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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.

Dependence to Self Reliance

Updated: Mar 10

Gunita Malhotra
Gunit Malhotra

While getting married when she was barely out of college, Gunita Malhotra, 62, would've stepped into her new life with dreams of a happy life with her husband. But life had other plans for her, plans that were far from easy to deal with. Raised in a Punjabi family where she was shielded from any troubles, Malhotra rarely made her own decisions. The elders in the family took landmark decisions for her. But it was her father who ensured that his young daughter was made aware of financial matters and even encouraged her to complete her graduation, much against his wife’s wishes. Malhotra’s mother wanted to get her married but the young woman stood her ground, and with her father’s support, completed her post-graduate degree in Microbiology.

 

Her engagement day was when she first met her husband. “I had no clue how my husband looked or who he was. I saw my husband for the first time on the day I got engaged to him. I was 21. But I was lucky; he was a thorough gentleman,” says Malhotra. Three years of a dream-like happy marriage went by. Within a year of marriage, the couple was blessed with a son and Malhotra’s life revolved around her child and her home while her husband ran the family’s hotel business. Like her maternal home, here too, she wasn’t involved in any important decisions made in the family and quietly followed the path chosen by her husband or his parents. She wasn’t aware that her husband was undergoing a severe health crisis. “My husband used to visit the hospital. My in-laws took care of everything from logistics to finances. I took care of the house and my child. I didn’t realise the seriousness of my husband’s health, since I was always kept out of all the major developments. I felt blessed at that time that I am not involved in too many responsibilities, but now I regret it,” she says.

 

Her life was shattered when she was informed of her husband’s death. She was barely 24 at that time and had a baby to look after. “I froze when I saw him. I was clueless what I would do without him,” she says recounting the hours after her husband’s death. “Later, relatives asked about my plans ahead. In my mind, I was thinking that I didn’t know how to think. I had never thought about any major decision in my life. Others had done all the thinking and planning. This sudden painful freedom of being able to think and plan my future was traumatic,” she says. Malhotra was helpless.

 

Once again, her in-laws made the decision for her.  “Within 13 days of my husband’s death, I was asked to visit my parents’ place. I gladly got ready, took my son, and the driver dropped me to my mom’s place. I asked my driver if he would come to pick me up at 7 pm. His response was, that he was only instructed to drop me and was not given instructions of getting me back,” she says.


This led to a heated discussion at her home, with relatives brainstorming on ways to sue her in-laws for sending their daughter back in the most insensitive manner. Malhotra’s father was the only one who taught her how to take the right decisions in life. “When all the relatives were furiously criticising my husband’s family, my father called me inside the room. He said, beta you have only one child. You can raise him on your own. Start finding a job. You are an educated woman.” That was the motivation she needed as a young widow.

 

Armed with a degree in Microbiology, Malhotra got a professor’s job in a Mumbai college and later, taught in a few schools. She wanted to be independent so she loaned money from her father and moved out into a house of her own where she lived with her son. She started teaching students and her coaching class picked up pace. The demand increased to an extent that neighbours started complaining of inconvenience. This prompted Malhotra to move to a bigger house and then into one that was even bigger. “My father always guided me, but encouraged me to be self-reliant. He never gave me money, but instead, taught me the concept of a loan,” says Malhotra.


Apart from coaching classes, she has also set up and successfully ran an international school in Worli for nearly 10 years. Like most working mothers, Malhotra has had her share of guilt while raising her son. “I have left him alone at home on several occasions, but he never complained. When I lost my father, he consoled me. When I told him he would never understand my loss, he replied saying, I lost my father and my mother too. When a caregiver becomes a breadwinner, the child loses both. However, my son has never cribbed, never complained, and never blamed me on any occasion. He has always been proud of me,” she says.

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