ARABESQUE:  (Era-besk)

Extend the straight working leg directly behind the body at a 90° angle. There are four principal arabesques, classified depending on the placement of the arms and legs relative to the audience.

From fifth position, brush leg out to side. Spring from standing leg, then pull both legs together in the air and land in fifth position.

Similar to arabesque, except that the extended leg bends at the knee, keeping the knee on the same level as the toe. Can also be done to the front and (seldom) to the side.

Step out to second position; then, with the other foot, step behind the previous foot and change weight (like a tap ball-change).

A beating motion of the leg. There are two types of battements: petit battements (tendus, dégagés, and frappés) and grands battements, where the leg is extended to 90° or better.

Battu is a term used when a step should include beats; for instance, assemblé battu is the same as an assemblé, except that the working leg ‘beats’ the front of the other leg before landing in the back.

Very small steps taken with the feet crossed in fifth sous-sus.

An assemblé battu that travels. The working leg brushes from fifth derrière, beats the front of the other leg during the jump, and lands in fifth derrière. The torso, meanwhile, is leaning toward the working leg and propelling the entire body in that direction.

A step in which the extended legs are beaten in the air.  First, the working leg is thrust into the air.  The underneath leg follows and beats against the first leg, sending it higher.  The landing is then made on the underneath leg.

Half-turns with the feet glued in first position relevé, joined together in a chain so the turn travels in a straight line.

A jump that changes feet. Begin in fifth position, jump into the air and land with the other foot front in fifth position.

Step out in any direction in plié, then jump and “chase” the first leg with the second, landing on the first leg. Chassé is a glorified gallop with pointed toes.

The working foot is either wrapped around the ankle or pointed at the toe.

The working leg crosses the dancer’s body, either in front or in back.

An exercise is completed to the front, to the side, to the back, and to the side.

A pointed toe extended off the floor at a 45° angle to the front, the side, or the back.

The working leg moves from back to front, as in rond de jambe à terre en dedans. In turns, en dedans indicates that the turn is made inward, toward the supporting leg.

The working leg moves from front to back, as in rond de jambe à terre en dehors. In turns, en dedans indicates that the turn is made outward, away from the supporting leg.

The half-version of any ballet step.

Avant, a related term, means that a step is executed toward the audience.

The working leg is drawn up to the knee, then extended to an open position while the supporting leg stays straight.

A body position where the dancer faces the front corner of a room. The leg nearest the audience is pointed in second position and the arm nearest the audience is raised in third position (in écarté devant).

From fifth position, slide or jump both legs out to second or fourth position, then close to fifth.

The working leg is open to the audience, either in front or in back – the opposite of croisé.

A jump where the feet begin in fifth position, beat a specified number of times, and land in fifth or sur le cou-de-pied.

Entrechat trois: (awn-truh-shaw-twah) “three.” Begin in fifth position, right foot front. The legs beat with the right foot front and land with right foot sur le cou-de-pied derrière.

Entrechat quatre: (awn-truh-shaw-cot) “four.” Begin in fifth position, right foot front. The legs beat right foot back and land with the right foot front.

Entrechat six: (awn-truh-shaw-sees) “six.” Begin in fifth position, right foot front. The legs beat right foot back, then right foot front, and land with the right foot back.

The placement of the shoulders.

Facing the audience directly.

A plié on one leg.

This term refers to many movements.

Fouetté rond de jambe en tournant: (rawn-duh- gham awn-toor-nawn) A turn that begins with a pirouette. From there, the rétiré leg opens front, whips to the side and comes back to rétiré within one revolution.

Fouetté en tourant: (awn toor-awn) Grand battement front, then pivot the body so the leg is in arabesque or attitude derrière. This can be done either with a jump or with a relevé.

Start in cou-de-pied position. Extend the leg to dégagé so that the toe strikes the floor as it extends.

Begin in plié. Brush one foot to the side and jump onto it, then drag the other foot into fifth position and land in plié.

Any ballet step done in large proportions.

The front leg brushes to 90° and the back leg pushes off the ground to give a split leap in the air.

Brush one leg to the side, then jump onto it and land with the other foot in cou-de-pied.

Step to second position. The working leg then draws a small quarter-circle from second to the standing leg and to tendu front. From there, step onto the front foot and close the other in fifth position back.

Begin in fifth position and lift the back leg to cou-de-pied. Step back to relevé with the back foot, then step to second position relevé with the other foot, and close fifth with the first foot. Similar to a grapevine.

Begin in fifth position. Raise the back foot to retiré position and demi-plié on the standing leg. Spring upward and toward the retiré leg, switching to retiré with the other foot, and land in fifth.

From fifth position, bring the working leg to cou-de-pied, then developpé front to a low pointed toe.

Sometimes used as another term for retiré. The main difference between the two is that passé is not held in position. Bring the pointed toe up the front of the leg so that it touches the knee, then pass it down the back of the leg and close in fifth.

Lift the leg in arabesque to 90°. From there, continue lifting so that the leg forces the body forward and the lifted toe becomes the highest point in the body.

Stepping directly onto the toe from a plié. Sometimes used as a short term for piqué tour, where the dancer steps directly onto the toe and executes a turn (usually with the other leg in retiré).

The classic “ballet turn.” Traditionally begun from fifth or fourth position and executed in retiré. For a pirouette en dehors, the dancer lifts the working leg to retiré and completes a full revolution in the direction of the working leg. For pirouette en dedans, the dancer lifts the working leg to retiré and turns away from the working leg.

Any movement where the knees bend.

Raising the body on the tips of the toes. Refers also to shoes designed for this purpose.

A raising onto the toes, either on demi-pointe (balls of the feet) or full pointe (tips of the toes).

The pointed toe rests on the opposite knee. See also passé.

The working leg points front, then side, then back, and closes to fifth or first position.

A changement where the legs beat in the initial position before changing.

Also called a developpé grand jeté. The working leg passes through retiré and is thrown forward into a split leap.

Any movement that is performed while jumping.  Often used as the shortcut term for temps levé sauté, where the dancer jumps from both feet and lands in the same position.

Named for the originator of the step. Jump from fifth position and land on the leg toward which you jumped, leaving the other leg extended in dégagé. (Think: scissors)

From fifth position, rise on the toes and pull the feet closely together.

Step to second position, then quickly cross the other leg front and turn, landing in fifth position.

Stretch the pointed toes to the front, side or back so that just the toe touches the ground.

The dancer falls onto the working leg.

Grand battement the working leg out to a 90° angle in front, then leap from the standing leg and land on the working leg, facing the direction you came from and with the other leg in arabesque.