I, Honk

Article: I, Honk

 Honk! honk! on stormy wings they cleave the upper air, On gusty breeze, above the seas, their onward cohorts fare.

I have loved animals for as long as I have loved language. Before I understood systems or strategy or design, I understood that creatures moved in patterns that felt older than thought. One of my first attempts at speech was a broken version of flamingo, spoken in awe at their improbable stillness. Even then I sensed that nature was not random. It was relational. It was collective.

Years later, preparing for a talk I was due to give at the University of Tohoku in Japan, right after the recent tsunami and under the looming shadow of the nuclear reactor at Fukushima, I realized that talking about design thinking, work or any kind of portfolio would feel self indulgent and inappropriate. I found myself thinking about other models of resilience, co-dependence, entrepreneurship and leadership. Animals felt appropriate, hence the wild geese. What began as research became reverence. In Montauk, at the far edge of Long Island where we were living at time, I would sit in the yard on cold autumn afternoons and hear them before I saw them. A distant, aching call. Then the sky would open and there they were, inscribing their perfect V against the sinking sun.

There is something about the sound itself that lingers. The honk does not end abruptly. It stretches, thins, and dissolves into the moving air, as if the sky itself is carrying the echo forward. It begins as a call but becomes atmosphere. The sound gathers the flock into coherence and then releases itself into silence, leaving only the rhythm of wings. It is not command. It is continuity. A thread of breath stitching bird to bird, sky to earth, presence to presence.

I would look up and feel the same childlike wonder return. Where are they going? How do they know? Who dares the wind first?

A single goose is competent. A skein is transcendent.

On the ground they are a gaggle, comic and earthbound. In flight they become a wedge, a plump, a living arrow aimed toward an unseen horizon. The geometry is not decorative. It is devotion made visible. Each wingbeat writes a sentence of shared intention across the sky.

Scientists have measured what poets already knew. By flying in formation, each goose creates uplift for the one behind it. The air disturbed by the leader becomes a gift. Drag is reduced. Distance expands. Even NASA has studied the efficiency of this V, noting how each bird derives energy from the flow field generated by another. The flock can travel farther together than any one could alone.

But the deeper lesson is not aerodynamic. It is moral.

We are conditioned to worship the head goose. The visible figure at the tip of the arrow. The one who appears to carve the path. Yet in a skein, leadership is not possession. It is participation. When the lead goose tires, it simply falls back. Another steps forward. No ceremony. No collapse of order. Just rotation. Just trust.

If I am honest, this is the part I struggle with myself; I have known the wind at the front. I have felt the clarity of direction, the visible edge of movement, the satisfaction of carving the air. To rotate back requires a different discipline. It asks for surrender without withdrawal, for contribution without spotlight. There is a quiet ego in wanting to remain at the tip of the arrow. The geese remind me that endurance belongs not to the one who clings to the front, but to the one who trusts the formation enough to release it.

The zoologist Bernhard Voelkl observed that geese constantly switch places to ensure that no one bird bears the brunt of resistance for too long. Reciprocity is embedded in their flight. Fairness is not argued. It is enacted. The front is not a throne. It is a temporary burden, carried and then released. Male and female, young and old, each takes its turn leading the skein.

And then there is the honking.

The geese at the back call to those at the front. Keep going. We are here. The wind is strong but so are we. Leadership, in this formation, is not a monologue. It is a chorus.

If a goose falters and slips from the V, it feels instantly the full force of the air. Alone, the resistance is undeniable. The lesson is swift and merciful. Return. Rejoin. Accept the uplift that is waiting for you.

Most moving of all, when a goose is wounded and forced to land, two others follow it down. They remain beside it until it heals or dies. They do not calculate efficiency. They do not resent the delay. They stay. And when the time comes, they rise again and join another passing skein, welcomed without suspicion. Belonging is not owned. It is shared.

I think about this often.

In business, in government, in our institutions, we have built cultures that celebrate the head goose. The outlier. The solo genius. We have mistaken prominence for purpose. Yet the skein tells another story. It says that leadership is a flow field. It says that power is generated in relationship. It says that the front only exists because of the wings behind it.

These days, when I hear geese overhead, my questions have changed slightly. They are less about the birds and more about us. Where are we going? How do we know? Who rotates to the front? Who is honking encouragement from behind? Who is quietly descending with the wounded? 

We live in a moment that prizes individual certainty. Yet flight, whether of birds or of airplanes, depends on something more fragile and more profound. I once read a children’s interview with a pilot who was asked how a plane stays in the sky. He acknowledged the mechanics but then said something astonishing. A plane stays in the sky because everyone on it believes it can. Flying, he suggested, is merely the collective suspension of disbelief.

Geese understand this without theory. They believe in the formation. They trust the rotation. They respond to the honk. They descend when one falls. They rise again.

At the end of my Fukushima talk, I ended with a simple thought. Japan is flying in a flock with the rest of the world. We are all honking so that you can keep flying. In that moment the metaphor did not feel ornamental. It felt necessary. We would endure not because of isolated strength but because of shared lift.

I close my eyes now on an early autumn afternoon here in Denmark, where we live directly under a prominent migratory path. I hear them before I see them. The chill in the air. The sky opening. The formation steady and shifting at once.

No lone genius. No permanent leader. No abandoned wing.

The sky is vast. The journey is long. The wind is rarely gentle.

Yet above me, again and again, I see the same answer drawn in feathers and faith. A living V, flexing and reforming. No permanent leader. No abandoned wing. Only shared resistance. Only shared uplift. Only the steady, aching music of belief carried on the wind.

I close my eyes. I hear them before I see them. The sound stretches, thins, and dissolves into the sky..

I, honk.

All images used by permisssion.

John Downer is a pioneering British wildlife photographer and filmmaker renowned for transforming the way we see the natural world. Over a career spanning more than four decades, he has combined technological innovation with deep fieldcraft to capture intimate, emotionally resonant portraits of animals in the wild.

Early in his career, Downer undertook one of the most extraordinary feats in wildlife filmmaking: flying alongside migrating wild geese in a microlight aircraft to film them in formation at eye level. By carefully acclimating the birds to his presence and earning their trust, he was able to document their migration from within the V-shaped skein itself, offering viewers an unprecedented perspective on leadership, cooperation, and endurance in flight. The imagery was not only technically groundbreaking, but poetic—placing the camera in the sky, wing to wing with the flock.

As founder of John Downer Productions, he has created award-winning documentaries for broadcasters including BBC, National Geographic, and PBS. He later became widely known for developing lifelike robotic “spy” cameras embedded with high-definition lenses—most famously showcased in Spy in the Wild—which allowed viewers to observe animal societies from within.

Downer’s work is marked by patience, ingenuity, and a belief that the camera can dissolve the distance between humans and the rest of the living world. Whether flying beside geese or placing a hidden lens at the heart of a troop, he has consistently redefined what it means to witness the wild.

20th February 2026  •  Paul Bennett