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

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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)

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.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Art

Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

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Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.



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Oakland Post: Week of August 5 – 11, 2026

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