Ballon [ba-LAWN] Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball. Élévation [ay-lay-va-SYAWN] Élévation is the ability of a dancer to attain height in dancing. It is a term used to describe the height attained in springing steps such as entrechats, grands jetés and so on, combined with ballon so that the dancer jumps with a graceful elasticity like the bouncing movement of a rubber ball which touches the ground a moment and then rebounds into the air. The elevation is reckoned by the distance between the pointed toes of the dancer in the air and the ground. In alighting after a pas d'élévation the tips of the toes should reach the ground first, quickly followed by the sole and then the heel. All steps of' elevation begin and end with a demi-plié. Épaulement [ay-pohl-MAHN]] Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. The two fundamental positions of épaulement are croisé and effacé. When épaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Épaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style. which has little épaulement. Extension [eks-tahn-SYAWN] Term used to describe the ability of a dancer to raise and hold her extended leg en l'air. A dancer is said to have a good extension if, when doing a développé à la seconde, she is able to hold and sustain the raised leg above shoulder level. Ligne [LEEN-yuh] Line. The outline presented by a dancer while executing steps and poses. A dancer is said to have a good or bad sense of line according to the arrangement of head, body, legs and arms in a pose or movement. A good line is absolutely indispensable to the classlcal dancer. Turn-out This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90-degree position. This turn-out, or en-dehors, is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction.