The Arabesque: Ballet’s Most Iconic Position
The arabesque is one of the most recognisable images in classical ballet — the dancer balancing on one leg with the other extended behind them in a long, elegant line. It appears in every level of ballet training from Pre-Primary through to the most advanced professional repertoire, and it is one of the first positions that people associate with classical dance.
Understanding what an arabesque is, how it is performed, and what its variations are helps students and parents appreciate what teachers are working toward when they call for this position.
The Basic Definition
An arabesque (from French, meaning “in Arabic fashion”) is a position in which the dancer stands on one leg — either flat, in demi-pointe (on the ball of the foot), or en pointe — and extends the working leg behind them at a specific height and angle. The supporting leg is straight; the working leg is fully extended with a pointed foot. The arms are held in a defined position, and the body maintains an upright or slightly forward incline depending on the arabesque number.
The Four Standard Arabesques
In the Vaganova (Russian) school and most classical systems, there are four numbered arabesque positions, distinguished by the placement of the arms:
First Arabesque
The downstage arm is stretched forward, the upstage arm is extended to the side. Both arms are at the same height. The body faces slightly forward. This is the most commonly seen arabesque in teaching and is the first one students learn.
Second Arabesque
The upstage arm stretches forward; the downstage arm extends to the side. This is the mirror arrangement of the first, and creates a different visual line relative to the audience.
Third Arabesque
Both arms reach forward, one in front of the other, with the downstage arm slightly higher. Less commonly seen in teaching than first and second, but appears in repertoire.
Fourth Arabesque
Both arms reach forward at the same height but in opposition — this creates the most complex arm line of the four. Associated particularly with the Cecchetti method.
Different ballet schools (RAD, Cecchetti, Vaganova, French) define the four arabesques slightly differently. Students follow the specific system taught by their school.
What Makes a Good Arabesque
A well-executed arabesque requires:
- A stable, straight supporting leg — any bend in the knee creates a visual break in the line and reduces balance
- Maximum length in the back leg — the heel pushes away from the body, the knee is straight, and the foot is fully pointed
- Square hips — ideally both hips face forward; as the working leg rises higher, some rotation is inevitable, but excessive hip opening is corrected
- A lifted back — the spine should be long and supported, not collapsing into the lower back; the shoulder blades draw down and together
- Length through the arms — arms are carried with energy to the fingertips, not dropped or loose
- A focused gaze — eyes look forward or slightly upward; the chin is not dropped
Arabesque in the Classical Repertoire
The arabesque appears throughout the major ballets. Some of the most famous include the arabesque promenade in The Sleeping Beauty (Princess Aurora’s Rose Adagio, where she holds an arabesque balance while her hand is passed between four princes), and the long arabesque penché (leaning forward while the back leg rises) seen in Giselle and Swan Lake.
Arabesque Height: What Is Realistic?
Ballet teachers and audiences sometimes fixate on the height of the arabesque, but technique and line matter more than height alone. A 45-degree arabesque with perfect alignment is more beautiful and more correct than a 90-degree arabesque with a collapsed back, rotated hips, and bent knee. Height develops naturally as flexibility and strength improve over years of training.
Frequently Asked Questions
At what level do students learn arabesques?
In the RAD syllabus, arabesque first appears formally at Grade 1. In Pre-Primary and Primary, preparatory positions that develop the same body awareness are introduced. By Grade 3–4, students are working on maintaining arabesques in combinations and across the floor.
How is arabesque different from attitude?
In an attitude, the working leg is raised behind (or in front) with the knee bent at approximately 90 degrees. In an arabesque, the working leg is fully straight. Both positions extend the leg behind the body; the distinction is whether the knee is bent or straight.
Why does my child’s arabesque look low compared to others?
Arabesque height depends on hamstring flexibility, hip flexor flexibility, core strength, and back mobility — all of which develop at different rates. Comparing children’s arabesques is rarely useful; consistent training and targeted flexibility work produce steady improvement over time.