Blog Post 2: Lithuania on the Eurovision Stage

Blog Post 2: Lithuania on the Eurovision Stage

In my previous blog post, I found Lithuania’s national identity to be shaped by history, language and religion in relation to its significant others in Europe. As a post-Soviet nation, Lithuania has worked to maintain a strong cultural identity while also integrating into European cultures. Trying to preserve traditions while embracing modern values continues to shape how Lithuania represents itself internationally. Each year, the Eurovision Song Contest allows countries to present carefully developed versions of themselves to a global audience. 

Lithuania’s 2024 Eurovision song, “Luktelk” by Silvester Belt, reflects a shift away from traditional symbols of national identity. Instead of emphasizing history or religion, the performance focuses on emotional expression, minimalism and subtle queerness. Through this, Lithuania presents itself as cosmopolitan, while also revealing the tensions between becoming increasingly progressive and more conservative realities domestically. This performance ultimately challenges more essentializing views of Lithuanian identity by showing it as modern and evolving.

Artist Background

Silvester Belt’s personal identity is important for understanding the meaning of “Luktelk.” Silvester Belt is a Lithuanian artist whose music is shaped by his personal life experiences when he was growing up. His musical style is mainly electronic and pop, which reflects cosmopolitanism rather than traditional Lithuanian styles. A key aspect of Belt’s identity is his sexuality, as he publicly came out as bisexual in 2017 and is Lithuania’s first openly queer Eurovision representative (Wratten, 2024). His personal experiences growing up in a conservative environment strongly influence his music. As noted by the Eurovision Song Contest official site, his songs are inspired by “memories of exploring his sexuality in a homophobic environment” and the emotional impact of suppressing those feelings (Silvester Belt, n.d.). This background shapes how audiences interpret “Luktelk” because while the song is not explicitly about queerness, the themes of hesitation and emotional uncertainty can definitely be interpreted through a queer view. Additionally, Belt’s identity introduces tension between the different groups in Lithuania. Lithuania is often seen as more conservative compared to Western Europe, particularly regarding LGBTQ+ rights (LGBT Rights in Lithuania, n.d.). By sending an openly queer artist to Eurovision, Lithuania is aligning itself with the contest’s reputation for inclusivity. This reflects homonationalism, where LGBTQ+ representation is used to tell that a nation is modern, progressive and part of a larger European cultural community.

Song Meaning and Musical Composition

The title “Luktelk” roughly translates to “wait” or “hold on,” in English and is centered around the idea of uncertainty. The song “is about being stuck in limbo between two stages of barely existing and feeling alive, when you have to hold on and dance through whatever life throws at you” (Silvester Belt, n.d.). The lyrics focus on hesitation and anticipation, especially with the repeated use of the word “luktelk,” which creates a sense of tension that is never fully resolved through the rest of the song. The emotions not being directed toward a specific reason allows for different interpretations because the song reflects the universal experiences of doubt and vulnerability people go through. This also makes the song more relatable to a wider-range of people, specifically international audiences. However, when considering Belt’s identity, it can also be understood as reflecting queer experiences, particularly the feeling of waiting for acceptance or the right moment to act. This adds depth to the performance without making the message overly explicit. 

Musically, the song stands out for its minimalism because it relies on a steady electronic beat and avoids the dramatic build-ups that are common in Eurovision performances. Instead of building toward a powerful climax, the song maintains a controlled, almost hypnotic rhythm through the majority of the song. This made the song feel very controlled and contained and goes along with the emotional tension described in the lyrics. The electronic sound aligns Lithuania with mainstream European pop music, showing its cosmopolitan identity.

At the same time, the decision to perform “Luktelk” entirely in Lithuanian is significant. Lithuania consistently sends songs in its native language, but in 2024, the song was performed fully in Lithuanian with not even a little English. This choice goes against the rise of English in Eurovision and supports cultural authenticity. By combining a global musical style (pop and electronic) with a local language, “Luktelk” reflects a modern form of representation that doesn’t rely on traditional symbols, but still has a connection to Lithuania’s cultural identity.

Staging and Performance

The staging of “Luktelk” is very minimal, and focusing on mood rather than a specific storyline. The performance uses dark lighting, limited props and a clean stage look. The simplicity of the production allows the audience to focus on the emotional tone of the performance instead of being distracted by tons of visuals. Belt’s choreography is pretty repetitive and almost restrained-looking, aligning with the song’s theme of waiting and emotional tension. His movements are precise and looped, creating a sense of being stuck in the same emotional state. This repetition keeps with the idea of hesitation and some internal conflict going on. The lighting also plays an important role in understanding the performance. The shifts in the blue light reflect changes in emotion, such as when the lights flicker more repetitively, the tone becomes more panicked. The overall darkness throughout the whole performance creates a sense of isolation. Rather than telling a clear story, the performance builds an atmosphere that pulls the audience into the emotional experience of the song.

There are also subtle signals of queerness in Belt’s choreography because it is not shown through obvious symbols like flags or costumes, but through his vulnerability and movements. By openly showing emotions like hesitation, uncertainty, and sensitivity, Belt challenges traditional expectations of masculinity, which often are displayed with controlled and confident movements. The slow, repeated movements that reflect the song’s theme of waiting also show a different, non-traditional way of telling a story. In this way, Belt’s queerness is present in the performance without being overt, allowing Lithuania to represent LGBTQ+ friendly while still being able to argue a more conservative performance for conservative-leaning viewers. 

Queerness and Homonationalism

Eurovision has been associated with LGBTQ+ culture and audiences for a long time, making it a unique space for expressions of queerness. For many countries, participating in Eurovision is used as an opportunity to align themselves with values like diversity and inclusion. In this context, Lithuania’s decision to send Silvester Belt can be seen as strategic because his presence signals to viewers that Lithuania is modern and inclusive, aligning with broader European values. This reflects the concept of homonationalism, where nations use LGBTQ+ representation to position themselves as progressive or evolving. However, this representation is not super accurate as Lithuania’s domestic attitude toward LGBTQ+ issues are somewhat conservative compared to many Western European countries (LGBT Rights in Lithuania, n.d.). “Luktelk” reflects this tension through its subtle approach to queerness. Rather than presenting overtly political or explicitly queer, the performance uses emotional expression over anything else. This allows Lithuania to participate in Eurovision’s LGBTQ+-friendly culture without directly challenging domestic norms. It allows the performance to appeal to both international and domestic audiences. The performance can also be understood as a form of artwashing, where progressive imagery is used to shape the perception of Lithuania internationally, without fully addressing the issues internally.

Performance Alignment with National Identity

Unlike many other Eurovision entries, “Luktelk” does not rely on traditional cultural symbols to represent Lithuania. There are no references to history or religion, which are major elements to Lithuanian national identity that were discussed in my previous blog post. The only traditional element present is the use of the Lithuanian language, which grounds the performance in its culture the most out of any other element. However, the song and staging mainly emphasizes modern and progressive values more than traditional symbols of national identity. This goes along with Lithuania's position as a post-Soviet nation that has integrated into European politics and culture showing a vision of Lithuania that looks toward the future rather than the past. By avoiding using traditional forms of imagery in the performance, it challenges the somewhat fixed ideas of national identity that many other countries rely on. It shows that Lithuania’s identity is not just shaped by its history, but also by modern values and global influences. Additionally, the inclusion of queer identity really expands what it means to represent Lithuania. It introduces diversity into representing the nation and challenges more conservative norms. Because of all this, “Luktelk” does not reflect Lithuanian identity but works to actively reshape it. 
 
Word Count: 1,420

References

Askew, J. (2023, October 26). Lithuania moves to ditch controversial Russian-style “anti-gay propaganda” law. Euronews. Retrieved March 2, 2026, from https://www.euronews.com/2023/10/26/lithuania-moves-to-ditch-controversial-russian-style-anti-gay-propaganda-law

Belt, S. (2024). “Luktelk” (Lithuania). Eurovision Song Contest 2024 Malmö [DVD]. Universal Music Group.

Goulding, J. (n.d.). How did Eurovision become a global Queer phenomenon? National Museums Liverpool. Retrieved March 2, 2026, from https://www.liverpoolmuseums.org.uk/stories/how-did-eurovision-become-global-queer-phenomenon

LGBT Rights in Lithuania. (n.d.). Equaldex. Retrieved March 2, 2026, from https://www.equaldex.com/region/lithuania

Silvester Belt. (n.d.). Eurovision Song Contest. Retrieved March 2, 2026, from https://www.eurovision.com/eurovision-song-contest/malmo-2024/all-participants/silvester-belt/

Wratten, M. (2024, May 5). Eurovision’s Silvester Belt on becoming Lithuania’s first LGBTQ+ entrant: ‘Why would I hide it?’ PinkNews. Retrieved March 2, 2026, from https://www.thepinknews.com/2024/05/05/eurovision-silvester-belt-lithuanias-luktelk-first-lgbtq-entrant/

Blog Post 1 - National Identity and the Other: Lithuania

National Identity and the Other: Lithuania

National Identity
National identity refers to a sense of belonging that connects individuals to a larger political and cultural community. It’s the shared beliefs, traditions, language, symbols, and historical experiences that allow people to recognize one another with things they have in common. Writers have emphasized that national identity is not only about how a group understands itself, but also how it separates itself from others. Triandafyllidou (1998) argues that these differences can be looked at as external “Others” like rival nations, or internal “Others,” like minority groups or communities within the nation. In both cases, the nation defines itself by marking who counts as part of the community and who falls outside of it. 

Debates about national identity, especially in Europe, often bring up ethnic and civic nationalism. Ethnic nationalism defines membership through shared ancestry, blood, or ethnicity, implying that one must be born into the nation. Egan (2018) notes that this type of nationalism is historically rooted but is also pretty flawed and unrealistic because human migration and cultural mixing have always been a part of history. In contrast, civic nationalism defines the nation through shared values, political ideals and citizenship rather than lineage. Egan (2018) talked about countries such as Canada, Australia and the United States as examples where people from diverse backgrounds are unified through civic nationalism rather than ethnic.

History

One of the most important foundations of Lithuanian national identity is history, particularly the legacy of the Grand Duchy of Lithuania (GDL). In the 13th century, Lithuanian tribes united in response to external threats, mainly German expansion, under the leadership of Mindaugas. The GDL grew into one of the largest and most powerful states in Europe between the 14th and 16th centuries, making up a multiethnic and multireligious territory (Britannica Editors, 2025). This time is significant when looking at Lithuanian history because it symbolizes their political strength, independence and statehood.

The union with Poland and later domination by Russia challenged Lithuanian sovereignty. Andrijauskas (2008) explains that “the internal homogenization of the GDL state organism began to appear in the second half of the fifteenth century…” but the growing power of Poland and Moscow meant “...less time remained for ideas of a specific GDL multiethnic and multireligious identity to become established” (p. 165). External forces ultimately destroyed Lithuania’s statehood before this identity could be solidified. 

Despite the growing Soviet presence, some elements of Lithuanian national identity were taking shape. Andrijauskas (2008) also explained that “…the most important thing is that the rudiments of an integrated western-style estate society had already appeared in this ethnically variegated world by the late fifteenth century…” which contributed to more unity among Lithuanian and Belarusian elite groups, and reinforced their commitment to protecting Lithuanian statehood (p. 167). These historical experiences of statehood, union and resistance continued to develop Lithuanian national identity, especially resilience.

Language

Language is one of the strongest parts of Lithuanian national identity. Lithuanian is one of the oldest living Indo-European languages and one of only two surviving Baltic languages. The Lithuanian language separated from Latvian starting around 800 CE, and went through “...numerous phases—such as the earliest form, Old Lithuanian—before becoming its own complete language by the sixteenth century” (Ruth, 2022). This continuity makes the language an important symbol of national identity, not just because it is old, but because it reflects resilience of Lithuanian culture and shared memories that have been maintained despite numerous efforts to suppress it.

Language became especially significant during Russian rule in the nineteenth century. After failed uprisings, Russian authorities attempted to suppress Lithuanian identity by targeting the language as a whole. As Ruth (2022) describes, “Russia closed Lithuanian schools, which taught children the Lithuanian language, and outlawed the use of the Latin alphabet.” Lithuanians were forced to write in the Cyrillic alphabet so that they would adopt Russian cultural norms and move away from their own language and identity. 

Rather than eliminating Lithuanian identity, these policies increased resistance. “Over the next 40 years, Lithuanians resisted this oppression in many ways, including finding loopholes in the law, starting secret schools, and smuggling books across the country’s border” (Williams, 2021, p. 137). By the 1880s, this resistance evolved into the Lithuanian National Awakening. Williams explains that when Russia restricted communication, “they were able to unify under a common name with a common adversary and a common purpose” (Williams, 2021, p. 141). Following this, language became a main symbol of Lithuanian identity and resistance. After independence in 1918, Lithuanian returned to mainstream society and was declared the official state language in 1930. Later, its recognition as an official language of the European Union in 2004 further showed its political and cultural significance.

Religion

Religion plays a significant role in Lithuania’s national identity. Lithuania was the last pagan state in Europe to officially convert to Christianity in 1387. “Even two hundred years after the baptism of Mindaugas, a significant part of the Lithuanian population still adhered to pagan practices” (Trinkauskaitė, 2024), showing that traditional beliefs persisted long after conversion. Following baptism and alliance with Poland, Lithuania became integrated into the Western Christian world. As Williams (2021) explains, “Due to Lithuania’s baptism and alliance with Poland, the ethnic Lithuanian and western Belarusian inhabitants were absorbed into the Christian Western world.” This integration had major political and cultural effects, as Catholicism became a major part of legal structures, education and public life, which shaped Lithuanian political and cultural identity.

Catholicism became particularly important during periods of foreign occupation, serving as a space where Lithuanian language and traditions could be preserved. Trinkauskaitė (2024) notes that Catholicism makes “legal definitions of ‘traditional’ religions, state subsidies, education and public recognition of religious practices,” showing its influence on Lithuanian society. Under Russian and Soviet rule, Catholicism gained more national significance as it was a protected space for Lithuanian memory and culture to be preserved when other forms of national expression were restricted. Through these roles, religion contributed to Lithuania’s national identity despite external pressures.

Othering

Using Triandafyllidou’s terminology, Lithuanian national identity has been shaped through both external and internal Othering. Externally, Russia is often used as a defining “Other.” Policies like the book ban made Lithuanian culture seem inferior, and it reinforced unity between Lithuanians through shared resistance. Seeing Russia as a threatening external “Other” helped Lithuania unite and create a collective national identity. Internally, certain groups have also been Othered such as in post-Soviet Lithuania, Evangelical Protestant communities were sometimes viewed as cultural or religious aliens. People who rejected Catholic rituals or abstained from alcohol could have been interpreted as straying from the dominant norms in the nation, marking these groups as internal “Others” that were influenced by Western ideals. 

To summarize what I found in my research, Lithuania’s national identity is shaped by history, language and religion. An example of an external Other is Russia, and internally, Evangelical Protestant communities were Othered.

Word Count: 1,150

References

Andrijauskas, A. (2008). III. THE EUROPEAN UNION, THE PAST AND THE PRESENT: THE CULTURAL-HISTORICAL MEMORY OF THE GRAND DUCHY OF LITHUANIA AS AN EXPRESSION OF NATIONAL IDENTITY AND AS A CULTURAL CAPITAL FACILITATING INTEGRATION INTO THE EUROPEAN UNION. EBSCO, 1(2), 160–171. https://doi.org/10.3846/2029-0187.2008.1.160-171

Britannica Editors. (2025, March 25). Grand Duchy of Lithuania. Britannica. Retrieved February 3, 2026, from https://www.britannica.com/place/grand-duchy-of-Lithuania

Egan, J. (2018, February 10). Civic vs Ethnic Nationalism And Hosting Eurovision For The First Time. ESC Insight. Retrieved February 3, 2026, from https://escinsight.com/2018/02/12/civic-ethnic-nationalism-eurovision-song-contest-portugal-advice/

Lankauskas, G. (2002). On “Modern” Christians, Consumption, and the Value of National Identity in Post-Soviet Lithuania. EBSCO, 62(3), 320–344. https://doi.org/10.1080/0014184022000031

Ruth, M. (2022). Lithuanian Language. EBSCO. https://www.ebsco.com/research-starters/language-and-linguistics/lithuanian-language#research-starter-title

Stranga, A. (2026, January 29). History of Lithuania. Britannica. Retrieved February 3, 2026, from https://www.britannica.com/place/Lithuania/History

Triandafyllidou, A. (1998). National identity and the `other.’. EBSCO, 21(4), 593–612. https://doi.org/10.1080/014198798329784

Trinkauskaitė, E. (2024). Christian Nationalism in the Lithuanian Context. CrossCurrents, 74(4), 483–500. https://muse.jhu.edu/article/963638

Williams, E. (2021). Lithuanian Awakening: How a book ban rebirthed a national identity. EBSCO, 55(1), 137–152. https://research.ebsco.com/c/fyoty5/search/details/j2wmwi2xff/details?db=a9h&limiters=RV%3AY&q=lithuania+AND+national+identity&searchMode=all

Welcome!

Welcome to my blog! This site is dedicated to exploring Lithuania and its participation in the Eurovision Song Contest. Through this blog, I’ll be looking at how Lithuania presents itself at Eurovision through their song choices, performance style, language and themes. Additionally, how these reflect broader cultural and historical influences. I’m still building my knowledge of both Eurovision and Lithuania, so this space is meant to document that learning process.