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Under vaulted ceilings and stained-glass windows on April 22, Nordic Artists of New York (NANY) held True North 2025, a flagship showcase bringing together over 40 NYC‐based Baltic and Nordic creators. Guests entered a transformed townhouse––birch trunks, mossy sculpture, and projected auroras set the scene for an immersive evening. The first act, “The Expedition,” led visitors through stylized “Nordic forests, lakes and volcanoes” expressed in music, sculpture, painting and film. This journey through the North’s landscapes and myths then gave way to “The Summit,” a live concert of song, theater and dance. True North united performers and audience in a shared journey, reflecting NANY’s motto of “Unite. Elevate. Inspire.”
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A Nordic dancer stands poised under a beam of light, suggesting the introspective mood of True North and providing an introduction to the magical world. The immersive gallery felt like walking into a woodland cathedral. Guests paused beneath branches of birch and juniper, listening to ambient Nordic flute and recorded birdcalls. Along the walls hung oil paintings, abstract sculptures and industrial minimalist installations. In one corner a film loop showed a singer under endless midnight sun; in another a folk song drifted through antique Estonian wool tapestries. As one visitor observed, “It felt like stepping into the middle of a midsummer forest in Scandinavia.” (She admitted that after hours in the gallery, “I was holding back tears – it was like visiting home.”) The breadth of media was impressive: over forty artists from all eight countries contributed, so that wandering from room to room meant passing from Swedish landscape photography to theatrical performances spanning the entire venue in quick succession. In NANY’s words, “The exhibition features work from over 40 New-York based Nordic and Baltic artists, representing eight different countries.” Over 40 artists were featured throughout the immersive journey—too many to name here in full, but each brought their unique voice to the night. To explore the complete list of participants, visit the Nordic Artists of New York website.
The organizers clearly intended The Expedition to awaken all the senses. Immediately upon entering the audiences were greeted by Nordic musicians improvising in the luscious corner of the northern forests. Upon passing through the hanging gardens of lights the audiences were immersed by various classical performances and sauna workshops in the fire room taking us on a heated roller coaster of traditions and rituals. Upstairs, children painted together on a canvas with bare hands while listening to verses about magical demigods. The effect was both magical and communal. “I came hoping to feel a bit of home,” said a Lithuanian-American college student, “and I got chills instead.” Indeed, Baltic and Nordic expats remarked how uncanny it was to see common threads of heritage laid side by side: Latvian folk patterns echoed Norwegian rosemaling motifs, while Icelandic runic forms aligned with Estonian script. One Stockholm-born attendee smiled: “I could almost smell the pine needles.” Petty differences fell away as the crowd strolled in peaceful awe through this collective dreamscape.
Building Community: Petra Jasmiina’s Vision
True North was above all an act of community-building, steered by NANY founder Petra Jasmiina. The Finnish-born singer-songwriter arrived in New York a decade ago “with little more than a guitar and a suitcase,” and discovered how isolated Nordic and Baltic artists could feel in the city. She responded by launching NANY (Nordic Artists of New York) in late 2024 to “foster community and collaboration between Nordic and Baltic artists”. As Jasmiina herself explained, many of these creators “come from far-flung countries to pursue art in this city. NANY is our way of uniting these talents, supporting each other, and sharing our heritage with the NYC community. TRUE NORTH is the culmination of that mission – it’s about coming together and creating an experience larger than any single artist or discipline.”
Her resume before True North already reflected this cross-cultural drive. Jasmiina had been involved in Kalevala the Musical concept album productions (a Grammy-considered project based on Finland’s national epic) and worked with Finnish and Danish embassies to promote Nordic culture. During the pandemic she even founded Indie NYC, a virtual hub linking 100+ local musicians. In interviews she notes that “New York-based Nordic and Baltic artists often fall between organizational support systems… We’re here to bridge that gap, offering resources and visibility to those already forging international careers in the city.”. True North was very much this vision in action. From fundraising to curating, Jasmiina led an international volunteer network. She enlisted established “luminaries” like Swedish jazz composer Monica Lysell and invited environmental partners (the Lower East Side Ecology Center, Voters For Animal Rights, etc.) to echo the Nordic value of sustainability. As she later put it, “We protect the planet through what we do best – art and unity”. Under Jasmiina’s guidance, every detail – from sustainable set design to the event’s logo uniting the eight flags – was meant to unite diaspora communities.
Petra’s co-creators at NANY, including Finnish composer Eeppi Ursin and Estonian-American producer Valev Laube to mention a few, joined in shaping the program. Their shared belief was that even in a metropolis like New York, “we are our own cultural ambassadors” and can speak louder together than alone. The event sold out quickly, a testament to that community hunger. One attendee later remarked, “For a few hours on Earth Day, the eight Nordic and Baltic nations felt closer to each other and closer to Manhattan than ever.”
The Expedition: An Immersive Gallery of Nature and Art
Guests poured into the Estonian House welcomed by cozy galleries modelled after various elements of nature. The lighting was dusky and warm, as if the sun were just setting on a Nordic summer day. All around, the decor evoked the North: living ferns sat under scrolled wooden carvings; a vintage yellow schoolhouse cabin stood amid a pile of polished stones; little sculptures of birds scattered across the three-floors of the historic venue.
One of the first performers greeting the guests was a haunting solo set by Oskar Stenmark (Sweden) on trumpet. Stenmark – scion of a seven-generation musical family – played a soulful melody that built to a tinged climax, illustrating how his style blends Nordic folk soul with New York jazz. (According to his bio, Oskar “explores the traditional melodies he inherited from Sweden by fusing them together with the sounds of New York City.”)
Downstairs audiences were greeted by glowing mushroom installation, projected short films and artist statements. As acoustic guitar, flute and light percussion played live in corners, guests slowly made their way between installations revisiting each mini-stage for an updated performance every 20 or so minutes.
Nearby, Swedish flutist Elsa Nilsson improvised brightly on her instrument amid hanging tapestries. Her style is anything but traditional flute recital: Nilsson has described her sound as bearing “the sense of awareness and urgency of this generation,” drawing on rock, protest music, jazz improvisation and classical forms. Here she played a brisk melody evoking Northern wind across the tundra, backed by subtle accompaniment. The effect was modern and freeing – no surprise, as one reviewer called Elsa “the logical choice to provide a next step for [the flute] in the world of jazz and improvised music”.
All around the hall, visitors paused to watch or join in. At one station people were able to take a virtual tour of an exhibit specifically put together for the True North event by the HMVC Gallery New York; at another, a group of guests were enjoying a selection of short films. The mood was intimate and communal – small conversations in Danish, Estonian, English, and many other languages over soothing Finnish long drinks kept the evening going. One guest from Oslo wiped away tears as she watched a tableau of brass instruments: “I’m an immigrant and often lonely,” she admitted. “But hearing these sounds reminds me I’m part of something bigger.”
As the expedition went on more and more artists were highlighted at various corners of the venue, one of whom was Arta Jēkabsone (Latvia), whose honeyed voice floated above grand piano self-accompaniment in the classicist gorgeous blue hall of the Estonian House surrounding by various visual artworks. She once described her jazz influence as “starting with simple Latvian folk melodies” and then leaping into adventurous improvisation, where storytelling is “the unifying element.” The result was a poetic and deeply moving set, especially in the context of Earth Day – themes of nature, sun, moon and blossoms threaded through her performances.
The Summit: Live Performances Unite Many Art Forms
At 7:30pm the crowd headed upstairs to the concert hall for “The Summit.” A crisp soundcheck filled the air; dancers warmed up in one corner. The stage lights came up the audience, about 80 person strong, found seats facing a raised platform. The Summit promised a little bit of everything: music, theatre, and dance from across the North and Baltic nations.
The show started with a performance paying respect to the venue with a performance of “Muinaslugu Muusikas” (Eng: Fairy tale in music) by Kristi Roosmaa. The Estonian-American soprano strode on in a gown, accompanied by pianist Cade Roberts. This was Roosmaa’s home turf: a former “Kalevala the Musical” producer and national cultural attaché, she has performed on The Tonight Show and at Carnegie Hall. Now she was honoring her diasporic roots. Several Estonian grandmothers in the crowd beamed and quietly sang along.
The show featured a unique band put together specifically for the event performing original song by all singer-songwrites including Eeppi Ursin (musical director, pianist, singer-songwriter), Johanna Telander (singer-songwriter, harpist, kantele), Ida Metsberg (singer-songwriter, guitar), Petra Jasmiina (singer-songwriter) and an accompanying band comprised of Finnish, Swedish and American musicians. The finnish audience members noted that this collaboration felt like homecoming for many, praising the choice of Finnish and English-language original songs and varying types of up and down tempo music.
Lithuanian vocalist-composer Simona Smirnova soon after joined the stand to perform a short set of jazz-infused tunes. The first tune marked a first of it’s kind collaboration between Smirnova on kanklės (Lithuania) and Johanna Telander on kantele (Finland). Smirnova, who also the traditional Lithuanian kanklės, has been praised for blending Baltic folklore with modern jazz. Critics note that her recent album has “aura of mystique” and features “a stunning blend of Baltic folklore, jazz, pop, and rock”. Her performance here captured that same otherworldly fusion: the plucked timbre of the kanklės wove through susurrating chords, transporting the audience to a twilight forest at the edge of the sea. One listener leaned over and whispered that she “felt like [she] was back in the Lithuanian woods, listening to the birds.”
Dance performance by Ingeborg Kolstad & Sonja Hovik Brendås (Norway) – Two Norwegian dancers whose choreography fused Northern myth with contemporary form. Both are alumni of New York’s Marymount Manhattan College and collaborators in Threads of Truth Inc.. Ingeborg’s work often explores Nordic legends – for example, her piece “Styggen på ryggen” (Goosebump on the Back) was inspired by reindeer and the aurora borealis. Sonja’s background spans contemporary, jazz, hip-hop and balle, so she brings expressive range to any duet. The summit mid-show section concluded with the pair on stage: clad in simple outfits, they moved with such synchronicity that a press note observed they “mirror each other’s motions”. Their final dance – blending folklore storytelling with modern athleticism – brought the mid-section of the evening to an exultant close.
As the show continued we were treated to a theatrical piece chosen specifically for the evening for the Scandinavian American Theater Company, followed by a shiting tone with a performance by Sirintip, the Swedish-Thai vocalist known for avant-garde multimedia shows. Sirintip’s art often “explores unsung intersections of humankind and the natural world,” and here that felt literal. The crowd, leaning forward, felt like witnesses to a musical ritual. After her set, one person exclaimed, “Incredible – I’ve never seen anything like that blending of cultures.”
At the end of the night the lead producer Petra Jasmiina thanked everyone, all volunteers, organizations and artists for being patient with her and for making this premiere concept event a reality. Co-producer and assistant manager of the New York Estonian House Elke-Liisa Lõhmus noted that this evening of undeniable magic represents the deeper meaning of the venue which has been connecting neighbors in unity for over a century.
Finally the show’s grand finale culminated with a medley performance by the former, and current cast and crew of Kalevala the Musical led by the composer Johanna Telander. For many this project has been a long time coming and something that the local New York theater community has been eagerly waiting to see on stage. The production team recently release a concept album, a Grammy-considered project, which has been bringing in from younger audiences to learn more about Kalevala, Finland’s national epic as well as get involved in musical theater.
Community and Sponsors
The evening’s success was bolstered by a constellation of Nordic cultural organizations. NANY acknowledged “esteemed partners” including the Finlandia Foundation (national and New York chapters), the Scandinavian American Theater Company, the Nordic International Film Festival, the Estonian Educational Society, HMVC Gallery and others. Each of these groups had representatives in the crowd, underscoring the event’s broad support across the diaspora. Additionally, environmental partners helped shape the show’s message: for instance, the Lower East Side Ecology Center. Even the bar menu paid homage (offering Finnish long drinks and custom made cocktails). The entire venue always gave credit to each performer and every mini-stage featured QR codes with an opportunity to support the collective virtual tip jar. All these visual and logistical touches served as reminders that True North was a community effort – a “homecoming,” as one sponsor called it, not just a concert.
Audience Reflections and Impact
By night’s end, the effect on the crowd was palpable. People lingered in the lobby and at the bar, reluctant to leave the warmth. Many visitors went home not only with warm feelings but also raffle prizes from various partnering organizations, Estonian marzipans provided by AmestFoods, Swedish candies by BonBon, organic skincare products by Viking Beauty Secrets and so much more. Hugs and phone numbers were exchanged; younger artists expressed gratitude to veterans for the inspiration. Many attendees spoke of a “full-circle” feeling. “I never thought that I would have the chance to collaborate with so many like minded individuals and make fantastic new connection,” noted a Swedish-American musician. “It was like all of us – Finns, Norwegians, Estonians, Latvians, Lithuanians – came together. We don’t usually do that in one room.” One Danish designer, eyes shining, said: “I felt so proud sitting there. I cannot wait to see what collaboration will be born out of this evening.”
Audience engagement was high throughout. A Finnish-American in the front row recalled later how a goosebump ran down her arm when all voices blended in Kalevala the Musical’s medley performance. “It was such a gorgeous moment and I’m so proud of have been able to see a musical about my national epic come together in such a beautiful way,” she said. Another attendee, a first-time visitor to the Estonian House from New Jersey, summed it up: “The venue truly brought people together in such a unique way. It’s a celebration of belonging. I felt like I was somewhere I should have been all along and cannot thank the venue and organizers enough.”
Conclusion: A Living Cultural Tapestry
True North 2025 delivered more than performances; it forged connections. In the post-show debrief, Petra Jasmiina smiled that “everyone here tonight is now part of the same creative map.” Indeed, Baltic and Nordic diaspora members left with new friends, future collaborations, and a deep emotional glow. As one performer summed up, “Tonight I saw so many threads connecting us – our landscapes, our stories, our songs. It gave me goosebumps, and a sense that art truly has a true north.”
Estonian Cultural Attaché Madli-Liis Parts, who took up her post in January 2025, later lauded initiatives like this for strengthening transatlantic cultural ties. She has emphasized that “sustainable and multifaceted cultural relations” help tell Estonia’s story to a wider audience, and True North clearly did that for the entire region. The showcase underlined that despite different languages, a shared appreciation for nature and heritage unites all eight nations. For the Baltic-Nordic artistic community in New York, True North was a resounding success: a night of community, creativity and cultural nostalgia. As attendees dispersed into the spring night, many carried with them not just memories of soaring flute solos and lyrical dances, but a renewed sense of home and unity far from home.
