title: Nectary photosynthesis contributes to the production of manuka (Leptospermum scoparium) floral nectar

authors: Clearwater, Michael J.

subjects: Science & Technology

abstract: Current models of floral nectar production do not include a contribution from photosynthesis by green nectary tissue, even though many species have green nectaries. Mānuka (Leptospermum scoparium) floral nectaries are green, and in addition to sugars, their nectar contains dihydroxyacetone (DHA), the precursor of the antimicrobial agent in the honey. We investigated causes of variation in mānuka floral nectar production, particularly the effect of light incident on the nectary.
Flower gas exchange, chlorophyll fluorescence, and the effects on nectar of age, temperature, light, sucrose, 3-(3,4-dichlorophenyl)-1,1-dimethylurea (DCMU), pyridoxal phosphate, and 13CO2, were measured for attached and excised flowers.
Flower age affected all nectar traits, whilst temperature affected total nectar sugar only. Increased light reduced floral CO2 efflux, increased nectar sugar production, and affected the ratio of DHA to other nectar sugars. DCMU, an inhibitor of photosystem II, reduced nectar sugar production. Pyridoxal phosphate, an inhibitor of the chloroplast envelope triose phosphate transporter, reduced nectar DHA content. Incubation of excised flowers with 13CO2 in the light resulted in enrichment of nectar sugars, including DHA.
Photosynthesis within green nectaries contributes to nectar sugars and influences nectar composition. Mānuka nectar DHA arises from pools of triose phosphate that are modulated by nectary photosynthesis.

text: Nectary photosynthesis contributes to the production of manuka (Leptospermum scoparium) floral nectar Current models of floral nectar production do not include a contribution from photosynthesis by green nectary tissue, even though many species have green nectaries. Mānuka (Leptospermum scoparium) floral nectaries are green, and in addition to sugars, their nectar contains dihydroxyacetone (DHA), the precursor of the antimicrobial agent in the honey. We investigated causes of variation in mānuka floral nectar production, particularly the effect of light incident on the nectary.
Flower gas exchange, chlorophyll fluorescence, and the effects on nectar of age, temperature, light, sucrose, 3-(3,4-dichlorophenyl)-1,1-dimethylurea (DCMU), pyridoxal phosphate, and 13CO2, were measured for attached and excised flowers.
Flower age affected all nectar traits, whilst temperature affected total nectar sugar only. Increased light reduced floral CO2 efflux, increased nectar sugar production, and affected the ratio of DHA to other nectar sugars. DCMU, an inhibitor of photosystem II, reduced nectar sugar production. Pyridoxal phosphate, an inhibitor of the chloroplast envelope triose phosphate transporter, reduced nectar DHA content. Incubation of excised flowers with 13CO2 in the light resulted in enrichment of nectar sugars, including DHA.
Photosynthesis within green nectaries contributes to nectar sugars and influences nectar composition. Mānuka nectar DHA arises from pools of triose phosphate that are modulated by nectary photosynthesis.

year: 2021-08-24

title: Places we call home: Representing place and identity in contemporary dance performance

authors: Barbour, Karen

abstract: In this article, I discuss ongoing research investigating methods of representing place and identity in contemporary dance performance. A feminist and phenomenological perspective provides the basis for this creative practice as research, in which I bring environmental concerns, moving images, choreographic and place-based pedagogical practices into dialogue with autoethnographic approaches. Initially I developed a range of creative methods in creating a solo dance, and then applied these methods to the development of a trio dance work titled Places we call home. Guiding the research was a general question regarding experiences of “place” and “home,” with sub-questions relating to the use of embodied and narrative methods and moving images to express sensory experiences. Both the solo and trio dances were presented in a theatre to conference and public audiences. I will discuss the practical application of these creative practice research methods, the lived experiences of the dancers and myself as choreographer, and the outcomes of the research in response to the research questions. This discussion provides a context to contribute to interdisciplinary methodological innovations in creative practice as research, and also to current socio-cultural discussion relating to identity and sense of place.

text: Places we call home: Representing place and identity in contemporary dance performance In this article, I discuss ongoing research investigating methods of representing place and identity in contemporary dance performance. A feminist and phenomenological perspective provides the basis for this creative practice as research, in which I bring environmental concerns, moving images, choreographic and place-based pedagogical practices into dialogue with autoethnographic approaches. Initially I developed a range of creative methods in creating a solo dance, and then applied these methods to the development of a trio dance work titled Places we call home. Guiding the research was a general question regarding experiences of “place” and “home,” with sub-questions relating to the use of embodied and narrative methods and moving images to express sensory experiences. Both the solo and trio dances were presented in a theatre to conference and public audiences. I will discuss the practical application of these creative practice research methods, the lived experiences of the dancers and myself as choreographer, and the outcomes of the research in response to the research questions. This discussion provides a context to contribute to interdisciplinary methodological innovations in creative practice as research, and also to current socio-cultural discussion relating to identity and sense of place.

year: 2016

title: Effective teaching for indigenous and minoritized students

authors: Bishop, Russell

subjects: effective teaching profile

abstract: Te Kotahitanga is a kaupapa Māori research and professional development project currently operating in 33 mainstream secondary schools. This project was developed in response to the ongoing problem of educational disparities for Māori students, one of New Zealand's most pressing educational issues. From initial conversations with Maori students, their families, their principals and their teachers about what constituted effective teaching understandings and practice for Maori students, we developed an Effective Teaching Profile. This Profile is central to the professional development work that has been implemented in Te Kotahitanga schools with notable increases in a range of outcomes for Maori students.

text: Effective teaching for indigenous and minoritized students Te Kotahitanga is a kaupapa Māori research and professional development project currently operating in 33 mainstream secondary schools. This project was developed in response to the ongoing problem of educational disparities for Māori students, one of New Zealand's most pressing educational issues. From initial conversations with Maori students, their families, their principals and their teachers about what constituted effective teaching understandings and practice for Maori students, we developed an Effective Teaching Profile. This Profile is central to the professional development work that has been implemented in Te Kotahitanga schools with notable increases in a range of outcomes for Maori students.

year: 2010