Terminology
The images below are taken from the Gaynor Midden, Terms & Positions, website. Visit their site for other interesting information on the History of Ballet.
The positions and terms below are ones you will hear and see during the Ballet-Based Fitness class. You do not need to memorize these before starting class. As your skills develop over time, you will naturally come to know and understand these positions and terms. The information below is provided simply for you reference and curiosity.
Basic Positions of the Legs:
For third, fourth, fifth and B-plus positions, the legs may be as shown below, or in the mirror position.
Basic Positions of the Arms:
Ballet arm positions can vary slightly, based on the ballet school/style (e.g. French, Russian/Vaganova, Italian/Cecchetti, Danish/Bournonville). For this class, we will use the following arm styles, which are a blended “American” style.
For third and fourth positions, the arms may be as shown below, or in the mirror position.
Orientations of the Body:
These positions may be as shown below, or in the mirror position.
Basic Arabesque Positions:
These arabesque positions may be as shown below, or in the mirror position.
Other Frequently Used Ballet Terms:
Plié (to bend): Pliés are a stretching movement, in which you bend at the knees, then rise back up. There are two principal pliés: demi-plié or half-bending of the knees, and grand plié or full bending of the knees. Your heels stay on the floor during demi-plié in all positions, and during grand plié in 2nd position. For grand plié in 1st, 3rd, 4th and 5th positions, your heels lift naturally, then return to the food as you rise. Pliés warm up and strengthen muscles, make tendons flexible, and help you balance.
Cambré (arch): This is a stretching movement, in which you bend at the waist with coordinated arm movements (port de bras). The bend can be forward, backward or to the sides. Cambré promotes flexibility in the torso.
Port de bras (carriage of the arms): This refers to how you move your arms from one position to another. For example, if you move your arms from 1st to 5th position, that is a port de bras. It can also incorporate head and torso movements. Port de bras promotes coordination and flexibility of the arms, and lends beauty to ballet movements.
Elevé (raised/lifted) and Relevé (re-raised/re-lifted): Elevé is when you rise up onto the balls of your feet (demi-pointe) from a straight legged position. Relevé is when you rise up onto the balls of your feet from a demi-plié position. Both movements promote leg and foot strength; they also provide a lengthened aesthetic to your form.
Tendu (tight/stretched): Formally called “battement tendu”, this is a movement in which you extend your working leg, while brushing your foot along the floor, until only the tip of your toe remains touching the floor. It can be performed to the front, side or back and usually begins in 1st or 5th position. Tendus may be done with the supporting leg straight or in demi-plié. Tendus are another fundamental ballet movement; they strengthen the legs and feet, and serve as a basis for many other ballet movements.
Temps Lie (to connect): This is a transitional step in which you transfer your weight from one foot to the other. It begins with a tendu in any direction, then moves through a demi-plié in either 4th position (for temp lie forward or back) or 2nd position (for temp lie side), as you shift your weight to the other foot. The movement ends with both legs straight.
Glissade (to glide): This is a transitional step in which you glide your working foot from 5th position, in the required direction, then transfer your weight to that foot to finish. Glissades can be done statically, without the feet leaving the floor; or they can be done dynamically, with a very small disengagement from the floor.
Dégagé (to disengage): Formally called “battement dégagé”, this is similar to a tendu, and begins as a tendu, but continues so that your working foot rises about four inches off the floor with a well-pointed toe. Dégagés strengthen your legs and toes, develop your instep, and improve the flexibility of your ankle joint.
Rond de jambe, par terre (circle of the leg, on the floor): This is a circular movement of your working leg, with your toes kept in contact with the floor. It loosens and extends the range of your hips, and develops turn-out control. You begin rond de jambe with a tendu, then circle your leg around to the side and back; and vice versa. The working leg is kept straight and your working foot is fully pointed. The movement can also be performed as a “grand rond de jambe,” with the leg lifted and the foot not touching the floor.
Rond de jambe en l'air (circle of the leg, in the air): This is an oval movement made with the lower part of your working leg, performed while holding the working leg extended to the side. Rond de jambe en l'air usually begins with a dégagé to the side. Rond de jambe en l'air may be done as single, or double, and may be done toward the back (en dehors) or toward the front (en dedans).
Développé (to develop): Formally called “battement développé,” this is a movement in which you draw the pointed foot of your working leg up to the knee of your supporting leg, then extend it to the front, side or back. This movement strengthens your legs, and promotes hip flexibility and balance.
Enveloppé (to fold inward): This movement is the opposite of développé. When performing enveloppé, your working leg will already be stretched to either the front, side or back. You then fold your leg back toward your supporting leg, so that your toe points to your knee, then usually closes to 5th position. This movement strengthens your legs, and promotes coordination.
Passé (to pass): This is a movement in which you pass your working foot through from back to front or vice versa. It is generally done past the knee of your supporting leg, but can also be done sur le cou-de-pied (at the ankle). It may start or finish by sliding your working foot up or down your supporting leg, or it may be executed directly from an extended position. Passé is also used to mean the “retiré” position, which is when your working leg is bent with your foot pointed at your supporting leg’s knee.
Fondu (to melt): Formally called “battement fondu,” this is a movement in which you demi-plié over your supporting leg, while at the same lifting and bending your working leg and point your working at the ankle of your supporting leg (“cou-de-pied”). The movement can be reversed, placing the foot back into its original position; or the movement can be followed by a développé (outward extension) of your working leg. This movement strengthens your legs, and promotes balance and coordination.
Frappé (to strike): Formally called “battement frapé,” this is an exercise in which you forcefully extend your working leg, from a cou-de-pied position to the front, side or back, lightly striking the floor with the ball of your foot. This exercise strengthens the toes and insteps and develops power in your legs, such as for jumps and quick movements.
Battement en cloche (to beat, like a bell): This is a movement in which you swing your working leg, from front to back, passing through 1st position. It is often integrated into a dégagé or grand battement combination. It helps loosen the hip joint and promote hip flexibility.
Pas de cheval (step of the horse): This step resembles how a horse pulls its leg in and up before kicking out. When doing a pas de cheval, you start in 5th position, lift the leg into cou-de-pied, then extend into a tendu. It can be done ending in all three directions (front, side and back). The movement helps increase foot-work articulation.
Coupé (to cut): This is a step where one foot “cuts” the other foot away, taking its place. It is usually done as an starting step for a larger step, such as to begin a pas de bourrée.
Pas de bourrée (beating steps): This is a quick sequence of steps that includes three weight changes, from one foot to the other, then back to the first foot. It is used as a traveling or transition step and often starts with a demi-plié on your supporting leg, and a coupe with your working leg. Pas de bourrée has many forms that mostly relate to the direction the dancer is moving or if the legs are bending or staying straight.
Grand battement (large beats): This is an exercise in which your working leg is raised (kicked) up and brought down again. (Think of this as a dégagé on steroids.) The kicks can be performed to the front, side or back. You aim to kick your leg as high as is manageable, while keeping control of the movement and stability in your body. Similar to a dégagé, the motion begins by brushing your working foot outward along the floor, but with greater force, and then letting your leg rise as high as it will go, with a well-pointed toe. Grand battements develop power in your legs, and improve the flexibility of your hips.
Sus-sous or sous-sus (over-under): Sus-sous is a movement in which you step or spring onto an elevé demi-pointe position, quickly placing the back foot snugly behind the front foot, in 5th position with fully stretched legs held tightly together. This is often held hands-free, as a balance exercise. This step is very common in ballet choreography.
Soutenu (sustained): This is a movement in which you turn while in a sus-sous position, ending up facing the opposite direction, with the opposite foot in front. Each leg swivels and the turn is always executed toward the back leg. It is commonly done in both classes as a means of switching sides at the barre, and is integrated into choreography for stage performances. The step helps improve balance.
Piqué (to prick): This term can refer to a couple movements. First, it can be a movement where, from an extended and raised leg position, you quickly lower your working leg to tap the floor, then pop your leg back up again. This exercise is done to strengthen the legs and to increase agility and reaction time. Second, it can be a movement in which you step up directly onto the ball (demi-pointe) of your working foot, from any desired direction, with the opposite leg moving to a raised position. This step promotes balance and is very common in ballet choreography.
Arabesque (in Arabian fashion): Arabesque is a body position in which you stand supported on one leg, with the working leg extended and straight behind you. The arms can be held in various positions to create a graceful line from your fingertips to your extended toes. There are many forms of arabesque. Arabesques promote strength through the torso and legs, and develop overall balance.
Attitude: Similar to arabesque, this is a body position in which you are standing supported on one leg, with your working leg extended but with a slight bend at the knee and with the leg well turned out. You hold the arm on the side of the raised leg over head, in a curved position while the other arm is extended to the side. The position is derived from the statue of Mercury by Giovanni da Bologna.
Tombé (to fall): This is a step in which you “fall” onto an extended leg, usually as a lead-in to a traveling step such as pas de bourrée, or to enter a lunge position. A tombé may begin from a cou-de-pied (at the ankle) position, or from a tendu that you lift slightly before you “fall” in that direction. The falling movement is caught with a demi-plié of your working leg.
Supporting Leg / Standing Leg: Your supporting/standing leg is the leg that is supporting your body weight while the other leg is doing another step or movement. At the barre, the supporting/standing leg is typically the leg closest to the barre.
Working Leg: Your working leg is the leg that is not bearing weight and is performing a step or movement. At the barre, the working leg is typically the leg furthest from the barre.
En croix (in the shape of a cross): To say that a step or movement is to be performed “en croix” means that you will execute it to the front, then side, then back, then side.
Croisé, Croisée (crossed): This is a position where you stand with your body placed at an oblique angle to the audience. It also refers to positions where, from the audience’s perspective, one leg appears to be crossed in the front or in the back of the other leg.
En dedans (inward): This is the execution of a step from back to front, toward the supporting leg (i.e. counter-clockwise). (Memory trick: think of the rhyme “en dedans, put my coat on.”)
En dehors (outward): This is the execution of a step or movement outward, from front to back, away from the supporting leg (i.e. clockwise). (Memory trick: think of the rhyme “en dehors, go out the door.”)