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The heated debate that resulted was settled by the "Bundestag" (Germany's parliament) only on 20 June 1991. By a vote of 338–320, the Bundestag voted to move the seat of government to Berlin. The vote broke largely along regional lines, with legislators from the south and west favouring Bonn and legislators from the north and east voting for Berlin. It also broke along generational lines as well; older legislators with memories of Berlin's past glory favoured Berlin, while younger legislators favoured Bonn. Ultimately, the votes of the eastern German legislators tipped the balance in favour of Berlin. From 1990 to 1999, Bonn served as the seat of government of reunited Germany. In recognition of its former status as German capital, it holds the name of Federal City (). Bonn currently shares the status of Germany's seat of government with Berlin, with the President, the Chancellor and many government ministries (such as Food & Agriculture and Defence) maintaining large presences in Bonn. Over 8,000 of the 18,000 federal officials remain in Bonn. A total of 19 United Nations (UN) institutions operate from Bonn today.
Politics and government. Mayor. The current mayor of Bonn is Katja Dörner of Alliance 90/The Greens since 2020. She defeated incumbent mayor Ashok-Alexander Sridharan in the most recent mayoral election, which was held on 13 September 2020, with a runoff held on 27 September. The results were as follows: ! rowspan=2 colspan=2\| Candidate ! rowspan=2\| Party ! colspan=2\| First round ! colspan=2\| Second round ! Votes ! Votes ! colspan=3\| Valid votes ! 140,595 ! 99.1 ! 120,642 ! 99.5 ! colspan=3\| Invalid votes ! 1,219 ! 0.9 ! 627 ! 0.5 ! colspan=3\| Total ! 141,814 ! 100.0 ! 121,269 ! 100.0 ! colspan=3\| Electorate/voter turnout ! 249,091 ! 56.9 ! 249,098 ! 48.7 City council. The Bonn city council governs the city alongside the mayor. It used to be based in the Rococo-style ' (old city hall), built in 1737, located adjacent to Bonn's central market square. However, due to the enlargement of Bonn in 1969 through the incorporation of Beuel and Bad Godesberg, it moved into the larger Stadthaus facilities further north. This was necessary for the city council to accommodate an increased number of representatives. The mayor of Bonn still sits in the ', which is also used for representative and official purposes.
The most recent city council election was held on 13 September 2020, and the results were as follows: ! colspan=2\| Party ! Votes ! +/- ! Seats ! colspan=2\| Valid votes ! 141,100 ! 99.3 ! ! colspan=2\| Invalid votes ! 1,052 ! 0.7 ! ! colspan=2\| Total ! 142,152 ! 100.0 ! 66 ! 20 ! colspan=2\| Electorate/voter turnout ! 249,091 ! 57.1 ! 0.3 ! State government. Four delegates represent the Federal city of Bonn in the Landtag of North Rhine-Westphalia. The last election took place in May 2022. The current delegates are Guido Déus (CDU), Christos Katzidis (CDU), Joachim Stamp (FDP), Tim Achtermeyer (Greens) and Dr. Julia Höller (Greens) Federal government. Bonn's constituency is called "" (096). In the German federal election 2017, Ulrich Kelber (SPD) was elected a member of German Federal parliament, the Bundestag by direct mandate. It is his fifth term. Katja Dörner representing Bündnis 90/Die Grünen and Alexander Graf Lambsdorff for FDP were elected as well. Kelber resigned in 2019 because he was appointed Federal Commissioner for Data Protection and Freedom of Information. As Dörner was elected Lord Mayor of Bonn in September 2020, she resigned as a member of parliament after her entry into office.
Culture. Beethoven's birthplace is located in Bonngasse near the market place. Next to the market place is the Old City Hall, built in 1737 in Rococo style, under the rule of Clemens August of Bavaria. It is used for receptions of guests of the city, and as an office for the mayor. Nearby is the "Kurfürstliches Schloss", built as a residence for the prince-elector and now the main building of the University of Bonn. The "Poppelsdorfer Allee" is an avenue flanked by chestnut trees which had the first horsecar of the city. It connects the "Kurfürstliches Schloss" with the "Poppelsdorfer Schloss", a palace that was built as a resort for the prince-electors in the first half of the 18th century, and whose grounds are now a botanical garden (the Botanischer Garten Bonn). This axis is interrupted by a railway line and Bonn Hauptbahnhof, a building erected in 1883/84. The Beethoven Monument stands on the Münsterplatz, which is flanked by the Bonn Minster, one of Germany's oldest churches. The three highest structures in the city are the WDR radio mast in Bonn-Venusberg (), the headquarters of the Deutsche Post called "Post Tower" () and the former building for the German members of parliament "Langer Eugen" () now the location of the UN Campus.
Museums. Just as Bonn's other four major museums, the "Haus der Geschichte" or Museum of the History of the Federal Republic of Germany, is located on the so-called "Museumsmeile" ("Museum Mile")"." The Haus der Geschichte is one of the foremost German museums of contemporary German history, with branches in Berlin and Leipzig. In its permanent exhibition, the Haus der Geschichte presents German history from 1945 until the present, also shedding light on Bonn's own role as former capital of West Germany. Numerous temporary exhibitions emphasize different features, such as Nazism or important personalities in German history. The "Kunstmuseum Bonn" or Bonn Museum of Modern Art is an art museum founded in 1947. The Kunstmuseum exhibits both temporary exhibitions and its permanent collection. The latter is focused on Rhenish Expressionism and post-war German art. German artists on display include Georg Baselitz, Joseph Beuys, Hanne Darboven, Anselm Kiefer, Blinky Palermo and Wolf Vostell. The museum owns one of the largest collections of artwork by Expressionist painter August Macke. His work is also on display in the August-Macke-Haus, located in Macke's former home where he lived from 1911 to 1914.
The "Bundeskunsthalle" (full name: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland or Art and Exhibition Hall of the Federal Republic of Germany), focuses on the crossroads of culture, arts, and science. To date, it attracted more than 17 million visitors. One of its main objectives is to show the cultural heritage outside of Germany or Europe. Next to its changing exhibitions, the Bundeskunsthalle regularly hosts concerts, discussion panels, congresses, and lectures. The "Museum Koenig" is Bonn's natural history museum. Affiliated with the University of Bonn, it is also a zoological research institution housing the "Leibniz-Institut für Biodiversität der Tiere". Politically interesting, it is on the premises of the Museum Koenig where the Parlamentarischer Rat first met. The "Deutsches Museum Bonn", affiliated with one of the world's foremost science museums, the Deutsches Museum in Munich, is an interactive science museum focusing on post-war German scientists, engineers, and inventions. Other museums include the Beethoven House, birthplace of Ludwig van Beethoven, the Rheinisches Landesmuseum Bonn (Rhinish Regional Museum Bonn), the Bonn Women's Museum, the Rheinisches Malermuseum and the Arithmeum.
Nature. There are several parks, leisure and protected areas in and around Bonn. The "" is Bonn's most important leisure park, with its role being comparable to what Central Park is for New York City. It lies on the banks of the Rhine and is the city's biggest park intra muros. The Rhine promenade and the "Alter Zoll" (Old Toll Station) are in direct neighbourhood of the city centre and are popular amongst both residents and visitors. The "Arboretum Park Härle" is an arboretum with specimens dating to back to 1870. The "Botanischer Garten" (Botanical Garden) is affiliated with the university. The natural reserve of "Kottenforst" is a large area of protected woods on the hills west of the city centre. It is about in area and part of the Rhineland Nature Park (). In the very south of the city, on the border with Wachtberg and Rhineland-Palatinate, there is an extinct volcano, the Rodderberg, featuring a popular area for hikes. Also south of the city, there is the Siebengebirge which is part of the lower half of the Middle Rhine region. The nearby upper half of the Middle Rhine from Bingen to Koblenz is a UNESCO World Heritage Site with more than 40 castles and fortresses from the Middle Ages and important German vineyards.
Transportation. Air traffic. Named after Konrad Adenauer, the first post-war Chancellor of West Germany, Cologne Bonn Airport is situated north-east from the city centre of Bonn. With around 10.3 million passengers passing through it in 2015, it is the seventh-largest passenger airport in Germany and the third-largest in terms of cargo operations. By traffic units, which combines cargo and passengers, the airport is in fifth position in Germany. As of March 2015, Cologne Bonn Airport had services to 115 passenger destinations in 35 countries. The airport is one of Germany's few 24-hour airports, and is a hub for Eurowings and cargo operators FedEx Express and UPS Airlines. The federal motorway ("Autobahn") A59 connects the airport with the city. Long distance and regional trains to and from the airport stop at Cologne/Bonn Airport station. Another major airport within a one-hour drive by car is Düsseldorf International Airport. Rail and bus system. Bonn's central railway station, Bonn Hauptbahnhof is the city's main public transportation hub. It lies just outside the old town and near the central university buildings. It is served by regional (S-Bahn and Regionalbahn) and long-distance (IC and ICE) trains. Daily, more than 67,000 people travel via Bonn Hauptbahnhof. In late 2016, around 80 long distance and more than 165 regional trains departed to or from Bonn every day. Another long-distance station, (Siegburg/Bonn), is located in the nearby town of Siegburg and serves as Bonn's station on the high-speed rail line between Cologne and Frankfurt, offering faster connections to Southern Germany. It can be reached by Stadtbahn line 66 (approx. 25 minutes from central Bonn).
Bonn has a Stadtbahn light rail and a tram system. The Bonn Stadtbahn has 4 regular lines that connect the main north–south axis (centre to Bad Godesberg) and quarters east of the Rhine (Beuel and Oberkassel), as well as many nearby towns like Brühl, Wesseling, Sankt Augustin, Siegburg, Königswinter, and Bad Honnef. All lines serve the Central Station and two lines continue to Cologne, where they connect to the Cologne Stadtbahn. The Bonn tram system consists of two lines that connect closer quarters in the south, north and east of Bonn to the Central Station. While the Stadtbahn mostly has its own right-of-way, the tram often operates on general road lanes. A few sections of track are used by both systems. These urban rail lines are supplemented by a bus system of roughly 30 regular lines, especially since some parts of the city like Hardtberg and most of Bad Godesberg completely lack a Stadtbahn/Tram connection. Several lines offer night services, especially during the weekends. Bonn is part of the Verkehrsverbund Rhein-Sieg ("Rhine-Sieg Transport Association") which is the public transport association covering the area of the Cologne/Bonn Region.
Road network. Four Autobahns run through or are adjacent to Bonn: the A59 (right bank of the Rhine, connecting Bonn with Düsseldorf and Duisburg), the A555 (left bank of the Rhine, connecting Bonn with Cologne), the A562 (connecting the right with the left bank of the Rhine south of Bonn), and the A565 (connecting the A59 and the A555 with the A61 to the southwest). Three Bundesstraßen, which have a general speed limit in contrast to the Autobahn, connect Bonn to its immediate surroundings (Bundesstraßen B9, B42 and B56). With Bonn being divided into two parts by the Rhine, three bridges are crucial for inner-city road traffic: the Konrad-Adenauer-Brücke (A562) in the South, the Friedrich-Ebert-Brücke (A565) in the North, and the Kennedybrücke (B56) in the centre. In addition, regular ferries operate between Bonn-Mehlem and Königswinter, Bonn-Bad Godesberg and Königswinter-Niederdollendorf, and Bonn-Graurheindorf and Niederkassel-Mondorf. Port. Located in the northern sub-district of Graurheindorf, the inland harbour of Bonn is used for container traffic as well as oversea transport. The annual turnover amounts to around . Regular passenger transport occurs to Cologne and Düsseldorf.
Economy. The head offices of Deutsche Telekom, its subsidiary Telekom Deutschland, Deutsche Post, German Academic Exchange Service, and SolarWorld are in Bonn. The third largest employer in the city of Bonn is the University of Bonn (including the university clinics) and Stadtwerke Bonn also follows as a major employer. On the other hand, there are several traditional, nationally known private companies in Bonn such as luxury food producers Verpoorten and Kessko, the Klais organ manufacture and the Bonn flag factory. The largest confectionery manufacturer in Europe, Haribo, has its founding headquarters (founded in 1920) and a production site in Bonn. Since April 2018, the head office of the company is located in the Rhineland-Palatinate municipality of Grafschaft. Other companies of supraregional importance are Weck Glaswerke (production site), Fairtrade, Eaton Industries (formerly Klöckner & Moeller), IVG Immobilien, Kautex Textron, SolarWorld, Vapiano and the SER Group. Education. The Rheinische Friedrich Wilhelms Universität Bonn (University of Bonn) is one of the largest universities in Germany. It is also the location of the German research institute Deutsche Forschungsgemeinschaft (DFG) offices and of the German Academic Exchange Service ("Deutscher Akademischer Austauschdienst" – DAAD).
Demographics. , Bonn had a population of 327,913. About 70% of the population was entirely of German origin, while about 100,000 people, equating to roughly 30%, were at least partly of non-German origin. The city is one of the fastest-growing municipalities in Germany and the 18th most populous city in the country. Bonn's population is predicted to surpass the populations of Wuppertal and Bochum before the year 2030. The following list shows the largest groups of origin of minorities with "migration background" in Bonn . Sports. Bonn is home of the Telekom Baskets Bonn, the only basketball club in Germany that owns its arena, the Telekom Dome. The club is the reigning champion of the 2022–23 Basketball Champions League. The city also has a semi-professional football team Bonner SC which was formed in 1965 through the merger of "Bonner FV" and "Tura Bonn". The Bonn Gamecocks American football team play at the 12,000-capacity Stadion Pennenfeld. The successful German Baseball team Bonn Capitals are also found in the city of Bonn.
The headquarters of the International Paralympic Committee has been located in Bonn since 1999. International relations. Since 1983, the City of Bonn has established friendship relations with the City of Tel Aviv, Israel, and since 1988 Bonn, in former times the residence of the Princes Electors of Cologne, and Potsdam, Germany, the formerly most important residential city of the Prussian rulers, have established a city-to-city partnership. Central Bonn is surrounded by a number of traditional towns and villages which were independent up to several decades ago. As many of those communities had already established their own contacts and partnerships before the regional and local reorganisation in 1969, the Federal City of Bonn now has a dense network of city district partnerships with European partner towns. The city district of Bonn is a partner of the English university city of Oxford, England, UK (since 1947), of Budafok, District XXII of Budapest, Hungary (since 1991) and of Opole, Poland (officially since 1997; contacts were established 1954).
The district of Bad Godesberg has established partnerships with Saint-Cloud in France, Frascati in Italy, Windsor and Maidenhead in England, UK and Kortrijk in Belgium; a friendship agreement has been signed with the town of Yalova, Turkey. The district of Beuel on the right bank of the Rhine and the city district of Hardtberg foster partnerships with towns in France: Mirecourt and Villemomble. Moreover, the city of Bonn has developed a concept of international co-operation and maintains sustainability oriented project partnerships in addition to traditional city twinning, among others with Minsk in Belarus, Ulaanbaatar in Mongolia, Bukhara in Uzbekistan, Chengdu in China and La Paz in Bolivia. Twin towns – sister cities. Bonn is twinned with: Bonn city district is twinned with: For twin towns of other city districts, see Bad Godesberg, Beuel and Hardtberg.
Ballroom dance Ballroom dance is a set of European partner dances, which are enjoyed both socially and competitively around the world, mostly because of its performance and entertainment aspects. Ballroom dancing is also widely enjoyed on stage, film, and television. "Ballroom dance" may refer, at its widest definition, to almost any recreational dance with a partner. However, with the emergence of dance competition (now known as Dancesport), two principal schools have emerged and the term is used more narrowly to refer to the dances recognized by those schools. The International School, originally developed in England and now regulated by the World Dance Council (WDC) and the World DanceSport Federation (WDSF), is most prevalent in Europe. It encompasses two categories, Standard and Latin, each of which consist of five dances—International Waltz, International Tango, International Viennese Waltz, International Slow Foxtrot, and International Quickstep in the Standard category and International Samba, International Cha Cha, International Rumba, International Paso Doble, and International Jive in the Latin category. A "Standard" or "Latin" competition encompasses all five dances in the respective category, and a "Ten Dance" competition encompasses all ten dances. The two styles, while differing in technique, rhythm, and costumes, exemplify core elements of ballroom dancing such as control and cohesiveness.
The American School, also called North American School, is most prevalent in the United States and Canada, where it is regulated by USA Dance and Canada Dancesport (CDS) -- the respective national member bodies of the WDSF. It also consists of two categories analogous to the Standard and Latin categories of the International School, respectively called Smooth and Rhythm. The Smooth category consists of only four dances—American Waltz, American Tango, American Foxtrot, and American Viennese Waltz, omitting American Peabody (the American School equivalent to Quickstep) -- while the dances selected for competition in the Rhythm category are American Cha Cha, American Rumba, American East Coast Swing (the American School equivalent to International Jive), American Bolero, and American Mambo. A "Smooth" or "Rhythm" competition encompasses the dances in the respective category, and a "Nine Dance" competition encompassing all nine of these dances is analogous to the "Ten Dance" competition of the International School. USA Dance additionally recognizes American Peabody, American Merengue, American Paso Doble, American Samba, American West Coast Swing, American Polka, and American Hustle as ballroom dances in which sanctioned competition may take place.
Note that dances of the two schools that bear the same name may differ considerably in permitted patterns (figures), technique, and styling. Exhibitions and social situations that feature ballroom dancing also may include additional partner dances such as Lindy Hop, Night Club Two Step, Night Club Swing, Bachata, Country Two Step, and regional (local or national) favorites that normally are not regarded as part of the ballroom family, and a number of historical dances also may be danced in ballrooms or salons. Additionally, some sources regard Sequence Dancing, in pairs or other formations, to be a style of ballroom dance. Definitions and history. The term 'ballroom dancing' is derived from the word "ball" which in turn originates from the Latin word "ballare" which means 'to dance' (a ball-room being a large room specially designed for such dances). In times past, ballroom dancing was social dancing for the privileged, leaving folk dancing for the lower classes. These boundaries have since become blurred. The definition of ballroom dance also depends on the era: balls have featured popular dances of the day such as the Minuet, Quadrille, Polonaise, Polka, Mazurka, and others, which are now considered to be historical dances.
Early modern period. The first authoritative knowledge of the earliest ballroom dances was recorded toward the end of the 16th century, when Jehan Tabourot, under the pen name "Thoinot-Arbeau", published in 1588 his "Orchésographie", a study of late 16th-century French renaissance social dance. Among the dances described were the solemn basse danse, the livelier branle, pavane, and the galliarde which Shakespeare called the "cinq pace" as it was made of five steps. In 1650, the Minuet, originally a peasant dance of Poitou, was introduced into Paris and set to music by Jean-Baptiste Lully and danced by the King Louis XIV in public. The Minuet dominated the ballroom from that time until the close of the 18th century. Toward the later half of the 17th century, Louis XIV founded his 'Académie Royale de Musique et de Danse', where specific rules for the execution of every dance and the "five positions" of the feet were formulated for the first time by members of the Académie. Eventually, the first definite cleavage between ballet and ballroom came when professional dancers appeared in the ballets, and the ballets left the Court and went to the stage. Ballet technique such as the turned out positions of the feet, however, lingered for over two centuries and past the end of the Victoria era. 19th century.
The waltz with its modern hold took root in England in about 1812; in 1819 Carl Maria von Weber wrote "Invitation to the Dance", which marked the adoption of the waltz form into the sphere of absolute music. The dance was initially met with tremendous opposition due to the semblance of impropriety associated with the closed hold, though the stance gradually softened. In the 1840s several new dances made their appearance in the ballroom, including the polka, mazurka, and the Schottische. In the meantime a strong tendency emerged to drop all 'decorative' steps such as "entrechats" and "ronds de jambes" that had found a place in the Quadrilles and other dances. Early 20th century. Modern ballroom dance has its roots early in the 20th century, when several different things happened more or less at the same time. The first was a movement away from the sequence dances towards dances where the couples moved independently. This had been pre-figured by the waltz, which had already made this transition. The second was a wave of popular music, such as jazz. Since dance is to a large extent tied to music, this led to a burst of newly invented dances. There were many dance crazes in the period 1910–1930.
The third event was a concerted effort to transform some of the dance crazes into dances which could be taught to a wider dance public in the U.S. and Europe. Here Vernon and Irene Castle were important, and so was a generation of English dancers in the 1920s, including Josephine Bradley and Victor Silvester. These professionals analysed, codified, published, and taught a number of standard dances. It was essential, if popular dance was to flourish, for dancers to have some basic movements they could confidently perform with any partner they might meet. Here the huge Arthur Murray organisation in America, and the dance societies in England, such as the Imperial Society of Teachers of Dancing, were highly influential. Finally, much of this happened during and after a period of World War, and the effect of such a conflict in dissolving older social customs was considerable. Later, in the 1930s, the on-screen dance pairing of Fred Astaire and Ginger Rogers influenced all forms of dance in the U.S. and elsewhere. Although both actors had separate careers, their filmed dance sequences together, which included portrayals of the Castles, have reached iconic status. Much of Astaire and Rogers' work portrayed social dancing, although the performances were highly choreographed (often by Astaire or Hermes Pan) and meticulously staged and rehearsed.
Competitive dancing. Competitions, sometimes referred to as dancesport, range from world championships, regulated by the World Dance Council (WDC), to less advanced dancers at various proficiency levels. Most competitions are divided into professional and amateur, though in the USA pro-am competitions typically accompany professional competitions. The International Olympic Committee now recognizes competitive ballroom dance. It has recognized another body, the World DanceSport Federation (WDSF), as the sole representative body for dancesport in the Olympic Games. Ballroom dance competitions are regulated by each country in its own way. There are about 30 countries which compete regularly in international competitions. There are another 20 or so countries which have membership of the WDC and/or the WDSF, but whose dancers rarely appear in international competitions. In Britain there is the British Dance Council, which grants national and regional championship titles, such as the British Ballroom Championships, the British Sequence Championships and the United Kingdom Championships. In the United States, the member branches of the WDC (National Dance Council of America) and the WDSF (USA Dance) both grant national and regional championship titles.
Ballroom dancing competitions in the former USSR also included the Soviet Ballroom dances, or "Soviet Programme". Australian New Vogue is danced both competitively and socially. In competition, there are 15 recognized New Vogue dances, which are performed by the competitors in sequence. These dance forms are not recognized internationally, neither are the US variations such as American Smooth, and Rhythm. Such variations in dance and competition methods are attempts to meets perceived needs in the local market-place. Internationally, the Blackpool Dance Festival, hosted annually at Blackpool, England is considered the most prestigious event a dancesport competitor can attend. Formation dance is another style of competitive dance recognized by the WDSF. In this style, multiple dancers (usually in couples and typically up to 16 dancers at one time) compete on the same team, moving in and out of various formations while dancing. The Blackpool Dance Festival also holds an annual event for competitive formation dancing.
Elements of competition. In competitive ballroom, dancers are judged by diverse criteria such as poise, the hold or frame, posture, musicality and expression, timing, body alignment and shape, floor craft, foot and leg action, and presentation. Judging in a performance-oriented sport is inevitably subjective in nature, and controversy and complaints by competitors over judging placements are not uncommon. The scorekeepers—called scrutineers—will tally the total number recalls accumulated by each couple through each round until the finals when the Skating system is used to place each couple by ordinals, typically 1–6, though the number of couples in the final may vary. Sometimes, up to 8 couples may be present on the floor during the finals. Competitors dance at different levels based on their ability and experience. The levels are split into two categories, syllabus and open. The syllabus levels are newcomer/pre-bronze, bronze, silver, and gold—with gold the highest syllabus level and newcomer the lowest. In these levels, moves are restricted to those written in a syllabus, and illegal moves can lead to disqualification. Each level, bronze, silver, and gold, has different moves on their syllabus, increasing in difficulty. There are three levels in the open category; novice, pre-champ, and champ in increasing order of skill. At those levels, dancers no longer have restrictions on their moves, so complex routines are more common.
Medal evaluations. Medal evaluations for amateurs enable dancers' individual abilities to be recognized according to conventional standards. In medal evaluations, which are run by bodies such as the Imperial Society of Teachers of Dancing (ISTD) and the United Kingdom Alliance (UKA), each dancer performs two or more dances in a certain genre in front of a judge. Genres such as Modern Ballroom or Latin are the most popular. Societies such as the ISTD and UKA also offer medal tests on other dance styles (such as Country & Western, Rock 'n Roll or Tap). In some North American examinations, levels include Newcomer, Bronze, Silver, Gold, Novice, Pre-championship, and Championship; each level may be further subdivided into either two or four separate sections. Collegiate ballroom. There is a part of the ballroom world dedicated to college students. These chapters are typically clubs or teams that have an interest in ballroom dancing. Teams hold fundraisers, social events, and ballroom dance lessons. Ballroom dance teams' goals are to have fun and learn to dance well. There is a strong focus on finding a compatible dance partner and bonding with teammates. There is also a competitive side to collegiate ballroom - collegiate teams often hold competitions and invite other teams to participate. These competitions are often run with many of the same rules are regular amateur competitions as outlined above, but are usually organized entirely by collegiate teams. Examples include the MIT Open Ballroom Dance Competition, Big Apple Dancesport Challenge, Purdue Ballroom Classic, Cardinal Classic, Berkeley Classic, Helluva Dance Competition and Harvard Invitational.
Dances. "Ballroom dance" refers most often to the ten dances of Standard and Latin, though the term is also often used interchangeably with the five International Ballroom dances. Sequence dancing, which is danced predominantly in the United Kingdom, and its development New Vogue in Australia and New Zealand, are also sometimes included as a type of Ballroom dancing. In the United States and Canada, the American Style (American Smooth and American Rhythm) also exists. The dance technique used for both International and American styles is similar, but International Ballroom allows only closed dance positions, whereas American Smooth allows closed, open and separated dance movements. In addition, different sets of dance figures are usually taught for the two styles. International Latin and American Rhythm have different styling, and have different dance figures in their respective syllabi. Other dances sometimes placed under the umbrella "ballroom dance" include nightclub dances such as Lindy Hop, West Coast swing, nightclub two step, hustle, salsa, and merengue. The categorization of dances as "ballroom dances" has always been fluid, with new dances or folk dances being added to or removed from the ballroom repertoire from time to time, so no list of subcategories or dances is any more than a description of current practices. There are other dances historically accepted as ballroom dances, and are revived via the vintage dance movement.
In Europe, Latin Swing dances include Argentine tango, mambo, Lindy Hop, swing boogie (sometimes also known as nostalgic boogie), and discofox. One example of this is the subcategory of cajun dances that originated in Acadiana, with branches reaching both coasts of the United States. Standard/Smooth dances are normally danced to Western music (often from the mid-twentieth century), and couples dance counter-clockwise around a rectangular floor following the line of dance. In competitions, competitors are costumed as would be appropriate for a white tie affair, with full gowns for the ladies and bow tie and tail coats for the men; though in American Smooth it is now conventional for the men to abandon the tailsuit in favor of shorter tuxedos, vests, and other creative outfits. Latin/Rhythm dances are commonly danced to contemporary Latin American music and (in case of jive) Western music. With the exception of a few traveling dances like samba and pasodoble, couples do not follow the line of dance but perform their routines more or less in one spot. In competitions, the women are often dressed in short-skirted Latin outfits while the men are outfitted in tight-fitting shirts and pants, the goal being to emphasize the dancers' leg action and body movements.
Competitive dances. Standard/Smooth. Waltz. Waltz began as a country folk dance in Austria and Bavaria in the 17th century. In the early 19th century it was introduced in England. It was the first dance where a man held a woman close to his body. When performing the dance, the upper body is kept to the left throughout all figures, the follower's body leans to the right side of the leader while the head is extended left to follow the elbow. Figures with rotation have little rise. The start of the rise begins slowly from the first count, peaks on the 2nd count and lowers slowly on the 3rd. Sway is also used on the second step to make the step longer and also to slow down the momentum by bringing the feet together. Waltz is performed for both International Standard and American Smooth. Viennese Waltz. Viennese waltz originated in Provence area in France in 1559 and is recognized as the oldest of all ballroom dances. It was introduced in England as German waltz in 1812 and became popular throughout the 19th century by the music of Josef and Johann Strauss. It is often referred to as the classic “old-school” ballroom. Viennese Waltz music is quite fast. Slight shaping of the body moves towards the inside of the turn and shaping forward and up to lengthen the opposite side from direction. Reverse turn is used to travel down long side and is overturned. While natural turn is used to travel short side and is underturned to go around the corners. Viennese waltz is performed for both International Standard and American Smooth.
Tango. Tango originated in Buenos Aires in the late 19th century. Modern Argentine tango is danced in both open and closed embraces which focuses on the lead and follow moving in harmony of the tango's passionate charging music. The tango's technique is like walking to the music while keeping feet grounded and allowing ankles and knees to brush against one another during each step taken. Tango is a flat-footed dance and unlike the other dances, has no rise and fall. Body weight is kept over the toes and the connection is held between the dancers in the hips. Ballroom tango, however, is a dance with a far more open frame, often utilising strong and staccato movements. Ballroom tango, rather than Argentine tango, is performed in international competition. Foxtrot. The foxtrot is an American dance, believed to be of African-American origin. It was named by a vaudeville performer Harry Fox in 1914. Fox was rapidly trotting step to ragtime music. The dance therefore was originally named as the “Fox’s trot”. The foxtrot can be danced at slow, medium, or fast tempos depending on the speed of the jazz or big band music. The partners are facing one another and frame rotates from one side to another, changing direction after a measure. The dance is generally danced flat, with not much rise and fall. The walking steps are taken as slow for the two beats per steps and quick for one beat per step. Foxtrot is performed for both International Standard and American Smooth.
Quickstep. The quickstep is an English dance and was invented in the 1920s as a combination of faster tempo of foxtrot and the Charleston. It is a fast moving dance, so men are allowed to close their feet and the couples move in short syncopated steps. Quickstep includes the walks, runs, chasses, and turns of the original foxtrot dance, with some other fast figures such as locks, hops, run, quick step, jump and skips. Quick step is performed as an International Standard dance. Latin/Rhythm. Pasodoble. The pasodoble originated from Spain and its dramatic bullfights. The dance is mostly performed only in competitions and rarely socially because of its many choreographic rules. The lead plays the role of the matador while the follow takes the role of the matador's cape, the bull, or even the matador. The chasse cape refers to the lead using the follow to turn them as if they are the cape, and the appel is when the lead stomps their foot to get the bull's attention. Pasodoble is performed as an International Latin dance.
Spanish bolero. The Spanish bolero was developed in the late 18th century out of the "seguidilla", and its popularization is attributed to court dancers such as Sebastián Cerezo. It became one of the most popular ballroom dances of the 19th century and saw many classical adaptations. However, by the 20th century it had become old-fashioned. A Cuban music genre of the same name, bolero, which became popular in the early 20th century, is unrelated to the Spanish dance. Cuban bolero. Although Cuban bolero was born as a form of "trova", traditional singer/songwriter tradition from eastern Cuba, with no associated dance, it soon became a ballroom favorite in Cuba and all of Latin America. The dance most commonly represents the couple falling in love. Modern bolero is seen as a combination of many dances: like a slow salsa with contra-body movement of tango, patterns of rhumba, and rise and fall technique and personality of waltz and foxtrot. Bolero can be danced in a closed hold or singly and then coming back together. It is performed as an American Rhythm dance.
Samba. Samba is the national dance of Brazil. The rhythm of samba and its name originated from the language and culture of West African slaves. In 1905, samba became known to other countries during an exhibition in Paris. In the 1940s, samba was introduced in America through Carmen Miranda. The international version of Ballroom Samba has been based on an early version of Brazilian Samba called Maxixe, but has since developed away and differs strongly from Brazilian Ballroom Samba, which is called Samba de Gafieira. International Ballroom Samba is danced with a slight bounce which is created through the bending and straightening the knee. It is performed as an International Latin dance, although most of its modern development has occurred outside Latin America. Rumba. Rumba came to the United States from Cuba in the 1920s and became a popular cabaret dance during prohibition. Rumba is a ballroom adaptation of son cubano and bolero (the Cuban genre) and, despite its name, it rarely included elements of Cuban rumba. It includes Cuban motions through knee-strengthening, figure-eight hip rotation, and swiveling foot action. An important characteristic of rumba is the powerful and direct lead achieved through the ball of the foot. Rumba is performed for both International Latin and American Rhythm.
Mambo. Mambo was developed as an offshoot of danzón, the national dance of Cuba, in the late 1930s by Orestes López and his brother Cachao, of Arcaño y sus Maravillas. They conceived a new form of danzón influenced by son cubano, with a faster, improvised final section, which allowed dancers to more freely express themselves, given that danzón had traditionally a very rigid structure. In the 1940s, Dámaso Pérez Prado transformed the mambo from the charanga into the big band format, and took it to Mexico and the United States, where it became a "dance craze". Cha Cha. Cha Cha (sometimes wrongly called Cha Cha Cha based on a "street version" of the dance with shifted timing) was developed by Enrique Jorrín in the early 1950s, as a slower alternative to Mambo—and, in fact, was originally called Triple Mambo. The Cha Cha is a flirtatious dance with many hip rotations and partners synchronising their movements. The dance includes bending and straightening of the knee giving it a touch of Cuban motion. Cha-cha is performed for both International Latin and American Rhythm.
East Coast Swing. Swing in 1927 was originally named the Lindy Hop named by Shorty George Snowden. There have been 40 different versions documented over the years; most common is the East Coast swing which is performed in the American Smooth (or American Rhythm) only in the U.S. or Canada. The East Coast swing was established by Arthur Murray and others only shortly after World War II. Swing music is very lively and upbeat and can be danced to jazz or big band music. The swing dancing style has much bounce and energy. Swing also includes many spins and underarm turns. East Coast swing is performed as an American Rhythm dance. Jive. The jive is part of the swing dance group and is a very lively variation of the jitterbug. Jive originated from African American clubs in the early 1940s. During World War II, American soldiers introduced the jive in England where it was adapted to today's competitive jive. In jive, the man leads the dance while the woman encourages the man to ask her to dance. It is danced to big band music, and some technique is taken from salsa, swing and tango. Jive is performed as an International Latin dance.
Dance style classification. International Style competition dances. According to World Dance Council. Standard. Waltz: 28 bars per minute, time, also known as "Slow Waltz" or "English Waltz" depending on locality Tango: 31 bars per minute, time Viennese Waltz: 58 bars per minute, time. On the European continent, the Viennese waltz is known simply as "waltz", while the waltz is recognized as "English waltz" or "Slow Waltz". Foxtrot: 28 bars per minute, time Quickstep: 50 bars per minute, time Latin. Cha-cha-cha: 29 bars per minute, time Samba: 49 bars per minute, time Rumba: 24 bars per minute, time Paso Doble: 60 bars per minute, time Jive: 41 bars per minute, time American Style competition dances. Smooth. Waltz: 29–30 bars per minute. 30–32 bars per minute for Bronze Tango: 60 bars per minute 30–32 bars per minute for Bronze Foxtrot: 30 bars per minute 32–34 bars per minute for Bronze Viennese Waltz: 53–54 bars per minute 54 bars per minute for Bronze Rhythm. Cha Cha: 30 bars per minute Rumba: 30–32 bars per minute 32–36 bars per minute for Bronze East Coast Swing: 36 bars per minute 34–36 bars per minute for Bronze Bolero: 24 bars per minute 24–26 bars per minute for Bronze Mambo: 47 bars per minute 48–51 bars per minute for Bronze Others. Historical/Vintage Ballroom dance: Other dances occasionally categorized as ballroom:
The Birth of a Nation The Birth of a Nation is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play "". Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. "The Birth of a Nation" is a landmark of film history, lauded for its technical virtuosity. It was the first non-serial American 12-reel film ever made. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It helped to pioneer closeups and fadeouts, and it includes a carefully staged battle sequence with hundreds of extras made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened inside the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet.
The film was controversial even before its release and it has remained so ever since; it has been called "the most controversial film ever made in the United States", as well as "the most reprehensibly racist film in Hollywood history". The film has been denounced for its racist depiction of African Americans. The film portrays its black characters (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK), a white supremacist hate group, is portrayed as a heroic force that protects white women and maintains white supremacy. Popular among white audiences nationwide upon its release, the film's success was both a consequence of and a contributor to racial segregation throughout the U.S. In response to the film's depictions of black people and Civil War history, African Americans across the U.S. organized and protested. In Boston and other localities, black leaders and the NAACP spearheaded an unsuccessful campaign to have it banned on the basis that it inflamed racial tensions and could incite violence. It was also denied release in the state of Ohio and the cities of Chicago, Denver, Pittsburgh, St. Louis, and Minneapolis. Griffith's indignation at efforts to censor or ban the film motivated him to produce "Intolerance" the following year.
In spite of its divisiveness, "The Birth of a Nation" was a massive commercial success across the nation—grossing far more than any previous motion picture—and it profoundly influenced both the film industry and American culture. Adjusted for inflation, the film remains one of the highest-grossing films ever made. It has been acknowledged as an inspiration for , which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot. Part 1: Civil War of United States. Phil, the elder son of the Stonemans (a Northern family), falls in love with Margaret Cameron (the daughter of a Southern family), during a visit to the Cameron estate in South Carolina. There, Margaret's brother Ben idolizes a picture of Elsie Stoneman, Phil's sister. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers die in combat. Meanwhile, a black militia attacks the Cameron home and is routed by Confederate soldiers who save the Cameron women. Leading the final charge at the Siege of Petersburg, Ben Cameron earns the nickname of "the Little Colonel", but is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C.
During his stay at the hospital, he learns that he will be hanged. Working there as a nurse is Elsie Stoneman, whose picture he has been carrying. Elsie takes Cameron's mother who traveled there to tend her son and to see Abraham Lincoln. Mrs. Cameron persuades him to pardon Ben. After Lincoln's assassination, his conciliatory postwar policy expires with him. Elsie's father and other Radical Republicans are determined to punish the South. Part 2: Reconstruction. Stoneman and his protégé Silas Lynch, a psychopathic mulatto, head to South Carolina to observe the implementation of Reconstruction policies. During the election, in which Lynch is elected lieutenant governor, black people stuff the ballot boxes while many white people are denied the vote. The newly elected members of the South Carolina legislature are mostly black. Inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks up with him. While going off alone into the woods to fetch water, Flora Cameron is followed by Gus, a freedman and soldier who is now a captain. Gus says that he desires to marry Flora. Uninterested, she rejects him, but Gus keeps insisting. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora threatens to jump if he comes any closer. When he does, she leaps to her death. While looking for Flora, Ben sees her jump and holds her as she dies. He then carries her body to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, lynches him and delivers his corpse to the home of Silas Lynch.
After discovering Gus's murder, Lynch orders a crackdown on the Klan. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and some of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two former Union soldiers who agree to hide them. Congressman Stoneman, Elsie's father, leaves to avoid being connected with Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, visits Lynch to plead for his release. Lynch, who lusts after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch says that he wants to marry a white woman, but he is then angered when Lynch says that he wishes to marry Elsie. She breaks a window and cries out for help, getting the attention of undercover Klansman spies. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Lynch is captured while his militia attacks the hut where the Camerons are hiding. However, the Klansmen, with Ben at their head, save them. The next election day, black men find a line of mounted and armed Klansmen outside their homes and are intimidated into not voting. Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron.
Production. 1911 version. In 1911, the Kinemacolor Company of America produced a lost film in Kinemacolor titled "The Clansman". It was filmed in the southern United States and directed by William F. Haddock. According to different sources, the ten-reel film was either completed by January 1912 or left uncompleted with a little more than a reel of footage. There are several speculated reasons why the film production failed including unresolved legal issues regarding the rights to the story, financial issues, problems with the Kinemacolor process, and poor direction. Frank E. Woods, the film's scriptwriter, showed his work to Griffith, who was inspired to create his own film adaptation of the novel, titled "The Birth of a Nation". Inspiration. Many of the fictional characters in the film are based on real historical figures. Abolitionist U.S. Representative Austin Stoneman is based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania. Ben Cameron is modeled after Leroy McAfee. Silas Lynch was modeled after Alonzo J. Ransier and Richard Howell Gleaves.
Development. After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of "The Clansman". Through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from "The Clansman" where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming "Home, Sweet Home" in 1914. "Birth of a Nation" "follows "The Clansman" [the play] nearly scene by scene." While some sources also credit "The Leopard's Spots" as source material, Russell Merritt attributes this to "the original 1915 playbills and program for "Birth" which, eager to flaunt the film's literary pedigree, cited both "The Clansman" and "The Leopard's Spots" as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from "The Leopard's Spots"... Any likenesses between the film and "The Leopard's Spots" occur because some similar scenes, circumstances, and characters appear in both books."
Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play "The Clansman". Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for "The Birth of a Nation" appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men which did not reflect Griffith's interests. Filming. Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced by Robert Underwood Johnson's book "Battles and Leaders of the Civil War", "Harper's Pictorial History of the Civil War", "The Soldier in Our Civil War", and Mathew Brady's photography.
Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people'." However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith had shot approximately 150,000 feet of footage (approximately 36 hours of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution". It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed.
Score. Although "The Birth of a Nation" is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For "The Birth of a Nation", composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the February 8, 1915, Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre, but it was the score featured in all showings save those on the West Coast.
Outside of original compositions, Breil adapted classical music for use in the film, including passages from "Der Freischütz" by Carl Maria von Weber, "Leichte Kavallerie" by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home," "The Star-Spangled Banner," "America the Beautiful," "The Battle Hymn of the Republic," "Auld Lang Syne," and "Where Did You Get That Hat?" DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music...an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Wagner as influential on subsequent Hollywood films, including "Star Wars" (1977) and "Apocalypse Now" (1979).
In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom "Amos 'n' Andy". Release. Theatrical run. The first public showing of the film, then called "The Clansman", was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 people at Clune's Auditorium in downtown Los Angeles and ran there for seven months. At the New York premiere, Dixon spoke on stage when the interlude started halfway through the film, reminding the audience that the dramatic version of "The Clansman" appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of "The Clansman"." An estimated 3 million people watched the film across 6,266 showings in New York City by January 1916.
The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title. Dixon had seen a screening of the film for an invited audience in New York in early 1915, when the title was still "The Clansmen". Struck by the power of the film, he told Griffith that "The Clansmen" was not an appropriate title, and suggested that it be changed to "The Birth of a Nation". The title was changed before the March 2 New York opening. However, the title was used in the press as early as January 2, 1915, while it was still referred to as "The Clansman" in October.
Special screenings. White House showing. "The Birth of a Nation" was the first movie shown in the White House, in the East Room, on February 18, 1915. An earlier movie, the Italian "Cabiria" (1914), was shown on the lawn. It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing." There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary Joseph Patrick Tumulty showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's "alma mater", Wake Forest College.
Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and in 1913 dedicated his historical novel about Lincoln, "The Southerner", to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play "The Clansman", it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when "The Washington Evening Star", at that time Washington, D.C.'s newspaper of record, reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend" and that Wilson's interest in it "is due to the great lesson of peace it teaches." Wilson, and only Wilson, is quoted by name in the movie for his observations on American history and the title of Wilson's book ("History of the American People") is mentioned as well. The three title cards with quotations from Wilson's book read (ellipses and underscore in the original):
"Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes... In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "... The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South... in their determination to 'put the white South under the heel of the black South.'" "The white men were roused by a mere instinct of self-preservation... until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and that into which it evolved. Dixon has been accused of misquoting Wilson. In 1937, a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash."
Showing in the Raleigh Hotel ballroom. The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout."
Consequences. In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon "Birth of a Nation". Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends".
In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat... Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release. One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints).
These are the second and third of three opening title cards that defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in "The Birth of a Nation" was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates a film that "erodes the very ideal" of liberty that he asserts.
Social impact. KKK support. Studies have linked the film to greater support for the KKK. Glorifying the Klan to approving white audiences, the film became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. Anti-black violence. When the film was released, riots broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of white people to attack black people. On April 24, 1916, the "Chicago American" reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen "The Birth of a Nation". The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote racial prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities.
In 2021, a Harvard University research paper found that the film was shown in 606 counties in the United States and that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." A 2023 study in the American Economic Review found that roadshow screenings of the film were associated with a sharp spike in lynchings and race riots between 1915 and 1920. Contemporary reception. Critical response. "The New York Times" called the film "melodramatic" and "inflammatory" in a brief review adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." "Variety" praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out."
Burns Mantle in the "New York Daily News" noted "an element of excitement that swept a sophisticated audience like a prairie fire in a high wind", while the "New York Tribune" said it was a "spectacular drama" with "thrills piled upon thrills". "The New Republic", however, called it "aggressively vicious and defamatory" and a "spiritual assassination. It degrades the censors that passed it and the white race that endures it". Box office. The box office gross of "The Birth of a Nation" is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that ""Birth" certainly generated more than $60 million in box-office business in its first run".
The film was the highest-grossing film until it was overtaken by "Gone with the Wind" (1939), another film about the Civil War and Reconstruction era. By 1940 "Time" magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years "Variety" had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 "Time" article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by "Titanic" (1997) and "Avatar" (2009) in nominal earnings. Criticism. Like Dixon's novels and play, "Birth of a Nation" received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous... menace" that Dixon and Griffith sought "the backing" of President Wilson and the Supreme Court.
The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to "The Birth of a Nation" ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." W. E. B. Du Bois's biographer David Levering Lewis opined that "... "The Birth of a Nation" and the NAACP helped make each other", in that the NAACP campaign in one sense served as advertising for the film, but that it also "... mobilized thousands of black and white men and women in large cities across the country... who had been unaware of the existence of the [NAACP] or indifferent to it."
Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the "New York Post" on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing "The Birth of a Nation" that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of "The Birth of a Nation" on a scene-by-scene basis.
Both Griffith and Dixon in letters to the press dismissed African-American protests against "The Birth of a Nation". In a letter to "The New York Globe", Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against "The Birth of a Nation" "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of "The New York Globe" wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward".
Audience reaction. "The Birth of a Nation" was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The "Los Angeles Times" called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation" was the first picture that really made people take the motion picture industry seriously". The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography "The Making of a Southerner": "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity."
Sequel and spin-offs. D. W. Griffith made a film in 1916, called "Intolerance", partly in response to the criticism that "The Birth of a Nation" received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to "The Birth of a Nation". A sequel called "The Fall of a Nation" was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called "The Birth of a Race" was released as a direct response to "The Birth of a Nation". The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released "Within Our Gates", a response to "The Birth of a Nation". "Within Our Gates" depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as "Rebirth of a Nation" by DJ Spooky. Quentin Tarantino has said that he made his film "Django Unchained" (2012) to counter the falsehoods of "The Birth of a Nation".
Influence. In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for "The Birth of a Nation", the Klan might not have been reborn. Modern reception. Critical response. Released in 1915, "The Birth of a Nation" has been considered as innovative among its contemporaries in the early days of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly "The Birth of a Nation" (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet.
Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: ""The Birth of a Nation" is not a bad film because it argues for evil. Like Riefenstahl's "Triumph of the Will", it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the "Los Angeles Times", the film facilitated the refounding of the Ku Klux Klan in 1915. History.com states that "There is no doubt that "Birth of a Nation" played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote "The Birth of a Nation" was:
Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel".
In an article for "The Atlantic", film critic Ty Burr deemed "The Birth of a Nation" the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of "Time" wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in "The Birth of a Nation"." Corliss praised the film's "brilliant storytelling technique" and noted that ""The Birth of a Nation" is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades. In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute ranked it #44 within the AFI's 100 Years...100 Movies list in 1998.
Historical portrayal. The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, African-Americans could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity.
The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book "The Tragic Era: The Revolution After Lincoln", Claude Bowers treated "The Birth of a Nation" as a factually accurate account of Reconstruction. In "The Tragic Era", Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!"
Academic assessment. Historian E. Merton Coulter treated "The Birth of a Nation" as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in "Intolerance" (1916), which criticized prejudice. And in "Broken Blossoms" he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens's biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will.
In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Instead, most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions did not have historical equivalents. However, there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia, and the organized Klan continued activities as small groups of "night riders".
The civil rights movement of the 1960s inspired a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work, but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of voting rights to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias used extensive terrorism, intimidation and even assassinations to suppress African-American leaders and voters in the 1870s and thereby to regain power in the South. Legacy. Film innovations. In his review of "The Birth of a Nation" in "1001 Movies You Must See Before You Die", Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language... virtually every film is beholden to ["The Birth of a Nation"] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that "The Birth of a Nation" remains respected and studied to this day—despite its subject matter—reveals its lasting importance."
Griffith helped to pioneer such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. "The Birth of a Nation" also contained many new artistic techniques, such as color tinting for dramatic purposes, and featuring its own musical score written for an orchestra. Home media and restorations. For many years, "The Birth of a Nation" was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website "Brenton Film", many home media releases of the film consisted of "poor quality DVDs with different edits, scores, [and] running speeds," which were "usually in "definitely unoriginal" black and white." One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, "The Making of The Birth of a Nation", newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000.
In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and screened in theaters many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared an HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period.
In popular culture. I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. References. Informational notes Citations Bibliography Further reading
Baltic Sea The Baltic Sea is an arm of the Atlantic Ocean that is enclosed by the countries of Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Poland, Russia, Sweden, and the North and Central European Plain regions. The sea stretches from 53°N to 66°N latitude and from 10°E to 30°E longitude. It is a shelf sea and marginal sea of the Atlantic with limited water exchange between the two, making it an inland sea. The Baltic Sea drains through the Danish straits into the Kattegat by way of the Øresund, Great Belt and Little Belt. It includes the Gulf of Bothnia (divided into the Bothnian Bay and the Bothnian Sea), the Gulf of Finland, the Gulf of Riga and the Bay of Gdańsk. The "Baltic Proper" is bordered on its northern edge, at latitude 60°N, by Åland and the Gulf of Bothnia, on its northeastern edge by the Gulf of Finland, on its eastern edge by the Gulf of Riga, and in the west by the Swedish part of the southern Scandinavian Peninsula. The Baltic Sea is connected by artificial waterways to the White Sea via the White Sea–Baltic Canal and to the German Bight of the North Sea via the Kiel Canal.
Definitions. Administration. The Helsinki Convention on the Protection of the Marine Environment of the Baltic Sea Area includes the Baltic Sea and the Kattegat, without calling Kattegat a part of the Baltic Sea, "For the purposes of this Convention the 'Baltic Sea Area' shall be the Baltic Sea and the Entrance to the Baltic Sea, bounded by the parallel of the Skaw in the Skagerrak at 57°44.43'N." Traffic history. Historically, the Kingdom of Denmark collected Sound Dues from ships at the border between the ocean and the land-locked Baltic Sea, in tandem: in the Øresund at Kronborg castle near Helsingør; in the Great Belt at Nyborg; and in the Little Belt at its narrowest part then Fredericia, after that stronghold was built. The narrowest part of Little Belt is the "Middelfart Sund" near Middelfart. Oceanography. Geographers widely agree that the preferred physical border between the Baltic and North Seas is the Langelandsbælt (the southern part of the Great Belt strait near Langeland) and the Drogden-Sill strait. The Drogden Sill is situated north of Køge Bugt and connects Dragør in the south of Copenhagen to Malmö; it is used by the Øresund Bridge, including the "Drogden Tunnel". By this definition, the Danish straits is part of the entrance, but the Bay of Mecklenburg and the Bay of Kiel are parts of the Baltic Sea.
Another usual border is the line between Falsterbo, Sweden, and Stevns Klint, Denmark, as this is the southern border of Øresund. It is also the border between the shallow southern Øresund (with a typical depth of 5–10 meters only) and notably deeper water. Hydrography and biology. Drogden Sill (depth of ) sets a limit to Øresund and Darss Sill (depth of ), and a limit to the Belt Sea. The shallow sills are obstacles to the flow of heavy salt water from the Kattegat into the basins around Bornholm and Gotland. The Kattegat and the southwestern Baltic Sea are well oxygenated and have a rich biology. The remainder of the Sea is brackish, poor in oxygen, and in species. Thus, statistically, the more of the entrance that is included in its definition, the healthier the Baltic appears; conversely, the more narrowly it is defined, the more endangered its biology appears. Etymology and nomenclature. Tacitus called it the Suebic Sea, Latin: after the Germanic people of the Suebi, and Ptolemy "Sarmatian Ocean" after the Sarmatians, but the first to name it the "Baltic Sea" () was the eleventh-century German chronicler Adam of Bremen. The origin of the latter name is speculative and it was adopted into Slavic and Finnic languages spoken around the sea, very likely due to the role of Medieval Latin in cartography. It might be connected to the Germanic word "belt", a name used for two of the Danish straits, the Belts, while others claim it to be directly derived from the source of the Germanic word, Latin "belt". Adam of Bremen himself compared the sea with a belt, stating that it is so named because it stretches through the land as a belt ("Balticus, eo quod in modum baltei longo tractu per Scithicas regiones tendatur usque in Greciam").
He might also have been influenced by the name of a legendary island mentioned in the "Natural History" of Pliny the Elder. Pliny mentions an island named "Baltia" (or "Balcia") with reference to accounts of Pytheas and Xenophon. It is possible that Pliny refers to an island named Basilia ("the royal") in "On the Ocean" by Pytheas. "Baltia" also might be derived from "belt", and therein mean "near belt of sea, strait". Others have suggested that the name of the island originates from the Proto-Indo-European root "bʰel" meaning "white, fair", which may echo the naming of seas after colours relating to the cardinal points (as per Black Sea and Red Sea). This 'bʰel' root and basic meaning were retained in Lithuanian (as ), Latvian (as ) and Slavic (as ). On this basis, a related hypothesis holds that the name originated from this Indo-European root via a Baltic language such as Lithuanian. Another explanation is that, while derived from the aforementioned root, the name of the sea is related to names for various forms of water and related substances in several European languages, that might have been originally associated with colors found in swamps (compare Proto-Slavic "*bolto" "swamp"). Yet another explanation is that the name originally meant "enclosed sea, bay" as opposed to open sea.
In the Middle Ages the sea was known by a variety of names. The name Baltic Sea became dominant after 1600. Usage of "Baltic" and similar terms to denote the region east of the sea started only in the 19th century. Name in other languages. The Baltic Sea was known in ancient Latin language sources as or even . Older native names in languages that used to be spoken on the shores of the sea or near it usually indicate the geographical location of the sea (in Germanic languages), or its size in relation to smaller gulfs (in Old Latvian), or tribes associated with it (in Old Russian the sea was known as the Varanghian Sea). In modern languages, it is known by the equivalents of "East Sea", "West Sea", or "Baltic Sea" in different languages: History. Classical world. At the time of the Roman Empire, the Baltic Sea was known as the or "Mare Sarmaticum". Tacitus in his AD 98 "Agricola" and "Germania" described the Mare Suebicum, named for the Suebi tribe, during the spring months, as a brackish sea where the ice broke apart and chunks floated about. The Suebi eventually migrated southwest to temporarily reside in the Rhineland area of modern Germany, where their name survives in the historic region known as Swabia. Jordanes called it the "Germanic Sea" in his work, the "Getica".
Middle Ages. In the early Middle Ages, Norse (Scandinavian) merchants built a trade empire all around the Baltic. Later, the Norse fought for control of the Baltic against Wendish tribes dwelling on the southern shore. The Norse also used the rivers of Russia for trade routes, finding their way eventually to the Black Sea and southern Russia. This Norse-dominated period is referred to as the Viking Age. Since the Viking Age, the Scandinavians have referred to the Baltic Sea as "Austmarr" ("Eastern Sea"). "Eastern Sea", appears in the "Heimskringla" and "Eystra salt" appears in "Sörla þáttr". Saxo Grammaticus recorded in "Gesta Danorum" an older name, "Gandvik", "-vik" being Old Norse for "bay", which implies that the Vikings correctly regarded it as an inlet of the sea. Another form of the name, "Grandvik", attested in at least one English translation of "Gesta Danorum", is likely to be a misspelling. In addition to fish the sea also provides amber, especially from its southern shores within today's borders of Poland, Russia and Lithuania. First mentions of amber deposits on the South Coast of the Baltic Sea date back to the 12th century. The bordering countries have also traditionally exported lumber, wood tar, flax, hemp and furs by ship across the Baltic. Sweden had from early medieval times exported iron and silver mined there, while Poland had and still has extensive salt mines. Thus, the Baltic Sea has long been crossed by much merchant shipping.
The lands on the Baltic's eastern shore were among the last in Europe to be converted to Christianity. This finally happened during the Northern Crusades: Finland in the twelfth century by Swedes, and what are now Estonia and Latvia in the early thirteenth century by Danes and Germans (Livonian Brothers of the Sword). The Teutonic Order gained control over parts of the southern and eastern shore of the Baltic Sea, where they set up their monastic state. Lithuania was the last European state to convert to Christianity. An arena of conflict. In the period between the 8th and 14th centuries, there was much piracy in the Baltic from the coasts of Pomerania and Prussia, and the Victual Brothers held Gotland. Starting in the 11th century, the southern and eastern shores of the Baltic were settled by migrants mainly from Germany, a movement called the "Ostsiedlung" ("east settling"). Other settlers were from the Netherlands, Denmark, and Scotland. The Polabian Slavs were gradually assimilated by the Germans. Denmark gradually gained control over most of the Baltic coast, until she lost much of her possessions after being defeated in the 1227 Battle of Bornhöved.
In the 13th to 16th centuries, the strongest economic force in Northern Europe was the Hanseatic League, a federation of merchant cities around the Baltic Sea and the North Sea. In the sixteenth and early seventeenth centuries, Poland, Denmark, and Sweden fought wars for "Dominium maris baltici" ("Lordship over the Baltic Sea"). Eventually, it was Sweden that virtually encompassed the Baltic Sea. In Sweden, the sea was then referred to as "Mare Nostrum Balticum" ("Our Baltic Sea"). The goal of Swedish warfare during the 17th century was to make the Baltic Sea an all-Swedish sea ("Ett Svenskt innanhav"), something that was accomplished except the part between Riga in Latvia and Stettin in Pomerania. However, the Dutch dominated the Baltic trade in the seventeenth century. In the eighteenth century, Russia and Prussia became the leading powers over the sea. Sweden's defeat in the Great Northern War brought Russia to the eastern coast. Russia became and remained a dominating power in the Baltic. Russia's Peter the Great saw the strategic importance of the Baltic and decided to found his new capital, Saint Petersburg, at the mouth of the Neva river at the east end of the Gulf of Finland. There was much trading not just within the Baltic region but also with the North Sea region, especially eastern England and the Netherlands: their fleets needed the Baltic timber, tar, flax, and hemp.
During the Crimean War, a joint British and French fleet attacked the Russian fortresses in the Baltic; the case is also known as the Åland War. They bombarded Sveaborg, which guards Helsinki; and Kronstadt, which guards Saint Petersburg; and they destroyed Bomarsund in Åland. After the unification of Germany in 1871, the whole southern coast became German. World War I was partly fought in the Baltic Sea. After 1920 Poland was granted access to the Baltic Sea at the expense of Germany by the Polish Corridor and enlarged the port of Gdynia in rivalry with the port of the Free City of Danzig. After the Nazis' rise to power, Germany reclaimed the Memelland and after the outbreak of the Eastern Front (World War II) occupied the Baltic states. In 1945, the Baltic Sea became a mass grave for retreating soldiers and refugees on torpedoed troop transports. The sinking of the "Wilhelm Gustloff" remains the worst maritime disaster in history, killing (very roughly) 9,000 people. In 2005, a Russian group of scientists found over five thousand airplane wrecks, sunken warships, and other material, mainly from World War II, on the bottom of the sea.
Since World War II. Since the end of World War II, various nations, including the Soviet Union, the United Kingdom and the United States have disposed of chemical weapons in the Baltic Sea, raising concerns of environmental contamination. Today, fishermen occasionally find some of these materials: the most recent available report from the Helsinki Commission notes that four small scale catches of chemical munitions representing approximately of material were reported in 2005. This is a reduction from the 25 incidents representing of material in 2003. Until now, the U.S. Government refuses to disclose the exact coordinates of the wreck sites. Deteriorating bottles leak mustard gas and other substances, thus slowly poisoning a substantial part of the Baltic Sea. After 1945, the German population was expelled from all areas east of the Oder-Neisse line, making room for new Polish and Russian settlement. Poland gained most of the southern shore. The Soviet Union gained another access to the Baltic with the Kaliningrad Oblast, that had been part of German-settled East Prussia. The Baltic states on the eastern shore were annexed by the Soviet Union. The Baltic then separated opposing military blocs: NATO and the Warsaw Pact. Neutral Sweden developed incident weapons to defend its territorial waters after the Swedish submarine incidents. This border status restricted trade and travel. It ended only after the collapse of the Communist regimes in Central and Eastern Europe in the late 1980s.
Finland and Sweden joined NATO in 2023 and 2024, respectively, making the Baltic Sea almost entirely surrounded by the alliance's members, leading some commentators to label the sea a ″NATO lake″. Such an arrangement has also existed for the European Union (EU) since May 2004 following the accession of the Baltic states and Poland. The remaining non-NATO and non-EU shore areas are Russian: the Saint Petersburg area and the Kaliningrad Oblast exclave. Storms and storm floods. Winter storms begin arriving in the region during October. These have caused numerous shipwrecks, and contributed to the extreme difficulties of rescuing passengers of the ferry MS "Estonia" en route from Tallinn, Estonia, to Stockholm, Sweden, in September 1994, which claimed the lives of 852 people. Older, wood-based shipwrecks such as the "Vasa" tend to remain well-preserved, as the Baltic's cold and brackish water does not suit the shipworm. Storm surge floods are generally taken to occur when the water level is more than one metre above normal. In Warnemünde about 110 floods occurred from 1950 to 2000, an average of just over two per year.
Historic flood events were the All Saints' Flood of 1304 and other floods in the years 1320, 1449, 1625, 1694, 1784 and 1825. Little is known of their extent. From 1872, there exist regular and reliable records of water levels in the Baltic Sea. The highest was the flood of 1872 when the water was an average of above sea level at Warnemünde and a maximum of above sea level in Warnemünde. In the last very heavy floods the average water levels reached above sea level in 1904, in 1913, in January 1954, on 2–4 November 1995 and on 21 February 2002. Geography. Geophysical data. An arm of the North Atlantic Ocean, the Baltic Sea is enclosed by Sweden and Denmark to the west, Finland to the northeast, and the Baltic countries to the southeast. It is about long, an average of wide, and an average of deep. The maximum depth is which is on the Swedish side of the center. The surface area is about and the volume is about . The periphery amounts to about of coastline. The Baltic Sea is one of the largest brackish inland seas by area, and occupies a basin (a "Zungenbecken") formed by glacial erosion during the last few ice ages.
Extent. The International Hydrographic Organization defines the limits of the Baltic Sea as follows: Subdivisions. The northern part of the Baltic Sea is known as the Gulf of Bothnia, of which the northernmost part is the Bay of Bothnia or Bothnian Bay. The more rounded southern basin of the gulf is called Bothnian Sea and immediately to the south of it lies the Sea of Åland. The Gulf of Finland connects the Baltic Sea with Saint Petersburg. The Gulf of Riga lies between the Latvian capital city of Riga and the Estonian island of Saaremaa. The Northern Baltic Sea lies between the Stockholm area, southwestern Finland, and Estonia. The Western and Eastern Gotland basins form the major parts of the Central Baltic Sea or Baltic proper. The Bornholm Basin is the area east of Bornholm, and the shallower Arkona Basin extends from Bornholm to the Danish isles of Falster and Zealand. In the south, the Bay of Gdańsk lies east of the Hel Peninsula on the Polish coast and west of the Sambia Peninsula in Kaliningrad Oblast. The Bay of Pomerania lies north of the islands of Usedom/Uznam and Wolin, east of Rügen. Between Falster and the German coast lie the Bay of Mecklenburg and Bay of Lübeck. The westernmost part of the Baltic Sea is the Bay of Kiel. The three Danish straits, the Great Belt, the Little Belt and The Sound ("Öresund"/"Øresund"), connect the Baltic Sea with the Kattegat and Skagerrak strait in the North Sea.
Temperature and ice. The water temperature of the Baltic Sea varies significantly depending on exact location, season and depth. At the Bornholm Basin, which is located directly east of the island of the same name, the surface temperature typically falls to during the peak of the winter and rises to during the peak of the summer, with an annual average of around . A similar pattern can be seen in the Gotland Basin, which is located between the island of Gotland and Latvia. In the deep of these basins the temperature variations are smaller. At the bottom of the Bornholm Basin, deeper than , the temperature typically is , and at the bottom of the Gotland Basin, at depths greater than , the temperature typically is . Generally, offshore locations, lower latitudes and islands maintain maritime climates, but adjacent to the water continental climates are common, especially on the Gulf of Finland. In the northern tributaries the climates transition from moderate continental to subarctic on the northernmost coastlines.
On the long-term average, the Baltic Sea is ice-covered at the annual maximum for about 45% of its surface area. The ice-covered area during such a typical winter includes the Gulf of Bothnia, the Gulf of Finland, the Gulf of Riga, the archipelago west of Estonia, the Stockholm archipelago, and the Archipelago Sea southwest of Finland. The remainder of the Baltic does not freeze during a normal winter, except sheltered bays and shallow lagoons such as the Curonian Lagoon. The ice reaches its maximum extent in February or March; typical ice thickness in the northernmost areas in the Bothnian Bay, the northern basin of the Gulf of Bothnia, is about for landfast sea ice. The thickness decreases farther south. Freezing begins in the northern extremities of the Gulf of Bothnia typically in the middle of November, reaching the open waters of the Bothnian Bay in early January. The Bothnian Sea, the basin south of Kvarken, freezes on average in late February. The Gulf of Finland and the Gulf of Riga freeze typically in late January. In 2011, the Gulf of Finland was completely frozen on 15 February.
The ice extent depends on whether the winter is mild, moderate, or severe. In severe winters ice can form around southern Sweden and even in the Danish straits. According to the 18th-century natural historian William Derham, during the severe winters of 1703 and 1708, the ice cover reached as far as the Danish straits. Frequently, parts of the Gulf of Bothnia and the Gulf of Finland are frozen, in addition to coastal fringes in more southerly locations such as the Gulf of Riga. This description meant that the whole of the Baltic Sea was covered with ice. Since 1720, the Baltic Sea has frozen over entirely 20 times, most recently in early 1987, which was the most severe winter in Scandinavia since 1720. The ice then covered . During the winter of 2010–11, which was quite severe compared to those of the last decades, the maximum ice cover was , which was reached on 25 February 2011. The ice then extended from the north down to the northern tip of Gotland, with small ice-free areas on either side, and the east coast of the Baltic Sea was covered by an ice sheet about wide all the way to Gdańsk. This was brought about by a stagnant high-pressure area that lingered over central and northern Scandinavia from around 10 to 24 February. After this, strong southern winds pushed the ice further into the north, and much of the waters north of Gotland were again free of ice, which had then packed against the shores of southern Finland. The effects of the aforementioned high-pressure area did not reach the southern parts of the Baltic Sea, and thus the entire sea did not freeze over. However, floating ice was additionally observed near Świnoujście harbor in January 2010.
In recent years before 2011, the Bothnian Bay and the Bothnian Sea were frozen with solid ice near the Baltic coast and dense floating ice far from it. In 2008, almost no ice formed except for a short period in March. During winter, fast ice, which is attached to the shoreline, develops first, rendering ports unusable without the services of icebreakers. Level ice, ice sludge, pancake ice, and rafter ice form in the more open regions. The gleaming expanse of ice is similar to the Arctic, with wind-driven pack ice and ridges up to . Offshore of the landfast ice, the ice remains very dynamic all year, and it is relatively easily moved around by winds and therefore forms pack ice, made up of large piles and ridges pushed against the landfast ice and shores. In spring, the Gulf of Finland and the Gulf of Bothnia normally thaw in late April, with some ice ridges persisting until May in the eastern extremities of the Gulf of Finland. In the northernmost reaches of the Bothnian Bay, ice usually stays until late May; by early June it is practically always gone. However, in the famine year of 1867 remnants of ice were observed as late as 17 July near Uddskär. Even as far south as Øresund, remnants of ice have been observed in May on several occasions; near Taarbaek on 15 May 1942 and near Copenhagen on 11 May 1771. Drift ice was also observed on 11 May 1799.
The ice cover is the main habitat for two large mammals, the grey seal ("Halichoerus grypus") and the Baltic ringed seal ("Pusa hispida botnica"), both of which feed underneath the ice and breed on its surface. Of these two seals, only the Baltic ringed seal suffers when there is not adequate ice in the Baltic Sea, as it feeds its young only while on ice. The grey seal is adapted to reproducing also with no ice in the sea. The sea ice also harbors several species of algae that live in the bottom and inside unfrozen brine pockets in the ice. Due to the often fluctuating winter temperatures between above and below freezing, the saltwater ice of the Baltic Sea can be treacherous and hazardous to walk on, in particular in comparison to the more stable fresh water-ice sheets in the interior lakes. Hydrography. The Baltic Sea flows out through the Danish straits; however, the flow is complex. A surface layer of brackish water discharges per year into the North Sea. Due to the difference in salinity, by salinity permeation principle, a sub-surface layer of more saline water moving in the opposite direction brings in per year. It mixes very slowly with the upper waters, resulting in a salinity gradient from top to bottom, with most of the saltwater remaining below deep. The general circulation is anti-clockwise: northwards along its eastern boundary, and south along with the western one .
The difference between the outflow and the inflow comes entirely from fresh water. More than 250 streams drain a basin of about , contributing a volume of per year to the Baltic. They include the major rivers of north Europe, such as the Oder, the Vistula, the Neman, the Daugava and the Neva. Additional fresh water comes from the difference of precipitation less evaporation, which is positive. An important source of salty water is infrequent inflows (also known as major Baltic inflows or MBIs) of North Sea water into the Baltic. Such inflows, important to the Baltic ecosystem because of the oxygen they transport into the Baltic deeps, happen on average once per year, but large pulses that can replace the anoxic deep water in the Gotland Deep occur about once in ten years. Previously, it was believed that the frequency of MBIs had declined since 1980, but recent studies have challenged this view and no longer display a clear change in the frequency or intensity of saline inflows. Instead, a decadal variability in the intensities of MBIs is observed with a main period of approximately 30 years.
The water level is generally far more dependent on the regional wind situation than on tidal effects. However, tidal currents occur in narrow passages in the western parts of the Baltic Sea. Tides can reach in the Gulf of Finland. The significant wave height is generally much lower than that of the North Sea. Quite violent, sudden storms sweep the surface ten or more times a year, due to large transient temperature differences and a long reach of the wind. Seasonal winds also cause small changes in sea level, of the order of . According to the media, during a storm in January 2017, an extreme wave above has been measured and significant wave height of around has been measured by the FMI. A numerical study has shown the presence of events with significant wave heights. Those extreme waves events can play an important role in the coastal zone on erosion and sea dynamics. Salinity. The Baltic Sea is the world's largest brackish sea. Only two other brackish waters are larger according to some measurements: The Black Sea is larger in both surface area and water volume, but most of it is located outside the continental shelf (only a small fraction is inland). The Caspian Sea is larger in water volume, but—despite its name—it is a lake rather than a sea.
The Baltic Sea's salinity is much lower than that of ocean water (which averages 3.5%), as a result of abundant freshwater runoff from the surrounding land (rivers, streams and alike), combined with the shallowness of the sea itself; runoff contributes roughly one-fortieth its total volume per year, as the volume of the basin is about and yearly runoff is about . The open surface waters of the Baltic Sea "proper" generally have a salinity of 0.3 to 0.9%, which is border-line freshwater. The flow of freshwater into the sea from approximately two hundred rivers and the introduction of salt from the southwest builds up a gradient of salinity in the Baltic Sea. The highest surface salinities, generally 0.7–0.9%, are in the southwestern most part of the Baltic, in the Arkona and Bornholm basins (the former located roughly between southeast Zealand and Bornholm, and the latter directly east of Bornholm). It gradually falls further east and north, reaching the lowest in the Bothnian Bay at around 0.3%. Drinking the surface water of the Baltic as a means of survival would actually hydrate the body instead of dehydrating, as is the case with ocean water.
As saltwater is denser than freshwater, the bottom of the Baltic Sea is saltier than the surface. This creates a vertical stratification of the water column, a halocline, that represents a barrier to the exchange of oxygen and nutrients, and fosters completely separate maritime environments. The difference between the bottom and surface salinities varies depending on location. Overall it follows the same southwest to east and north pattern as the surface. At the bottom of the Arkona Basin (equaling depths greater than ) and Bornholm Basin (depths greater than ) it is typically 1.4–1.8%. Further east and north the salinity at the bottom is consistently lower, being the lowest in Bothnian Bay (depths greater than ) where it is slightly below 0.4%, or only marginally higher than the surface in the same region. In contrast, the salinity of the Danish straits, which connect the Baltic Sea and Kattegat, tends to be significantly higher, but with major variations from year to year. For example, the surface and bottom salinity in the Great Belt is typically around 2.0% and 2.8% respectively, which is only somewhat below that of the Kattegat. The water surplus caused by the continuous inflow of rivers and streams to the Baltic Sea means that there generally is a flow of brackish water out through the Danish straits to the Kattegat (and eventually the Atlantic). Significant flows in the opposite direction, salt water from the Kattegat through the Danish straits to the Baltic Sea, are less regular and are known as major Baltic inflows (MBIs).
Major tributaries. The rating of mean discharges differs from the ranking of hydrological lengths (from the most distant source to the sea) and the rating of the nominal lengths. Göta älv, a tributary of the Kattegat, is not listed, as due to the northward upper low-salinity-flow in the sea, its water hardly reaches the Baltic proper: Coastal countries. Countries that border the sea: Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Poland, Russia, Sweden. Countries lands in the outer drainage basin: Belarus, Czech Republic, Norway, Slovakia, Ukraine. The Baltic Sea drainage basin is roughly four times the surface area of the sea itself. About 48% of the region is forested, with Sweden and Finland containing the majority of the forest, especially around the Gulfs of Bothnia and Finland. About 20% of the land is used for agriculture and pasture, mainly in Poland and around the edge of the Baltic Proper, in Germany, Denmark, and Sweden. About 17% of the basin is unused open land with another 8% of wetlands. Most of the latter are in the Gulfs of Bothnia and Finland.
The rest of the land is heavily populated. About 85 million people live in the Baltic drainage basin, 15 million within of the coast and 29 million within of the coast. Around 22 million live in population centers of over 250,000. 90% of these are concentrated in the band around the coast. Of the nations containing all or part of the basin, Poland includes 45% of the 85 million, Russia 12%, Sweden 10% and the others less than 6% each. Cities. The biggest coastal cities (by population): Other important ports: Geology. The Baltic Sea somewhat resembles a riverbed, with two tributaries, the Gulf of Finland and Gulf of Bothnia. Geological surveys show that before the Pleistocene, instead of the Baltic Sea, there was a wide plain around a great river that paleontologists call the Eridanos. Several Pleistocene glacial episodes scooped out the river bed into the sea basin. By the time of the last, or Eemian Stage (MIS 5e), the Eemian Sea was in place. Instead of a true sea, the Baltic can even today also be understood as the common estuary of all rivers flowing into it.
From that time the waters underwent a geologic history summarized under the names listed below. Many of the stages are named after marine animals (e.g. the Littorina mollusk) that are clear markers of changing water temperatures and salinity. The factors that determined the sea's characteristics were the submergence or emergence of the region due to the weight of ice and subsequent isostatic readjustment, and the connecting channels it found to the North Sea-Atlantic, either through the straits of Denmark or at what are now the large lakes of Sweden, and the White Sea-Arctic Sea. There are a number of named and dated stages in the evolution of the Baltic Sea: The land is still emerging isostatically from its depressed state, which was caused by the weight of ice during the last glaciation. The phenomenon is known as post-glacial rebound. Consequently, the surface area and the depth of the sea are diminishing. The uplift is about eight millimeters per year on the Finnish coast of the northernmost Gulf of Bothnia. In the area, the former seabed is only gently sloping, leading to large areas of land being reclaimed in what are, geologically speaking, relatively short periods (decades and centuries).

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