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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 Unbroken Captain

Imran Khan’s political innings continues in defiance against Pakistan’s generals.

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Imran Khan has never been one for half-measures. As a cricketer, he led Pakistan to its sole World Cup triumph in 1992, retiring at the peak of his fame. As a politician, he rebranded himself as the incorruptible outsider, promising to cleanse Pakistan’s politics of dynastic rot and military manipulation. Today, at 72, he remains both the country’s most charismatic figure and its most polarising.


His long-running clash with Pakistan’s Army and its current chief Asim Munir, has been the most dramatic in Pakistan’s long history of civil-military tussles.

Earlier this week, Pakistan’s Supreme Court threw Khan a lifeline by granting him bail in eight cases linked to the violent protests of May 9, 2023. As a yardstick of his popularity, his supporters stormed military installations and government buildings on August 22 in an eruption of fury that rattled the army’s long-unchallenged dominance in politics.


Few leaders before Imran, whether Zulfikar Ali Bhutto in the 1970s or Nawaz Sharif in the 1990s, have survived a head-on collision with the generals. Bhutto was hanged, Sharif exiled. But Khan, jailed after being ousted in 2022 and barred from public office, still dominates the national conversation. His party, the Pakistan Tehreek-e-Insaf (PTI), splintered under pressure. Yet even from prison, Khan remains the rallying point for millions, his voice amplified through social media and loyalists.


The Pakistani army has long been the real arbiter of power, shaping governments and crushing those who challenged its authority. Khan himself was once its favoured protégé, elevated in 2018 with the generals’ blessing as a pliant alternative to the Sharifs and Bhuttos. But he grew unpredictable. His populist defiance of America, his refusal to toe the military’s line on foreign policy, and his unwillingness to accommodate Munir, whose appointment as army chief he initially opposed, turned an alliance into enmity. By April 2022, a parliamentary no-confidence vote, orchestrated with military backing, removed him from office.


For most Pakistani leaders, such a fall would have spelled irrelevance. Yet Khan’s resilience lies in his cultivated image as a man apart. He rails against corruption, portrays himself as a victim of elite conspiracies, and taps into an electorate weary of dynasties. His cricketing past still colours his politics when he speaks of strategy, stamina and fair play, presenting himself as a captain who will not abandon his team. His rhetoric resonates with a generation of young voters, half of whom are under 30.


The costs, however, are steep. The army has hit back hard. Khan’s imprisonment on corruption and ‘state secrets’ charges has crippled his direct participation in politics. Dozens of his allies have defected under pressure. The military establishment has sought to erase him from the electoral field. Yet poll results have proved that Khan’s charisma cannot be excised from Pakistan’s politics. His enduring popularity complicates the generals’ plans for a compliant civilian order.


History offers grim warnings. Civilian leaders who challenge the army rarely emerge unscathed. The army has repeatedly reasserted its supremacy, whether by coup or coercion. And yet, Khan’s defiance has exposed cracks in this pattern. Unlike Bhutto or Sharif, he commands a digitally savvy base that refuses to accept the military’s narrative. His image as a sporting hero, philanthropist and nationalist makes it harder for his opponents to vilify him outright.


Still, his path is fraught. Pakistan’s economy is on life support, dependent on IMF bailouts. Inflation and unemployment fuel public anger. For all Khan’s charisma, he offers little by way of policy beyond slogans of justice and sovereignty.


Yet one fact is undeniable: Imran Khan remains the centre of gravity in Pakistani politics. He is the cricketer who refuses to retire even when the umpires of Rawalpindi have already raised their finger.

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