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Glastonbury Festival of Contemporary Performing Arts is a major 5-  day event in British culture held annually in Pilton, Somerset and England. The festival was first held on 19 September,1970. Each year huge amount of people come to attend the event. This year the festival will be held from 26 June to 30 June’19. The Glastonbury Festival hosts dance, comedy, theatre, circus, cabaret and other arts in addition to contemporary music. Leading pop & rock artists perform in front of approximately 175,000 people in the festival. Volunteers show up in large numbers to raise funds for charity in pounds. This festival also supports various organizations concerning serious issues.

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Mahabharata: The epic

All history and mythology is based on cause and effect. Desires of some people have always been the reason for destruction of planet and mankind. The play revolves around three main characters Duryodhana, Karan and Draupadi. The play presents before you the point of view of the two characters Duryodhana and Karan as they were the key factors of the conflict. It includes their thought process that led to the war. The epic tale portrays that “there is little good in every bad and little bad in every good.” The dilemma of the Pandavas, Kunti’s pain, Gandhari’s helplessness, and lord Krishna’s guidance that has been created for eternity is all portrayed by popular actors, from TV and film fraternity.

DATE: 27-28 July

VENUE: Kamani Auditorium, Cannought Place

Produced by felicity theatre

Written and directed by puneet issar




Thespian Ammannur Kuttan Chakyar gave a scholastic presentation of Melpathur Narayana Bhattathiri’s Bhagavathdhooth over 21 days at an event in Irinjalakuda.

The art of storytelling with theatrical embellishment and the improvised narrative is timeless. ‘Chakyarkoothu’ is an art form acknowledged for its humor and satire. An in-depth analysis reveals the prosaic and poetic beauty of the literature handled by the Chakyars as well as their mastery of the subject, which is delivered with copious connections and references that relate it to present-day socio-political issues

The name Chakyar is derived from the Sanskrit word ‘Slakhya Geer,’ meaning noble words. Kerala folklore has been enriched with stories in which Chakyars have reformed many chieftains or Kings.


Playing at the ongoing Damu Kenkre Smriti Mahotsav tonight is a fairly new production directed by the up-and-coming Abhinav Grover that bills itself as “an intertextuality between Waiting for Godot and Kishkindha Kand”. The former is, of course, the classic absurdist play by Samuel Beckett. The latter refers to an important locale in the Ramayana, which was the monkey king Bali’s domain, before Rama facilitated a contentious transfer of power to Sugriva, as detailed in the great epic. At the outset, it must be mentioned that the play seems less an exercise in intertextuality, than a straight-up adaptation that is, in itself, adequately competent and engrossing. Grover does invoke a world of implied totalitarianism, and Bhonpu and Peepee are both disoriented by the realm of humans, one degree removed, that they can only tangentially access. Yet, the massive debt the play owes the masterwork that is its mainstay results in a piece that is unmoored from itself. It is tethered instead to the sheer power of a Beckettsian universe whose whimsy and imagination cannot find an equivalence of such power in the Indian settings Grover conjures up.



Chennai s seeing the rise of its first generation of breakdancers: B-boys and B-girls, most of whom have grown up practising in streets, parks, and now, in rented studios. It all began with YouTube. Chennai currently has almost 80 breakdancers, who either go solo or are part of the six major crews. Some of them have gone on to perform in national and international competitions in countries such as Korea and Malaysia. Most recently, 26-year-old Thiyagu, aka B-boy Black, of All for One crew, performed in the nationals of Red Bull BC One, one of the most well-known cyphers (as dance battlegrounds are known) in Mumbai.



Bharatanatyam is an eminent Indian Classical Dance Form, which originated in Hindu temples of Tamil Nadu and flourished over Southern India. It is one of eight forms of classical dances recognized by the Sangeet Natak Academy. It is an illustrative dance form with excellent footwork and impressive gestures by the dancers to depict Hindu religion and spiritual affairs. Bharatanatyam performances are generally based on interpretations of characters from Hindu Mythology. The base of this dance form traces back to ‘Natya Shastra’, the ancient Sanskrit Hindu text on performing arts. A performance in Bharatanatyam is usually accompanied by a singer, music and a guru who directs the performance.

Contemporary Dance

Contemporary Dance is a genre of dance performance that has grown to become one of the dominant genres for formally trained dancers throughout the world. Although originally informed by and borrowing from classicalmodern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. Contemporary dance tends to combine the strong yet controlled legwork of ballet with that of modern, stressing on torso. It also depicts contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. Additionally, contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh .

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