"feet, as in ""pas couru sur les pointes en avant"" or ""en arrière"". Similar to fourth position, but performed ""en pointe"" with heels in center with each other. There are two seventh positions, determined by whether the left or right foot is placed in front. Positions of the feet in ballet The positions of the feet in ballet is a fundamental part of classical ballet technique that defines standard placements of feet on the floor. There are five basic positions in modern-day classical ballet, known as the first through fifth positions. In 1725, dancing master Pierre Rameau credited the codification"
"part of classical ballet technique that concerns pointe work (dancing on the tips of the toes). Performing steps while on the tips of the toes, with feet fully extended and wearing pointe shoes, a structurally reinforced type of shoe designed specifically for this purpose. Most often performed by women. (; literally 'fish.') A body position in which the back is arched and legs are crossed in fifth position or the working leg is held retiré. This position may be assumed while jumping or in partnering lifts, as in a fish dive. (; 'carriage of the arms.') An exercise for the"
"Most ballet dancers wear tights in practices and performances unless in some contemporary and character dances or variations. (; iterally 'time raised.') A term from the Cecchetti school indicating a hop on one foot while the other is raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the ""demi-plié"". In the Cecchetti method, the specifically indicates a spring from fifth position while raising one foot to ""sur le cou-de-pied"". In the Russian and French schools, this is known"
"Tiptoe Tiptoe (tiptoes or tippy toes) describes the human body posture and locomotion of removing the heel(s) of one or both feet from the ground. The term is mostly used colloquially when the weight is placed on the balls of the feet rather than literally on the tips of the toes; literal tip-toeing is difficult but possible, as in the Pointe technique of ballet. In running, landing on the ball of the foot is known as forefoot strike. To go into tiptoe, the ankle must be flexed to raise the heel off the ground. This requires the engagement of the"
"directions, or certain exercises or steps. Example: a ""sissonne fermée"" ends with closed legs, as opposed to a ""sissonne ouverte,"" which lands on one leg with the other (generally) extended. A partnering dance lift, often performed as part of a pas de deux, in which the male dancer supports the female in a poisson position. () Familiar French term for battement fouetté à terre. A step where the foot of the working leg sweeps flexed across the floor from pointed à la seconde (en l'air, as in dégagé) to pointed at cou-de-pied devant or derrière. (; literally 'melted.') (; literally"
"Glossary of ballet Because ballet became formalized in France, a significant part of ballet terminology is in the French language. () (Literally ""to second"") If a step is done ""à la seconde,"" it is done to the side. () One of the directions of body, facing the audience (""en face""), arms in second position, with one leg extended either to fourth position in front (""quatrième devant"") or fourth position behind (""quatrième derrière""). () Touching the floor. Italian, or French ""adage"", meaning 'slowly, at ease.' (; meaning 'happy') (; meaning 'elongated.') Refers to a hand and arm position when the fingers"
"gave its name to a ballet step characteristic of the dance, a rapid movement of the feet while en pointe or demi-pointe, and so to the sequence of steps called ""pas de bourrée"". The bourrée became an optional movement in the classical suite of dances, and J.S. Bach, Handel and Chopin wrote bourrées, not necessarily intending them to be danced. The bourrée originates in Auvergne in France. It is sometimes called the ""French clog dance"" or a ""branle of the sabots"". First mentioned as a popular dance in 1665 in Clermont-Ferrand, it still survives in Auvergne in the Massif Central"
"Pointe technique Pointe technique is the part of classical ballet technique that concerns ""pointe work"", in which a ballet dancer supports all body weight on the tips of fully extended feet within pointe shoes. A dancer is said to be ""en pointe"" when the dancer's body is supported in this manner, and a fully extended vertical foot is said to be ""en pointe"" when touching the floor, even when not bearing weight. Pointe work is performed while wearing pointe shoes, which employ structural reinforcing to distribute the dancer's weight load throughout the foot, thus reducing the load on the toes"
"Passepied The passepied (, ""pass-foot"", from a characteristic dance step) is a French court dance. Originating as a kind of Breton branle, it was adapted to courtly use in the 16th century and is found frequently in 18th-century French opera and ballet, particularly in pastoral scenes, and latterly also in baroque instrumental suites of dances. In English the passepied has been called ""paspy"", a phonetic approximation of the French pronunciation. The earliest historical mention of the passepied was by Noël du Fail in 1548, who said it was common at Breton courts. François Rabelais and Thoinot Arbeau, writing later in"
"or pointe), extending the second leg to an open position while relevé, and closing the first leg to the second in demi-plié (or optionally with legs straight if performed quickly or as the final step of an enchainement). Variants include: (; 'step of the cat.') A traveling sideways jump where while mid-air the legs are successively bent, brought to retiré, feet as high up as possible, knees apart. The Dance of the Cygnets from Swan Lake involves sixteen ""pas de chat"" performed by four dancers holding hands, arms interlaced. In the Cecchetti and French schools, this may be referred to"
"helped by the use of gel pad protectors on specific problem spots or using pads to surround the toes. Ingrown nails can result from ill-fitting shoes. Other common injuries: Pointe technique Pointe technique is the part of classical ballet technique that concerns ""pointe work"", in which a ballet dancer supports all body weight on the tips of fully extended feet within pointe shoes. A dancer is said to be ""en pointe"" when the dancer's body is supported in this manner, and a fully extended vertical foot is said to be ""en pointe"" when touching the floor, even when not bearing"
"steps performed in sync with waltz music, as in ""pas de waltz en tournant"". Glossary of ballet Because ballet became formalized in France, a significant part of ballet terminology is in the French language. () (Literally ""to second"") If a step is done ""à la seconde,"" it is done to the side. () One of the directions of body, facing the audience (""en face""), arms in second position, with one leg extended either to fourth position in front (""quatrième devant"") or fourth position behind (""quatrième derrière""). () Touching the floor. Italian, or French ""adage"", meaning 'slowly, at ease.' (; meaning"
"detail. Piroquette This term usually refers to turning or spinning on one foot while touching the standing leg with the opposite leg in a bent position. Reverse turns and some other figures are those in which the dance couple rotates to the left (counterclockwise). ""See Ballet glossary#Rond de jambe"". A toe of the straight leg draws a semicircle on the floor. In ballroom dances the direction is usually from the front to back. The Thunder Clap is a form of dance that incorporates clapping in the air with a sliding motion. To perform this dance one must raise one hand"
"Chassé The chassé (, French for 'to chase'; sometimes anglicized to chasse ) is a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a ""step-together-step"" pattern. The word came from ballet terminology. There is a large variety of chasses across many dances. Variations include: The chassé in waltz dancing has several defined forms or ""figures"". A slide with both legs bent either forwards, backwards or sideways and meeting in the air straightened. It can be done either in a gallop (like children pretending to ride a horse) or by pushing"
"he loved to show off the shiny buckles on his shoes when he performed his own dances. There are five fundamental positions of the feet in ballet, all performed with turnout and named numerically as ""first"" through ""fifth"" positions. When performing jumps and leaps, classical ballet dancers strive to exhibit ""ballon"", the appearance of briefly floating in the air. ""Pointe technique"" is the part of ballet technique that concerns ""pointe work"", in which a ballet dancer supports all body weight on the tips of fully extended feet on specially designed and handcrafted ""pointe shoes"". In professional companies, the shoes are"
"Branle A branle ( or ; )—also ""bransle"", ""brangle"", ""brawl"", ""brawle"", ""brall(e)"", ""braul(e)"", ""brando"" (Italy), ""bran"" (Spain), or ""brantle"" (Scotland)—is a type of French dance popular from the early 16th century to the present, danced by couples in either a line or a circle. The term also refers to the music and the characteristic step of the dance. The name ""branle"" derives from the French verb ""branler"" (to shake, wave, sway, wag, wobble), referring to the side-to-side movement of a circle or chain of dancers holding hands or linking arms . Dances of this name are encountered from about 1500"
"and circling the stage for several minutes. Critics delivered dire warnings regarding the machines and ballerinas demanded higher wages for being sent into the air, but the delighted Diderot continued to experiment with the appartatus and sent flocks of ballerinas soaring aloft. The most significant artistic and historical contribution made to ballet by ""Flore et Zéphire"", however, was dancing ""sur les pointes"" (on the toes). Speculation suggests this unusual feat was accomplished by the ballerina momentarily posing on the tip of her toe as the flying machine took her weight for suspended flight. Maria Danilova, Geneviève Gosselin and all performed"
"usually performed by a female and a male dancer. (; 'step of the fish.') A type of ""soubresaut"", or a jump without a change of feet. From fifth position, a dancer executes a deep ""demi-plié"" and then jumps arching the back with straight legs behind, so that the body is curved like a fish jumping out of water. Also called ""temps de poisson"". ('Step of four.') A dance by four dancers. ('Step of three.') A dance by three dancers. (; 'waltz step.') A sequence of three steps—""fondu, relevé, elevé"" (down, up, up)—always advancing (like a march), done in three counts"
"(the opposite-side) second position. A ""tombé en avant"" can also be initiated with a small sliding hop instead of a coupé. In the Vaganova school, the full term is ""sissonne ouverte tombée"". One big step, followed by two little steps, that can be done in a circle. Rotation of the legs at the hips, resulting in knees and feet facing away from each other. A classic ballet skirt, typically flat at the waist or hip level, made of several layers of tulle or tarlatan. Tendu Passe A solo dance. A dancer with great technical ability and skill. A sequence of"
"Minuet A minuet (; also spelled ""menuet"") is a social dance of French origin for two people, usually in time. The word was adapted from Italian ""minuetto"" and French ""menuet"", possibly from the French ""menu"" meaning slender, small, referring to the very small steps, or from the early 17th-century popular group dances called ""branle à mener"" or ""amener"". The term also describes the musical style that accompanies the dance, which subsequently developed more fully, often with a longer musical form called the minuet and trio, and was much used as a movement in the early classical symphony. The name may"
"or without turnout. A pirouette (literally ""whirl"") is a type of dance turn on one foot. It is performed with turnout (legs rotated outward at hips) in ballet, and typically without turnout in gymnastics and many other genres of dance, such as jazz and modern. It is often executed by starting with one or both legs in plié (knees bent) and then rising onto demi pointe (heels raised) as the turn commences, or in the case of ballerinas, to en pointe (on toe tips). Pirouettes may be executed singly or as multiple rotations; the latter is commonly performed in the"
"the first foot along the floor in a plié and springing into the air where both legs meet stretched. A number of specific dance variations in the International Style ballroom dances are named ""chassé"". In ice dancing, chassés are basic dance steps which appear, for example, in many compulsory dances. The International Skating Union rules define the following variants: In line dancing the term chassé is used for a triple-step sequence in any direction (forward, side, back, diagonally, or curving). For instance, if the chassé is to be done to the right, the right foot steps right, the left foot"
"female ballet dancer. The foundational principles of body movement and form used in ballet. A ballet fan or enthusiast. The word is of Russian origin c. 1930, with the suffix ""-mane"" coming from ""maniya"" (mania). Showing lightness of movement in leaps and jumps. A dancer exhibiting ""ballon"" will appear to spring effortlessly, float in mid-air, and land softly like a balloon. In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees. The knee is then bent and the foot brought to a sur le cou-de-pied position. This"
"It is used, e.g., in American Style ballroom dances: Rumba bronze-level Foxtrot. The leader begins with the left foot and proceeds as follows. Every step is with full weight transfer. During the second and fourth step it is advised the foot to travel along two sides of the box, rather than along its diagonal. Rhythm varies. E.g., it is ""1-2-3,4-5-6"" in Waltz and ""Sqq, Sqq"" in Rumba. See Glossary of ballet terms#Chaînés. French for 'chain', a series of quick turns on first position alternating flat or relave feet with progression along a straight line or circle. A Chaines turn is"
"the instep (""cou-de-pied"" in French) of the working foot to hug the lower leg. On the accent derrière (back), the heel of the working leg is placed behind the leg with the toes pointing to the back. The action of alternating between devant and derrière is seen in a petit battement. (; literally 'stretched.') Gradually extending the working leg to the front (""tendu devant""), side, or back, passing from flat to demi-pointe to point where only the toes are touching the floor (""tendu à terre""), or only the pointed toes are elevated (""en l'air""). A common abbreviation for ""battement tendu""."
"Ballon (ballet) Ballon () is the appearance of being lightweight and light-footed while jumping. It is a desirable aesthetic in ballet and other dance genres, making it seem as though a dancer effortlessly becomes airborne, floats in the air, and lands softly. The name is widely thought to be derived from the French word ""ballon"" (meaning ""balloon""), though it has been dubiously claimed that the name was inspired by French ballet danseur Claude Balon, who was known for performing exceptionally light leaps. A dancer will appear to defy the laws of physics when ballon is exhibited effectively. For example, during"
"Academie Royal de Musique de Dance (today known as Paris Opera), and named Pierre Beauchamp the head dancing-master. While at the Academie Royal, Beauchamp revolutionized ballet technique by inventing the five positions (first, second, third, fourth and fifth) of ballet, which to this day remain the foundation of all formal classical ballet technique. Ballet technique is the foundational principles of body movement and form used in ballet. A distinctive feature of ballet technique is ""turnout;"" which is the outward rotation of the legs and feet emanating from the hip. This was first introduced into ballet by King Louis XIV because"
"ballet shoe had heels. Mid-18th century dancer Marie Camargo of the Paris Opéra Ballet was the first to wear a non-heeled shoe, enabling her to perform leaps that would have been difficult, if not impossible, in the more conventional shoes of the age. After the French Revolution, heels were completely eliminated from standard ballet shoes. These flat-bottomed predecessors of the modern pointe shoe were secured to the feet by ribbons and incorporated pleats under the toes to enable dancers to leap, execute turns, and fully extend their feet. The first dancers to rise up on their toes did so with"
"(i.e. ""les tours chaînés déboulés""). A fast sequence of half turns performed by stepping onto one leg, and completing the turn by stepping onto the other, performed on the balls of the feet or high on the toes, with the legs held very close together. (; 'inwards.') Inside movement. (; 'disengaged.') Common abbreviation for ""battement dégagé,"" the foot of the working leg sharply brushes through the floor through tendu pointed in the air 45 degrees or lower. Dégagé is part of the (initiating) execution of jumps such as jeté, assemblé, brisé, and glissade. Primarily a Cecchetti/RAD term, this is known"
"are then repeated, with care that the kicks are small (as the dance is brisk). Following the four kicks, one performs a ""saut moyen""—a small jump into the air that pulls the feet into the ""posture gauche"" or ""droit""—whichever is the opposite of the first. This combination of the ""saut moyen"" and the ""posture"" is typically called a ""cadence"". The process repeats, mirrored to reflect the new starting posture, until the song ends. Tourdion The tourdion (or tordion) (from the French verb ""tordre"" / to twist) is a lively dance, similar in nature to the galliard, and popular from the"
"turn. The working leg returns out of retiré nearing the end of a single rotation to restart the entire leg motion for successive rotations. () A leap that begins with a ""fouetté"". (; 'struck.') Abbreviation of ""battement frappé."" Action of extending the working foot out from cou-de-pied. In Cecchetti, RAD, and American ballet, on flat, this action involves brushing a flexed (or non-pointed relaxed) foot from cou-de-pied through the floor, the ball of the foot (lightly) striking as extending out pointed through dégagé. In the Russian school, a pointed foot at cou-de-pied extends directly out to dégagé height without brushing"
"and the term is used for dances still danced in France today . Before this the word is encountered in dance only as the ""swaying"" step of the basse danse. The branle was danced by a chain of dancers, usually in couples, with linked arms or holding hands. The dance alternated a number of larger sideways steps to the left (often four) with the same number of smaller steps to the right so that the chain moved gradually to the left. Although originally French dances of rustic provenance, danced to the dancers' singing, the branle was adopted, like other folk-dances,"
"or toes (""pointe"") of one or both feet. See also élevé. (; 'lifted slowly.') Abbreviation of ""battement relevé lent"". Term from the Russian school indicating raising the leg slowly from pointe tendue to 45 degrees or higher off the ground. Contrasts with ""(battement) tendu jeté"", aka ""dégagé"", in which the leg brushes out propulsively from a position through tendu to elevated off the ground, and ""(temps) développé"", in which the leg passes through retiré (or petit retiré) to ""à la hauteur"" or ""demi-hauteur"", i.e. elevated off the ground. () A position of the working leg in which the leg is"