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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.

Licence to Lead

Blaise Metreweli takes charge of Britain’s foreign intelligence service, completing a century-long arc of invisibility, persistence and espionage by women in MI6.

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When Blaise Metreweli signs her name “C” in green ink this autumn - continuing a tradition begun by Captain Mansfield Cumming, the first chief of the British Secret Intelligence Service (MI6) - she will mark a revolution in British espionage. For the first time in its 116-year history, MI6 will be headed by a woman. The moment is symbolic, but long overdue. Women have operated in the shadows of British intelligence since its inception. Metreweli’s rise, though historic, is less surprising than the delay in her appointment.


Aged 47, Metreweli is a career intelligence officer with a pedigree that runs through both MI5 and MI6. She joined the foreign intelligence service in 1999 and rose through its ranks, with operational experience in Europe and the Middle East. She later headed the “Q” branch - MI6’s fabled hub for technology and innovation, immortalised in fiction but grounded in the grim reality of cyber-warfare. There, she helped counter the biometric surveillance ambitions of China and the digital sabotage of Russia. Her ascension to the top job is not the triumph of tokenism, but the logical next step for an intelligence professional shaped by the digital age and hardened by two decades of geopolitical disruption.


Yet to see Metreweli’s appointment as unprecedented is to forget a buried history. From the trenches of the First World War to the paranoia of the Cold War, British women have always spied with skill, tenacity and distinction. The surprise is not that MI6 has a female chief at last; it is how successfully women’s contributions have been hidden for so long.


The secrecy was often deliberate. In an institution that thrives on anonymity, women were routinely labelled as clerks or secretaries even when they were code-breakers, interrogators, agents and handlers. During the Second World War, women working in MI6 operated under diplomatic cover in Lisbon, Tangier and Istanbul, turning enemy agents and collecting vital intelligence in espionage hotspots.


The Cold War, too, had its female legends. Daphne Park, once described (to her chagrin) as “the greatest woman intelligence officer in the world,” served across Africa, Moscow and Hanoi before becoming Controller Western Hemisphere in 1975 - the highest post then occupied by a woman in MI6. Her 40-year career was not unusual for women in intelligence, but it was rarely acknowledged.


It was partly due to official secrecy and partly cultural bias that these careers vanished into footnotes. Fiction has not helped: the seductive ‘femme fatale’ and the gun-slinging Bond girl continue to obscure the reality of patient, painstaking spycraft. Hollywood eventually gave MI6 a female chief in form of Dame Judi Dench’s steely “M” but left “Q” as a male figure. Metreweli, in real life, has already been both.


As chief, she inherits a service under strain. The intelligence landscape has never been more diffuse, or more dangerous. The long arc of jihadist terror, a revanchist Russia, and the creeping authoritarianism of China have reshaped the global order. The work of MI6, once confined to the murky politics of the Cold War, now spans quantum cryptography, disinformation networks and biometric espionage. Metreweli’s time in Q branch suggests she understands both the traditional art of human intelligence and the newer domain of technological warfare.


Her appointment reflects not only institutional evolution but also a reluctant modernisation. A generation ago, MI6 was so secretive that its very existence was officially denied. Today, it has a website, a Twitter account, and even a commissioned official history. Naming its chief, something once unthinkable, signals a calculated transparency, perhaps to cultivate public legitimacy in an age of mistrust.

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