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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.

The Chanakya of Patna

After a crushing win, Bihar’s long-time chief returns with renewed mandate and a reminder of his political agility.

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Nitish Kumar has been declared many things over the years: wily survivor, serial shapeshifter, ‘sushasan babu,’ ‘Mr. Clean’ and, more recently, a fading star. But when the results flashed on Friday evening as the NDA sweeping past the 200-seat mark in the 243-member Assembly, one line captured the mood from Patna’s bylanes to its party offices: “Bihar ka ek hi star, Nitish Kumar.”


It was both a triumphant roar and an affectionate homage to a man who has become synonymous with Bihar’s political imagination. At 74, and set now for his tenth innings as chief minister, Nitish Kumar has once again proved that in a state famed for volatility, he alone remains the constant.

The verdict, said NDA leaders, was not merely a political sweep but an endorsement of a joint legacy: two decades of NDA stewardship in Bihar and eleven years of the Modi government at the Centre. Voters, they insisted, had accepted Narendra Modi’s development philosophy and reaffirmed Nitish Kumar as “the tallest leader in Bihar.”


It is hard to quarrel with the scale of the win. The JD(U), written off by sections of the commentariat as an ageing party led by an ailing chief, nearly doubled its tally from 2020, surging from 43 to 85 seats. The BJP held firm as the anchor of the alliance. The combined effect was a tidal wave of pro-incumbency that confounded predictions of voter fatigue, anti-Nitish sentiment and creeping instability within the NDA itself.


If Nitish appeared subdued during the campaign - less fiery than in previous years and careful with his words, it was a deliberate choice. He did not dabble in rabble-rousing or provocative rhetoric. Instead, he fell back on his usual staples of good governance and development.


His campaign was, nonetheless, relentless. He launched it on October 21 in Muzaffarpur; by November 9, he had addressed 184 public meetings. On a single day in late October, travelling by road, he covered all seven seats in his home district of Nalanda, a symbolic counter to whispers that ill health had eroded his stamina. The JD(U) rank and file, sensing the stakes, closed ranks in a way unseen in recent years.


The tone contrasted sharply with the BJP’s more combative messaging against Lalu Prasad Yadav and Tejashwi Yadav, invoking the spectre of ‘jungle raj.’ Nitish’s criticism was more muted in contrast.


Nitish Kumar’s greatest asset is not charisma or rhetoric but reputation. Over nearly two decades, he has built an image of clean administration - an increasingly rare commodity in Indian state politics. No serious allegation of personal corruption has ever stuck. And even while his ministers have wobbled, he has not.


The ‘Sushasan raj (rule of good governance), a term coined during his early years of Chief Ministership, is a tag that has endured. Regular power supply, virtually free for large sections of society; a web of rural roads and state highways; the restoration of law and order after the anarchic 1990s; advances in girls’ education; and social reforms that often came ahead of their time: these have collectively created a reservoir of goodwill that neither his political flip-flops nor his periodic missteps have been able to drain.


Crucially, Nitish has built a coalition that defies Bihar’s caste logic. His own Kurmi community is small, but he commands loyalty across EBCs, non-Yadav OBCs, women and even upper castes. In the wake of his win, ‘Jiske saath Nitish, wahi rahega bhari’ (whichever side Nitish is on, that side wins), is not mere rhetoric. It reflects his rare ability to transfer votes wholesale to his alliances, regardless of their composition.


However, in the run-up to the polls, Nitish was dismissed in some quarters as a liability. His gaffes fed a narrative of decline. Rivals mocked him and even his allies winced. Yet the criticism seems to have galvanised his core constituencies. They closed ranks, rejecting the idea that their chief minister had become expendable.


The BJP, in turn, lauded him as an “all-weather friend” in a nod to the longevity of a partnership that has survived walkouts, reunions, and redefinitions.


Bihar’s verdict is many things: a rejection of the RJD’s nostalgia-tinged politics; an embrace of Modi’s development pitch; and, above all, a renewed affirmation of Nitish Kumar’s centrality. The NDA insists that he alone will decide his cabinet as the BJP knows that the mandate runs through him.


For a leader once thought to be limping to the finish, Nitish Kumar has returned not as a placeholder but as Bihar’s indispensable axis.

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