The Developmental Patterning Model of Irmagard Bartenieff (1900 ~ 1981) shows that we go through spontaneous growing movements as we grow up after birth. Therefore, this model lays the foundation for the evolutionary process of animals and humans. This research examined the 6 basic principles of the Developmental Patterning Model in order to find the developmental patterns in basic ballet movements. Breathing was not implemented in this study because breathing involves in all actions. The Écarté développé devant and Arabesque éffacé alonge movements which require high concentration through the balance of one leg, were found to exist in Core-Distal Connectivity. The port de corps movement, in which two legs are split on the ground and the pelvis stays stationary as the upper body moves forward, side to side, or backwards, was found to exist in Head-Tail Connectivity. The Italian sauté or side jump movements, in which the ballerina starts in the demi-plié position and jumps while holding his or her breath in the upper body followed by the upward movement of legs, were found to exist in Upper-Lower Connectivity. Fouetté tourner and Italian fouetté movements, in which the arm and leg on the same side rotate on a fixed axis as the opposite arm and leg move in open space, were found to exist in Body-Half Connectivity. The Grand Jeté, Creiseé devant and Arabesque movements, in which the upper and lower body crosses symmetrically, were found to exist in Cross-Lateral Connectivity. Also, most of ballet movements did not have a single Developmental Patterning Model, but according to each circumstance, at least two or more Developmental Patterning Models were discovered in many of the movements. The results of this study need to be verified with further evidence by obtaining more concrete examples and plentiful resources at a later time. Researchers believe that there are more ballet movements that connect with the theory of Developmental Patterning Model. If a problem occurs while a ballerina is training, we can understand the formation elements of many complex movements by relearning the Developmental Patterning Model. In addition, with the supply of these fundamental data to train more perfect movements, I argue that we can effectively widen the scope of the movements and properly train ballet techniques. The preceding essays about the Developmental Patterning model that relates to ballet have very insufficiently-proven facts. Therefore, I expect that this essay will present a new direction of research for ballet researchers.