Ballet has five basic positions of the feet, and nearly every step in classical ballet begins or ends in one of them. In all five, the legs are rotated outward from the hips, a quality called turnout. First position places the heels together with the toes pointing to the sides. Second opens the feet about one foot-length apart. Third places the heel of the front foot against the arch of the back foot. Fourth sets one foot in front of the other, about a foot apart. Fifth crosses the feet fully, with the front heel close to the back big toe. Alongside these foot positions, ballet uses a set of arm positions whose names and numbering vary between training methods.
This guide explains each position, where the positions came from, how turnout should work, how arm positions fit in, and the most common mistakes students make when learning them.
Where the five positions came from
The five positions of the feet are generally credited to Pierre Beauchamp, a dancer and ballet master at the court of Louis XIV of France in the late 17th century. This was the period when the Académie Royale de Danse, founded in 1661, worked to standardize the vocabulary of dance. The positions were recorded in the notation system published by Raoul-Auger Feuillet in 1700, which helped spread them across Europe. More than three centuries later, the same five positions remain the foundation of every major ballet method, which is one reason ballet terminology is still largely in French.
The five positions of the feet
| Position | How it looks | Key checkpoints |
|---|---|---|
| First | Heels together, toes turned out to the sides | Weight even across both feet; knees over the toes |
| Second | Feet turned out and about one foot-length apart | Weight centered between the feet; pelvis level |
| Third | Heel of the front foot against the arch of the back foot | Both legs equally rotated; hips square |
| Fourth | One foot in front of the other, about one foot-length apart, both turned out | Weight centered between the feet; front heel roughly in line with back toes |
| Fifth | Feet crossed closely, front heel near the back big toe | Tight, crossed legs; no gripping at the knees or rolling of the feet |
How to stand in each position
- First position. Stand tall with your heels touching. Rotate both legs outward from the top of the thigh so the toes point to the sides. Only turn out as far as you can while keeping your knees aligned over your toes and your arches lifted.
- Second position. From first, slide one foot directly to the side until the heels are roughly one of your own foot-lengths apart. Keep the same turnout, and distribute your weight evenly between both feet.
- Third position. Place the heel of your front foot against the arch of your back foot. Both legs stay rotated. Third is often used in early training and in some methods as a step toward fifth.
- Fourth position. Place one foot in front of the other with about one foot-length between them. In crossed fourth, the front heel lines up with the back toes; in open fourth, the heels line up. Your teacher will tell you which version to use.
- Fifth position. Cross the feet fully so the front heel sits close to the joint of the back big toe and the back toe peeks out beside the front heel. Fifth requires strong, well-controlled turnout, so beginners often work in a partial version first.
Understanding turnout
Turnout is the outward rotation of the legs that defines ballet’s look. It should come mainly from the hip joints, supported by the deep rotator muscles and glutes, with the knees and feet following the line of the thigh. Very few dancers have a naturally perfect 180 degree turnout, and many teachers emphasize that working with your own natural range and building strength over time is safer than forcing the feet into a wide angle.
Forced turnout, where the dancer twists from the knees or rolls the feet inward to make the position look wider, places stress on the knees, ankles, and feet. It is one of the most common causes of alignment problems in young dancers. A good test is to do a small plié in first position. If your knees travel over your toes, your turnout is working. If they drop inward in front of the big toes, you are turning out further than your hips allow.
Positions of the arms
Ballet also uses standard arm positions, and they vary more between methods than the foot positions do. The general shapes are similar, but numbering, names, and exact placement differ in the French, Russian (Vaganova), Cecchetti, and RAD traditions.
| Common name | General shape |
|---|---|
| Bras bas or preparatory | Arms low and rounded in front of the thighs |
| First | Arms rounded in front of the body, around the lower ribs or stomach |
| Second | Arms open to the sides, slightly rounded and a little in front of the body |
| Fifth or en haut | Arms rounded above and slightly in front of the head |
| Third and fourth | Combinations of one arm in one position and the other arm in another, defined differently by each method |
In all methods, the arms should be supported from the back, with relaxed shoulders, long lines through the elbows, and soft hands. Follow the names your teacher uses, since mixing systems can be confusing in class.
How the positions are used in class
The positions are the building blocks of every class. At the barre, pliés are usually done in several positions, often first, second, fourth, and fifth. Tendus, dégagés, and other exercises start and finish in first or fifth. In center work, jumps like changements take off from and land in fifth, and many turns begin from fourth or fifth. Because the positions appear so often, even small errors, such as a slightly rolled foot or a twisted knee, repeat hundreds of times in a single class. That is why teachers spend so much time on them with beginners.
Practice tips
- Practice each position slowly in front of a mirror, checking alignment from the front and the side.
- Use pliés in each position to confirm your knees track over your toes.
- Close positions precisely at the end of every exercise rather than letting feet drift.
- Strengthen the rotator muscles with exercises like clamshells to support turnout.
- Ask your teacher which version of third, fourth, and fifth they want for your level.
Common mistakes
- Forcing turnout. Twisting from the knees or feet to widen a position can strain joints. Rotate from the hips within your natural range.
- Rolling the feet. When the arches collapse inward, the ankles and knees fall out of alignment. Keep weight across the big toe, little toe, and heel.
- Uneven weight. Leaning onto one foot in second or fourth throws off balance in the next step.
- Too wide a fourth or second. A position that is too wide makes it hard to stay centered and move efficiently.
- Sloppy closing. Finishing exercises in an approximate position builds poor habits over time.
- Locking or hyperextending the knees. Straight legs should be pulled up and engaged, not pushed back into the joint.
- Forgetting the upper body. Correct feet with raised shoulders or a tilted pelvis is still an incorrect position.
Frequently asked questions
Who created the five positions of ballet?
They are generally credited to Pierre Beauchamp, ballet master at the French court of Louis XIV in the late 17th century. They were recorded in Raoul-Auger Feuillet’s dance notation published in 1700.
Do I need perfect turnout to do the positions?
No. Very few dancers have a naturally perfect turnout. Work within your own range from the hips, keeping knees over toes, and build strength gradually rather than forcing the feet.
Why are ballet arm positions numbered differently?
Different training methods, such as French, Vaganova, Cecchetti, and RAD, developed their own naming and numbering for the arms. The shapes are similar, so follow the system your teacher uses.
