Temps levé, temps de cuisse, contretemps:  What does temps mean in ballet?  The short answer is that it's not a short answer.

Generally temps means time in French, but when applied to music, temps deals with rhythm.  For example, un rythme à deux temps would be a steady even rhythm, and in some cases, this is how we use the word temps in ballet.  A contretemps falls into this category, being literally a step that goes against the beat.

But temps can also mean a movement that makes up part of a whole.  As defined in the Trésor de la langue française, temps can refer to "chacun des mouvements qui s'enchaînement pour former un mouvement complexe." [Translation:  each of the movements that link together to form a complex movement.]  It seems clear how this applies to temps de cuisse or temps de flèche where several small movements come together to form a whole step. (These terms will be explored further in upcoming posts)

But what about temps levé or temps lié?  Often temps when used in this way is defined as time.  Temps levé: time lifted.  Temps lié: time linked.  These definitions do give an idea of the lifting and linking of steps, but we also have to take into consideration that temps can mean a movement of the leg.  Temps levé en arabesque could mean the ensemble of movements that make up that action or the lift of the leg.  As we know though, temps levé can be performed in multiple positions. 

Referring back to the Dictionnaire de danse from 1787, we can see the origins of this term which has clearly evolved in meaning and movement into our modern variations.  I give you here a modern French translation "En matière de danse, il se fait des pas qu'on appelle Temps, mais qui ne doivent pas être confonus avec les pas de bourrée.  Quoique leurs premiers mouvements se prennent de même, ils ne se terminent pas de la même manière; ce temps est plié et levé, et on porte le pied à côté sans le glisser, ce qui fait la différence de l'un à l'autre; par exemple, ayant le corps posé sur le pied gauche, à la quatrième position, vous pliez dessus, et vous vous relevez en portant le pied droit à côté , à la deuxième position, en ne posant que la pointe du pied, et vous restez un temps pour reprendre un autre pas, . . .  on fait ensuite un autre pas qui paraît plus animé"  [Translation:  In dance, there are steps that we call temps, but which must not be confused with the pas de bourrée.  Even if their first movements are the same, they do not end in the same manner, ce temps is bent (or plié) and lifted, and one carries the foot to the side without sliding/brushing, which makes the different between the one and the other; for example, having the weight positioned on the left foot, in fourth position, you plié on it, and you relevé carrying your right foot to the side, to second position, putting only the point of the foot on the floor, and you stay a moment before taking another step, . . . you then do another step that is more animated.]  In modern dance, this strict definition has been incorporated into other movement, but if you visualize early dancers and the evolution from court dances to ballet, you can picture the rise from plié to relevé coming down with a stretched foot before being followed by another movement.