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Arabesque (ballet position)
Arabesque (ballet position)
Arabesque (ballet position)
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Arabesque position with working leg à la hauteur, forming a 90° angle with supporting leg
Arabesque penchée

Arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") in dance, particularly ballet, is a body position in which a dancer stands on one leg–the supporting leg–with the other leg–the working leg–turned out and extended behind the body, with both legs held straight.

In classical ballet, an arabesque can be executed with the supporting leg en pointe or demi pointe or with foot flat on the floor. The working leg may touch the floor in tendu back – an arabesque par terre – or be elevated. Common elevation angles of the raised leg are 45° – à demi hauteur – and 90° – à la hauteur. When the angle is much greater than 90° and the body trunk leans forward to counterbalance the working leg, the position is called arabesque penchée. The arms may be held in various positions.[1] Arabesques are described from the perspective of the dancer, in terms of the stage reference points used by the training system.

Vaganova

[edit]

Galina Kekisheva, a former soloist of the Kirov Ballet who studied with Agrippina Vaganova at the Leningrad School of Dance has described the changes in Russian ballet technique over time:[2]

Now it seems unimportant in the school if the dancer stands on his or her leg properly pulled up, or sits back into the hip socket. What is important to today's dancers is that the arabesque is higher than the head. There is no low arabesque that maintains a beautiful line, an arabesque from which, for example, you can do a turn. When you're sitting back on the [joint of the standing] leg, you can't go anywhere from there.

Kekisheva, who is now a coach with the Mariinsky ballet, has said that "Vaganova's method is dissipating, and working in the classical repertoire has become more difficult".[2] In the Vaganova method there are four basic arabesque positions. They are described here for a dancer facing point 8. In class practice, the arms are always level with the shoulders – arabesque de classe, whereas in performance the arm in front may be raised above shoulder level – arabesque de scene. The elbows are always facing downwards.

  • In the first arabesque, the dancer stands in effacé position – with the left foot in front – with the right leg raised in arabesque, the right arm extended to the side, to the audience, and the left arm extended front, towards the corner. The gaze follows the line of the arm extended en avant.
  • In the second arabesque the legs are like in the first arabesque, but the right arm is extended en avant while the left arm is extended aligned with the dancer's shoulder; the shoulders are in épaulement in line with the arms and the gaze is turned to the audience. The dancer's face is turned toward point one.
  • In the third arabesque the dancer stands in croisé position – with the right foot in front – with the left leg raised in arabesque, the right arm extended to the side and a little behind the shoulder, and the left arm extended front. The gaze follows the line of the arm extended en avant.
  • In the fourth arabesque position the dancer stands in croisé as for the third arabesque, but the right arm is extended front and the left arm is extended as far back as possible in line with the right arm. The shoulders are in strong épaulement and the dancer's focus is turned to the audience.

Technique

[edit]

In arabesque tendue or dégagé, the leg swings from the hip, generally directly forwards or backwards and does not impact aplomb as the back remains straight. Most dancers do not have the ability for their standing leg to rotate out fully to provide the openness for the swinging leg to move fully, therefore the working hip may open without lifting into the lower ribs, while the supporting hip lifts forward over the supporting foot, maintaining a spiral rotation through the hips. Restraining the hip's opening restricts range of motion, restricting the full curvature of the spine (prevents lateral spine rotation). Opening the hip allows dancers with less flexibility to achieve greater range of motion.

When the leg is positioned above 45°, the dancer curves the spine both laterally and vertically. This is done by anchoring the shoulders and scapula downward without tension, with shoulders perpendicular to the direction the dancer is facing. The sternum is lifted without hyper-extending the ribcage. The spine curves to the anterior, with the head lifted and focused straight forward or diagonally upward.

In the Vaganova method, the current standard height and degree for an arabesque is 110°.[3] The supporting and working legs are both fully turned out through the legs (not just from the hips). When performed with open arms, the shoulders are rotated about the spine so as not to affect the position or curvature of the spine.

Balanchine

[edit]

Suki Schorer has described the Balanchine arabesque as "longer, stronger and bigger". Balanchine would instruct students to "reach for diamonds" in both directions so the dancer's hands are not relaxed—the dancer's line should be elongated, but the arms should not be stiff.[4]

Arabesque pliée

[edit]

Schorer says the arabesque pliée "is good to build strength in your legs to control the rate of descent to hold your body up when you land". The dancer's bent knee is over the toe and the dancer should not penchée or tilt forward.[4]

Royal Academy of Dance

[edit]

In the RAD system, there are three main arabesques. Here they are described for a dancer facing point 6:

  • First arabesque is taken standing en ouvert on the right leg with the left leg extended. The right arm is extended forwards at eye height, parallel with the right shoulder. The left arm is at the side, slightly behind and below the left shoulder.
  • Second arabesque has a more 'square' feel to it. The dancer stands on their left leg, with their right leg extended. The right arm is extended forwards at shoulder height, and the left arm is extended directly sideways from the shoulder. This can also be taken en ouvert, standing on the right leg and extending the left arm forwards.
  • Third arabesque is taken en ouvert. The dancer stands on their right leg, with their left leg extended behind. The right arm is extended forwards at eye height, and the left arm is extended parallel to it at shoulder height.

Classical choreography

[edit]

The "Shades scene" from La Bayadère, choreographed by Marius Petipa, is one of the masterpieces of classical style. It opens with a corps de ballet of 28 female dancers, dressed in white performing a simple arabesque as they make their entrance one by one.[5][6]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Arabesque (ballet position)

View on Grokipedia
from Grokipedia
In , the arabesque (French: [aʁabɛsk], meaning "Arabesque") is a fundamental body position in which the dancer balances on one —the supporting —while extending the other —the working —straight behind the body, typically at a 90-degree to the supporting , with the straight and the foot pointed. The remains in profile to the , and the arms are positioned in opposition or harmony to elongate the line from the fingertips through the to the toes, creating an elegant, elongated that emphasizes poise and extension. This pose is executed with the shoulders square to the line of direction and the head turned slightly, often concluding adagio or allegro phrases in . The term "arabesque" derives from a form of Moorish ornamentation featuring intricate, flowing geometric patterns inspired by , which was adapted into Western aesthetics during the and later applied to dance to describe graceful, curving lines. Although poses resembling the arabesque appeared in earlier court dances, the position was first codified in by Italian dancing master Carlo Blasis in his 1820 treatise The Code of , where he defined it as an attitude with the body inclined forward or backward to balance the extended leg. By the Romantic era of the , the arabesque became central to ballet's expressive vocabulary, symbolizing ethereal lightness and emotional depth, as seen in Romantic ballets such as (1832). Different methods feature variations in arm and leg placement to refine the arabesque's line and facilitate transitions. In the , there are five principal arabesques, emphasizing precise opposition of arms and strict alignment. The Vaganova (Russian) School defines four arabesques. The French School simplifies to two. Regardless of variation, proper technique requires strong hip turnout, pelvic stability, and back extensors to prevent common faults like hip hiking or arching, which can lead to injuries such as . The arabesque remains a cornerstone of , assessing a dancer's strength, alignment, and artistry from early levels through professional auditions.

Overview

Definition

In ballet, the arabesque is a foundational position where the dancer stands on one supporting leg, either straight or in demi-plié, while extending the other leg straight behind the body at 90 degrees or higher, with the inclined slightly forward from the hips to maintain balance and the spine kept elongated for length. This posture emphasizes a profile view of the body, creating an elegant extension that highlights the dancer's control and poise. Maintaining equilibrium in arabesque requires strong core engagement to stabilize the and spine, along with full turnout of the supporting to ensure proper alignment of the hips and prevent twisting. The supporting 's and ankle remain firm and aligned over the foot, while the core muscles—particularly the abdominals, glutes, and back extensors—counterbalance the extended working leg, allowing the dancer to hold the position steadily without swaying. As a line-extending position, arabesque stretches the body into a continuous, unbroken from the fingertips through the , extended leg, and pointed toes, maximizing aesthetic elongation and fluidity in performance.

and History

The term "arabesque" in originates from the French word arabesque, which entered the in the to describe ornate, curvilinear motifs inspired by Moorish and decorative art, evoking a sense of flowing intricacy. By the late , the term had been adapted to to denote fanciful, imbalanced poses with extended limbs and decorative arm gestures, drawing parallels to these artistic patterns rather than the precise, straight-legged extension known today. The arabesque position emerged in the context of 18th-century , evolving from the formalized steps of earlier court dances into more expressive forms under reformers like . Noverre, a key figure in the transition to ballet d'action, critiqued overly exaggerated arabesques derived from painting influences, advocating for natural, dramatic poses that prioritized emotional narrative over mere ornamentation. In this era, the term primarily referred to attitudes involving garlands or wreaths, as seen in works like Jean-Baptiste Lully's Atys (1676) and later productions at the Paris Opéra, marking an early shift toward elongated lines in profile. Standardization occurred in the 19th century amid the movement, where the arabesque embodied ethereal grace and otherworldly extension. Italian choreographer and theorist Carlo Blasis offered the first comprehensive description in his 1820 treatise The Code of (originally published in French as Traité élémentaire, théorique et pratique de la danse), defining it as a profile pose supported on one leg with the other extended behind, inspired by reliefs and emphasizing harmonious body inclination and placement for a sense of classical beauty. This codification aligned with Romantic ideals, as evident in Taglioni's (1832), where elongated arabesques highlighted the sylphs' lightness and became iconic of the era's fascination with the . Refinements in the were shaped by the Russian Imperial Ballet's legacy, particularly after the 1917 Revolution prompted the emigration of luminaries like those associated with Serge Diaghilev's to and America. This migration disseminated exacting standards of alignment and elevation, integrating the arabesque into diverse training systems and elevating its role in modern choreography.

Fundamental Technique

Body Alignment and Leg Position

In the arabesque position, the supporting leg provides the foundational stability, requiring full initiated from the to align the over the foot and maintain balance. The is typically held straight, though a slight bend in demi-plié may be used in preparatory phases to facilitate smooth transitions, while the foot remains fully pointed and grounded on the floor to maximize contact and control. This , averaging around 60% from the with contributions from the and ankle, helps distribute weight evenly and prevents compensatory pronation that could lead to medial or ankle stress. The working leg extends directly backward from the body, with the hip ideally opened to achieve up to 180 degrees of for optimal extension, ensuring the remains straight and the foot pointed without sickling, which would distort the line and strain the ankle. This extension relies on the deep external rotators of the hip, such as the piriformis and , to lift the leg while keeping the stable, creating a seamless prolongation of the body's line from the supporting foot through the to the extended toes. Biomechanically, this hip-to-toe alignment enhances visual elongation and reduces strain on the lower back by promoting efficient force distribution during hyperextension. Torso alignment in arabesque emphasizes a lengthened spine that projects forward from the hips, avoiding any rounding of the back, while the hips remain level and the shoulders stay parallel to the hips to form a unified profile. This configuration, supported by core engagement, counters the backward pull of the working leg and maintains perpendicularity over the supporting base, as outlined in classical principles of equiponderance. positions contribute to overall balance by counterweighting the extension, though detailed upper body adjustments are addressed separately. Common alignment faults include (excessive lumbar lordosis), , or uneven , often resulting from forcing beyond anatomical limits, which compromises stability and increases injury risk to the spine and joints. Corrections involve strengthening the core musculature, such as the transversus abdominis, to stabilize the and promote neutral alignment, alongside targeted stretching to enhance flexibility without compensatory movements. The role of proper in these principles is crucial, as it mitigates strain on ligaments like the iliofemoral by ensuring rotation occurs primarily at the , fostering both aesthetic harmony and long-term joint health.

Arm and Head Placement

In the classical arabesque, the arms are positioned in opposition to the extended working leg to create balance and elongate the body's line, with one arm typically extended forward at and the other curved or extended to the side or overhead. The forward arm, opposing the raised leg, reaches outward with energy radiating through the fingertips, while the shoulders remain square to the line of direction, anchoring the supporting shoulder down and back to maintain stability. This configuration enhances the diagonal extension from the supporting foot through the to the raised leg, forming the longest possible harmonious line. Classical port de bras in arabesque emphasizes fluid, rounded or linear arm shapes that complement the pose's overall , with fingers softly pointed and wrists relaxed to avoid tension. The arms move from the shoulders in a controlled manner, contributing to the opposition that counterweights the backward extension of the leg, thereby aiding equilibrium without disrupting the body's forward inclination. This placement not only supports technical poise but also integrates the upper body into a cohesive whole, where subtle adjustments in arm curvature can refine the aesthetic flow. Head placement in arabesque involves an elongated held without strain, aligning the forward or slightly upward to extend the line visually and energetically. The head remains in profile or coordinated with the forward arm, directing the eyes outward toward the or the extended hand to convey and direction. This positioning reinforces the body's alignment, preventing any backward tilt that could compromise balance. For expressive purposes, subtle variations in head placement—such as a gentle turn or lift—allow dancers to infuse emotional nuance into the pose, enhancing its interpretive depth while preserving classical . The arms and head thus work in tandem with the to achieve a poised, counterbalanced arabesque that prioritizes both technical precision and artistic expression.

Variations by Training Method

Vaganova Method

In the , the arabesque is taught as a foundational position emphasizing precise alignment and expressive épaulement, where the working leg is extended behind the body at exactly 90 degrees to the supporting leg in initial training levels, progressing to higher elevations—often 120 degrees or more—in advanced stages to enhance line and balance. This progression underscores the method's systematic approach, beginning with preparatory exercises at the barre to build strength and control, such as tendus and battements into arabesque, before advancing to center-floor work where the dancer maintains the position without support, incorporating transitions like arabesque fondu to develop fluidity and stability. The arm configuration in Vaganova arabesque features a rounded port de bras in harmonious positions, creating a gentle curve that supports the overall line from fingertips to toes. Épaulement is integral, involving opposition of the shoulders and a slight head turn toward the forward arm, which accentuates the extension and adds emotional nuance without disrupting the square positioning of the shoulders relative to the line of direction. Agrippina Vaganova's 1934 manual, Basic Principles of , highlights the arabesque's role in fostering musicality and emotional depth through coordinated muscular tension, particularly in the back, ensuring the position conveys both technical precision and artistic expression rooted in tradition. This focus distinguishes the Vaganova arabesque by integrating épaulement and port de bras to achieve a lyrical, harmonious form that prioritizes back alignment for aesthetic appeal.

Balanchine Style

In the Balanchine style, the arabesque embodies a neoclassical ethos, emphasizing streamlined athleticism, speed, and elongated lines over the more static, lyrical poses of . Developed through George Balanchine's teachings at the (SAB), this approach modifies the traditional arabesque to facilitate fluid, dynamic movement that aligns closely with . The leg position in a Balanchine arabesque prioritizes higher extensions and quicker transitions, with the working leg encouraged to lift boldly—often creating the illusion of greater height through a slight opening of the hip joint, rather than maintaining strictly square hips. This adjustment reduces the rigid emphasis on perfect in the supporting leg, allowing for enhanced mobility and a of that supports rapid sequences. As described by SAB faculty, the arabesque is executed "longer, stronger, and bigger," with dancers reaching dynamically to amplify the line without compromising balance. Arm placement diverges from curved, classical ports de bras, favoring angular, extended lines that promote opposition and dynamic flow; typically, one arm stretches forward in line with the raised leg while the other extends sideways, both held straight to convey energy and modernity. The head focus complements this by directing the gaze forward with cheeks lifted upward and forward—often spotting straight ahead to minimize épaulement and preserve momentum during transitions. This configuration, as taught by Suki Schorer, a principal Balanchine interpreter, integrates the upper body into a cohesive, spiraling motion that enhances the arabesque's role in continuous choreography. Philosophically rooted in SAB's curriculum, the Balanchine arabesque prioritizes musical phrasing and precise timing over prolonged pose-holding, reflecting Balanchine's fusion of Russian classical foundations with American vitality to create ballets that "dance with the music" rather than merely illustrate it. A seminal example appears in Serenade (1934), Balanchine's first American ballet, where arabesques facilitate swift partnering and group formations, underscoring the position's utility in propelling neoclassical narratives forward.

Royal Academy of Dance

In the (RAD) syllabus, the arabesque is taught through a graded progression that prioritizes safe development and accessibility for young dancers, starting with low leg heights in Primary levels to build foundational alignment and strength. At Primary, the working leg is lifted behind the body to a low position around knee height (approximately 45 degrees), allowing beginners to focus on stability and without risking . This height gradually increases across the grades, reaching about 90 degrees by Grade 5 and higher in Advanced levels, where the leg is fully extended in line with the and often combined with body inclines for added challenge. This structured escalation ensures technical precision and prevents strain, distinguishing RAD's approach as suitable for diverse age groups and abilities. Arm placement in the RAD arabesque is flexible and adapted from first position, making it approachable for novices while maintaining elegance; the forward arm extends at eye level in opposition to the working leg, while the opposite arm curves slightly behind and below the shoulder for balance. This port de bras supports the body's line without rigidity, evolving from simple rounded shapes in early grades to more extended, harmonious positions in higher levels. Head placement follows a natural alignment, with the gaze directed along the extended arm and leg line, incorporating only a minimal tilt to preserve spinal integrity, particularly important for younger dancers to avoid neck strain. The arabesque is integrated into the RAD syllabus from Grade 1 onward, appearing in centre practice exercises, balances, and combinations such as posé en avant into arabesque or transitions to attitude, reinforcing coordination and within exam variations. In vocational grades like Intermediate Foundation and Advanced, it features in more complex sequences, including en fondu or penchée forms, to develop control and expression. This emphasis on clarity, precision, and methodical progression reflects the British training ethos established in RAD's foundational syllabus texts from the , which aimed to standardize accessible yet rigorous education.

Advanced Forms and Modifications

Arabesque Plié

The arabesque plié, also known as arabesque en fondu, involves bending the supporting leg into a demi-plié while the working leg remains extended straight behind the body at a to the , with the body held in profile and the directed forward. The dancer initiates the movement by shifting weight onto the supporting foot, flexing the outward over the toes to deepen the plié—either demi or —while keeping the hips level and the extended leg pointed, ensuring the torso tilts slightly forward from the hips to maintain a continuous line from the fingertips through the body to the working toe. Unlike the straight-leg arabesque detailed in fundamental technique sections, this variation introduces a controlled sink to emphasize dynamic stability. This position serves to build endurance and strength in the legs, core, and back muscles, as the deeper knee bend challenges balance and control under load. It facilitates smooth transitions into jumps, turns, or promenades by harnessing the of the plié, while adding rhythmic fluidity to choreographic phrases that require sustained extension without rigidity. With a deeper knee bend, alignment demands heightened core engagement to counteract any tendency for the working-side hip to drop, preserving square hips and a neutral pelvis; the arms often adjust into a counterbalancing opposition, such as one extended forward and the other slightly back, to stabilize the torso. This form gained prominence in 20th-century ballet training systems to enhance muscular stamina and distinguish it from the static straight-leg pose by incorporating preparatory power. Common exercises include plié arabesques at the barre, where dancers perform slow bends and rises while holding the extension to develop control, or integrating them into adagio sequences in the center to practice sustained balances and transitions.

Turned-In and Other Variations

The turned-in arabesque, also known as a parallel arabesque, modifies the classical form by positioning the working extended behind the body without the traditional outward rotation of the s, aligning the legs more parallel to each other. This variation prioritizes a natural, less stylized line, making it suitable for to convey everyday movement or realism, and it is frequently incorporated in therapeutic exercises to minimize strain during recovery from injuries like strains or imbalances. Technically, it preserves the overall elongation of the body from head to but forgoes the extreme , often pairing with parallel arm positions to maintain symmetry and reduce tension in the supporting . Other notable variations include the penché arabesque, which amplifies the forward torso inclination beyond 90 degrees to deepen the extension of the working leg, requiring precise core engagement and spinal awareness to avoid compensatory arching. Performed with the supporting leg either flat or on demi-pointe, this form heightens the dramatic reach and tests balance through three-dimensional expansion—pushing the arabesque foot upward while the gaze remains elevated. The arabesque sur la pointe elevates the entire pose by placing the supporting foot fully on , accentuating verticality and the illusion of weightlessness while demanding reinforced ankle stability and precise weight distribution. In and , these modifications diversify visual aesthetics by introducing fluidity and accessibility, allowing dancers to explore reduced-strain dynamics that contrast classical rigidity while still honoring the arabesque's core equilibrium. Their modern evolution traces back to the 1980s in choreographic innovations, notably by William Forsythe, who reimagines the arabesque not as a static ideal but as a dynamic process—extending it to its maximal spatial and temporal limits to blur boundaries between pose and motion in works like The Vertiginous Thrill of Exactitude.

Applications in Choreography

Classical Ballets

In classical ballets of the , the arabesque served as a foundational element in , particularly in works by , where it highlighted narrative themes through elegant extensions and balances. In Swan Lake (1895), choreographed by Petipa and Lev , Odette's Act II solo features traveling arabesques that reprise the corps de ballet's movements, building tension and forward momentum to underscore her plight. Similarly, in The Sleeping Beauty (1890), Petipa's for the Lilac Fairy's variation in the Prologue includes arabesque extensions as part of a sequence blending dance and mime, emphasizing the fairy's benevolent grace. The arabesque often symbolized flight or longing in these productions, evoking ethereal aspirations or emotional yearning without dialogue. In Swan Lake, the "winged" arabesques of the swan maidens and Odette's solos mimic avian grace and entrapment, reinforcing the theme of transformation and . This pose frequently appeared in adagio sections of or solos, such as the supported arabesque promenades in grand , where it allowed for sustained dramatic expression. Petipa's original stagings adhered to Imperial Russian ballet standards, prioritizing precision and epaulement in arabesque execution, akin to the foundational principles later codified in the Vaganova technique. These included sustained holds during slow turns or balances on pointe, enhancing theatrical impact through technical control and alignment. In 20th-century revivals of Petipa's works, such as that by for the in 1964, minor adjustments to the arabesque line emerged to suit modern dancers' physiques, shifting from heroic extensions to more poetic, upward-reaching arcs while preserving core phrasing. These changes maintained the dramatic essence but adapted to evolving training emphases on flexibility and line.

Contemporary and Modern Uses

In the late 20th century, choreographers began deconstructing the arabesque to explore new expressive possibilities beyond classical symmetry. William Forsythe's In the Middle, Somewhat Elevated (1987), created for the Paris Opéra Ballet, incorporates arabesques into aggressive, angular sequences, such as thwacking fouettés transitioning to extreme extensions that emphasize the body's mechanical limits and disrupt traditional fluidity. Similarly, integrated arabesque-like extensions in her works to evoke emotional vulnerability amid themes of control and desire. Contemporary ballet employs the arabesque for asymmetry in ensemble work, creating visual tension through off-kilter , and in partnering, where it facilitates supported lifts and promenades that highlight interpersonal connection. The position also fuses with other genres, such as in hiplet—a blend of hip-hop and —where arabesques adapt to rhythmic, grounded isolations and street-infused flair, expanding accessibility across forms. Influenced by George Balanchine's neoclassical innovations, which promoted faster tempos and hip-opening for elongated arabesques, and postmodernism's rejection of hierarchy, modern iterations often feature accelerated phrasing or earthbound variations that prioritize raw athleticism over elevation. As of 2025, the arabesque appears in body-positive productions that emphasize strength and accommodate diverse body types to foster representation in professional companies. Beyond stage, it appears in cultural media like Darren Aronofsky's Black Swan (2010), where arabesques underscore the protagonist's obsessive pursuit of perfection in Swan Lake rehearsals. The position also features prominently in global festivals, such as performances by Bulgaria's Arabesque Dance Company at the Danube Festival, blending contemporary twists with international repertoires.

References

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  7. https://dancespirit.com/10-ways-improve-arabesque/
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