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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 Relentless Advocate

Senior Advocate Dayan Krishnan, India’s go-to extradition expert, leads the legal battle to bring 26/11 accused Tahawwur Rana to justice.


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Over the past fifteen years, Dayan Krishnan has become one of India’s foremost criminal lawyers, his career marked by a devotion to detail, a gift for persuasion and a particular flair for the high-wire world of extradition law. The latter talent that will now be tested as he leads India’s prosecution against Tahawwur Rana, a close aide of 26/11 conspirator David Coleman Headley.


Rana’s arrival in Delhi, ferried on a chartered flight after a prolonged and bruising legal battle across American courts, is itself a testament to Krishnan’s persistence. The 64-year-old Pakistan-born Canadian had fought extradition fiercely, filing appeals at every level, from the District Court to the Supreme Court of the United States. Through it all, Krishnan remained a constant, shaping India’s arguments with patience and precision, rebutting claims of double jeopardy and persuading sceptical American judges that the crimes for which India sought Rana were distinct from those he had faced earlier.


For Krishnan, it is a continuation of work that began nearly fifteen years ago. Since 2010, he has been involved with the labyrinthine legal process surrounding the 26/11 Mumbai attacks. In 2011, as part of an Indian delegation, he travelled to Chicago to help interrogate David Headley, the American terrorist who mapped Mumbai’s landmarks for his Pakistani handlers. Krishnan’s association with the case deepened further in 2014, when he was appointed Special Public Prosecutor in the extradition matters of both Headley and Rana.


Yet 26/11 is only one chapter in a storied career. A graduate of India’s first national law school - he was part of its inaugural class in 1993 - Krishnan represents a new breed of Indian lawyers: formally trained, globally aware and at ease navigating both domestic and international legal terrains. After beginning his independent practice in 1999, he quickly made a name for himself, defending complex criminal cases and representing government agencies in some of India’s most watched trials. His résumé includes appearances in the 2001 Parliament attack trial, the 2012 Delhi gang-rape and murder case and the high-profile Cauvery water dispute.


His colleagues speak admiringly of his rare combination of being aggressive when needed but also deeply methodical, with the big picture as well as the minutiae always in his sights.


Krishnan’s style is defined by a meticulous preparation that borders on the obsessive. Colleagues recall how he would pore over hundreds of pages of documents late into the night, annotating them with tightly packed marginalia. In court, this preparation translates into fluid arguments, delivered with a quiet intensity that commands attention without theatricality. In the Rana extradition proceedings, it was Krishnan who dismantled the defence’s principal claim that extraditing Rana would violate protections against double jeopardy, or being tried twice for the same crime. Drawing on intricate aspects of international and American law, Krishnan argued that the charges against Rana in India concerned distinct acts involving different victims and different jurisdictions from the offenses for which he had earlier been convicted in the United States.


His adversary, Paul Garlick QC, a seasoned British extradition expert representing Rana, mounted a spirited defence. But by May 2023, a US Magistrate Judge had ruled in favor of India, accepting Krishnan’s arguments. Successive courts - the District Court, the Ninth Circuit Court of Appeals, and ultimately the Supreme Court - refused to overturn that decision. Rana’s final review plea was dismissed this April, clearing the way for his extradition.


For Krishnan, this was the culmination of a legal pursuit that began in 2010, when the 26/11 attacks were still fresh wounds on the national psyche. Even then, he had understood that justice, particularly across international boundaries, would require stamina as much as skill.


Krishnan leads a seasoned team from the National Investigation Agency (NIA), including Special Public Prosecutor Narender Mann, a veteran criminal lawyer known for his work with the Central Bureau of Investigation, and younger advocates like Sanjeevi Sheshadri and Sridhar Kale.


As Rana is brought before Indian courts, charged with assisting in one of the most horrific terrorist attacks in the country’s history, the legal process will be gruelling. But in Dayan Krishnan, the Indian state has found an advocate who has already proven, over the long, hard slog of international litigation, that he is not easily deterred.


A courtroom, after all, is just another battlefield for Krishnan where patience, preparation, and persistence win the day.

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