Resources
The dance glossary
All the words of dance, explained simply. 110 terms of ballet, modern jazz, street and contemporary dance, to understand what is said in class, without being a dancer.
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A
- Adage Ballet
- The adage brings together slow, flowing movements that show off balance, suppleness and elegant lines. It is the calm, poised part of the class, the opposite of the fast sequences.
- Allegro Ballet
- The allegro gathers the quick, jumping steps of a dance class. Whether small or big, it works on the dancer's liveliness, lightness and energy.
- Ancrage Contemporary
- The feeling of being firmly connected to the floor, with solid feet and the weight dropped down towards the ground. Grounding gives confidence and presence, like a well-rooted tree that can still sway in the wind.
See also: Poids du corps, Gainage
- Arabesque Ballet
- The arabesque is one of ballet's most iconic poses, where the dancer stands on one leg with the other stretched high behind, forming a long line from fingertips to pointed toe. It is one of the best-known images in classical dance.
See also: Attitude, Port de bras
- Assemblé Ballet
- The assemblé is a jump in which one leg is thrown out to the side, then both legs come together in the air to land with the feet joined. As its name suggests, you assemble the legs before landing.
- Attitude Ballet
- The attitude is a pose on one leg, with the other raised in front or behind, the knee bent and open. It brings a statue to mind and calls for plenty of balance.
B
- Barre Ballet
- The barre is the long horizontal rail, fixed to the wall or standing on legs, that dancers hold onto at the start of class. It is used to warm up and to work on balance, posture and precision before dancing in the middle of the room.
See also: Plié, Tendu (battement tendu)
- Barre au sol General
- A class where the exercises are done lying down or sitting on the floor rather than at the barre. This gentle method strengthens the body and improves flexibility while protecting the joints.
- Barrel roll Modern jazz & street
- The barrel roll is a large circular movement of the torso and arms that traces a circle in the air, as if turning around an imaginary barrel. It brings breadth and breath to the dance.
See also: Layout
- Battle Modern jazz & street
- A battle is a friendly challenge between dancers who each take their turn to show their style, often in a circle. The mood is warm and supportive: you come to push yourself and cheer each other on, not to judge.
- Bounce Modern jazz & street
- The bounce is a light rebound of the body, a soft up-and-down movement of the knees that marks the tempo. It is the little engine that brings hip-hop dancing to life.
See also: Groove, Rock (base)
C
- Cabriole Ballet
- The cabriole is a jump where one leg is thrown into the air and the other rises to meet and beat against it before landing. It is a brilliant movement that gives an impression of flight.
See also: Entrechat, Grand jeté
- Catch step Modern jazz & street
- The catch step is a small recovery step where one foot quickly replaces the other to regain balance or change direction. It works as a discreet link between two movements.
See also: Pas de bourrée jazz
- Chaînés Modern jazz & street
- Chaînés are a series of quick little turns linked together that carry you across the space while spinning. They give a lovely sense of speed and fluidity.
- Changement Ballet
- The changement is a small vertical jump, feet joined, during which the legs swap position in the air before landing. It is one of the first jumps that beginners learn.
- Chassé Ballet
- The chassé is a step where one foot seems to push the other along, as if chasing it, to move smoothly across the floor. It is often used as a run-up before a jump.
See also: Glissade, Pas de bourrée
- Chausson (demi-pointe) General
- A soft, light shoe worn for dancing that protects the foot while still letting you feel the floor. Demi-pointe also refers to standing on the front of the foot with the heel lifted.
See also: Justaucorps, Équilibre
- Chignon General
- A hairstyle that gathers the hair tightly at the back of the head. It clears the face and neck, so you can move freely and stay neat while dancing.
See also: Justaucorps
- Chorégraphie General
- A sequence of movements and travels arranged to music, a little like a story told with the body. It is the dance that students learn and then perform.
See also: Improvisation, Mémoire chorégraphique
- Composition instantanée Contemporary
- A form of improvisation where you invent a genuine little piece live, paying attention to shapes, spaces and the relationships between dancers. You compose while dancing, as if writing a story as it unfolds.
See also: Improvisation, Espace (kinesphère)
- Compter la musique (les temps) General
- Spotting and counting the beats of the music, often in groups of eight, so you know when to do each movement. It is a very handy reference for staying together and landing nicely on the rhythm.
See also: Musicalité, En musique
- Contact improvisation Contemporary
- A dance for two or more people where you stay in physical contact and share your weight. Each person listens to the other through touch, to lift, roll or let themselves be guided. It is a dialogue of bodies, with no choreography fixed in advance.
See also: Poids du corps, Improvisation
- Contraction Modern jazz & street
- The contraction is a movement where the belly hollows and the back rounds, as if the body were folding inwards. It is a signature of modern jazz, very expressive, giving great intensity to the dance.
See also: Release
- Contraction et release (Graham) Contemporary
- Two key gestures invented by the American dancer Martha Graham. The contraction draws the belly and back inwards, as if curling up, while the release lets go and reopens the body. This play between tightening and relaxing gives the movement its breath and its emotion.
See also: Respiration, Poids du corps
- Coordination General
- The ability to make different parts of the body work together, for example the arms and legs at the same time. It improves naturally with practice.
- Cou-de-pied Ballet
- The cou-de-pied is the part of the foot just above the ankle, in the hollow formed where the foot meets the leg. Many steps are placed here, such as the frappé.
- Coulisses General
- The area at the sides of the stage, hidden from the audience, where dancers wait before entering and get ready. There you breathe a lovely mix of nerves and excitement.
See also: Gala / spectacle
- Coupé Ballet
- The coupé is a small movement where one foot replaces the other, as if cutting it away, to prepare or relaunch a step. Brief and discreet, it often serves as a transition.
See also: Cou-de-pied, Pas de bourrée
D
- Dégagé Ballet
- The dégagé is a battement tendu taken a little further, lifting the foot slightly off the floor, a few centimetres up. Quick and light, it prepares the legs for faster movements.
See also: Tendu (battement tendu), Jeté (battement jeté)
- Demi-plié Ballet
- The demi-plié is a shallow bend of the knees, with the heels staying firmly on the floor. It is the little spring from which most jumps take off and onto which you land softly.
See also: Plié, Grand plié
- Demi-pointes Ballet
- Standing on demi-pointe means rising onto the balls of the feet and the toes, heels lifted off the floor, without hard-tipped shoes. It is the essential foundation before moving on to real pointe work.
- Déséquilibre Contemporary
- Deliberately leaving your stable position to let yourself be carried by your own weight. Far from being a mistake, off-balance is something to seek out, because it creates movement, surprise and life.
See also: Fall and recovery (chute et rebond), Poids du corps
E
- Échappé Ballet
- The échappé is a movement where both feet, joined to start with, spring apart into an open position, often with a small jump or a rise. The body seems to escape outwards.
See also: Changement, Sauté
- Échauffement General
- A set of gentle movements done at the start of class to wake up the body and prepare the muscles for effort. It helps you dance more freely and avoid injury.
See also: Étirement
- En dedans Ballet
- En dedans describes a movement or a turn that goes inwards, towards the supporting leg. It is the opposite direction to en dehors.
See also: En dehors, Rond de jambe
- En dehors Ballet
- En dehors describes the outward rotation of the legs from the hips, so characteristic of classical dance. It is also the direction of a turn or a rond de jambe that opens outwards.
See also: En dedans, Rond de jambe
- En musique General
- Performing a movement or a sequence in time with the music rather than in silence. Dancing to the music helps you find the right rhythm and enjoy yourself.
See also: Musicalité, Compter la musique (les temps)
- Entrechat Ballet
- The entrechat is a vertical jump during which the legs cross quickly one or more times in the air. The more crossings there are, the harder the feat.
See also: Changement, Cabriole
- Épaulement Ballet
- Épaulement is the slight orientation of the shoulders and head in relation to the audience, giving depth and elegance to poses. It is this detail that makes a position feel alive rather than frozen.
See also: Port de bras, Arabesque
- Équilibre General
- The ability to stay steady, on one foot or two, without wobbling. It is a foundation of dance that grows stronger session after session.
See also: Placement, Coordination
- Espace (kinesphère) Contemporary
- The whole volume the body can reach around itself without travelling, like a personal bubble. You learn to fill this space in every direction, up, down, in front, behind and to the sides.
See also: Laban (efforts), Composition instantanée
- Étirement General
- An exercise that consists of gently lengthening the muscles to gain flexibility and release tension. It is often done at the end of class to help the body recover.
See also: Échauffement, Souplesse
- Étoile / danseur étoile General
- The highest title awarded to the finest dancers in the great companies, such as at the Paris Opera. It is a lovely source of inspiration for students just starting out.
See also: Répertoire
F
- Fall and recovery (chute et rebond) Contemporary
- A principle of letting yourself fall, then rising back up thanks to the momentum of that fall. You release the weight towards the floor and recover the energy to set off again. It is a lovely way to dance without forcing, using gravity as an ally.
See also: Poids du corps, Impulsion
- Filage General
- A run-through of the choreography from beginning to end, without stopping, as if you were already on stage. The run-through prepares the dancers for the show.
See also: Raccord, Gala / spectacle
- Flow (fluidité) Contemporary
- The quality of a continuous movement that flows without jolts, like running water. Finding your flow means letting one gesture call up the next, so you dance in a connected, relaxed way.
See also: Qualité de mouvement, Transfert de poids
- Fondu Ballet
- The fondu is a wonderfully smooth movement where the supporting leg bends and stretches slowly, as if the body melted and then rose again. It teaches control and softness in the legs.
- Fouetté Ballet
- The fouetté is a turn where the free leg gives an impulse by unfolding sharply, like the crack of a whip, to keep the rotation going. Performed in a series, fouettés are one of ballet's most spectacular feats.
See also: Pirouette, Rond de jambe
- Frappé Ballet
- The frappé is a movement where the foot, placed at the ankle, strikes sharply outwards as it stretches. It gives bite and precision to quick little steps.
See also: Cou-de-pied, Fondu
- Freestyle Modern jazz & street
- Freestyle means dancing by improvising, with no prepared choreography, simply following the music and your own impulses. It is a lovely way to build confidence and find your own style.
- Freeze Modern jazz & street
- The freeze is a sharp stop where the dancer holds still in a position, often balancing on the hands or head. It is a striking moment that marks the end of a phrase or wows the audience.
See also: Break/breakdance
G
- Gainage Contemporary
- The deep, sustained engagement of the muscles at the centre of the body, around the tummy and back. Good core strength protects the spine and gives you stability, which lets you move your arms and legs with real freedom.
See also: Ancrage, Poids du corps
- Gala / spectacle General
- A performance where students show the audience the dances they have prepared over the year. It is often a joyful, much-anticipated occasion for the dancers and their families.
See also: Filage, Coulisses, Répertoire
- Glissade Ballet
- A glissade is a gliding, skimming step that links two movements, often just before a big jump. Quiet but essential, it builds momentum without ever really leaving the floor.
- Grand battement Ballet
- A grand battement is a bold, high throw of the stretched leg, which then returns with control. It strengthens the legs and prepares the big jumps.
See also: Jeté (battement jeté), Grand jeté
- Grand jeté Ballet
- A grand jeté is a large leap in which the dancer springs from one leg to the other, opening the legs wide in the air like a suspended split. It is one of the most striking jumps in ballet.
See also: Jeté (battement jeté), Grand battement
- Grand plié Ballet
- A grand plié is a deep bend of the knees that lowers the body as far as possible. In some positions the heels lift slightly off the floor, and then you rise slowly with the upper body held nicely upright.
I
- Improvisation Contemporary
- Dancing in the moment, with no set steps decided in advance, following your sensations, the music or the other dancers. Improvisation builds listening, creativity and self-confidence.
See also: Composition instantanée, Contact improvisation
- Impulsion Contemporary
- The little starting spark that sets a movement in motion, often beginning from the centre of the body. An impulse can be gentle or lively, and it is what gives a gesture its colour and energy.
See also: Spirale, Flow (fluidité)
- Isolation Modern jazz & street
- Isolation means moving just one part of the body (the head, shoulders, ribcage or hips) while the rest stays still. It is a great classic of modern jazz that teaches you to control each area of the body.
See also: Contraction, Popping
J
- Jazz walk Modern jazz & street
- The jazz walk is a stylised way of walking, supple and a little feline, often on the balls of the feet. It is used to move across the stage with elegance and presence.
See also: Traversée, Attitude jazz
- Jeté (battement jeté) Ballet
- The battement jeté is a more energetic dégagé, where the leg is thrown a little higher before coming straight back. It develops the speed and liveliness of the legs.
See also: Dégagé, Grand jeté
- Justaucorps General
- A close-fitting one-piece garment, often worn in dance class. It hugs the body and lets the teacher clearly see placement and lines.
See also: Chausson (demi-pointe)
K
- Kick Modern jazz & street
- A kick is a lively throw of the leg to the front, side or back. It brings energy and dynamism to a routine and asks for a little flexibility.
See also: Layout
L
- Laban (efforts) Contemporary
- Rudolf Laban was a movement researcher who suggested describing dance through qualities called efforts, linked to weight, time, space and flow. This tool helps you vary your movements, from the lightest and slowest to the strongest and fastest.
See also: Qualité de mouvement, Espace (kinesphère)
- Layout Modern jazz & street
- The layout is a position where the upper body leans back while one leg rises to the front, the body forming one long line. It is a striking shape that calls for core strength and balance.
See also: Kick, Attitude jazz
M
- Mémoire chorégraphique General
- The ability to remember the sequence of movements in a dance. It grows stronger with repetition and soon becomes a real pleasure once the routine is well learned.
See also: Chorégraphie, Filage
- Miroir (travail au miroir) General
- Work done facing the studio's large mirror, so you can see your own movements and correct them. It is a valuable tool for making progress and gaining confidence.
See also: Placement
- Musicalité General
- The art of dancing in tune with the music, feeling its rhythm, its shades and its emotions. Beautiful musicality makes dance lively and expressive.
See also: En musique, Compter la musique (les temps)
P
- Pas de bourrée Ballet
- The pas de bourrée is a quick sequence of three small steps that carries the dancer along lightly. It often serves as an elegant link between two larger movements.
- Pas de bourrée jazz Modern jazz & street
- The pas de bourrée is a small sequence of three quick steps used to travel or to relaunch a movement. It is a basic building block found in almost every jazz routine.
- Pas de deux Ballet
- The pas de deux is a dance for two, often a male and a female dancer, where the partners move together with lifts and shared balances. It is often the great romantic moment of a ballet.
- Passé Modern jazz & street
- The passé is the moment when the foot comes to rest against the knee of the supporting leg, with the knee opened out to the side. It is used to prepare a turn or to link two movements.
See also: Attitude jazz, Pivot
- Piqué Modern jazz & street
- The piqué is a turn where you step directly onto a straight leg, as if pricking the floor with the tip of the foot. It is often the starting point of a clean, crisp turn.
- Pirouette Ballet
- The pirouette is a full turn performed on one leg, balanced on the demi-pointe or the pointe. It calls for fixing your gaze on one spot so you don't lose your balance.
- Pivot Modern jazz & street
- The pivot is a half-turn or turn made by spinning on a single support, without lifting the foot off the floor. It is a simple, effective way to change which direction you are facing.
- Placement General
- The correct position of the body in space and in relation to the other dancers. Good placement makes movements more accurate, safer and nicer to watch.
See also: Coordination, Équilibre
- Plié Ballet
- The plié is the basic movement of bending the knees while keeping the back straight and the heels in line with the feet. It loosens the legs and prepares almost every jump and turn.
See also: Demi-plié, Grand plié
- Poids du corps Contemporary
- The awareness of your own body's weight and how to place it, release it or hold it back. In contemporary dance you learn to feel this weight rather than hide it, because it is what makes movement alive and natural.
See also: Transfert de poids, Ancrage
- Pointes Ballet
- Dancing on pointe means standing right up at the very top of the foot thanks to special shoes with a reinforced tip. This demanding technique is learned after several years and calls for strong ankles.
See also: Demi-pointes, Relevé
- Popping Modern jazz & street
- Popping means quickly contracting and then releasing the muscles to create little jolts in the body, like sharp twitches. Combined with isolations, it gives that instantly recognisable robotic effect.
See also: Isolation, Wave (ondulation)
- Port de bras Ballet
- The port de bras is the way of moving and placing the arms with grace and harmony. It accompanies every movement and gives the body its expression and musicality.
See also: Épaulement, Adage
Q
- Qualité de mouvement Contemporary
- The way a movement is carried out, beyond its shape. The same movement can be soft, sharp, heavy, light or trembling. Exploring these qualities enriches your palette so you can better express an emotion or an idea.
See also: Flow (fluidité), Laban (efforts)
R
- Raccord General
- A short rehearsal just before the show to go over the tricky passages and check placements on stage. It reassures everyone before stepping out to perform.
- Release Modern jazz & street
- The release is the letting-go that follows a contraction: the body opens back up and the upper body unfolds gently. Contraction and release work together, like a breath.
See also: Contraction
- Relevé Ballet
- The relevé means rising onto the tips of the toes or the demi-pointe, lifting the heels off the floor. It strengthens the ankles and lengthens the dancer's silhouette.
See also: Demi-pointes, Pointes
- Répertoire General
- The body of well-known works and dances that are passed on and performed again, such as the great classical ballets. A class can draw on it to discover beautiful pieces.
See also: Chorégraphie, Étoile / danseur étoile
- Respiration Contemporary
- The breath that accompanies and feeds the movement. In contemporary dance you learn to breathe with the gesture to release tension and give the dancing breadth and life.
See also: Contraction et release (Graham), Suspension
- Révérence Ballet
- The révérence is the graceful bow that closes the class or the show, offered to the teacher, the pianist or the audience. It is a moment of respect and courtesy that belongs to classical dance.
See also: Port de bras, Épaulement
- Rock (base) Modern jazz & street
- The rock is a relaxed, rhythmic rocking of the body from front to back. It is one of the very first steps you learn in urban dance.
S
- Sauté Ballet
- Sauté means that a step is performed while jumping, with both feet leaving the floor. The word is added to a movement to specify that it is done in the air, like a plié sauté.
See also: Allegro, Changement
- Sissonne Ballet
- The sissonne is a jump that takes off from both feet and lands on one, the legs opening in the air like scissors. It can travel forwards, backwards or to the side.
- Souplesse General
- The body's ability to move with a wide range and without stiffness. It is built up little by little, gently, and improves session after session.
See also: Étirement, Barre au sol
- Spirale Contemporary
- A twisting movement that travels through the body, often from the hips up to the shoulders and head. The spiral opens up space, extends the gesture and lets you change direction smoothly.
See also: Impulsion, Qualité de mouvement
- Suspension Contemporary
- That suspended moment where the movement seems to pause for a fraction of a second before setting off again, a little like a ball at the top of its flight. Suspension brings breath and lightness to dancing.
See also: Respiration, Fall and recovery (chute et rebond)
T
- Tendu (battement tendu) Ballet
- The battement tendu is a gesture where the leg slides along the floor until the foot is stretched and pointed, without ever leaving the ground. It is one of the fundamental exercises for drawing beautiful lines with the feet.
- Top rock Modern jazz & street
- Top rock is the standing dance done in breaking before dropping down to the floor. It is used to introduce yourself, take the space and show off your style.
See also: Rock (base), Break/breakdance
- Transfert de poids Contemporary
- The shift of weight from one support to another, for example from one foot to the other or from a hand to a shoulder. Well mastered, it makes movements flow and gives the impression that the dance moves along effortlessly.
See also: Poids du corps, Travail au sol
- Travail au sol (floorwork) Contemporary
- Everything danced down at floor level, rolling, sliding or leaning on the hands and knees. The floor becomes a partner that supports you and allows smooth transitions between standing and lying down.
See also: Poids du corps, Transfert de poids
- Traversée Modern jazz & street
- A traversée is an exercise where you dance across the studio from one end to the other, often in small groups. It is the perfect moment to take up space and work on travelling steps.
- Tutting Modern jazz & street
- Tutting is a style made of right angles and geometric shapes created mainly with the arms and hands. You draw crisp forms in the air, a little like the figures in ancient Egyptian drawings.
See also: Wave (ondulation), Popping
V
- Variation Ballet
- The variation is a solo danced by a single performer, showing off their technique and their personality. It is often found within a pas de deux or a full-length ballet.
See also: Pas de deux, Adage