Ballet Terms Glossary: Complete A–Z Dictionary for Students & Parents

Ballet terminology is the vocabulary used by dancers, teachers, and choreographers to describe movements, positions, and techniques. Rooted in 17th-century French court dance, these terms were standardised when King Louis XIV founded the Académie Royale de Danse in 1661. Today the same French terms are used in studios from London to Tokyo. Whether you are a new student or a parent helping with homework, this complete ballet glossary covers every key term you will encounter from Primary to Vocational level.

Why Ballet Uses French Terminology

France was the birthplace of codified ballet, and the Royal Academy of Dance (RAD) and ISTD both use French as the universal language of instruction. This means a student in Sydney can train with a teacher from Moscow and understand every correction immediately. Learning the language is part of learning the art.

Ballet Terms A–F

• Arabesque – Standing on one leg with the other extended behind; can be at 45°, 90°, or higher. See our full arabesque guide.
• Assemblé – A jump where the working foot brushes the floor and both feet meet in the air before landing in fifth position.
• Attitude – Like arabesque but the raised leg is bent at roughly 90° at the knee.
• Ballon – The quality of lightness and elasticity in jumping; appearing to float briefly in the air.
• Battement – A beating or swinging action of the working leg; includes grand battement (high kick) and petit battement (small beat at the ankle).
• Battement tendu – The working foot slides along the floor to a fully pointed position while maintaining floor contact throughout.
• Chassé – A gliding step where one foot “chases” the other across the floor.
• Corps de ballet – The ensemble dancers in a company who perform as a unified group behind the soloists.
• Croisé – A crossed position; the dancer stands at a diagonal angle to the audience so the legs appear crossed.
• Dégagé – The foot disengages from the floor to a pointed position just above it; short for battement dégagé.
• Développé – A slow unfolding of the leg to an extended position, passing through retiré on the way up.
• Effacé – An open position at a diagonal where the legs appear uncrossed.
• En dehors / en dedans – Outward / inward; describes the direction of a turn or circular action.
• En pointe – Dancing on the tips of the toes in pointe shoes. Read our guide on when students start pointe.
• Fondu – A bending and straightening of the supporting leg; literally “melted.”
• Fouetté – A whipping action of the working leg; the 32 consecutive fouetté turns in Swan Lake are one of ballet’s most famous technical feats.
• Frappé – A sharp strike of the working foot against the ankle before extending.

Ballet Terms G–P

• Glissade – A smooth gliding step used as preparation for jumps.
• Grand battement – A high swing of the working leg requiring strength, turnout, and control.
• Grand jeté – A large split leap travelling through the air.
• Grand plié – A full bend of both knees in any position; the deepest plié.
• Jeté – A jump in which weight is thrown from one foot to the other.
• Pas de deux – A dance for two; the central duet in most classical ballets.
• Pas de chat – A catlike jump where each foot draws up separately under the body.
• Penché – Leaning; in arabesque penchée the body tilts forward as the back leg rises above horizontal.
• Petit allegro – A series of small, quick jumps performed to fast music; tests coordination and musicality.
• Pirouette – A complete turn of the body on one foot, either en dehors (outward) or en dedans (inward).
• Plié – A bending of the knees while maintaining turnout; demi plié (half bend) is the foundation of every jump and landing.
• Port de bras – The carriage and movement of the arms; exercises that develop coordination and line.

Ballet Terms R–Z

• Relevé – A rise onto the ball of the foot (demi-pointe) or onto full pointe.
• Retiré / Passé – The working foot is drawn up to the knee of the supporting leg. When it moves through this position it is called passé. Correct alignment here is crucial for avoiding a sickled foot — see our sickled foot guide.
• Révérence – A curtsy or bow performed at the end of class as a show of respect to the teacher and accompanist.
• Rond de jambe – A circular movement of the working leg; à terre (on the floor) traces a half circle; en l’air traces one in the air.
• Sauté – A jump from two feet landing on two feet, in any position.
• Sissonne – A jump that takes off from two feet and lands on one; named after the Comte de Sissonne who supposedly invented it.
• Soutenu – A sustained turn, typically in fifth position with a relevé.
• Tendu – Short for battement tendu; the foundational barre exercise found in every syllabus from Primary onwards.
• Tour en l’air – A full turn (or double, or triple) performed in the air; most common in male variations.
• Turnout – The outward rotation of both legs from the hip sockets; the fundamental physical principle of classical ballet and the basis of every position and movement.

The Five Positions of the Feet

Classical ballet has five fundamental positions. All require turnout originating from the hip, not forced from the knee or ankle. For a step-by-step breakdown of each position with alignment guidance, see our dedicated ballet positions guide.

1. First position – Heels together, toes turned out to form a straight line.
2. Second position – Feet apart (roughly one-and-a-half foot-lengths), turned out.
3. Third position – The heel of the front foot rests against the middle of the back foot.
4. Fourth position – Feet apart front-to-back, turned out; opposite to fifth.
5. Fifth position – Feet fully crossed, front heel touching back toe; the most closed and advanced position.

Syllabus Differences: RAD, ISTD, Vaganova

Most UK and Commonwealth students follow the RAD or ISTD syllabus. Russian students use the Vaganova method. While core vocabulary is universal, minor naming differences exist:

• RAD uses “retiré”; some schools say “passé” for the same held position.
• Vaganova numbers arabesques (First Arabesque, Second Arabesque, etc.); RAD describes them by configuration.
• “Dégagé” and “battement dégagé” are interchangeable in modern usage.

Frequently Asked Questions About Ballet Terms

What language is ballet terminology?

Ballet terminology is French. When Louis XIV of France formalised ballet as a court art in the 1660s, French became the official language of the discipline. These terms are now used universally in studios worldwide regardless of the nationality of teachers or students.

How many ballet terms are there?

There are hundreds of recognised ballet terms, but a beginner needs approximately 30–50 to participate fully in class. Advanced students work with over 200 terms covering specific steps, positions, qualities of movement, and stage directions. Most reputable glossaries list 150–300 entries.

What is the difference between passé and retiré?

Technically, retiré is the held position where the working foot is placed at the knee of the supporting leg. Passé is the transitional movement of the foot passing through retiré on its way from one position to another. In everyday class usage many teachers use the two terms interchangeably.

What does “en pointe” mean?

“En pointe” means dancing on the very tips of the toes, supported by specially reinforced pointe shoes. Students are not ready for pointe work until their bones, muscles, and technique are sufficiently developed — typically not before age 11–12 and usually not until they have three or more years of consistent training. Read our full guide on when ballet students start pointe work.

What does turnout mean in ballet?

Turnout is the outward rotation of both legs from the hip sockets so that the feet point away from each other. True turnout originates in the hip joint, not the feet or knees. Adult beginners typically achieve 90–120° of turnout; professional dancers may reach up to 180°. Forcing turnout from the knees or ankles is a common and potentially harmful mistake.

What is a révérence in ballet?

A révérence is a formal curtsy or bow performed at the end of every ballet class. Students curtsy or bow to their teacher and, if present, the pianist. It is a longstanding tradition that marks the end of class and acknowledges the teacher’s work. Male dancers bow; female dancers perform a curtsy, usually in fifth position with a lowering of the head.