Every journey in classical ballet begins in the same place: five foundational positions that have shaped the art form for centuries. Whether you are a parent watching your child take their very first class, an adult considering ballet for the first time, or a student preparing for Royal Academy of Dance examinations, understanding these five positions gives you an invaluable window into what classical ballet is truly about.
They are not simply shapes the body makes. They are the structural language of ballet, the grammar upon which every step, turn, and leap is built.
Why the Five Positions Matter
Classical ballet is a discipline rooted in precision and progression. At Elite Academy of Dance, our entire teaching methodology is built on ensuring students develop technically sound foundations from the very beginning. RAD training, which we have been proud to deliver as an affiliated centre, has established these standards globally since 1920.
The five positions of the feet (and their corresponding arm positions) are the starting point for every exercise at the barre, every combination in centre work, and every movement on stage. When a student understands why these positions exist, not just what they look like, their development accelerates in ways that go far beyond imitation.
Equally, correct positioning from an early age protects the body. Much like the pointe work we introduce progressively through careful conditioning, the basic positions are about building strength and alignment safely over time.
First Position
In first position, both heels touch and the feet are turned outward, forming a straight line. The turnout originates from the hips, not the feet or knees. This is a point many beginners misunderstand.
The arms in first position form a soft, rounded shape in front of the body, as though holding a large, gently inflated balloon. The elbows are slightly lower than the shoulders, and the wrists and fingers are relaxed and graceful.
First position teaches the body its most fundamental alignment: lifted through the torso, weight evenly distributed, and the legs rotated outward from the hip socket.
Second Position
From first position, one foot slides directly to the side until the feet are roughly shoulder-width apart. The turnout is maintained throughout. Second position creates a wide, grounded stance that develops inner thigh strength and balance.
The arms open outward in a long, low line, slightly in front of the body's plane. Second position arms are often used as a point of return in combinations, offering the dancer a moment of openness and stability.
This position is particularly important for young students because it strengthens the muscles that will eventually support pirouettes, grand battements, and adage work in later grades.
Third Position
Third position is considered a transitional position in RAD training, used particularly in the early grades before students progress to fifth. One foot is placed in front of the other so that the heel of the front foot touches the middle of the back foot.
It demands an understanding of weight distribution and the beginnings of co-ordination between the upper and lower body. For younger students at pre-primary and primary level, third position is an important stepping stone toward the more complex demands of fifth.
Fourth Position
Fourth position is one of the more demanding of the five. One foot is placed approximately one foot's length in front of the other, with both feet turned out. The weight is shared between both legs, and the pelvis must remain square and lifted.
There are two common forms: an open fourth (feet aligned with the hips) and a crossed fourth (derived from fifth position). The arms typically take an oppositional shape, one arm forward and one to the side, giving the position both elegance and a sense of dynamic tension.
Fourth position is central to preparation for pirouettes and is a position students encounter frequently from Grade 1 onwards in RAD examinations. Correct alignment here directly influences the quality of turning work later in a dancer's training.
Fifth Position
Fifth position is the most refined of all five. Both feet are fully crossed so that the heel of the front foot aligns with the toe of the back foot, with maximum turnout maintained throughout. The legs are close together and the thighs gently engaged.
The arms in fifth rise above the head in a rounded oval shape, the fingertips just visible in the dancer's peripheral vision. Fifth position is the position from which grand allegro, grand jeté, and many of the most breathtaking movements in ballet originate.
It takes time to achieve fifth position cleanly. Students working toward their RAD grades develop fifth position incrementally, and that patience is entirely worthwhile. Some of our strongest dancers did not begin training until their early teens, and many progressed to outstanding levels precisely because they never rushed the fundamentals.
Building These Skills at Elite Academy
Understanding the five positions is one thing. Developing them with correct technique, musical sensitivity, and artistic expression is another. That is where structured, expert-led training makes all the difference.
Our classes run across all ages and abilities, from pre-school children taking their first steps at the barre to adult beginners joining our classes later in life. We are the only dedicated RAD school in Inverclyde, and our registered teachers complete rigorous qualification programmes alongside ongoing Continuing Professional Development to ensure every student receives the highest standard of tuition.
If you are ready to begin, or if you would like to find out more about our classes, RAD examinations, and what structured ballet training can offer you or your child, we warmly encourage you to visit our website or contact us directly. Our studio is at 15a Watt Street, Greenock, and you are welcome to call Julie on 0775 324 6035. We look forward to welcoming you.
