
Trio of elephants to leave Providence zoo in 2027
A weekday briefing from veteran Rhode Island reporters, focused on the things that matter most in the Ocean State.
Enter Email
Sign Up
Since it is not feasible to bring additional elephants to the zoo, the move allows the three – who will turn 40 this year – to have the companionship of other elephants 'for the rest of their lives,' the zoo said in a press release.
Advertisement
'As Alice, Ginny and Kate advance in years, we want to avoid one of them being left alone,' Johnson said. 'We are taking proactive steps while they are in good health to transition them into a supportive group setting that provides care for aging elephants and offers them opportunities to socialize with a larger group of elephants.'
African elephants Alice, Kate and Ginny, who turn 40 years old this year, will leave Roger Williams Park Zoo in Providence in late 2027, zoo officials said Tuesday.
Roger Williams Park Zoo
Zoo officials said they are now working to find 'the best home' so the trio can remain together. The move will require extensive planning, so the elephants will not depart Providence until 2027.
'Making this decision was difficult, but our responsibility for the elephants' well-being guided us. It is our duty to make sure Alice, Ginny and Kate have the long-term companionship they deserve,' Amy Roberts, the zoo's chief zoological officer, said in a statement. 'Although our staff feels the emotional weight of this decision, we are confident it is the right one.
'The long lead time is a bonus because it gives our animal care team and guests who love our elephants plenty of time to spend with them over the next 2 [and a half] years,' Roberts added. 'There will be 40th birthdays to recognize this summer and we will invite the community to join in all celebrations of these amazing individuals.'
Advertisement
Ginny, Kate, and Alice, arrived at the zoo in 1990. Zoo officials described Alice as 'smart, sassy and motivated by fun;' Ginny as being as 'smart as she is beautiful;' and Kate as the leader who 'maintains order and the social stability of the herd.'
The zoo's first elephant was Roger, who 'joined the Menagerie (with tigers, leopards and lions) in 1893,' officials said. The second elephant, Alice, moved to a new barn at the zoo in 1930, and other elephants since then, including the current Alice, have been named in her honor.
Christopher Gavin can be reached at

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New York Times
5 hours ago
- New York Times
Wrinkled, Flabby, Buoyant
When I was in my mid-20s, my wife, Ginny, and I were at a beach on Cape Cod Bay, tossing a tennis ball around with our two young children. The ball went into the water, and I went after it. No matter how far I swam, the tide took the ball farther. By the time I had the ball in my hand, the two of us, the ball and I, had traveled so great a distance, Ginny and the children were dots on the beach. I didn't know what a riptide was, but I soon learned. Giving in instead of resisting, I let the tide carry me until it delivered me to my anxious family. In the water, I remember thinking, what an ignominious end: Man dies pursuing tennis ball. All this recurs as I am far from Cape Cod and very far from my 20s, pausing in a lap to catch my breath in the swimming pool of a rented house on Long Island. I'm old but not when I go for a swim. A transformation takes place. In fact, it's surprising how much younger the body feels in water. What happens to the body in water — the flabby, bony, wrinkled body, I mean; my body, I mean — is a quiet miracle. You're trudging along on land, reluctantly dragging the 1940s cargo vessel you've become, and then you step oh-so-carefully into the water. As soon as your body feels the cool liquid element around you, you're ageless. Memory takes you back to childhood, and you swim just as you did in your 20s, though this time you have brains. And that's the beauty of it. Age has endowed you with knowledge and experience. Now, in water, you have achieved the impossible. You're young and old simultaneously. A wet Dorian Gray. Want all of The Times? Subscribe.

Wall Street Journal
a day ago
- Wall Street Journal
Children's Books: Giselle Potter's ‘Before She Was My Grandmother'
'Everyone has a story that is much bigger than the part you can see,' a young girl realizes in 'Before She Was My Grandmother' (Enchanted Lion, 52 pages, $19.99), a picture book written and illustrated with characteristic sublimity by Giselle Potter. Here is a tender account of a child's connection with a grandparent, which also tells of the older woman's life before the girl was born. During their visits, the grandmother, Alice, uses items from a box of memorabilia to evoke aspects of her past. A nesting doll reminds her of how she'd been wheelchair-bound and unable to run like other children because her joints were stiff. ('Sometimes, Alice felt just like her wooden doll.') Brass binoculars recall the time she was sent away from her family to a sanatorium in Switzerland, in hopes of a cure. What might sound like a troubled history feels anything but heavy in this buoyant and appealing book. The lightness comes partly from Ms. Potter's signature style of art, with its marzipan colors and naif figures; it comes also from the way she leavens sad moments with comforting ones. For example, Alice's disability meant she couldn't frisk in the waves with her sisters, but she could sit on the sand 'collecting stones and shells.' For the modern 5- to 8-year-old, accustomed to the absent presence of adults on their phones, the most striking moment may come at the beginning, when the child says that her grandmother 'makes me feel important when she looks into my eyes and listens carefully to everything I have to say.' In 'Peggy Goes for a Walk' (Post Wave, 24 pages, $15.99), a grandfather shows similar relaxed attentiveness on an autumn ramble in the woods with his little granddaughter. Written and illustrated by Tonka Uzu, this simple book for children ages 3 to 5 begins with the girl, Peggy, rushing off in her red rainboots and yellow overalls. 'Come on, let's go!' she calls back to Grandpa, whose 'legs are slower.' Together the pair find mushrooms, listen to a woodpecker, lie in the leaves and feel the patter of rain. By the end, their roles are reversed. Now it is the grandfather urging: 'Come on, Peggy, let's go.' And it is her turn to feel tired. After their exciting (but age-appropriate and low-key) outing, her legs 'don't move quickly any more.'

Refinery29
2 days ago
- Refinery29
Washington Black Proves That Black Stories Don't Always Have To Be About Trauma
While there are so many noteworthy stories in film and television that portray Black history realistically — with all its pain, trauma, and suffering — Hulu's newest show Washington Black (based on the novel of the same name) dares to show another side of the coin. While Washington Black recognizes the importance of telling Black stories rooted in trauma and resilience so that we never forget, its true message is that there's also an equal need for historical Black stories filled with joy, hope, and adventure. Delving into the rich history of African settlement in North America, the show weaves a colorful tapestry of how Black culture flourished in Nova Scotia, Canada due to it being the last stop on the Underground Railroad in the late 1800s. The Underground Railroad was the largest anti-slavery movement in America, ferrying thousands of Black fugitives to northern states and Canada so that they could find freedom and build a new life. Washington Black tells the story of what came after. The series recognizes the pain of the time, but it also tells the tale of a hopeful, intelligent, and adventurous young Black man starting a new chapter — one of possibility and uncharted lands. Even today, it's rare to see a show like this featuring a predominantly Black cast. Starring Ernest Kingsley Jr. as the titular character of Washington ('Wash') Black and Sterling K. Brown (executive producer, Academy Award nominee, three-time Emmy winner and newly minted nominee), it takes you alongside Wash's journey as he dares to imagine a future for himself free of the limitations placed upon him by society. At its heart, it's an epic, coming-of-age period piece that creator, showrunner, and executive producer Selwyn Seyfu Hinds, executive producer and showrunner Kimberly Ann Harrison, Kingsley Jr., and Brown discussed further on a Refinery29 x Hulu panel at the show's recent screening event in Los Angeles on July 22. Keep reading for three main takeaways from the panel — and watch Washington Black, now streaming on Hulu. 1. Black stories should celebrate joy as well Sharing stories is a powerful way to heal and Washington Black feels like a breath of fresh air. It recognizes the toll slavery took, while underscoring the breadth of resilience. In the show, Wash was born on a sugar plantation farm in Barbados, but he leaves his past behind to pursue a path of science and invention. 'You have a young man who can see the beauty in things that seem broken to other people,' Kingsley Jr. said. 'He can see the potential, the possibility, and the wonder. It's imbued with so much heart that the team put into it and it was a no brainer [to be part of it].' Wash meets life-changing characters along his journey that change the trajectory of his life. As the viewer, you're able to witness the key stages of his life as he grows into someone enthusiastic about a path that he'd never dreamed of. 'Black folks deserve whimsy, too,' said Brown. 'The idea that all of our stories in American fiction have to focus on trauma or pain is not the only thing that we have to tell. We can come from painful circumstances, but we can transcend those circumstances through the power of imagination, the power of hope, and the power of our joy.' This was a unique project for the creators — a story they were excited to tell because it shined a light on the other side of Black history. 'Reading and seeing this epic adventure, I'd never seen anything through the lens of a young Black boy in this type of scope,' Harrison added. 'That was amazing to me. I look at my own boys and it's something that I can sit down and watch with them. We can dream, discuss, and identify [with the characters]. This opens the door to have discussions.' 2. The themes in Washington Black are universal In the show, Medwin Harris (played by Brown) says, 'The only way Black folks can climb this mountain is if we pull each other along.' Although the series takes place in the past, that statement still rings true more than ever today. According to Hinds, the project was also born from a deep personal connection to the source material. 'I got into the book because I saw my story in Wash,' he said. 'I'm from the Caribbean and on both sides of my family, we've actually traced our roots back to Barbados where the character is from…Between the ages of 14 and 19, I had my own odyssey of different ecosystems and different characters. There was something about Wash's journey that felt really personal. And as any writer knows, you tell a universal story once you find your specific way in.' Growing up, Hinds was drawn to books that were transportive, always featuring a voyage of epic proportions. Because of the universal themes explored during Wash's adventures — resilience, resistance, hope — the show serves as something of an outlet for the Black community, one that can be related to by all. 3. Black history reminds us that we're all connected At a time when Black history is being questioned and banned, it's more important than ever that projects like this exist. Telling Black stories through film and television creates an opportunity for art, but it also powerfully cements our history in a way that can't be erased. 'One of my favorite lines in the show is when Wash says, 'I'm free, you can't take it, even if you kill me,' and that is the truth,' said Hinds. 'That line is about one word, and that's resistance. The show by its existence is an act of resistance and it's an act of history. It's a line in the sand that can't be erased. It's a manifestation of a particular desire that we all had as creators, so in and of itself, it creates history. The fact that a show like that was made by people like this is history. It says we were here, we did that, and they can't take it away.' The show was filmed in Halifax, Nova Scotia, and Brown noted that the dialect of the Afro Nova Scotian community was almost identical to Gullah culture, a group descended from enslaved Africans in South Carolina, thus proving the undeniable connection that the Underground Railroad produced. It created a space for Black people to flourish and be free, and keeping this connection alive is what drew Brown to the project. 'The idea that you have to erase us in order to appease other people just seems sort of strange and backwards,' Brown said. 'There's been this separation of, 'We're not like them, they're not like us.' But what I'm legitimately hopeful for is that we start to see the ties that bind, the things that make us common, [and] the things that we share with one another. As a spiritual being, I believe that we are all one…I wanted to show where folks from the islands, folks from the states, and folks from across the pond are able to come together and find solace and peace with one another through connection.' While many of us might not be familiar with these deeper aspects of Black history, the show sets up opportunities for education — an invitation to dive deeper into the connections that have allowed Black culture to flourish today.