different ballet positions

Master Different Ballet Positions: A Visual Guide

By Joshua AndersonMay 6, 2026

Ballet positions form the structural alphabet of classical dance, dictating alignment, balance, and the trajectory of every movement. Mastery of these foundational stances is not merely about achieving a static shape; it is about cultivating a profound understanding of how the body organizes itself in space to produce grace, power, and efficiency. From the very first plié in beginner class to the most complex sequences performed on stage, these positions serve as the constant reference point for a dancer’s technique.

The Five Primary Positions of the Feet

The five primary positions of the feet are the bedrock of ballet, established centuries ago and universally recognized across training methodologies. Each position dictates the precise placement of the heels and toes relative to the other foot, creating a specific base of support that influences everything from posture to pirouettes. Proper execution requires the knees to track directly over the toes and the weight to be distributed evenly, avoiding sickling or winging of the feet.

First Position

The first position is the most recognizable, characterized by a full turn-out of the legs so that the heels are touching and the legs form a continuous straight line down to the toes. The pelvis is neutral, the spine is elongated, and the arms typically frame the body in a soft, rounded curve known as first position en bras. This stance emphasizes stability and symmetry, making it the default starting point for nearly every combination.

the five basic ballet positions and how they are used to do them in different ways

the foot positions for ballet shoes are shown in three different directions, with text below

silhouettes of dancers in different poses on a white background stock photo colorless image

Second Position

Second position is derived from the first by sliding one foot directly forward or backward to a comfortable distance, maintaining the extreme turn-out so that the heels remain aligned with the hips. The arms adapt accordingly, often extending to the sides in a wide, embracing gesture that promotes expansive breathing and a sense of openness across the chest. This position is fundamental for developing dynamic movement and spatial awareness.

The Primary Positions of the Arms

While the positions of the feet ground the dancer, the positions of the arms, or port de bras, provide the expressive dimension of classical technique. These movements originate from the back and flow seamlessly through the shoulders, elbows, and wrists, creating a harmonious dialogue between the upper and lower body. The arms never move independently; they are initiated from the torso, ensuring the dancer appears unified rather than disjointed.

an image of different poses for the body

an image of a person doing different poses on the screen, with text above it

different positions of the feet for children to learn how to read and understand their names

First Position (Arms)

Often referred to as first position en bras, the arms are rounded and held forward and slightly lowered, with the fingertips resting at the midpoint of the sternum. The elbows are gently bent and positioned forward, creating an oval shape that protects the chest and promotes a contained, classical aesthetic. This position is frequently used during pliés and tendus to instill a sense of discipline in the upper frame.

Second and Fifth Positions (Arms)

Second position for the arms involves extending the arms to the sides at shoulder height, forming a straight line from fingertip to fingertip with a gentle curve in the elbows to avoid locking the joints. In contrast, the fifth position requires one arm to pass in front of the other, with the hands typically resting close together in front of the chest or overhead in a high fifth. This crossing action is crucial for developing the strength required for complex lifts and balances, where precise control is essential. Furthermore, understanding these positions is vital for dancers looking to master variations found in major works like The Nutcracker, where the choreography relies heavily on clear and intentional port de bras.

The Positions of the Leg and the Concept of Turn-Out

Beyond the numerical positions, the orientation of the legs—specifically the turn-out—is arguably the most defining characteristic of the aesthetic. This rotation originates from the hips, not the knees or ankles, and is developed gradually to prevent injury. The positions of the leg, such as front, side, and back, describe the direction the foot or leg is moving relative to the body's center, but they are all governed by the underlying framework of the turn-out established by the feet.

an instruction manual showing how to use the foot and lower leg exercises for ballet dancers

Ballet Positions Coloring Page | Free Printable

the five basic ballet positions and how they are used to perform them in different ways

Positions in Motion: Tendu and Degagé

To truly understand the positions, one must observe them in dynamic movement. A tendu involves stretching the foot and leg along the floor until the toe just kisses the ground, demonstrating full articulation of the ankle and precise maintenance of alignment. Similarly, a degagé, which translates to "disengaged," is a more dynamic version of the tendu where the foot leaves the floor by a minimal inch, yet it still adheres to the strict lines of the positions. These exercises are not merely stretches; they are the building blocks that teach the dancer how to activate the correct muscle groups to achieve the desired positions with clarity and intention.