvarez Compean, a Mexican-American painter and sculptor who lives in New Mexico and who also has public art on display at the University of Califor-nia at Irvine. For the Children’s Zoo, he created a num-ber of high-energy pieces, including the entrance arch, a 50-foot “Follow the Leader” metal wraparound wall, and several Byzantine glass mosaics and steel silhouettes of children and animals.

GG Dinosaur among the cycads

G Romanelli sculptures

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At the LAIRhen the Zoo’s Living Amphibians, Invertebrates, and Reptiles (LAIR) debuted in 2012, the state-of-the-art facility featured some special artwork, included from the original conceptual design phase and fitting with

the overall theme of the new buildings. They include bronze sculptures of an adult and two sub-adult Madagascar radiated tortoises. Curator of Rep-tiles and Amphibians Ian Recchio selected the species for inclusion as they represent the Zoo’s conservation work and also possess beautiful, distinctive patterned shells. There’s also a lifelike Gray’s monitor lizard in aluminum sculpture and a bronze cantil (a type of pit viper). Out-side the LAIR, concrete climbable sculptures in the form of an anaconda, a giant day gecko, and an American al-ligator provide seating as well as fun photo opportunities. All were made by Cost of Wisconsin, a company that spe-cializes in zoological exhibits and sculptural elements. Decorative door handles at the LAIR and Desert LAIR buildings—in the form of a snake and a gecko—were fash-ioned from stainless steel by Charisma Design. Sculptures Guarding the Dragons of Komodo

omodo dragons are the largest and heaviest lizards on Earth. They may not need bodyguards, but their Zoo habitat, which debuted in 2001, is nonetheless kept watch over by two large statues of Ganesh,

the Hindu god who resembles an elephant. The backs of the statues depict demon gods, showing a duality that is common in Indonesian philosophy. Both are true treasures that were gifted to the Zoo by former GLAZA trustee John Marshall. Manuel Mollinedo, who served as director of the Los Angeles Zoo from 1995 to 2002, tells the tale of adventure that led to their purchase. He was traveling to Southeast

H Art adds a tactile dimension to learning at the Zoo.

G E The LAIR’s reptile benches combine fun and functionality.

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Asia with Russ Smith, then Curator of Reptiles, and Marshall. “I warned him it wouldn’t be a lux-ury trip.” After a rickety boat ride to Indonesia’s Komodo Island, they stayed in ranger housing, 15 feet above the Komodos, who wander freely in the national park. “I’ve been in hot and humid climates, but I’ve never been so uncomfortable in my life,” says Mollinedo. “There were only oscillating fans and they went off around 9:30 p.m. to conserve energy and funds. In the morn-ing, they were serving warm Coke and ramen.” While on the island, the Zoo crew took refer-ence photos that would be used in designing the Dragons of Komodo exhibit back home. When they made their way back to Bali, Marshall—per-haps swooning from the heat—graciously offered to buy something for the Zoo. “We went to some antique warehouses, with all these artifacts,” says Mollinedo. In addition to the Ganesh stat-ues, he selected a beautiful, ornate wooden door-way, which was incorporated into the archway at the exhibit’s entrance.

Elephant Art Projectine hand-painted elephants, each five-and-a-half-feet tall, are stationed throughout the Zoo, most in the vicinity of Elephants of Asia. The Zoo worked with the City of

Los Angeles’ Cultural Affairs Department on this project, choosing artists who represented the countries and regions that elephants are na-tive to. There are two elephants each for Cam-bodia, China, India, and Thailand, and a ninth elephant representing the Earth and the web of life. Cambodian-American artist Aranga Ker painted one elephant with a depiction of Angkor Wat, an historic temple, which like elephants, must be carefully preserved. The sculptures were crafted by Paul Wendling, who has exhib-ited at the Kobe Airport International Terminal in Japan. Speaking of elephants, the steel elephant sculptures in the Elephants of Asia entry plaza were fabricated by Amazing Steel of Montclair, California. They are made of Cor-ten (or weath-ering steel). Cor-ten produces a fine surface rust shortly after the steel is manufactured and ex-posed to the atmosphere. The surface patina inhibits further damaging rust throughout the metal and quickly begins to have an aged rustic appearance. The overall group of steel elephants represents a small herd.

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E Ganesh sculpture at Dragons of Komodo

E Elephant Art Project

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F The Zoo’s bronze gorilla statue was cre-ated by Hollywood special effects guru Rick Baker.

Can you find... ⎫ The koala statue? Los Angeles-based sculptor Sharon Loper donated this piece to the Zoo in 1982. Look for it near the entrance to the Australia House.⎫ The totem pole? This unique artifact is located inside the black bear exhibit. It was donated by a couple from the Pacific Palisades, part of their family’s collection, in 1999. ⎫ California wildlife sculptures? They are in the California Condor Rescue Zone, done by a local artist, Doyle Trankina. These durable, hand-sculpted models are intended to be touched by the public.⎫ Galapagos tortoise? One of the oldest art pieces in the Zoo, this tortoise by Czech-American sculptor Joseph Martinek was created in 1972 and has been keeping the Zoo’s flamingos company for decades.⎫ Child Protected by the Great Chapungu? This piece by Zimbabwean sculptor Kennedy Musekiwa will soon be reinstalled at the Angela Collier World of Birds Theater. The Shona people of Zimbabwe believe that Chapungu (a bateleur eagle) is a good omen and protector.

Post your photos to Instagram and tag #LAZooArt

Bonus Art Spotting!

Mountain Gorillan the path near the Campo Gorilla Reserve, a bronze bust of a silverback mountain gorilla emerges lifelike, from a stone pedestal. The mountain gorilla statue was created in 1987 by

Rick Baker—yes, that Rick Baker, the renowned Holly-wood special effects artist of Men in Black fame. Baker has plenty of experience with ape shapes, having worked on the films King Kong (1976), Gorillas in the Mist (1988), and Mighty Joe Young (1998), among others. A longtime fan of the L.A. Zoo, Baker told Zoo View in a 2003 interview, “What I love about the Zoo... I just look at all the designs that are there and how varied and amaz-ing they are. Trying to duplicate that—it’s given me that much more of an appreciation for life. Every life form is just so precious.”

Red Ape Rain Forest hen possible, zoo exhibit designers incorporate ar-tistic elements representing the culture of the ani-mals’ native lands. Inspired by Indonesian “guard-ian statues,” the stone figures flanking the entrance

to the orangutan exhibit symbolically serve to protect these endangered apes. Behind each statue stands a con-crete tower, built to resemble jumping stones. On the Su-matran island of Nias, the stone-jumping (or “fahombe”) tradition is an important rite of passage.

Back at Campo Gorilla Reserve, a young boy climbs up onto the gorilla statue, throws his arm around it and pos-es for a photo. “Do I look like him?” he asks playfully. That’s the beauty of the art at the Zoo: It’s so acces-sible. The art is here for the grandpas and the babies in the strollers, for the people eating churros, and the Zoo employees in their beige work boots. Under a blazingly blue California sky, this art gallery is open for all. j

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Myth: Elephants use their trunks like straws when they drink.Truth: If you’ve ever watched an elephant drink, it might seem as though the animal is using its trunk like a straw, and elephants do indeed draw water up into their trunks, but if you watch closely, you will then see them spray the water into their mouths, which is how they actually drink. (Baby elephants drink their mothers’ milk directly with their mouths.) Elephants’ trunks are connected to their throats in the same way that your nose is connected to your throat, and inhaling a drink would not be any less unpleasant for an elephant than it is for you!

Myth: Fish breathe water.Truth: The oxygen in our atmosphere is not only blended with other gasses in the air, but also dissolved (along with other gas-ses) into water. Fish, like other animals, need oxygen to survive, but while they breathe underwater, they are not breathing water. When you take a breath, tiny sacs in your lungs called alveoli pull the oxygen out of the air, and the molecules attach to red blood cells that carry them throughout your body. When fish breathe, they take water into their mouths and force it out through organs called gills, which perform the same function as your lungs. Thin membranes in gills extract the oxygen molecules from the water, and the fish’s blood cells carry them to their body tissues.

Myth: All bears hibernate in winter.Truth: Hibernation is an adaptation that helps some animals survive in climates with intense seasonal fluctuations. Certain conditions such as changes in day length or temperature trigger a slowing of the body’s metab-olism so that the animal enters a kind of suspended animation. Body tem-perature, breathing, and heart rate drop dramatically. It is a way of shutting down the body’s systems to conserve energy during a long, lean winter. This happens in varying degrees. Many rodents including hedgehogs, chip-munks, and some prairie dogs are true hibernators, and their body tem-peratures drop to near freezing. The animal most commonly associated with hibernation is the bear, though bears do not truly hibernate. It’s more accurate to say that they experience a winter lethargy or torpor. Though their metabolisms do slow down, it is not as dramatic as rodents, and torpid animals can and do awaken from time to time. Pregnant female bears come out of torpor long enough to give birth. Since temperatures do not fluctuate very dramatically in Southern California and food sources tend to remain stable year round, our local bears (including the Zoo’s resident black bear) do not go into torpor.

In the second installment of our continuing series, we look at popular misconceptions about animals—and the facts behind them.

HOGWASH!

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Animal Myths Debunked

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y first day as a new educator at the Los Angeles Zoo, the director of education asked my colleagues and me why zoos exist. We all gave various reasons—primarily having to do with entertainment or con-

servation—but our director’s answer was something none of us had con-sidered: zoos exist to save the world. She explained that all of the various reasons we had listed—saving species, protecting wildlife, educating adults and children—add up to something greater than the sum of its parts. Zoos can make people’s, as well as animals’, lives better. I was inspired, and that day changed the course of my career. But a decade later, after leaving the Zoo and return-ing again with the burden of experi-ence, I felt even farther from under-standing just how we were going to go about saving the world. One of the challenges I was expe-riencing stemmed from the fact that the way we go about educating people

about the problems facing the world is often … not very fun. You’ve probably been subjected to “conservation edu-cation” in the past. Usually you know you’re experiencing it if, while enjoy-ing a lovely day at a zoo, aquarium, or natural area, you come down with a sudden and immense sense of guilt and/or depression. I’ve felt it when contem-

plating how little I’ve done to combat chytrid fungus in frogs or how I haven’t stopped deforestation, and when I can’t figure out which type of recycling bin my Starbucks cup is supposed to go into and instead put it in the trash when no one is looking. Conservation, though, is a guiding principle of zoos and aquariums. The Los Angeles Zoo’s mission includes sup-porting “programs that preserve biodi-versity and conserve natural habitat.” The Association of Zoos and Aquar-iums’ vision statement, just adopted last year, envisions “a world where, as a result of the work of accredited zoos and aquariums, all people respect, value, and conserve wildlife and wild places.” As we all know, there is impor-tant work to be done. The California condor would be extinct today if it weren’t for the work of the L.A. Zoo and its partners. Other zoos can point to similar success stories. Education, too, is primary to the Zoo’s mission. Usually education at a zoo or aquarium is informal—you’re not asked to take a test about what you learned as you exit—but that gives it the power to have much more rele-vance for each of our 1.6 million yearly visitors. If you loved Reggie the alliga-tor and felt a deeper connection to him after learning his story of being rescued from Machado Lake, then as an educa-tor I feel like I’ve done my job.

t turns out a lot of people are ask-ing themselves about the purpose

of zoos and what they can achieve. In October 2015, San Diego Zoo Global (the parent organization of the San Diego Zoo and Safari Park) brought together 150 educators, researchers, and zoo officials for “The Future of Informal Conservation Learning,” a two-day symposium that aimed to revolutionize how we educate people in informal settings such as zoos. I attended, although with more than a bit of skepticism. A week before the symposium, a car accident left me un-hurt but with a

totaled Toyota Prius (for the record: it was not my fault). I like to think of myself as an environmentally conscien-tious person, but with two kids and a love of road trips the car didn’t quite fit us as well as it used to. We replaced my beloved hybrid with an SUV. My decision-making process could easily have been described by Dr. Mar-tha Monroe in her symposium session about the Theory of Planned Behav-ior. A leader in education research and practice, Dr. Monroe studies how exhib-its and programs can motivate people to change their behaviors. Behaviors (such as recycling, saving species, or buying cars) are influenced by three factors: your attitudes about the behav-ior, other people’s attitudes about the behavior, and whether you think the behavior is possible or will matter. All three need to align in order to spur the behavior. In my case, even though I cared about saving gas, there’s no stigma associated with buying an SUV in my social circle, and I just didn’t think it was possible to squeeze my family into a small car anymore. Hence the new Outback parked in my garage.

hat does this have to do with zoos? Everything, according to

Dr. Louise Chawla. Dr. Chawla is an environmental psychologist whose work focuses on access to nature and how people come to care for the natu-ral world—topics highly relevant to zoos’ conservation goals. While in San

G Studies show that zoo visits have a mea-

surable impact on environmental attitudes.

G At a recent symposium, Dan Keeffe

and other zoo educators explored the

future of conservation learning.

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By Dan Keeffe, Curator of Education

eDuCatIOnThe Evolution of

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Diego, Dr. Chawla noted that people who choose environmental careers and exemplify environmental citizenship have had significant life experiences in nature or natural areas. And research shows that zoo visits can act as these nature experiences. We also know that longer, more in-depth contact with nature makes a bigger impact on envi-ronmental attitudes. Programs like Zoo Camp, where kids spend a week or more immersed in the Zoo, can actu-ally change people’s lives … and in the process change society. As the weekend progressed, speaker after speaker challenged us to think about conservation learning in new ways. Jose Gonzalez of Latino Out-doors challenged us to identify and act upon the biases, assumptions, and expertise we carry about our audi-ences. Kathryn Owen, a leading zoo researcher, urged us to incorporate rig-orous evaluation and an openness to change into our work. This made me think about the Zoo’s daily presenta-tions and keeper talks, where we build change into the program, knowing the animals will behave differently each time and audience members will pose different questions. Kathryn made me wonder if we can do an even better job of making these experiences flexible and fun for everyone who participates.

hat became clear was that the old model—“teach them and then

they’ll care”—is no longer adequate. The future of conservation learning isn’t making people feel guilty about frog fungus. The ultimate goal for zoos and aquariums is to be a part of inspir-ing what Dr. Wei Ying Wong, Director of Conservation Impact at the Philadel-phia Zoo, calls “conservation-minded, civically engaged citizens.” To do so will require engaging our communi-ties in a new kind of conversation and experience. Instead of telling people what they can do to help us, we need to ask what we can do for our community and listen with genuine interest to the answers. Instead of just teaching about animals, we need to make experienc-ing wildlife and wild places a cultural norm: something that each of us values as an integral part of our lives, rather than a novel—or never—experience. Why do zoos exist? I still believe zoos can save the world. At the Future

of Informal Conservation Learning Symposium, this wasn’t in dispute. To achieve this goal will require more sig-nificant and meaningful experiences, more listening, and better integration into the lives of our communities. So the better question might be: why is the L.A. Zoo important to you and your family? Next time you’re visiting the Zoo, if you see me, I’d love to hear what you have to say. Or join the con-versation on Twitter using the hashtags #ZoosMatter and #LAZoo. j

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G Keeper talks are fun and flexible

learning opportunities.

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16 ZOO VIEW O Summer

s the Los Angeles Zoo was closing for the day on Fri-day, May 5, a magical trans-formation was just begin-ning. When the sun began to filter through the trees and the lush landscape sur-

rounding the Zoo shook off the rain from earlier in the day, colorful food trucks special-izing in cupcakes and shaved ice made their way onto the grounds. A six-foot-four-inch lion was spotted entering the Zoo. And eager families began to arrive at the front gate anti- cipating an adventure of spec-tacular proportions. It was all part of Dream-night, a partnership between the Greater Los Angeles Zoo Association (GLAZA) and Children’s Hospital Los Ange-les (CHLA). Dreamnight is a global charitable initiative in which more than 250 zoos and aquariums partner with institu-tions that care for children in order to provide a very special evening for kids and families—

and a welcome respite from the healthcare concerns that can often become a major part of their daily lives. It takes a true and dedi-cated partner to offer such an impactful experience to fami-lies in our community who are most in need, and both CHLA and GLAZA found that partner in AEG. “When we were first approached with the opportu-nity to make a difference in the lives of young people and their families facing such daunting challenges, we knew this was a project we had to get behind,” says Martha Saucedo, AEG’s Executive Vice President of External Affairs. “The oppor-tunity to play a leading role

in this extraordinary undertaking is such an honor, and the ability to help support the work of not one but two institutions that care about the health and well-being of children in our community makes AEG’s participation that much more meaningful.” And an extraordinary evening it was. Attendees were first greeted by costumed Power Rangers characters for fun and photo opportunities. As they traveled deep into the Zoo, they met keepers who shared their experiences caring for animals with special health challenges and learned about the many similarities between humans and their creature counterparts. They also enjoyed special-themed dining areas offering everything from barbecue to snacks and were thrilled when they encountered members of the L.A. Galaxy Squad and the L.A. Kings Ice Crew. By the end of the evening, nearly every guest had identified the tall lion “roaming” the Zoo as Bailey, the L.A. King’s beloved mascot known for brightening

spirits wherever he appears. L.A. Rams mascot Rampage also mingled with guests. In addition to AEG’s leadership role as presenting sponsor of Dreamnight, gener-ous corporate support was provided by Cigna, the Honest Company, and Epson. Signifi-cant support was also provided by the Wayne Gretzky Founda-tion, the Junior Ambassadors of Children’s Hospital Los Angeles, Lori and Ted Samu-els, Marc and Eva Stern Foun-dation, Beth Price and Family, Drew Fenton, Joseph Liu, and Stephen Stone.

GLAZA is grateful to all of our corporate sponsors, whose contributions help us to support the Zoo’s mission. To learn about sponsorship opportunities, please visit www.lazoo.org/support/spon-sorships or phone 323/644-4705.

H L.A. City Councilmember David Ryu joined by AEG’s Martha

Saucedo, L.A. Kings mascot Bailey, and some special L.A. Zoo friends.

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AEGa REAlity

Making Dreams

G Families enjoying their Zoo

experience at Dreamnight.

16 ZOO VIEW O Summer

DZ o o D o n o r P r o f i l e

onsider, for a moment, your legacy—a lifetime of relation-

ships, accomplishments, truths, and values. Whose lives have you touched? How will your influence live on after you’re gone? For members of the Selig Legacy Society, the answers are found in our Zoo and with its beloved animal residents and millions of visitors. The Selig Legacy Society honors those people who, through their estate plans, are making a contribution to the future of the Los Angeles Zoo and Bo-tanical Gardens. The group’s name honors “Colo-nel” William N. Selig, a film producer from Chicago who opened the first zoo in Los Angeles in 1915—a combination movie studio and menagerie with more than 700 animals, the largest animal collec-tion in the United States at that time. The front gates of his zoo were adorned with elephant and lion statues. Some of the latter now stand in the planters near the International Marketplace and serve as the mascot for the society bearing Selig’s name. Inspired by the L.A. Zoo’s ongoing tradition of conservation and education, the Selig Legacy Soci-ety is a cornerstone of the Zoo; it helps to promote the health and safety of animals in our care and in the wild and to ensure that future generations will be able to experience wildlife at the Zoo. That is something Selig Society member Joann Ratia cares about deeply. She and her late husband, Dick, joined as Zoo members after receiving a flyer in the

early 1980s, and she’s been visiting ever since. “The Zoo is a place Dick and I have really en-joyed; the animals have such a calming and ther-apeutic presence,” Joann explains. “And it was important to us that we help perpetuate that for someone else, whether that’s through the care of animals or new exhibits. We want to make sure the Zoo is here for others to enjoy.” That generous sentiment is shared by fellow Selig Society member Carolyne Lacy, who has served as a Zoo docent for 20 years. “The Zoo is my lifeline,” she says. “I feel a change as soon as I step on grounds; I stand straighter, and I feel more alive. It’s all because of the animals, you know; I love the work we do.” Carolyne’s volunteerism has spanned multiple roles over the years, from keeper volun-teer to touring docent. “I love associating with the animals and helping the public to understand why we must respect them. And that’s what my legacy plans are for—to help carry on the work I would like others to continue after I’m gone.” The Selig Legacy Society is a group of like-mind-ed individuals who share a deep and personal con-nection to the Zoo and its animals. Their planning ensures that future generations will find the same inspiration they have cherished. What will your legacy inspire?

— Megan Runquist Holmstedt

F Ratia (right)

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For more information about the Selig Legacy Society and its benefits, or to notify GLAZA of your es-tate plans, please contact the Development Office at 323/644-4760 or email mholmstedt@lazoo.org.

A Living LegAcy

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G The Zoo’s planned giving society is named for film pioneer William N. Selig.

Carolyne Lacy (right) celebrated 20 years as a Zoo docent in April.

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