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 Reluctant Rebel

Jharkhand CM Hemant Soren’s mix of pride and pragmatism defines both his rise and the fragility of his alliances.

ree

Hemant Soren has never been one for grand theatrics. Measured, even brooding, the Jharkhand Chief Minister exudes a quiet defiance that conceals a calculating mind. The latest rupture with his allies in Bihar ahead of a key Assembly election has once again brought to the surface the contradictions that have long defined his politics: a leader proud of his roots yet bound by the compromises of coalition; a regional strongman who seeks relevance beyond his borders but remains tethered to the arithmetic of power at home.


Soren’s Jharkhand Mukti Morcha (JMM) startled allies earlier this month when it first announced plans to contest six seats in Bihar independently, accusing the Rashtriya Janata Dal (RJD) and Congress of sidelining it in seat-sharing talks. Within days, it reversed course, withdrawing from the fray and denouncing what it called a “political conspiracy” by its partners. This seemingly impulsive episode encapsulated the tightrope Soren walks daily between assertion and accommodation.


The JMM had sought a modest twelve constituencies in Bihar, a state where its presence is minimal but its Chief Minister retains influence in the tribal belts that straddle the Jharkhand border. Denied even a token share, Soren’s initial act of rebellion was an assertion of self-respect and a signal to his allies that Jharkhand’s voice could not be muffled. Yet, the quick climbdown revealed his instinct for survival.


That instinct has served Soren well. His political journey has been marked by restraint rather than rage. As the son of Shibu Soren, the late patriarch of Jharkhand’s statehood movement, Hemant inherited both a legacy and a burden: to modernise a party born in tribal agitation without losing its moral claim to represent Jharkhand’s dispossessed. Since becoming Chief Minister for the fourth time last year, he has tried to walk that line by expanding welfare schemes, securing forest rights and promising jobs while projecting himself as a leader of quiet competence. Yet his tenure has also been shadowed by allegations of graft, land irregularities, and feuds with the state’s governor. Each crisis has tested, but not broken, his equilibrium.


Soren’s critics accuse him of being too cautious, too willing to bend rather than break. His supporters see that caution as wisdom in a state whose politics are a perpetual experiment in instability. Jharkhand has seen more governments collapse than complete their term since its creation in 2000. Soren’s coalition comprising the JMM, Congress, RJD and Left allies commands a comfortable majority of 56 seats in the 81-member assembly. But comfort in Jharkhand politics is fleeting. The Congress, holding four cabinet berths, has distanced itself from the Bihar fiasco, while RJD leaders have grumbled about being scapegoated.


The irony is that Soren’s outburst over Bihar may strengthen his hand at home. By dramatizing his frustration with ‘bigger’ allies, he can reclaim the posture of regional defender - something that plays well among Jharkhand’s tribal electorate. His party has already hinted that it will review the alliance’s functioning in Ranchi, a move likely intended to remind the Congress and RJD that Soren remains indispensable. Even so, the episode has weakened the opposition’s projection of unity at a time when the INDIA bloc can least afford to look fractured.


Soren’s politics are deeply personal. He rarely raises his voice, preferring the slow burn of grievance to the spectacle of confrontation. But beneath the reserve lies a pride that occasionally bursts through the seams, as it did in Bihar.


To mistake Soren’s restraint for weakness would be an error. He has outlasted rivals, survived investigations, and held together a coalition that many expected to unravel within months. His ability to absorb insult without immediate retaliation has kept him afloat in a system that punishes ego as swiftly as it rewards patience.


While Soren’s quietness can appear disarming, it conceals the temperament of a man who knows when to fight and when to wait.


His predicament mirrors the paradox of India’s regional chieftains who are too important to ignore, but too constrained to dominate. His attempt to extend influence beyond Jharkhand’s borders has underscored both his ambition and his limitations. In retreating from Bihar, he avoided the humiliation of defeat, but also revealed how slender his margin of manoeuvre has become.


That said, while the reluctant rebel of Ranchi may not have the luxury of grand rebellion, he understands that endurance, too, is a form of power.

Comments


bottom of page