Fifth Position

Fifth position, as most ballet positions, is one thing; weight evenly distributed over both feet, ideally well-turned out, and legs crossed so that when viewed from the front you see only the front foot. If you see any part of the back foot (notice I said the foot and not the leg) it is not fifth position.

I am constantly telling my students to cross their fifths. I NEVER tell them to force their fifths, just cross them. Yes, I would love it if they hit a perfect, toe-heel, toe-heel rectangle with perfectly turned out legs, but you shouldn't force your feet into any position that risks damage to your joints. If you are flat turned out in your hips, great, but if you are not, you can still have a beautifully crossed fifth where you only see the front foot.

Fifth is a very powerful position, due to the placement of the feet directly under your hips. It is also a very beautiful position, whether standing on the whole foot or on releve or en pointe. It is also a very precise position; legs crossed. Notice how I said legs crossed. (I feel I've written this blog before; maybe I've just said it in class so much I just think I've written it). Fifth, and first, second and fourth, are all positions of the legs, not simply the feet. If you think that you are putting your legs, rather than your feet, properly turned out, into a position, you are more likely to turn them out from the hip first, and then place them into the correct position. You should NEVER place your feet into a position first, with bent legs and then straighten them, putting dagerous torque on your joints. Always step with stretched, turned out legs into your positions. In the case of the crossed positions, fifth or fourth, place the front leg first, them close the back leg underneath you. In first or second, either leg will do, as long as they are evenly turned out.

See you in class.