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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.

Nalanda’s New Sage

As India revives its most storied ancient university, a seasoned development economist takes the reins with grand visions for global dialogue and post-Western pedagogy.

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The venerable town Rajgir in Bihar, nestled between sacred hills and Buddhist relics, is about to hum with new academic purpose. Nalanda University, once the jewel of ancient Indian learning, home to 10,000 students and 2,000 monks, has been undergoing a renaissance. At the helm of this ambitious revival stands Professor Sachin Chaturvedi, a scholar of development economics and global policy, who recently took charge as Vice-Chancellor.


His swearing-in ceremony marked the beginning of what he calls the university’s “take-off mode” in a nod to both the newly completed campus and a renewed intellectual mission.


Professor Chaturvedi is a heavyweight in India’s policy and academic circles. As Director General of the Delhi-based think tank RIS (Research and Information System for Developing Countries), he has been a voice for South-South cooperation long before it became a buzzword. He has advised governments, authored several books and currently sits on the board of India’s central bank. His brand of diplomacy is economic laced with the philosophical. “With the collapse of the Washington Consensus,” he says, “we need a new development philosophy for the Global South.” Nalanda, believes Chaturvedi, is the perfect launchpad.


That is no small ambition. Founded by Gupta emperor Kumargupta I in the 5th century AD, the original Nalanda Mahavihara drew scholars from China, Japan, Korea, and beyond, before being destroyed in the 12th century. Its contemporary avatar, declared an “institution of national importance” by Parliament in 2010, is now backed by 18 member countries of the East Asia Summit. The Ministry of External Affairs oversees its functioning, emphasising its role as a soft power project as much as a scholarly one.


Chaturvedi’s vision for Nalanda blends this soft diplomacy with serious academic heft.


That tradition, however, requires infrastructure. Thankfully, the heavy lifting is nearly done. Designed by the late BV Doshi, a Pritzker-winning architect, the university’s new eco-conscious campus sprawls across 455 acres. It includes 100 acres of water bodies and 300 acres of forest, in line with Doshi’s vision of Vaastu-aligned, carbon-neutral construction.


Already, the student count stands at 540 and is expected to cross 900 this year. More importantly, Chaturvedi wants the university to become a hub for cross-border discourse, drawing students, scholars, diplomats, and policymakers alike. Unlike the South Asian University run by SAARC, Nalanda is entirely Indian-led, which gives Chaturvedi the autonomy to think big.


And big he does. His plans include bringing Indian philosophy into direct conversation with modern policy-making by linking ideas from the Upanishads and Buddhist ethics to global governance, climate justice, and inclusive growth. It is a bold attempt to decolonise curriculum without lapsing into nostalgia.


Indeed, Nalanda’s revival under Chaturvedi might ultimately hinge on his ability to strike a balance between global relevance and civilisational pride. In this, he follows in the footsteps of Nobel laureate Amartya Sen, the university’s first chancellor, and works alongside Arvind Panagariya, its current one. With Bihar’s Chief Minister Nitish Kumar and Prime Minister Narendra Modi both taking active interest, the political winds seem favourable.


But academia is rarely smooth sailing. Funding and establishing credibility on the global stage will be uphill tasks. Yet, if Chaturvedi succeeds in his mission, Nalanda may once again become what it once was: a lighthouse of learning in a world adrift in ideological darkness.

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