Ballet Positions

All ballet movement begins and ends in one of five basic positions of the feet, established centuries ago and still fundamental to ballet today. These positions form the vocabulary from which all ballet technique develops, making them essential knowledge for anyone studying ballet. Understanding these positions before your first ballet class can help you feel more confident, though it’s certainly not required—teachers regularly work with students who arrive knowing nothing about ballet.

Why Ballet Positions Matter

The five positions aren’t arbitrary. Each position creates specific alignment and placement that prepares the body for particular movements whilst maintaining balance and proper technique. These positions emphasise turnout—external rotation of the entire leg from the hip joint—which is fundamental to ballet aesthetics and allows greater range of motion in movement.

Every ballet exercise and combination begins in one of these positions, travels through others, and resolves back to a position. They provide the structural framework for all ballet technique, creating consistency and clarity in how movements are taught and executed across the ballet world.

Learning the positions gives you a basic vocabulary to understand what your teacher is demonstrating and asking you to do. When a teacher says “fifth position,” you’ll know what configuration your feet should be in, reducing confusion and allowing you to focus on other aspects of the movement.

The Five Basic Positions of the Feet

First Position

In first position, your heels touch and your toes point outward, creating a straight line with your feet. Ideally, this line would be 180 degrees—a perfect flat line with each foot pointing directly to the side. However, this extreme turnout is neither necessary nor appropriate for beginners.

When starting ballet, your first position will likely form more of a V-shape than a straight line, and that’s completely appropriate. What matters is that your turnout comes from your hips, not from twisting your knees and feet. Your knees should point in the same direction as your toes, with the rotation happening from your hip joint.

Your weight should be evenly distributed across both feet, with a sense of pulling upward through your legs and torso. Imagine lengthening your spine toward the ceiling whilst your feet stay grounded.

First position is often used for starting and ending exercises, and it’s typically the first position beginners learn due to its relative simplicity and stability.

Second Position

Second position is similar to first position but with your feet separated. From first position, slide one foot directly to the side, maintaining the turnout. The distance between your feet should be roughly the length of one of your feet—not too wide, not too narrow.

Your weight should remain evenly distributed between both feet, and you should maintain the same upward lift through your body as in first position. Your knees continue pointing in the same direction as your toes, with turnout initiated from the hips.

Second position provides a wider base of support than first position, making it stable and useful for exercises requiring balance or for movements that travel side to side.

Third Position

Third position involves one foot placed in front of the other, with the heel of your front foot touching the arch of your back foot. Your feet remain turned out, so you’re not simply standing with one foot in front of the other but rather creating a specific crossed configuration.

Third position is less commonly used in modern ballet training than the other positions. Many teachers progress students directly from first and second positions to fourth and fifth, skipping third position or mentioning it only briefly. However, some teaching methods use third position as a transitional position before students develop the strength and control for proper fifth position.

Your weight should be evenly distributed between both feet, and you should maintain the same lifted, aligned posture as in other positions.

Fourth Position

Fourth position is one of the more challenging positions, particularly for beginners. From first position, slide one foot forward, maintaining turnout. The heel of your front foot should align approximately with the toes of your back foot (though the exact distance varies depending on your leg length and what movement you’re preparing for).

Your feet remain parallel to each other—if your right foot is forward, your right toes point to the right side and your left toes point to the left side, creating parallel turned-out feet with space between them.

Fourth position is inherently less stable than first, second, or fifth because your base of support is narrower. Maintaining balance requires engaging your core and maintaining proper alignment through your hips, shoulders, and head.

Fourth position is used frequently in ballet, particularly as preparation for jumps and as a landing position for many movements. It appears in both “open” fourth (where your front foot aligns with the arch of your back foot) and “closed” fourth (where your front foot aligns with the heel of your back foot, more similar to fifth position but with space between the feet).

Fifth Position

Fifth position is generally considered the most difficult position, requiring strength, control, and flexibility to execute properly. In fifth position, one foot is placed directly in front of the other, with the heel of your front foot touching the toes of your back foot and the heel of your back foot touching the toes of your front foot. Your feet are completely crossed, forming a tight configuration.

Proper fifth position requires substantial turnout and control. For beginners, attempting fifth position too early often leads to compensatory twisting at the knees and ankles rather than true turnout from the hips. Many teachers have students work in third position or a modified fifth (with feet crossed but not completely touching) until they develop sufficient turnout and strength for proper fifth.

Don’t be discouraged if fifth position feels impossible at first. It’s genuinely difficult and takes time to develop properly. Focus on maintaining correct alignment and true turnout rather than forcing your feet into a position your body isn’t ready for.

Fifth position is used extensively in ballet as a starting and ending position for many exercises and combinations, particularly more advanced movements.

Turnout: The Foundation of Ballet Positions

All five positions emphasise turnout—external rotation of the legs from the hip joints. Turnout is fundamental to ballet aesthetics and technique, allowing greater range of motion and creating the characteristic ballet lines.

Proper turnout originates in the hips. Your hip joints rotate externally, turning your entire leg outward from the top. Your knees point in the same direction as your toes, with no twisting happening at the knee or ankle joints. This alignment protects your knees and ankles whilst properly engaging the muscles of your legs and hips.

Beginning ballet students often have limited turnout, and that’s completely normal and expected. Turnout develops gradually through consistent, correct practice. Forcing turnout before your body is ready causes injury and develops bad habits that are difficult to correct later.

Your teacher will work with your current level of turnout, helping you gradually improve whilst maintaining proper alignment and safety. Never twist your knees or ankles to create the appearance of more turnout—this is dangerous and defeats the purpose of proper technique.

Positions of the Arms

Whilst the five positions typically refer to foot positions, ballet also has corresponding arm positions, though these are somewhat less standardized across different teaching methods.

Basic Arm Positions

The fundamental arm positions that most methods share include:

First position (arms): Arms form a circle in front of your body, roughly at the level of your navel or lower ribs. Your fingertips don’t quite touch, and your elbows are gently rounded, not straight. Imagine you’re hugging a large beach ball.

Second position (arms): Arms extend to the sides at roughly shoulder height. Your arms maintain a gentle curve—not perfectly straight but softly rounded from shoulder to fingertip. Your shoulders remain down and relaxed, not hunched or tense.

Third position (arms): One arm remains in second position whilst the other arm is raised overhead in a gentle curve. This creates an asymmetrical, graceful line.

Fifth position (arms): Both arms are raised overhead in a gentle oval shape, framing your head without blocking your face. Your arms remain slightly forward of your body, within your peripheral vision.

Different ballet methods (RAD, Vaganova, Cecchetti, etc.) have slightly different numbering and terminology for arm positions, which can create confusion. Your teacher will clarify which system they’re using and what they expect.

How Positions Are Used in Class

During a ballet class, you’ll move through these positions constantly. A typical barre exercise might begin in first position, pass through second position during the movement, and finish in fifth position. Understanding the positions allows you to follow these transitions and execute them correctly.

Initially, thinking about foot position, turnout, weight distribution, arm placement, and posture simultaneously will feel overwhelming. This is normal. With practice, these elements become more automatic, allowing you to focus on more subtle refinements.

Teachers often call out positions during exercises—“Start in fifth position, plié, tendu to second position, close to first.” Understanding what these positions are helps you follow along even when you can’t see the demonstration.

Common Mistakes and How to Avoid Them

Forcing Turnout

The most common and dangerous mistake is forcing turnout beyond what your hips currently allow. This leads to twisting at the knees and ankles, which can cause injury. Work with your natural turnout, allowing it to develop gradually through proper training.

Rolling Ankles

When trying to achieve more turnout than your hips allow, ankles often roll inward, collapsing your arches. Your weight should be distributed evenly across your entire foot, with your arches lifted. If your ankles roll, you’re forcing too much turnout.

Tension

Many beginners hold excessive tension in their bodies whilst trying to maintain positions. Whilst ballet requires engagement and control, it shouldn’t involve clenching or tension. Your muscles should work efficiently without unnecessary tightness, particularly in your shoulders, neck, and jaw.

Locked Knees

Standing in ballet positions with completely locked, hyperextended knees is harmful. Your knees should be straight but not locked, with your leg muscles engaged to support proper alignment.

Practicing Positions at Home

You can familiarize yourself with the positions at home, though be mindful of working on appropriate surfaces. Carpeted floors provide more cushioning for your joints, whilst wood floors are slippery—be careful to avoid sliding unexpectedly.

Stand in front of a mirror if possible, which allows you to see your alignment and positioning. Practice moving from one position to another, feeling how your weight shifts and how the positions relate to each other.

However, don’t worry excessively about perfect execution when practicing alone. Hands-on corrections from a teacher are essential for developing proper technique. Home practice should supplement class instruction, not replace it.

Positions for Adult Beginners

Adult bodies often have more limited turnout than children’s bodies, and that’s completely fine. Your teacher will work with your current capabilities whilst helping you gradually improve.

Adult beginners should particularly focus on protecting their knees by never forcing turnout. It’s better to work in smaller turnout with proper alignment than to force extreme positions that compromise your joints.

The strength and control required for proper positions develop over time. If fifth position feels impossible, work in third position or a modified fifth until you build the necessary strength and flexibility. There’s no rush—dance is a lifelong practice, and building proper foundations matters more than quickly advancing through positions.

For adults specifically considering ballet, our comprehensive guide to ballet for adults addresses common concerns and questions about starting ballet as a grown-up.

Beyond the Basics

As you progress in ballet, you’ll learn many variations and applications of these five basic positions. Positions serve as starting points for movement, not static poses to hold indefinitely. Ballet is about transition and flow, with positions providing the framework within which beautiful movement happens.

You’ll eventually learn how different positions prepare you for specific movements—fourth position before pirouettes, fifth position for certain jumps, second position for side extensions. This functional understanding develops gradually through continued training.

Getting Started

Understanding ballet positions provides a foundation for beginning your ballet journey, but don’t let lack of knowledge delay starting ballet classes. Teachers expect beginners to arrive knowing little or nothing about ballet, and they’ll teach you everything you need to know.

Before your first class, you might also want to read about what ballet is to understand the broader context of what you’ll be learning, and what to wear to ballet to feel prepared for the practical aspects of class.

Ballet schools across Ireland—in Dublin, Cork, Galway, Limerick, Belfast, and Derry—welcome beginners and will teach you proper technique from your first class.

The Irish ballet community takes pride in making ballet accessible and welcoming to everyone, regardless of previous experience or current ability. Understanding the five basic positions gives you a helpful starting point, but your teacher will guide you through everything you need to know as you progress in your ballet education.

Frequently Asked Questions

Do I need to memorize the five positions before my first ballet class?

No. While understanding the positions can help you feel more confident, teachers expect beginners to arrive knowing little or nothing about ballet. Your teacher will introduce and explain the positions during class, demonstrating and providing corrections as you learn.

Why are the positions numbered instead of having descriptive names?

The numbering system provides standardized terminology that works across languages and cultures. Rather than translating descriptive names, the numbers remain consistent whether you’re taking class in Dublin, Paris, or Moscow, making ballet truly international in its language.

How long does it take to do the positions correctly?

Basic understanding of the positions comes relatively quickly—within a few classes you’ll know what each position is. However, executing positions correctly with proper turnout, alignment, and control develops over months and years of training. Even professional dancers continually work to refine their positions.

Can I practice ballet positions at home?

Yes, you can familiarize yourself with the positions at home. However, be cautious about working without teacher supervision, particularly regarding turnout. It’s easy to develop bad habits by forcing turnout or misaligning your body. Home practice works best as a supplement to regular class attendance, not as a replacement.

What if I can’t get my feet into the positions shown in pictures?

Pictures of ballet positions often show professional dancers with extreme turnout and flexibility developed over years or decades of training. Your positions as a beginner will look different, and that’s completely appropriate. Work with your current capabilities, and your teacher will help you gradually improve.

Are the arm positions as important as the foot positions?

Both matter for complete ballet technique. However, foot positions and leg work are generally emphasized first with beginners, with arm positions receiving increasing attention as you progress. Beautiful arms are essential to ballet’s overall aesthetic, but the foundation starts with proper placement and turnout of the legs and feet.

Is ballet just about holding these positions?

No. Ballet is fundamentally about movement, and positions serve as the framework from which movement happens. You’ll move through positions constantly during class—they’re starting points, transitions, and endings for movements, not static poses to hold. The positions provide structure and clarity, allowing complex movements to be taught and executed systematically.