In ballet, there are eight (8) body positions that dancers must know and are executed prior to any other steps. The 8 body positions in ballet are common and used in every ballet school. These foundational ballet positions are essential to the structure of dance and form the basis for many movements. Here are the 8 positions in order:
- Croisé Devant
- Quatrième Devant
- Effacé Devant
- à la Seconde
- Croisé Derriere
- Ecarté
- Epaulé
- Quatrième Derrière
Now, if you’re looking for some more detail on these 8 body positions, then you’ll find it below.
The 8 body positions stem from the French language and the French school, which is the source of much of the terminology and technique in ballet. Learning exactly what they mean requires a little brush up on the old French vocabulary (you can find more ballet terms and definitions here).
Devant: To the front
Derrière: To the back (close to the rear)
Croisé: Crossed alignment
Seconde: To the second position (lateral)
Ècarté: Separated or thrown wide apart
Effacé: Shaded
Epaulé: Shouldered
You’re probably saying to yourself, “But these definitions aren’t the 8 body positions!”
And yes. You’re right. That’s because you create the positions from mixing different terms, and dancers often begin with one position before transitioning to others. By combining these terms, you can form various positions, which are the fundamental units of ballet technique. We’ll explain how these combinations work below.
Positions of the Feet
In classical ballet, the positions of the feet form the cornerstone of every dancer’s technique. There are five basic positions that every ballet student learns from the very beginning, and these fundamental positions are the building blocks for all movement, whether you’re performing a solo, a pas de deux, or practicing at the barre.
The first position is where the heels are together and the toes are turned out, creating a straight line with the feet. This position enhances balance and sets the foundation for proper turnout, which comes from the hip joints rather than just the feet. The second position is similar, but the feet are separated by about one foot’s length, still maintaining that outward rotation. This wider stance provides a stable base, allowing dancers to move with greater freedom and control.
Moving to the third position, one foot is placed in front of the other so that the heel of the front foot touches the arch of the back foot. While the third position is less common in modern ballet, it remains an important step in learning how to cross the legs and transition smoothly between movements. The fourth position builds on this by placing one foot forward, about a foot’s length apart from the back foot, with both feet turned out. This position is often used as a preparation for turns and jumps, requiring a high degree of balance and strength.
The fifth position is the most advanced and visually striking of the five basic positions. Here, the feet are tightly crossed, with the heel of the front foot touching the toe of the back foot. This position creates a beautiful, elongated line and is a hallmark of classical ballet technique. Mastering the fifth position is essential for executing complex steps, as it allows for quick changes of direction and seamless transitions.
Beyond these five positions, dancers also work in demi-pointe, where the heels are raised and the weight is balanced on the balls of the feet, and in pointe shoes, where the dancer stands on the very tips of the toes. These advanced positions require strong ankles, precise alignment, and years of dedicated practice.
Whether you’re just beginning your ballet journey or refining your technique for centre practice, understanding and mastering the positions of the feet is essential. Each position not only supports movement and balance but also contributes to the elegant lines and expressive quality that define ballet as an art form. By focusing on these ballet basics, dancers lay the groundwork for everything from simple tendus to the most dazzling tour en l’air.
1. Croisé Devant (legs crossed)
Croisé Devant is a position where the dancer stands facing a corner at an angle to the audience. The dancer’s leg closer to the audience is known as the working leg, and is extended in the fourth position, pointing on tendu to the front. The dancer’s arms are in the fourth position, with the lower arm on the same side as the extended leg.
2. Quatrième Devant
Quatrième Devant is where the dancer faces the audience with the working leg extended in the fourth position. The working leg is pointing on tendú to the front, with one arm in second position and the other arm either extended to the side or raised above the head to create a coordinated and balanced line, and the head facing the audience.
3. Effacé Devant
Effacé Devant is when the dancer stands angled to the audience, facing a corner. From this position, part of the dancer’s body is hidden. The leg further from the audience is the working leg and extended in the fourth position. The working leg is pointing on tendú to the front. In this position, the dancer’s arms are placed in fourth position, with the lower arm on the same side as the extended leg, and the arms form a rounded shape to enhance the aesthetic quality.
4. à la Seconde
à la Seconde is when the dancer is facing the audience with the working leg extended in the second position. The working leg will be pointing on tendú to the side with the arms in second position, and the dancer’s head facing the audience.
5. Croisé Derriere
Croisé Derriere is when the dancer is facing a corner at an angle to the audience. The dancer’s leg further from the audience will become the working leg and will be extended in the fourth position. The working leg will be pointing on tendú to the back with the arms placed in fourth position. The lower arm will be on the same side as the extended leg.
6. Ecarté
Ecarté is when the dancer is facing any corner, and the leg closer to the audience becomes the working leg. The working leg will be extended in second position, pointing to the side on tendú. The dancer’s arms will be open in the fourth position so the highest arm is on the same side as the extended leg. The dancer’s head will be slightly raised, turned to the raised arm with the eyes looking at the hand of the raised arm.
7. Epaulé with extended leg
Epaulé is when the dancer stands at an oblique angle to the audience. While at this angle, the dancer will be standing in arabesque facing a corner. The working leg is the one closest to the audience. The dancer’s working leg will be extended to the back in fourth position. In this pose, the disengaged leg is crossed either in front or at the back, creating a distinctive line and emphasizing the oblique stance of the body. The arm closest to the audience will be extended to the front, and the head will be raised and turned slightly towards the audience.
8. Quatrième Derrière
Quatrième Derrière is when the dancer faces the audience with the working leg extended to the fourth position. The working leg in fourth position will be pointing on tendú to the back, and the arms will be in second position, while the head faces the audience.
These are the 8 body positions in ballet, and they can also be done with the working leg en l’air. This may all seem confusing to beginners but with experience it will become like second nature. If you have any questions feel free to leave them in the comments below.