This chapter exemplifies semiotic emergence through the history of classical ballet, modelled as an emergent, self-organized habit of sign action. Ballet emerged via the interaction of initiating (micro-semiotic) conditions and boundary conditions (macro-semiotic/historical context). Throughout the sixteenth to the nineteenth centuries, ballet underwent various changes, including the codification of dance steps, alterations in performance spaces, and standardization of training techniques, leading to reduced variability and increased redundancy in its sign action. The case highlights that the primary explanatory unit is temporally distributed sign action, which regulates agents (dancers) and artifacts (stages, shoes) within the distributed cognitive system.