Chinese folk and traditional music played on the konghou, a Chinese harp.

Sanskrit Chant Performance
A traditional Sanskrit chant set to live music featuring the Sitar, Tabla, Flute, and Clay Drum, creating a soulful and meditative ambiance.
Bollywood Fusion
Bollywood songs, performed with live music blending dynamic vocals with vibrant instrumental accompaniment.
A Sitar Ensemble
A presentation of Indian Classical Music on many sitars accompanied by Tabla and Clay Drum, highlighting the richness and diversity of Indian musical traditions.

The Kalaakar society consists of:
Keyboard: Jaden Ramesh, Aayat Sharma, Yuvan Dutt Sharma, Keshava Rampersad
Guitar: Shiva Rampersad
Tabla: Arshdeep Singh, Jivan Patel
Clay Pot: Kevin Parkinson
Flute: Prajaya Kannel
Voice: Tezza Paul, Anup Shrivastava
Sitar: Sharmila Mathur, Marek Whincup, Avinash Shaeshachalam, Shivani Sharma, Jhanavi, Shah, Sree Lakshmi Nithi, Siya Wadalia, Manasvishree

The Qala Troupe is Edmonton’s first Hindi-language theatre group, founded by local artist Varun Katyal (Yeg-Vala-Kalakaar). Rooted in a love for language, legacy, and live performance, the troupe is committed to preserving and promoting South Asian culture through the power of theatre. Blending timeless Indian stories with bold contemporary voices, The Qala Troupe creates compelling Hindi-language productions that speak to the heart of Edmonton’s diverse artistic landscape. Their work offers a platform where Hindi-speaking audiences feel seen, while inviting all communities to engage with the richness of Indian heritage. From captivating performances at Garvi Gujarat Day to storytelling showcases at the Thousand Faces Festival, The Qala Troupe is steadily becoming a vibrant voice in Alberta’s cultural mosaic.

Rooted in the sacred temples of ancient India, Kathak began as a divine narrative—an offering of devotion told through expressive gestures and rhythmic footwork. Through stories of the Ramayana and Mahabharata, temple storytellers, or Kathakars, brought epics to life, bridging the mortal and the divine.

As centuries passed, the dance found a new form in the royal courts of the Mughal era. There, Kathak evolved—infused with refinement, intricate technique, and a depth of expression that captivated noble audiences. Today, it is one of India's eight classical dance forms: rigorous, emotive, and transcendent.

To be a Kathak dancer is to walk a path of discipline, grace, and surrender. It is a journey not only of the body but of the spirit.

Our performance traces this journey—from its spiritual roots to its sophisticated classical form—through a series of evocative pieces:

Ganesh Vandana: A traditional invocation to Lord Ganesha, remover of obstacles, performed by Hetvi Mavani.
Taal Bantt and Teen Taal (Part 1): A rhythmic exposition exploring the foundational cycles of Kathak, performed by Neeraj Bhonsle.
Malkauns Tarana: A lyrical composition set to the majestic raga Malkauns, where rhythm meets melody in fast-paced elegance—performed by Priya Thapar, Sarika Pokharel, and Hetvi Mavani.
Advanced Tarana: A finale of intricate choreography and musical interplay showcasing the depth and dynamism of Kathak—performed by Priya Thapar, Sarika Pokharel, and Hetvi Mavani.

We invite you to witness this timeless art—where every beat is a story, every gesture a prayer, and every movement a step closer to the divine.

You are a Pharaoh. The ONE CHILD the Gods grant you is doomed to die by Snake, Dog or Crocodile! You lock him in a safe, luxurious tower. You are the growing boy in the tower. You escape to see the world! You are a giant Snake - you must try to kill the prince! In this fun, massively participatory 15 minutes from Theatre Prospero, YOU can play these parts and more, with professional guidance, careening towards this myth’s mysterious ending…

The Doomed Prince is performed by Chassidy Andrews, Mark Henderson, Andréus Wallace, and YOU!

The performance opens with a Jatiswara, a rhythm-based composition in raga(tune) Hamsanandi, highlighting the dancer's mastery over intricate footwork and rhythmic patterns. This is followed by the Madhushrashtakam, a lyrical work by Sri Vallabhacharya, extolling Lord Krishna's divine beauty and playful nature. The presentation concludes with a ten-minute interactive session, offering the audience insights into interpreting Bharatanatyam, enhancing their understanding and appreciation of the dance form's depth

The Abakuá is a secret society and a religion of African origin that arrived in Cuba in the early 19th century.
Abakuá rites reenact mythic legends using dance, chants, and masked performers to represent African ancestors.
Criminalized in the colonial era, Abakuá members drew from the Ékpè leopard society of West Africa's Cross River basin to contribute to the creation of a unique Cuban culture, including the music and movements of rumba.

The town is overrun with rats. The mayor hires the magic exterminator to lure the rats away with music. What happens when the the bill doesn’t get paid? ….

This dance symbolizes a humanity's struggle against Mictlantecuhtli—the Aztec god of death—when confronted
with the inevitability of death. Ultimately, the dancer is defeated, marking the end of this life's cycle. Following
her death, a ceremonial rite is performed to guide her spirit through Mictlan, the Aztec underworld. For the
Aztecs, death was not the end, but a necessary passage into the next stage of existence.

Performed by Alicia Ortega Servín, Gerardo Ortega Servín, Estephanía Peña-Torres, and Deviani Andrea

Coyote Terry Aleck and Christine Turenne invite you to join them as they open in a good way with a heartfelt prayer and two traditional songs. This offering creates a respectful and grounding start, honoring the space and all those gathered. It's a moment of connection and reflection through Indigenous wisdom.

West African/Ghanaian Drumming workshop.

Eric Awuah has been active in the world of Traditional and Neo-Traditional Ghanaian dances, as well as Contemporary African Dance, for nearly two decades. With a deep commitment to the art form, Awuah has dedicated his career to practicing, performing, teaching, and researching these vibrant dance traditions. As a performer, Awuah explores and experiments with neo-traditional movement structures, using them as a means to understand and embody the 'African Genius' concept. This approach not only underscores Black artistic excellence but also serves as a powerful conduit for cultural expression and identity.