Approx. duration: 120 minutes (without intermission)

Snatam Kaur is a world-renowned, Grammy-nominated devotional singer, teacher, and author who has spent more than 25 years sharing sacred chants and mantras with audiences around the world. Her Living Light 2027 tour is an invitation to reconnect with the light within us, even through life’s most challenging seasons. Through music, mantra, and reflection, the concert explores themes of trust, resilience, compassion, vulnerability, and hope.

Following By Thy Grace: 25 Years of Mantra, which celebrated a quarter century of her work with mantra, Living Light turns toward the wisdom that grows through a lifetime of dedicated practice. The programme reflects on how music and mantra can help us find beauty within imperfection, strength within vulnerability, and a sense of connection during times of uncertainty and change.

More than a concert, the evening unfolds as a shared journey through reflection, joy, gratitude, and celebration. Snatam will be joined by her longtime collaborators Ram Dass (piano, clarinet, vocals), Bruno Justi (guitar, flutes, vocals), and Sukhmani (percussion, vocals). Together, they create a warm and intimate atmosphere in which sacred song, meditation, and collective chanting invite audiences to reconnect with themselves, with one another, and with the enduring light within.

The award-winning production by Belgrade’s Bitef teatar, Lepa Brena Project, explores the phenomenon of Lepa Brena’s popularity, the break-up of former Yugoslavia and the fate of its citizens. All of this is told through the figure of a woman who was, and remains, a symbol of Yugoslavia. Five incarnations of Lepa Brena come together in a single story and message.

One of the roles is performed by Jasna Đuričić, the acclaimed actress who won the European Film Award for Best Actress for her performance in Quo Vadis, Aida?

With more than 150 performances across Europe since its premiere, the production continues to fill theatres and has firmly established itself as one of the most successful regional theatre productions of recent years.

About the Production

The creators stress that the production is not conceived solely as a biography: through the figure of Lepa Brena, it explores the complexities and contradictions of the past four decades in the region – its social and political transformations, disappointments and hopes, pain and pride, and, ultimately, all of us.

The production is based on monologues written by playwrights Olga Dimitrijević, Slobodan Obradović, Maja Pelević, Tanja Šljivar and Vedrana Klepica. The many faces of Lepa Brena are brilliantly portrayed by actors Jasna Đuričić, Jelena Ilić, Anđela Jovanović, Jovana Belović and Vlada Aleksić.

The central characters explore different facets of Brena – as an entrepreneur, a Yugoslav woman, a sexual being, a builder of socialist society and a singer.

Brena the Entrepreneur reveals the woman behind the entertainment icon, who must also confront personal tragedy. Brena the Yugoslav Woman confronts us with the merciless horrors of war, while Brena the Sexual Being follows a cross-dressing performer who, inspired by the singer’s persona, finds the courage to live their truth. Brena the Builder of Socialist Society reflects on socialism from a contemporary perspective, while Brena the Singer reminds us that music still has the power to bring people together despite ever-deepening divisions.

FROM THE REVIEWS
»A smart production: first-rate political theatre, a bittersweet Balkan cabaret, and an authentic success story of the Balkans’ biggest pop icon, with all the thorns along the way.«

JUTARNJI LIST
"Sensationally talented performers!”

GLORIA HRVATSKA
“If the purpose of theatre is catharsis, then this production achieves exactly that, allowing us to look our memories in the eye and see how naïve it was to believe in the idea of shared dreams.”

Ajeet is a world-renowned artist who draws inspiration from traditional folk music, mystical traditions, and meditative soundscapes. Audiences often experience a sense of moving and breathing together with the music, travelling through meditative spaces and inner realms, before gradually rising into dance and rhythm. Experiences with Ajeet and her band are multi-layered, moving through a rich spectrum of colors and emotions, much like a dream or a ritual.

Many people experience her music as healing, rejuvenating, and deeply connecting – and this is at the heart of what she seeks to create. Her music heals and brings people together, creating a collective, interwoven experience that invites us to journey deeply within ourselves.

Joining Ajeet on stage are the charismatic Raffa Martinez, born in Spain, who captivates audiences with his outstanding percussion performance, and the exceptional cellist Shannon Lee Hayden from the United States.

Ajeet has collaborated with many renowned musicians and recently recorded her first song with Deva Premal. Snatam Kaur, Sam Garrett, Trevor Hall, Peia, Nessi Gomes, and Rising Appalachia are among the best-known artists with whom she has collaborated in her musical work.

Ajeet’s music has reached No. 1 on the iTunes World Chart and the Top 10 of Billboard’s New Age Chart, and continues to touch the hearts of listeners and connect communities around the world. Ajeet has around half a million monthly listeners on Spotify, while her song “Akaal” has been streamed more than 33 million times.

Running time: 60 minutes

So explained Matej Kejžar in an interview following his receipt of the prestigious Croatian Theatre Award (Nagrada hrvatskog glumišta) for the performance House Bolero.

In the same breath, Kejžar also addressed generational hierarchies. With House Bolero, we enter a transgenerational artistic experiment centred on the question: how do we learn from Dance? The performance brings together dancers aged between 21 and 69.
“I was interested in how to create a dance piece together with performers who have been dancing for twenty years longer than I have – pure respect! – while also working with younger dancers, whose enthusiasm and curiosity feel incredibly vital,” Kejžar continues: “That’s how we developed the distinctive language of Bolero.”

The project evolved through group discussions and individual conversations. In House Bolero, conversation – one of the fundamental building blocks of civilisation – intertwines with the instability of dance and the body’s passion for movement. Through this process, the dancers develop nuanced forms of physical presence, giving rise to ever new questions and suggesting an open, constantly shifting understanding of dance: a force that resists every attempt at normalisation, both in society and in art.

The project features dancers from the Slovenian National Theatre Opera and Ballet Ljubljana. It was created at the initiative of the Embassy of the Republic of Slovenia in Brussels, with the support of the Government Office for Slovenians Abroad. The project emerged through a broad, creative, and “borderless” collaboration between artists, institutions, and the wider community.
 

Running time: 80 minutes

Mv.1: Disrupt order. We reject the traditional relationship between Dance and Choreography. Questions arise: If Choreography is everything and everywhere, under what conditions does it become absent? How will we handle this change?

Mv.2: Bubbling. Aphrodite, the goddess of love, beauty and sexuality, was born from the foam created when Cronus castrated his father and threw the severed genitals into the sea. Jean Luc Nancy says that Aphrodite represents the “swelling of the waves, movement upon movement, the incessant backwash, the lapping…” The creation of Aphrodite evokes images of irregular rhythmic patterns.

Dance: movement over movement, shifting weight from one side to the other, foaming. We detect patterns. More questions arise. How will we travel from one pattern to another? Will the cut between one and the other always mean the end of repetition, an end of reproduction? Aphrodite says: “As I was born in both female and male gender, neither gender is independent and unique.” This is a story about oscillations between certainty and indeterminacy.

Running time: 116 minutes

When Matej Kejžar first heard Promises by Floating Points, he was moved beyond words. It became his go-to album. A “favourite album” forms the choreographic frame of Movements 9, where dance resonates between proto-knowing, rhythm, musical force, listening and hearing, narration and abstraction. At the same time, the notion of a “favourite album” can be understood in an analogous sense as that of a “favourite choreographer”: it frames stylistic and choreographic desire, and points to the relationship between the authority of choreography and a form of naivety that Kejžar identifies as a key condition for genuine openness and surrender to surrounding impulses. Nine pieces, nine movements. Kejžar follows the music, and the music, in turn, persistently follows him.

Anna Bariyani, Sabrina Figueroa, Alberto Arroyo, Tavo Vazquez, Dario Santamaria Romeo

With a global fanbase and millions of streams, Curawaka is one of the most captivating acts in the rising world of conscious and cross-cultural music. Blending powerful vocals, traditional instruments, and deep ceremonial rhythms, their sound bridges ancient indigenous traditions with contemporary world music — creating a truly unique and unforgettable experience. 

Formed by artists from Norway, Mexico, and Argentina, Curawaka brings a rich cultural tapestry to the stage. Led by vocalist and songwriter Anna Bariyani, Curawaka’s breakthrough album Call of the Wild introduced fan-favorite anthems like Noku Mana, Te Nande, and He Yama Yo, earning the group international acclaim across conscious social movements as well as global music stages. Their long-awaited follow-up album, Dreamtime(2023), expands their sonic palette with lush arrangements and collaborations from across the globe — solidifying their place as pioneers in the genre. 

Their newest release Olokun(2025) continues their signature fusion of spiritual depth and musical mastery, calling upon sacred feminine forces of the sea to bring healing and balance to the world. Whether you’re a seasoned fan or hearing them for the first time, 

Curawaka’s live show is a transcendent, high-vibe journey that uplifts and inspires — uniting hearts across cultures, languages, and borders.
 

A workshop will also take place the day after the concert. For more information and registration, visit Guardians Events.

For ages 11–15

France Prešeren’s famous ballad gets a modern high-energy reimagining for the twenty-first century. Urška attends a party, meets a mysterious biker and finds herself in a dazzling underwater world where not everything is as perfect as it seems. The musical is packed with powerful music, humour, suspenseful scenes and fantastical twists. A little romance, a hint of danger, bursts of energy – and a story that proves even old poems can carry a very contemporary beat.

Running time: 90 minutes 

Jackline Kasiva Mutua, vocals, guitar, percussion 
Michael Munene Gichuhi, bass, back vocals 
Nahshon Mweu, guitar, back vocals
Bonface Odera Onganga, keyboards, back vocals
Victor Kioko Muthini, drums, back vocals

“Kasiva, do you hear that?” her grandmother would ask as they sat by the fire after supper. A gifted storyteller, she wove witty tales with life lessons hidden at their heart. When she grew tired and wanted to distract her six-year-old granddaughter so she could doze for a while, she would say, “Go to the cow pen and listen to the secret that Nzilú, the black bull, is telling Nzalú, the white bull.” The curious little Kasiva would run to the pen and listen eagerly, only to return a few moments later, slightly out of breath. “I heard nothing… I only saw Nzilú licking his nose!” Her grandmother would insist, “Hurry, go back and listen carefully. The secret is being told right now.” Determined to uncover these mysterious animal secrets, Kasiva would return, this time with greater focus. That was when she began to hear it: crickets chirping in layered patterns, cows breathing in a steady tempo, the wind moving through the trees, laughter drifting from the kitchen. In the seeming randomness of it all, there was rhythm. On her way back, Kasiva would hum what she had heard. Later, lying in bed, she would recreate those rhythms on the bed frame, on her lap, her chest and her cheeks. Years later, she experimented with sound everywhere – on pans, spoons, school desks, buckets, anything she could lay her hands on. That was how Kasiva Mutua discovered the most beautiful world she knows – the world of percussion.

Through rhythm, she tells both her own story and that of African women. She advocates for women’s empowerment and gender equality across the continent. Holding a degree in journalism, she frequently participates in projects with educational or activist aims, including the Nile Project and TED Talks. Just over a decade ago, she co-founded the all-female percussion group MOTRA (Modern and Traditional Rhythms). With her musicality and charismatic stage presence, she forges a powerful connection with audiences, captivating listeners around the world and gaining wider recognition through appearances at showcases such as Jazzahead! 2025 and WOMEX 2026.
 

Running time: 90 minutes 

Sogol Mirzaei, tar; Eleanna Pitsikaki, qanoûn; Marie-Suzanne de Loye, viola da gamba 

Ensemble Chakâm, named after an ancient Persian poetic form, explores the intersection of music and poetry, creating a distinctive artistic language in which master instrumentalists performing on traditional string instruments – the tar, qanoûn, and viola da gamba – bring to life musical material situated between classical heritage and contemporary improvisation. The trio draws on the rich traditions of Persian, Arabic, and European Baroque repertoires, weaving them together with original contemporary compositions. The string instruments engage in a dialogue that alternates between sonic intensity and meditative contemplation, forging connections between three distinct musical worlds. The ensemble’s founder, the Iranian musician Sogol Mirzaei, is a renowned performer of Iranian classical music on the tar. While completing her master’s degree in musicology at the Sorbonne, she crossed paths with Marie-Suzanne de Loye, a viola da gambist specialising in early music, particularly the musical legacies of Anatolia, Persia, and Brittany.

The ensemble’s third member, the Greek artist Eleanna Pitsikaki, is among the most distinguished qanoûn players on today’s international music scene. She approaches her instrument with a distinctive artistic vision, reviving traditions from both East and West while blending maqam with jazz and heritage with modernity. She is currently completing her doctoral studies at the University of Music in Mainz, where her research focuses on cross-cultural music, migration, and belonging.

The trio thus embodies a convergence of life trajectories and experiences; through music, its members express a longing for the lands they have left behind, a sense of rootlessness, and memories of places gradually disappearing. At the same time, the ensemble bears witness to the creative power that emerges through encounter, discovery, and the continual reshaping of identity.

Since its founding in 2019, the Chakâm ensemble has quickly established itself on the French and international music scene. In 2023, the ensemble was honoured for its exceptional artistic work at the Diaspora Music Awards. In 2024, it performed at the WOMEX showcase, and in 2025, released its debut album, Les Vents Brûlants.