Abstract
The birds-of-paradise (Aves: Paradisaeidae) are a quintessential example of elaborate ornamental diversification among animals. Ornamental evolution in the birds-of-paradise is exemplified by the presence of a highly integrated courtship phenotype, which is the whole package of plumage ornaments, behaviors and sounds that each species uses during courtship. Characterizing a species’ courtship phenotype is therefore a key part of evolutionary and taxonomic investigation in the group. With its unprecedented transmogrification from bird-like form into something abstract and otherworldly, the courtship phenotype of the Superb Bird-of-Paradise, Lophorina superba, is one of the most remarkable of all. Recent research by Irestedt et al. (2017) suggests that the genus Lophorina is not a single species but is likely a complex of three allopatric species spanning the island of New Guinea: L. niedda in the Bird’s Head Peninsula of the west, L. superba throughout the central cordillera and L. minor in the Papuan Peninsula of the east. Of these, niedda is the most phenotypically divergent with plumage traits hypothesized to possibly produce differences in ornamental appearance during display. However, the whole courtship phenotype of niedda has not been documented and so the actual extent of differences in ornamental appearance during courtship remain unknown. Here we analyze the first audiovisual recordings of niedda and compare its courtship phenotype with superba to test the hypothesis of potential differences in ornamental appearance. Our main goals are to: (1) provide the first description of the courtship phenotype of niedda in the wild, (2) determine if and how the niedda courtship phenotype differs from superba and (3) evaluate any uncovered differences in light of niedda’s newly recognized species status. Our secondary goal is to provide a more thorough characterization of courtship phenotype diversity within the genus Lophorina to facilitate future comparative study within the genus and family. Results show that the niedda courtship phenotype differs substantially from superba in numerous aspects of ornamental appearance, display behavior and sound. We highlight six key differences and conclude that the new species status of niedda is corroborated by the distinctly differentiated ornamental features documented here. With full species status, niedda becomes the fourth endemic bird-of-paradise to the Bird’s Head region of Indonesian New Guinea (i.e., the Vogelkop Peninsula), a fact that underscores the importance of this region as a center of endemic biodiversity worthy of enhanced conservation protection.
Highlights
The birds-of-paradise (Aves: Paradisaeidae) have evolved some of the most elaborate diversification in ornamental mating displays among animals (Frith & Beehler, 1998; Laman & Scholes, 2012)
Among the approximately 40 species of birds-of-paradise, one of the most remarkable male courtship phenotypes is that of the Superb Bird-of-Paradise, Lophorina superba (Frith & Frith, 1988; Laman & Scholes, 2012)
From these sources and film footage of L. superba from near Tari, Papua New Guinea obtained for the 1996 documentary film Attenborough in Paradise, Frith and Beehler synthesized all knowledge of courtship and mating behavior for L. superba (Frith & Beehler, 1998)
Summary
The birds-of-paradise (Aves: Paradisaeidae) have evolved some of the most elaborate diversification in ornamental mating displays among animals (Frith & Beehler, 1998; Laman & Scholes, 2012). The picture that emerged revealed two basic types of courtship display typically given from a horizontal free fall in the forest understory: a suite of relatively simple behaviors called initial display activity and the iconic transmogrifying display, called the high intensity display, which features a highly specialized ornamental nape cape that is spread laterally to form a super black (McCoy et al, 2018) oval-shaped ruff that surrounds the entire head and upper body (Frith & Beehler, 1998) This otherworldly display has been likened in appearance to a black and blue bouncing ‘‘smiley’’ face-like form (Laman & Scholes, 2012)
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