For years, the Baltic countries – Lithuania, Latvia, and Estonia – were kind of off to the side when it came to Europe’s contemporary dance scene. Our artists did what they could with limited resources, rarely getting the chance to show their work beyond their own borders. And for a long time, the rest of Europe didn’t really take notice. But things are different now. Fourteen years after it started, the 2025 Spring Forward festival – one of the big names in European contemporary dance – made it clear that the Baltics are no longer on the sidelines. This year, all three countries were in the spotlight, both on stage and in the conversations around the festival.

Latvia, in particular, had a big moment. For the first time ever, it was part of the main Spring Forward programme. Choreographer Artūrs Nīgalis was selected for the Twenty25 with his piece Silhouette Letters, which asks a powerful question: how does absence shape who we are? With soft lighting, a long rope, and a minimalist set, Silhouette Letters created this open, poetic vibe that really pulled people in. The audience and critics loved it. Some Springback Academy writers even called it “hypnotising” and praised how the dancers pulled the viewers deep into the story of the two characters.

It was a huge personal win for Nīgalis and also a national milestone – Latvia’s debut in the main programme. And as if that wasn’t enough, immediately after the festival, Nīgalis picked up a national award for contemporary dance choreographer. Talk about making an impression.

Now, Latvia might be new to the main programme, but Lithuania and Estonia have been here before. Lithuanian-Swiss choreographer Anna-Marija Adomaitytė performed Pas de deux at Spring Forward 2022, which questioned gender roles and control. Then in 2024, she teamed up with musician Gautier Teuscher for workpiece, which tackled the physical and social impact of repetitive tasks on the human body. These powerful works didn’t go unnoticed: last year, Adomaitytė received the Emerging Artist Award from Switzerland’s Stanley Thomas Johnson Foundation.

Aerowaves has previously helped Estonia enjoy some moments in the spotlight during the 2000s, including works by Mart Kangro, Oksana Titova & Taavet Jansen, Anne Juren & Kroot Juurak, and Silver Elvest. And although Estonia didn’t have a choreographer in the Twenty25 lineup, both Estonia and Lithuania were part of the Springback Academy for the first time – a big deal in itself.

The Academy is a mentorship programme for up-and-coming dance writers, led by Oonagh Duckworth along with top European critics like Sanjoy Roy, Laura Cappelle, Kelly Apter, and Emily May. It’s not just about dance – it’s about shaping the voices that will talk about, critique, and support dance across the continent. Having new Baltic voices in this space shows that the region’s influence goes beyond performance – it’s also becoming part of the intellectual and journalistic heart of the dance world.

Latvia has been represented before (Elina Cire joined the Springback Academy in 2015, and this year Laura Jasmane), but now with Lithuanian writer Dmitrijus Andrušanecas (hello, it’s me) and Estonian writer Kärt Koppel stepping in, the Baltic presence is feeling more complete. We – new critics – will help shape how Baltic dance is seen and talked about across Europe – something that’s often been missing.

This wave of Baltic involvement isn’t random, it’s the result of dedicated work by national and regional organisations. The Lithuanian Dance Information Centre, Latvian Dance Information Centre, Estonia’s Sõltumatu Tantsu Lava, and other organisations, theatres, dance companies have all been building international connections through workshop programmes, artist residencies, and touring opportunities. Events like New Baltic Dance in Vilnius and the collaborative Baltic Dance Platform have helped introduce Baltic talent to international audiences, curators, and programmers.

So, with Latvia making a memorable debut at Spring Forward, Lithuania keeping its steady rhythm, and Estonia stepping further into the conversation, the Baltics are no longer hanging around the edges of Europe’s dance world. Instead, we’re right in the thick of it – contributing ideas, asking big questions, and helping shape what comes next. This year’s festival didn’t just include us – it showed we are here to stay.