Entertainment

Ringling Bros. Says Circuses to be Elephant-Free in 3 Years

Published

11 years ago

March 6, 2015

In this Tuesday, March 3, 2015 photo, elephants Icky, right, and Alana stand together at the Ringling Bros. and Barnum & Bailey Center for Elephant Conservation, in Polk City, Fla. The Ringling Bros. and Barnum & Bailey Circus said it will phase out its iconic elephant acts by 2018. (AP Photo/Chris O’Meara)

TAMARA LUSH, Associated Press

POLK CITY, Fla. (AP) — Animal rights activists were stunned when the parent company of Ringling Bros. and Barnum & Bailey Circus announced it would eliminate elephants from its circus performances by 2018.

“Monumental and long overdue,” was how the Animal Welfare Institute put it.

“Startling and tremendously exciting,” The Humane Society of the United States said in a statement.

And the International Fund for Animal Welfare called it “a giant step in the right direction.”

But activists soon focused on the timing, questioning why it will take three years to phase out the elephants from the traveling circus shows.

“Many of the elephants are painfully arthritic, and many have tuberculosis, so their retirement day needs to come now,” wrote Ingrid E. Newkirk, president of People for the Ethical Treatment of Animals, in a statement. “If the decision is serious, then the circus needs to do it NOW.”

Executives at Feld Entertainment, Ringling’s parent company, say it will take three years to build proper facilities for them on the 200-acre plot of land in central Florida that’s already being used as an elephant conservation center. They have repeatedly denied that the elephants are mistreated in any way in the circuses.

“Each elephant requires a certain amount of space and a certain amount of barn area,” said Stephen Payne, Feld’s spokesman, adding that permits, drainage issues and other logistics must be worked out. The company intends for the elephants to live out their years on the property, and since one elephant is 69, they must plan for the long haul to care for the crop of gentle giants.

The decision to phase out elephants from the Ringling Bros. and Barnum & Bailey Circus comes at a time when cities across the United States are cracking down on exotic animal displays.

Even before Thursday’s announcement that the elephants will be phased out of Ringling’s performances by 2018, company officials already said they were pulling out of certain cities because of newly enacted restrictions.

Feld executives said the decision to end the circus’s century-old tradition of showcasing elephants was difficult and debated at length. Elephants have often been featured on Ringling’s posters over the decades.

“There’s been somewhat of a mood shift among our consumers,” said Alana Feld, the company’s executive vice president. “A lot of people aren’t comfortable with us touring with our elephants.”

Feld owns 43 elephants, 29 of which live at the company’s 200-acre Center for Elephant Conservation in central Florida. Thirteen animals will continue to tour with the circus before retiring to the center by 2018. One elephant is on a breeding loan to the Fort Worth Zoo.

Another reason for the decision, company President Kenneth Feld said, was that certain cities and counties have passed “anti-circus” and “anti-elephant” ordinances. The company’s three shows visit 115 cities throughout the year, and Feld said it’s expensive to fight legislation in each jurisdiction. It’s also difficult to plan tours amid constantly changing regulations, he said.

“All of the resources used to fight these things can be put toward the elephants,” Feld said during an interview at the conservation center. “We’re not reacting to our critics; we’re creating the greatest resource for the preservation of the Asian elephant.”

Carol Bradley, the author of the book “Last Chain on Billie: How One Extraordinary Elephant Escaped the Big Top,” which is about a non-Ringling circus elephant, said she believes the Feld family “realized it was a losing PR battle.”

“This is an enormous, earth-moving decision,” she said. “When I heard the news, my jaw hit the floor. I never thought they’d change their minds about this.”

In 2014, Feld Entertainment won $25.2 million in settlements from a number of animal-rights groups, including the Humane Society of the United States, ending a 14-year legal battle over allegations that Ringling circus employees mistreated elephants.

The initial lawsuit was filed in 2000 by a former Ringling barn helper who was later found to have been paid at least $190,000 by the animal-rights groups that helped bring the lawsuit. The judge called him “essentially a paid plaintiff” who lacked credibility and standing to sue. The judge rejected the abuse claims following a 2009 trial.

Kenneth Feld testified during that trial about elephants’ importance to the show.

“The symbol of the ‘Greatest Show on Earth’ is the elephant, and that’s what we’ve been known for throughout the world for more than a hundred years.”

When asked by a lawyer whether the show would be the same without the elephants, Feld replied, “No, it wouldn’t.”

The circus will continue to use tigers, dogs and goats, and a Mongolian troupe of camel stunt riders joined its Circus Xtreme show this year. More motorsports, daredevils and feats of human physical capabilities will likely be showcased as well. In 2008, Feld acquired a variety of motor sports properties, including monster truck shows, motocross and the International Hot Rod Association, which promotes drag races and other events. In 2010, it created a theatrical motorcycle stunt show called Nuclear Cowboyz. Roughly 30 million people attend one of Feld’s 5,000 live entertainment shows every year.

Ringling’s popular Canada-based competitor, Cirque du Soleil, features human acts and doesn’t use wild animals.

And while Ringling is phasing out the elephants, other, smaller circuses in the U.S. — and in countries such as Russia, France and Thailand — still use elephants.

Feld owns the largest herd of Asian elephants in North America. It costs about $65,000 yearly to care for each elephant.

Kenneth Feld said initially the conservation center will be open only to researchers, scientists and others studying the Asian elephant.

He said he hopes it eventually expands “to something the public will be able to see.”

____

Follow Tamara Lush on Twitter at http://twitter.com/tamaralush.

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Arts and Culture

IN MEMORIAM: Oakland Dance Legend Reginald Ray-Savage, 67

Savage lived his life as tribute to the teachers who had shared their wisdom on art and life with him. With a palpably genuine enthusiasm and desire to bring out the best in people, and pass the torch to the next generation, he poured into his students, as his teachers and mentors had into him. His infectious energy, love of life, and generosity of spirit inspired countless souls, both inside and outside the dance studio.

Published

6 days ago

June 24, 2026

Oakland Post

Reginald Ray-Savage brought the old-school teaching techniques he learned in the Katherine Dunham Dance Company to the youth at the Oakland School for the Arts in 2003. Courtesy photo.

Special to The Post

Reginald Ray-Savage – dancer, choreographer, and beloved teacher, mentor, and inspiration to many – passed away on May 17. The Oakland School for the Arts dance instructor was 67.

Born Reginald Ray, Jr. in St. Louis, Missouri, on Sept. 5, 1958, he formally adopted the name ‘Savage,’ to honor the great Archie Savage, his mentor at Katherine Dunham’s Performing Arts Training Center where his dance training journey began in East St. Louis, Illinois.

He soon started dancing professionally with Katherine Dunham Dance Company, making dance a way of life. His grit, tenacity, and notorious work ethic brought him scholarships to train at multiple prestigious dance institutions, including The Ailey School (NYC) and Ruth Page School of Dance (Chicago), under the direction of acclaimed ballet instructor Larry Long and Dolores Lipinski-Long.

He danced with several companies including Joel Hall Dance Company, Ruth Page Ballet Chicago, Lyric Opera, Chicago City Ballet, American Festival Ballet, and touring productions of “Music Man” and “A Chorus Line”.

In 1989, Savage moved to Oakland where he started teaching seven days a week, amassing a devoted following that was attracted to his no-nonsense, impassioned, and effective old-school teaching style.

In 1992, at the insistence of his committed core of students, he founded Savage Jazz Dance Company (SJDC). Over a span of 30 years, Savage produced more than 100 original works, and tour SJDC nationally and internationally, performing at Casa del Jazz in Rome to a packed house and rave reviews—the first dance company to receive such an invitation.

Savage built SJDC into one of the Bay Area’s most respected dance companies, creating a signature style known for its combination of disciplined training, blended with rich artistic musical expression, and raw energy.

In 2003, Savage joined the Oakland School for the Arts as chair of the School of Dance. Over the next two decades, he created, built, and maintained a strong dance program, recognized, and respected by other dance institutions for forging well-trained and resilient dancers and human beings.

The depth of Savage’s tough love and care, and the skill of his teaching and mentoring are reflected in the careers of his students who have gone on to dance with the San Francisco Ballet, Martha Graham Dance Company, Mark Morris Dance Group, Janet Jackson, Ariana Grande, and companies across the globe.

Mark Kitaoka, a photographer hired by Savage in 2016, posted a living eulogy on the dance instructor.

“When I see the self-pride he builds in his students I am constantly impressed that people like Savage still exist in our ‘meme’ society,” Kitaoka wrote. “The kids he mentors are fiercely loyal to one another and I’m certain his methods teach each of those kids to put aside social status, race and gender and is replaced by solid loyalty for other souls.

“What Savage contributes to our world cannot be completely summed up in a few meager paragraphs but can be seen in the countless lives of those he has touched. Because of him, our world, and the world of the future is both a richer and better place.

Reginald Ray-Savage will forever be missed, remembered, and lovingly quoted. He is survived by his beloved wife, Alison Hurley, his sister, Sonia, and his brothers, Pierre, and Andre. May his inextinguishable spirit and impact live on in all the lives he touched.

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Oakland Post: Week of June 17 – 23, 2026

The printed Weekly Edition of the Oakland Post: Week of June 17 – 23, 2026

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June 20, 2026

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Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

Published

2 weeks ago

June 17, 2026

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By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.