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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.

Rebel Without a Clue

Rahul Gandhi has turned the Congress into an echo chamber by peddling conspiracy, parroting the narrative of India’s adversaries and alienating his own party ranks.

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It was pure Rahul Gandhi: a flourish of indignation, a headline-grabbing claim and dodgy facts. At a recent New Delhi press conference, the Congress leader alleged that over 100,000 “fake voters” had been planted in Karnataka’s Mahadevapura constituency while declaring he possessed “100% proof” of mass fraud in the 2024 Lok Sabha elections. The ECI replied with studied patience, calling the charges “misleading and baseless,” and asking Gandhi to sign an affidavit under oath, warning that lying would invite criminal penalties under India’s Nyaya Samhita.


Gandhi has made a habit of building grand conspiracies on wafer-thin foundations. Days earlier, he had endorsed US President’s Donald Trump’s smear that India is a “dead economy,” saying he was “glad” the remark was made and that “everybody” knew it except the Prime Minister and Finance Minister. Senior Congress figures distanced themselves, wary of repeating a foreign leader’s insult to India’s economy. Congressman Rajeev Shukla publicly contradicted Rahul while others privately, rolled their eyes.


If that was ham-fisted, his performance during the Operation Sindoor debate was reckless. On the floor of Parliament, Gandhi alleged that the Modi government had reportedly informed Pakistan of its intended military targets and constrained Indian pilots during a retaliatory strike. The BJP accused him of “parroting Pakistani propaganda” and undercutting India’s global standing. In any other major democracy, such a claim from the leader of the opposition would have ended his credibility.


Today, the echo chamber is the Congress’s core problem. Gandhi has built a media-political ecosystem that thrives on outrage and ideological signalling rather than policy work or coalition-building. The result has been the gradual alienation of the party’s most articulate and internationally respected voices. Shashi Tharoor, who has represented India abroad with great skill while Manish Tewari, another seasoned parliamentarian, have been shunted to the margins. Both were tapped by the Modi government for global diplomatic missions precisely because they can rise above partisan reflexes. Their offence was to prioritise the nation over the party line - an unpardonable sin in Rahul’s court of sycophants.


The political cost is mounting. By narrowing his circle to fawning loyalists and ideologues, Gandhi has shrunk the Congress’s reach. His rhetoric, whether echoing Trump, feeding Pakistani talking points, or pushing fantastical allegations about the electoral process, reinforces the perception that the party is out of touch with ordinary voters and more concerned with foreign applause than domestic persuasion. The spectacle may energise the converted, but it leaves everyone else unconvinced.


There is a pattern here. Gandhi launches into a sensational claim which then collapses under scrutiny; the party doubles down rather than recalibrate. In each case, the Congress emerges more isolated politically, intellectually and diplomatically.


The irony is that India needs a credible opposition. In theory, the Congress, with its national footprint and experienced bench, could fill that role. In practice, it has tethered itself to such a cretinous leader whose instincts run towards bizarre theatrical confrontation, not constructive challenge.


An effective opposition leader must balance criticism with responsibility; Gandhi instead mistakes grievance for vision. His style is only about reinforcing his own ‘moral’ self-image. Instead of offering a credible programme for India’s future, he has honed a style that oscillates between sulking over losses and pre-emptively crying foul before the next contest.


In doing so, he has not only failed to broaden Congress’s appeal but has consistently driven away some of its most capable lieutenants.


Rahul Gandhi likes to speak of defending democracy. Yet in his hands, the hackneyed script of the Congress is tailored to the prejudices of Gandhi’s inner circle and the sympathies of a global audience predisposed to dislike Narendra Modi. The Congress party’s strategy under Gandhi is not to debate the government or its policies but to viciously despise it, come what may.


In Rahul’s lexicon, Narendra Modi is not merely a political opponent but the embodiment of all that is wrong with India. The anger is so consuming that it bleeds into a disdain for the nation itself.


Like a footballer who blames the referee after every loss and complains of bias before the next match, Gandhi is locked in a cycle of grievance. His politics is noise without consequence. The tragedy is not his alone. By tying its fortunes to this reluctant adult, the Congress party has condemned itself to irrelevance. For all his noise, Rahul Gandhi remains the boy who would be king - forever playing to the gallery, even as the stage beneath him rots.

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