top of page

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 Quiet Champion

Soft-spoken Jaismine Lamboria has turned family pedigree into India’s first featherweight world crown.

ree

When Jaismine Lamboria climbed through the ropes in Liverpool earlier this month, she carried the weight of history on her slender shoulders. Her opponent in the women’s 57 kg final of the World Championships was no ordinary rival - Julia Szeremeta of Poland, an Olympic silver medallist. Yet Jaismine boxed with a steeliness that belied her reputation as a cautious counterpuncher. She dropped the first round narrowly, stormed back in the second with clean, aggressive combinations, and in the decider convinced four of the five judges. At 24, she had become India’s first-ever world champion in her division.


The triumph was more than personal. It crowned a dynasty. Jaismine hails from Bhiwani, a Haryana town that has become synonymous with Indian boxing. Her family is central to that story. Her great-grandfather, Captain Hawa Singh, remains the only Indian to win consecutive Asian Games golds and went on to found the Bhiwani Boxing Club, cradle of stars such as Vijender Singh and Akhil Kumar. Her uncles, Sandeep and Parvinder, were national champions. Their medals adorned the walls of her childhood home. But none, for all their glories, had ever scaled the pinnacle of a world title as Jaismine has done.


Her match was not a foregone conclusion. For all her natural gifts of precise counterpunching and solid technique, her career until recently had seemed defined by near-misses. She collected bronze medals at the 2021 Asian Championships and the 2022 Commonwealth Games but faltered at higher stages. At the 2023 Asian Games in Hangzhou she was knocked out in the quarter-finals. A year later, she scraped into the Paris Olympics not by direct qualification but by default: Parveen Hooda, India’s designated featherweight, was suspended for whereabouts failures, giving Jaismine her slot. She exited meekly in the opening round.


Her quiet temperament compounded the doubts. In a sport that rewards aggression, Jaismine was known for holding back. The world title in Liverpool, by contrast, was seized by her with a rare ferocity.


At the World Cup in Almaty in July, Jaismine displayed a new approach, overwhelming Pan American champion Jucielen Romeu to claim gold. She confided to her team that she was determined to go all the way at the Worlds. And when she did, she was praised by none other than Boris van der Vorst, president of World Boxing, for her footwork and movement.


For India, long searching for a successor to Vijender Singh’s Olympic bronze in 2008, Jaismine’s ascent is part of a broader pattern in which women are increasingly carrying the nation’s boxing fortunes. Mary Kom, the six-time world champion and Olympic bronze medallist, put India on the global map more than a decade ago. More recently, Nikhat Zareen captured world titles in 2022 and 2023, proving that Indian women could dominate in crowded weight divisions. Jaismine’s victory adds another strand: she is not only heir to Bhiwani’s male-dominated legacy but also the bridge between past icons and India’s next generation of female fighters.


The timing is propitious. Women’s boxing has gained stature since its Olympic debut in 2012, with featherweight among the most competitive categories: no fewer than seven Olympians entered the Liverpool draw. Jaismine’s win underscores India’s growing depth. It also reflects a wider transformation. In India, women athletes from rural towns are increasingly delivering on the biggest stages, whether in boxing, wrestling or weightlifting. Haryana, in particular, has turned into a conveyor belt of champions.


Yet for Jaismine, the Liverpool medal is not the finish line but a stepping stone. Upcoming competitions loom: the World Cup in Delhi this November, the Commonwealth Games, the Asian Games. With a title in an Olympic weight class, expectations will only mount.


By winning a world title, Jaismine has not only burnished her illustrious legacy but has subtly recast it. The Lamboria name, once shorthand for male champions, now belongs just as much to a young woman who refused to be overshadowed by her forebears. The paradox of Jaismine Lamboria is that a boxer so outwardly gentle has succeeded in one of sport’s most brutal arenas. She embodies the transformation of Indian boxing itself: from a gritty pursuit in Haryana’s dusty gyms to a global contest where women as well as men vie for the highest prizes. Her victory is also lesson that while pedigree may open doors, it is reinvention that wins titles.


Comments


bottom of page