INDIAN CIRCUS JUGGLING TO SURVIVE

Once a major mass entertainment, Indian circus is virtually on a tight-rope walk due to the difficulty in getting new talent to join the art and lack of institutional support for the profession.

A handful of circus companies now left in India are literally struggling to survive in the changed scenario, forcing most of them to cut short much of the pomp once associated with the art, according to managers of some companies that are still active.

However, contrary to popular notion, curbs on exhibiting animals and birds is not a big problem in the way of circus as the troupes still pulling on have adjusted to the reality, says M V Sankaran, founder of Jumbo circus.

"The biggest problem in our way is getting the artistes, who require constant and vigorous training from a very young age," Sankaran, from Thalassery in north Kerala, said.

The ancient mercantile town in Kannur district is considered the home of Indian circus as it provided most of the big artistes since the turn of the last century.

Martial arts trainer and gymnast Keeleri Kunhikkannan Gurukkal, hailing from Thalassery, is considered the pioneer of the modern Indian circus.

"Circus is widely seen as a dangerous profession. So most families, even those who find it difficult to make both ends meet, are unwilling to send their young ones to join it", said K P Hemraj, former manager of Amar circus.

They cannot be blamed as in real life a circus artiste is different from the vanity and glitter with which they turn up at the shows.

Circus companies had been demanding that the state and central government come out with some support to save the Indian circus from a gradual death. "We will be submitting a detailed proposal to the government to set up a modern circus academy. Though the idea has been accepted in principle long back, nothing concrete has been done so far", Sankaran said.

He recalled that his own life as a circus artiste was a long struggle ever since he joined the profession as a school drop-out, partly due to the circumstances of life and partly on account of love for the art.

Sankaran, who won applause for his performance as a trapeze artist with Boselian Circus in Kolkata, later joined the Great Rayman Circus. He had led the Indian team for the World Circus Festival in Moscow in 1964. He set up his own company in 1973.

Kerala has now six circus companies, all struggling to survive. A minimum of Rs 75 lakh is required to put together a circus troupe of moderate standards. Unlike other media of mass entertainment like cinema, it is difficult for the circus to get institutional credit support.

Life in the circus tent is steeped in uncertainties as the factors for its survival are quite unpredictable, he said. "A circus troupe is always on the move, shifting camps from town to town. A host of factors like the vagaries of the weather, financial state of the people in the town where the tent is pitched and their mood determine the success or failure of the camp in a town", Sankaran said.

Since they are on the move all through their life, it is difficult for circus artistes to have a normal family life, an artiste, on condition of anonymity, said.

There are a large number of cases where the artistes find their partners in the circus itself. Still, the education of their children is a big problem.

The most difficult phase in the life of a circus artiste is the old age. Once they lose their physical prowess and mental strength, they will have to recede to obscurity. A few lucky artistes can remain as trainers and some, retained as clowns.

Most of them in old age are either forced to lead a life of acute financial difficulties or eke out a modest living by doing menial jobs on the sidelines of the tents.

Though the Kerala Government has introduced a pension scheme for circus artistes, the amount given is too meagre to lead a decent life in advanced years, Sankaran said.

No wonder the misery of retired circus artistes has been the theme of some literary works and films in Malayalam.

Real Scenario
Hundred performers and over 40 different acts perfected after years of practice and performance. It's one of India's great entertainment traditions. Welcome to the world of circus. 

But who's watching? Today the circus barely has an audience. Even with tickets costing as little as Rs 25, the seats remain empty. The Indian circus is barely surviving. What made it go out of fashion? Why are people not queuing up outside these tents? What motivates circus artists to risk their lives for hundreds of empty chairs? 

Many of the artisits ran from home to join circus. They've spent a lifetime taking risks and entertaining others. What motivates them? Do they ever regret joining the circus? And what will happen when they're too old to perform? Beneath their smiling, painted faces are fears for their future and dreams for their children.

It's show time and Tulsidas Chaudhary is busy painting on a smile for his audience. At 13, Tulsi was tired of being called a dwarf and the circus became his escape route to a respectable life. 

Tulsi says, “We think that we are low people and if we work in circus we will get name and everything. Then I decided to become joker to make the world laugh.”

Today, at 62, Tulsi has mastered the art of putting on a disguise.

Monica, an artist of great royal circus, was pushed into circus by poverty. Joining circus meant sacrificing studies so her two younger sisters could do well. 

“I belong to a very poor family. My father is the only bread earner. So I decided to join him to earn some money, “ says Monica 

And 14 years later, Monica has fallen in love with the circus and learnt to be content. 

Artists are paid anything between Rs 2,000 to Rs 15,000 a month - depending on their skills and experience and food and accommodation are taken care of. But what's missing? Veterans like Krishnabhakt say it's respect for the artists and an audience to perform to. 

Krishnabhakt says, “Earlier people used to give much respect to circus people but now we seemed to have lost the attention.”

In 1957, 12-year-old Krishnabhakt came from Kathmandu to study in Darjeeling. The circus was in his neighborhood and soon Krishna was giving up his books to put on the clown's mask. But it was a decision his family never accepted.

“He asks me what I get from being just another circus joker waiting in line. Come here and do something. But what can I do. Circus runs in my blood. Unless we work in the circus, wear make up and entertain people, our kind can not be happy.” Krishnabhakt adds. 

Constant travel, risks to life and sometimes no support from loved ones - so what gives them the inspiration to go on?

Great Royal Circus gymnast Bhikhu Thapa says, “We watch good artist who are quite famous and one day we will be like them. “

Bhikhu Thapa is 20 and was enticed by the circus when he was 10 years old. He works hard on his gymnastics and loves to perform. But occasionally he regrets not having an education.

And even though they've spent their lives here, all of these artists have kept their children away from circus. 

Great Royal Circus Cyclist Subhash Jaisingh says, “We didn’t get good thing in life but we want our children to get all things. ”

The ring is theirs only till they can perform. Once age catches up, alternatives are hard to find. Many of them turn trainers for younger artists but most others fear the life outside circus.

“As long as there’s strength in the body, we can work hard. But once we are old, a circus artists is an insignificant person,” Subhash adds. 

Great Bombay Circus cyclist Subhash says, “Earlier all three shows used to be houseful but now all shows almost goe empty.”

The applause for circus has also died because the industry lacks infrastructure. Most circus companies are suffering losses and many are just about breaking even. A crunch of resources leads to substandard acts resulting in empty chairs. 

Ashok Shankar from Indian Circus Federation says, “Today the condition of the circus owners is not good enough to invest money. It is just hand to mouth. So once you are into the industry, it is difficult just to maintain it.”

And the empty chairs in turn further demoralises the artists.

Great Royal Circus gymnastics trainer Jayakumar says, “We enjoy performing to a full audience. We start lacking enthusiasm when the audience turn out is not encouraging. We feel bored even at the time of displaying our talent.”

Many of those who choose to watch the two-hour show are disappointed. 

Meena and the audience say, “The quality has gone down in circus.”

Jayakumar was awed by the circus when he was all of seven years. He ran away from home to join his uncle -- a circus manager. Today, Jayakumar is a gymnast, a flying trapeze artist and a trainer as well. He finds there are problems within the industry. Most young artists want to make a quick buck without the hard work. They are hired on contract for a short while and often choose to move on.

“Time has changed. During our time the training and everything was different. Now young people are not much interested in training and all,” Jayakumar adds. 

The law does not recognise children in circus as junior artists. Children under 14 years are in fact termed as child labourers even if they're gymnasts or acrobats and with age, learning the tricks just gets tougher.

Great Royal Circus trainer Das says, “Bada hone se fir jo apna kamar ka yeh sab karne ke liye, roll karne ke liye ho nahi sakega. Wo log ko taqleef hoga, yeh chhota hone se jaldi hum log kara sakta. Hum log sab chhota main he kiya. 

Circus artists feel their profession is no longer roaring with life because they are not permitted to keep wild animals. They say lions, tigers, leopards and bears were instrumental in attracting crowds. 

Great Bombay Circus owner Dilip Nath Nair says, “I don't want 40 tigers give me two each just two for showing the coming generation in smaller town where they don't have access to zoo. I don't want tiger to jump into the hoop. I don't want to lift his leg.”

But activists say animals are trained by the police, the army and the film industry among others and the least we can do is spare them from being used for entertainment.

Animal Rights Activists Norma Alvares says, “Circus companies are not at all equipped to maintain these animals. They cannot give them space, they've got to keep them chained, they keep them in small, closed conditions, in cages and so on.”

Circus owners also believe the public doesn't have the power or the inclination to shell out enough money on performing arts. 

“Where is the money power with the Indian audience? The best circus abroad is across $300 and $200 work that out for yourself – Rs 15,000 and Rs 12,000 you are paying me Rs 100. I can show you this much there is a limit where you can stretch Rs 100,” Nair adds. 

Owners feel they're going around in circles where the Government is concerned. Apart from entertainment tax exemption and concession on railways, they're offered little else. Grounds are usually on the outskirts, making circus inaccessible to a majority of the people. Ground rates in prime locations are simply not affordable.

Circus artists are not even recognised as skilled performers and as a result there is no formal training or academics for circus. 

But many say the crux of the problem is that Indian circus lacks innovation and vision. 

Theatre director Roysten Abel says, “The world has moved on, visual arts have moved on but the circuses are the same. The only place where they're trying to get some improvement is with the getting artists, acrobats from Uzbekistan, Kazakhstan or you know these to come down and do another act within their own existing poor show and hoping that if they have a Russian artist, they will draw the crowd.”

Even the music in circus mostly consists of tasteless Bollywood film songs and musicians themselves are bored of performing. K V Lalji has been performing with circus orchestras for about 40 years now. He says technology has taken away the challenge from his job.

Lalji says, “Earlier the orchestrate style used to be different. The music used to be different. But time has changed everything is like automatic compose.”

Scarcity of funds, fading public interest, a ban on animals and a decline in the quality of artists are some problems that the circus is facing today. Once a popular and unique form of entertainment, today the great Indian circus is dying a slow death.