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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.

Checkmate in Her Genes

Divya Deshmukh’s World Cup victory signals a generational shift in Indian chess.

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For much of the past two decades, Indian chess has revolved around the familiar names of Viswanathan Anand, Pentala Harikrishna and Koneru Humpy. This changed with the advent of Gukesh Dommaraju, whose ascent marked the arrival of a new generation.


But last week in Batumi, Georgia, yet another remarkable revolution unfolded on the board. A tense final at the 2025 FIDE Women’s World Cup saw a 19-year-old from Nagpur calmly dismantling the household names of Indian chess. Divya Deshmukh won the 2025 FIDE Women’s World Cup after Koneru Humpy, India’s first female Grandmaster, resigned following a blunder in the second rapid tie-break. At 19, she became the youngest and only Indian woman to claim the title and becoming the country’s 88th.


Her rise has been anything but conventional. Divya entered the tournament as the 15th seed, without a single Grandmaster norm to her name. Her path to the final was stacked with formidable opponents: Zhu Jiner in Round 4, Harika Dronavalli in the quarter-finals, Tan Zhongyi in the semis. After being pushed to the edge in some of these nail-biting matches, Divya managed to prevail each time, clawing back from an inferior position. The final against Koneru Humpy, was decided not in the classical format but in rapid tie-breaks, making it a humdinger to remember.


As a five-year-old, Divya had been enrolled in badminton classes, but was too short to reach the net. By chance, in the same building, a chess academy run by Rahul Joshi offered an alternative. Her parents, both doctors in Nagpur, nudged her toward the board.


Her family tells a longer story. Divya’s maternal great-grandfather, Dr Durgaprasad Sharma, was a chess aficionado who played weekly games with Vinoba Bhave, the Gandhian reformer. Her mother, Dr. Namrata Deshmukh, saw chess less as a pastime than as a latent inheritance. “It’s in her [Divya’s] genes,” she says.


By 2012, Divya had won her first national gold medal. Two years later, she became the U-10 World Champion in Durban, South Africa. What followed was a steady climb through the ranks of junior and then senior chess. She became an International Master at 17, won the national women’s championship twice, the Asian continental title once, and the World Junior Girls’ Championship by age 18. At 19, she is not so much a prodigy as a finished product still adding polish.


Her playing style is aggressive and unpredictable. Grandmaster R.B. Ramesh, one of her early coaches, compares her to Alexander Alekhine, the legendary tactician. Her positions often brim with complexity; she sacrifices material for initiative and welcomes complications most players would avoid. Yet she is also capable of grinding draws from hopeless endings.


Temperament has always distinguished her from others branded as prodigies. But Divya has carried it lightly thus far. Her academic performance at the Bhavan’s Bhagwandas Purohit Vidya Mandir in Nagpur remained strong even as she flew across time zones.


Her victory in Batumi has elevated more than just her career. It has brought Nagpur, considered a backwater in Indian chess overshadowed by Chennai and Delhi, in the spotlight. The Nagpur District Chess Association, founded in 1974, has laboured quietly for decades. Local institutions like Chanakya Chess Academy have helped build a pipeline of talent. Divya’s success offers a major boost to regional pride. Maharashtra’s Chief Minister Devendra Fadnavis called her “the daughter of Nagpur” and promised formal honours.


Divya is also part of a broader transformation in Indian chess. In 2024, the Indian women’s team won gold at the Chess Olympiad in Hungary. Vaishali Rameshbabu became a GM. Humpy reclaimed the World Rapid title. India, which once celebrated a handful of male GMs, is now producing elite female players with assembly-line regularity.


Still, Divya remains something of a cultural outlier. In 2024, she called out the media for focusing on her clothes and accent instead of her chess.


Now qualified for the 2026 Candidates Tournament, she has a real shot at the Women’s World Championship. Her goal is to cross the 2650 rating mark - higher than Humpy’s peak - and become not just a champion but a transformative figure.


For the moment, she is pausing after her stunning win. “I need sleep and food,” she said after the final. But the rest of India, and much of the chess world, remains wide awake, taking notice of the new kid on the chess block.

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