The 2025 National Dance Awards: A Celebration of Global Talent and Artistic Evolution
Every year, the National Dance Awards remind us why dance remains one of the most dynamic and emotionally resonant art forms. The 2025 edition, marking its 26th anniversary, was no exception. But what struck me this time wasn’t just the winners—it was the broader narrative they wove about the state of dance today. From Scotland’s triumphant return to the global stage to Japan’s groundbreaking recognition, this year’s awards felt like a microcosm of dance’s evolving identity.
Scotland’s Quiet Renaissance
One thing that immediately stands out is Scotland’s dominance this year. Scottish Dance Theatre’s win for Best Mid-Scale Company, coupled with Scottish Ballet’s accolades for Mary, Queen of Scots, signals a resurgence in Scottish dance. Personally, I think this is more than just a regional victory—it’s a testament to how smaller dance ecosystems can punch above their weight when given the right support. Sophie Laplane’s choreography and Roseanna Leney’s performance in Mary, Queen of Scots weren’t just technically impressive; they were deeply moving, proving that storytelling in dance can still captivate in an era dominated by abstract movement.
What many people don’t realize is that Scotland has been quietly rebuilding its dance infrastructure over the past decade. This isn’t just a fluke—it’s the result of sustained investment and a commitment to nurturing local talent. If you take a step back and think about it, this could be a blueprint for other regions looking to revitalize their dance scenes.
Japan’s Global Arrival
The National Ballet of Japan’s win for Outstanding Company was, in my opinion, the most significant moment of the night. Miyako Yoshida’s leadership has transformed the company into a global force, and their tour to the Royal Opera House was nothing short of historic. What this really suggests is that ballet is no longer a Western monopoly. Japan’s rise challenges the Eurocentric narrative that has long dominated classical dance.
Ryoichi Hirano’s win for Outstanding Male Classical Performance as Onegin further cements this point. His performance wasn’t just technically flawless—it was deeply nuanced, blending Japanese sensibilities with a Russian classic. From my perspective, this is the future of ballet: a global conversation where cultural boundaries blur, and new voices emerge.
The Royal Ballet’s Continued Dominance
The Royal Ballet’s sweep of the Best Dancer awards for William Bracewell and Lauren Cuthbertson was expected, yet still impressive. What makes this particularly fascinating is how they manage to stay at the top in an era where dance is becoming increasingly diverse. Their wins aren’t just about technical prowess—they’re about consistency, adaptability, and a deep understanding of what makes ballet timeless.
La Fée Électricité’s win for Best Short Film also highlights the Royal Ballet’s ability to innovate. Viola Pantuso’s performance in the streets of Paris was a bold departure from traditional stage work, proving that ballet can thrive outside the theater. This raises a deeper question: as dance evolves, how will institutions like the Royal Ballet balance tradition with experimentation?
The Rise of Dance Film
Wayne McGregor’s On the Other Earth winning Best Dance Film is a sign of the times. Dance film is no longer a niche category—it’s a legitimate art form in its own right. What I find especially interesting is how McGregor uses film to expand the possibilities of dance, creating immersive experiences that wouldn’t be possible on stage.
This trend isn’t just about technology; it’s about accessibility. Dance films can reach audiences who might never set foot in a theater, democratizing an art form that has often been seen as elitist. If this momentum continues, we could see dance film becoming a major player in the global arts landscape.
The Unsung Heroes
While the big names grab the headlines, it’s the lesser-known winners who often tell the most compelling stories. Liam Francis’s win in the Emerging Artist category is a reminder that choreography is as much about vision as it is about movement. His work feels fresh, unburdened by the constraints of tradition.
Maria Seletskaja’s Outstanding Creative Contribution award is another highlight. As the music director for English National Ballet, she’s been quietly shaping the emotional core of their productions. What this really suggests is that dance is a collaborative art, and the people behind the scenes are just as vital as the performers.
Looking Ahead: What Does This All Mean?
If you take a step back and think about it, the 2025 National Dance Awards paint a picture of a dance world in flux. Scotland’s resurgence, Japan’s global arrival, and the rise of dance film all point to a future where dance is more diverse, more accessible, and more interconnected than ever.
But there’s also a cautionary note here. As dance evolves, there’s a risk of losing what makes it unique—its ability to convey emotion through movement. Personally, I think the challenge for the next decade will be balancing innovation with tradition, ensuring that dance remains a deeply human art form in an increasingly digital world.
The 2025 National Dance Awards weren’t just a celebration of talent—they were a roadmap for the future of dance. And if this year is any indication, that future looks incredibly bright.
