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By:

Quaid Najmi

4 January 2025 at 3:26:24 pm

Thrills, roars and cheers under a giant marquee

Rambo Circus pitches a tent in MMR Mumbai : Mumbaikars are thronging to rediscover the joys of stunning, live entertainment as the familiar Rambo Circus has pitched a tent in Borivali West, before it shifts to Navi Mumbai from December 2.   This is billed as the first major full-scale season post-Covid-19 pandemic, which had led to a near washout of shows owing to social-distancing norms and public fears. The tent is now attracting a strong public response, said Rambo Circus Director and...

Thrills, roars and cheers under a giant marquee

Rambo Circus pitches a tent in MMR Mumbai : Mumbaikars are thronging to rediscover the joys of stunning, live entertainment as the familiar Rambo Circus has pitched a tent in Borivali West, before it shifts to Navi Mumbai from December 2.   This is billed as the first major full-scale season post-Covid-19 pandemic, which had led to a near washout of shows owing to social-distancing norms and public fears. The tent is now attracting a strong public response, said Rambo Circus Director and owner Sujit Dilip.   “We get good crowds on weekends and holidays, but weekdays are still a struggle. Our fixed expenses are around Rs. One Crore per month. Costs have gone up nearly ten times on all fronts in the last five years, and the 18% GST is killing. We manage around 1,500 shows annually, but barely break even, with wafer-thin margins,” said Dilip, 50.   The logistics alone are staggering. Rambo Circus travels across India with an 80-member troupe of acrobats, aerialists, sword balancers, jugglers, jokers, rigging crews, support staff, massive equipment, and a few mechanical animals.   “Many of my people have spent their entire lives under the tent. We live like a huge family. I try to support their children’s education, medical needs and help them build some financial stability. But without resources, it is becoming increasingly difficult,” said Dilip, his voice weary after decades of struggle for survival.   He reminisced of the golden era of Indian circus, around the second half of the last century, when there were many grand, full-scale circuses, but today barely half a dozen professional setups remain - Gemini, Golden, Ajanta, Asian, Great Bombay, and Rambo - along with a few smaller, local outfits.   “Unlike most countries where circuses come under the Cultural Ministry, India offers no institutional identity or support. I am invited as a jury member to several top annual international circus festivals. I feel sad as not a single Indian artist features on global stages. We just have no backing here,” Dilip told The Perfect Voice in a free-wheeling chat.   He said the decline accelerated after the ban on live animal performances nearly 20 years ago in India. In contrast, many foreign circuses still feature elephants, horses, bears, zebras, llamas, tigers, leopards, lions, and exotic birds - though most face heavy resistance from animal-rights groups.   “Moreover, ticket rates in India are among the lowest in the world, without tax concessions. In foreign circuses, even in smaller countries, tickets start at Rs 10,000 per head. We can’t dare match that…” he rued.   Yet, the thirst to lure audiences remains undiminished. Rambo Circus now leans on technology and innovation, featuring a mechanical elephant, a giraffe on stilts, stuffed zebras, deer, bears and horses, and has commissioned a Japanese company to design a robotic lion to perform tricks.   To make the shows more interactive, MoC – a tall senior joker – invites the young audience members into the ring to try small acts like skipping, jumping, or dancing with help from the midget clowns, and the kids’ shrieks of joy echo through the tent, as their parents furiously click videos and selfies.   Dilip recalled that during the pandemic lockdown, when survival seemed impossible, Rambo Circus pioneered online ticketed shows, selling nearly 50,000 virtual tickets - the highest among circuses worldwide at that time, and earned praise by international peers.   “We are swimming alone… For us, it’s not just entertainment. It is art, heritage, livelihood, identity, and passion - and we will fight for a dignified existence,” Dilip said quietly.   Rambo Circus’ emotional tug at PM’s heart Rambo Circus Director and owner Sujit Dilip appealed to Prime Minister Narendra Modi to help save this art form with a huge potential to generate jobs, discover talents, earn massive revenues and foreign exchange.   “We urge the PM and ICCR to give Indian circuses a formal status, affordable venues for our shows, extend bank loans, opportunities for skill-upgradation, foreign collaborations and inclusion under the Ministry of Corporate Affairs’ CSR list. Many corporates wish to help, but current rules prevent it,” Dilip told The Perfect Voice .   He recalled how, during Covid-19, Rambo Circus launched online shows and sold nearly 50,000 tickets, proving the potential of Indian circus talent and earning acclaim worldwide for his innovation. “Our dream is to make India’s circuses world-class, and we need government support to achieve this,” he said.   History of circuses – Roman Arenas to open maidans The name ‘circus’ had its origins in ancient Rome, where chariot races, gladiator clashes, displays/deadly fights between wild animals and condemned humans enraptured audiences in huge open arenas. Later, circuses began modestly in 1768 with horse tricks performed by Philip Astley, a London cavalryman. Then, came the modern version of live performances by horses/ponies in the US in 1793, and in the 1830s, wild animals were introduced.   Many Hollywood films featured circuses as the backdrop. The most memorable ones are: Charlie Chaplin’s “The Circus” (1928); Walt Disney’s “Dumbo’ (1941); Cecile B. DeMille’s 2 Oscar Award-winning “The Greatest Show on Earth” (1952); biopic on P.T. Barnum “The Greatest Showman” (2017), et al.   Bollywood’s own legendary ringside acts were in films like Raj Kapoor’s “Mera Naam Joker” (1970); “Chandralekha” (1948); “Appu Raja” (1989); “Circus Queen” (1959); “Shikari” (1991); “Dhoom 3” (2013); and the howlarious circus climax in Firoz A. Nadiadwala’s “Phir Hera Pheri” (2006), etc.

Correcting the Record

The nomination of Meenakshi Jain to the Rajya Sabha marks the ascent of an unapologetically indigenous view of Indian history into the political mainstream.


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When the President of India nominated Dr. Meenakshi Jain to the Rajya Sabha, it marked the quiet culmination of a decades-long intellectual insurgency. For years, Jain has challenged what she and others have seen as the ideological monopoly of the Marxist reading of Indian history. Now, the establishment is finally listening.


A former fellow at the Indian Council of Social Science Research and a one-time member of both the Nehru Memorial Museum and Library and the Indian Council of Historical Research, Jain is no stranger to academic corridors. Yet for much of her career, she stood at odds with the prevailing orthodoxy. Her meticulously sourced works have long provided a counterpoint to the ‘canonical’ histories written by the Marxist clique of Romila Thapar, Irfan Habib and D.N. Jha among others - historians who, for decades, exercised editorial and institutional control over how Indian history was taught, debated and even litigated.


Jain’s fiercest intellectual battles have been fought against this cabal of ‘eminent historians.’ Steeped in Marxist theory and steeped further still in post-colonial guilt, they insisted India’s past be read through the prism of class struggle, syncretism and secular accommodation. In their telling, Islamic invaders were repackaged as administrators, not conquerors while temple destruction was painted as exaggerated or incidental. Indigenous religious practices, including temple worship, were either marginalised or dismissed as Brahminical constructs.


Few pushed these claims further than D.N. Jha. In works that gained disproportionate traction in supposedly progressive English-language publications, Jha argued that India’s temple tradition was overstated, that meat consumption (including beef) was integral to Vedic society, and that the idea of “sacred space” was a later fabrication. Such theses often relied on selective textual readings and conspicuously ignored regional and archaeological data.


Nowhere was this intellectual sleight of hand more consequential than in the Ayodhya dispute. Irfan Habib, appearing as an expert witness, flatly denied the existence of a pre-Babri temple at the Ram Janmabhoomi site even in the face of mounting archaeological, literary and administrative evidence.


According to Jain, this was ideological distortion masquerading as scholarship. In The Battle for Rama (2017), she accuses these historians of misrepresenting or suppressing evidence, manipulating inscriptions, and ignoring a vast corpus of court documents, colonial reports and traveller accounts that affirmed the existence of a Ram temple at the disputed site.


Jain’s rebuttal was forensic in its detail. In Rama and Ayodhya (2013), she charted a painstaking chronology of how the Janmabhoomi tradition was deeply embedded in Hindu consciousness well before the 20th century. She traced how British-era administrative records acknowledged the Ram Janmasthan, and how efforts to distort the narrative only began in earnest in the late 1980s, coinciding with the political mobilisation around the temple. According to Jain, even a significant section of Muslims recognised the legitimacy of the Hindu claim until they were persuaded otherwise by left-leaning historians who promised to fabricate counter-evidence.


To her critics, Jain is a partisan scholar whose work dovetails too neatly with the current regime’s ideological interests. But even they admit she has raised uncomfortable questions that the old guard long evaded. Her scholarship, while rooted in a civilisational frame, is rarely polemical in tone. In Sati: Evangelicals, Baptist Missionaries and the Changing Colonial Discourse (2016), she examined the colonial fixation on the practice not as an altruistic campaign but as a tool for religious and political dominance. In Parallel Pathways (2010), she investigated Hindu-Muslim relations between 1707 and 1857, revealing how political power shifts rather than theological animus often underpinned communal strife.


Her 2019 book, Flight of Deities and Rebirth of Temples, chronicled the looting, desecration, and often miraculous recovery of Hindu icons across centuries, offering a civilisational narrative of cultural resilience. Her most recent work, Vishwanath Rises and Rises (2024), centres on the Kashi Vishwanath temple’s history. It recounts waves of destruction, especially under Aurangzeb in 1669, and the remarkable efforts by Ahilyabai Holkar and the Marathas to rebuild.


To her admirers, Jain is a historian who writes not with rage but with quiet resolve. She has reclaimed India’s past from those who, for decades, presented it as a procession of conquerors, class struggles and syncretic miracles while airbrushing out atrocity, resistance and revival. In 2020, she received the Padma Shri, confirming her status as a public intellectual of national importance.


Her nomination to the Rajya Sabha is the logical next step. As Parliament increasingly becomes a forum for civilisational debates over temples, textbooks and the very idea of India, Jain is likely to bring with her not just scholarship, but a sharpened historical consciousness.

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