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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 Tariff Evangelist

Moulded in the crucible of Wall Street, Stephen Miran has become the intellectual architect of Trump’s economic nationalism.

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In 2009, a soft-spoken Harvard PhD candidate named Stephen Miran was knee-deep in modelling macroeconomic policy responses to global crises, poring over papers in an office once graced by Martin Feldstein, a towering figure in American economics. Feldstein, who had served as Ronald Reagan’s chief economic adviser, was famous for challenging conventional wisdom.


Today, 15 years later, the once-anonymous Miran stands at the centre of a global political-economic storm, helping to revive one of the most contentious tools in the policymaker’s arsenal: tariffs.


Following his remarkable political comeback last year, Donald Trump, in his second term as US President, had appointed Miran as chairman of the Council of Economic Advisers (CEA). The post, which has generally seen circumspect academic economists, suddenly had a firebrand at the helm. Days later, Trump announced a sweeping hike in tariffs on Chinese imports, raising them to 104 percent, and most recently, again to 125 percent.


Miran, far from offering cautionary notes, championed the move as not only justified but essential. He is the driving force behind Trump’s global tariff wars, rationalizing it behind a framework laid out in a 41-page treatise that Miran had penned just months earlier while at Hudson Bay Capital, a Manhattan-based investment firm.


Titled ‘A User’s Guide to Restructuring the Global Trading System,’ the document envisions tariffs as more than protectionist tools – as levers of power, a way to force open foreign markets and discipline bad actors. Trade, in Miran’s vision, was not a polite exchange of goods. It was a battlefield.


Miran’s ascent from Wall Street to the West Wing was quiet but methodical. Born into an era where neoliberal consensus reigned supreme, he earned his undergraduate degree from Boston University in 2005, studying economics, philosophy and mathematics. At Harvard, he gravitated toward the controversial Feldstein, whose blend of academic brilliance and political savvy left a lasting impression.


While often at odds with Reagan’s populist instincts, Feldstein managed to leave an intellectual imprint on the administration, showing how one could shape national policy without ever holding elected office. Miran would go further.


Where Feldstein wielded data like a scalpel, Miran has taken a sledgehammer approach. He has rejected decades of post-Cold War economic dogma, questioning the very assumptions that shaped the World Trade Organization, NAFTA and the ‘Pax Americana’ of global commerce.


The term ‘reciprocal tariffs’ may sound like a policy buzzword, but it has deep roots in American history. In the 19th century, the U.S. used tariff reciprocity to build its own industrial base by raising barriers against countries that did not offer favourable terms in return. Miran has invoked this past to argue that America’s current trade deficits are not the natural outcome of global comparative advantage but the result of bad deals, rigged currency systems, and subsidized foreign competition.


Miran’s strategy is to use tariffs as threats in negotiation akin to bullets in a trade war aimed at winning peace on better terms. Unlike earlier protectionists, he sees tariffs not as ends in themselves, but as means toward liberalization on America’s terms. In this, he draws a paradoxical comparison not just with Reaganite supply-siders but even with the likes of Alexander Hamilton and Teddy Roosevelt.


There are echoes of Peter Navarro’s economic nationalism and Robert Lighthizer’s hardline trade strategies from Trump’s first term, but Miran brings an ideological depth that sets him apart. Where Navarro relied on industrial policy and Lighthizer on legal aggression through trade tribunals, Miran operates more like a philosopher-strategist, marrying economic theory with geopolitical urgency.


His position also parallels Feldstein’s in one striking way: both saw their advisory roles as platforms for broader political influence. Yet, while Feldstein often found himself reining in Reagan’s impulses, Miran is amplifying Trump’s.


Martin Feldstein was a complex figure: an architect of Reaganomics and a sharp critic of budget deficits, he embodied the tension between free-market orthodoxy and pragmatic policymaking. His career straddled academia and Washington, and his students, like Lawrence Summers and Jeffrey Sachs, went on to shape global economic institutions.


In Miran, Feldstein’s intellectual DNA has taken a new form. Feldstein believed in markets first, diplomacy second. Miran believes in pressure first, diplomacy if it follows. In another era, Miran might have been an academic contrarian. In the age of Trump 2.0, he is reshaping the economic architecture of the world from within the White House.

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