Should we be dancing in front of mirrors all the time? Mirrors are a wonderful tool when used strategically. But they are rarely used strategically. Instead we face them all day long . . .

Michelle Dursun reminds us that the little steps that matter.

Behind every ballet you see and behind every dancer on stage there is a person who remains for the most part unacknowledged - the ballet master. One such person is Tristan Message, Ballet Master at the Australian Ballet since 2012.

In Dance Australia's 2017 Careers Special, we look at all the career options that exist in the dance industry and beyond. Zoe Ventoura, stage and screen actor, shares her story of moving from dancing to acting.

In the language of dance, connecting steps are as important to ballet as pronouns and prepositions are to a sentence.

Is it more enjoyable to dance repertoire or new creations? Matthew Lawrence offers his perspective.

Thousands of artists apply for grants every year. How do you make sure your application stands out?

Recent graduate Taree Sansbury shares her experiences and advice about choosing a full-time course.

How do you define a musical dancer? Karen van Ulzen asked Nicolette Fraillon, chief conductor for the Australian Ballet.

We all suffer setbacks – but you can choose what to make of them, writes Michelle Dursun.

Singapore Dance Theatre's Jessica Garside tells Nina Levy about the highs and lows of looking for work outside Australia.

What is involved in putting together an audition video?

What should I expect from an audition class? Nina Levy investigates.

These clever teachers have met the challenges of teaching ballet in the bush, writes Michelle Dursun.

Hilary Kaplan, RAD examiner and co-principal/co-director of Alegria Dance Studios shares her tips for perfecting your pirouette.

"Be a verb, not a noun." Nina Levy discovers the latest research on how to perform perfect pirouettes.