Artistic coach to dance répétiteur
An artistic coach already meets 42% of what the dance répétiteur role asks for. The move turns on 18 required skills not yet in the profile.
68.6/ 100
1 How much of what a dance répétiteur is expected to do is already part of an artistic coach’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the dance répétiteur role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A dance répétiteur role treats 12 of its required skills as things an artistic coach already does. You would walk in with these on day one.
- contribute to the choreographer's process of reflection
- create a work environment where performers can develop their potential
- create new fight sequences
- describe artistic experience
- identify performers' needs
- maintain safe working conditions in performing arts
What stands in the way is 18 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 22 skills that carry over, these are the ones fewest other occupations ask for. A dance répétiteur role needs them, and most people applying for one will not have them already. This is the part of an artistic coach background worth leading with.
- already held contribute to the choreographer's process of reflection communication, collaboration and creativity
- already held create new fight sequences communication, collaboration and creativity
- already held work with broad variety of personalities communication, collaboration and creativity
- already held identify performers' needs communication, collaboration and creativity
- already held inspire enthusiasm for dance management skills
- already held teach dance communication, collaboration and creativity
All 22 carried skills, including the 12 the dance répétiteur role treats as required.
Table 3 · What you may need to learn
The 28 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn contribute to the development of a creative choreography required
- still to learn help document artistic work at all stages required
- still to learn develop an artistic framework required
- still to learn develop the physical language required
- still to learn prepare performance training session required
- still to learn prepare rehearsals required
- still to learn represent artistic production required
- still to learn train artists in flying required
- still to learn develop a coaching style required
- optional, not held analyse a script optional
- optional, not held follow time cues optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- optional, not held read dance scores optional
- optional, not held understand the architecture of a live performance optional
- optional, not held understand the conceptual dimension of a live performance optional
- optional, not held understand the physical language of a live performance optional
- still to learn help set performance schedule required
- still to learn participate in technical aspects of the production required
- still to learn guide performers' training sessions required
- still to learn help set rehearsal schedule required
- still to learn rehearse artist fly movements required
- still to learn intellectual property law required
- still to learn labour legislation required
- still to learn test artist flying systems required
- optional, not held analyse music score optional
- optional, not held read scripts optional
- still to learn link between dance and music style required
Table 4 · Where to start
The 3 entries a dance répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 contribute to the development of a creative choreography practise this
- 02 help document artistic work at all stages practise this
- 03 help set performance schedule practise this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 22 skills that carry over
- already held contribute to the choreographer's process of reflection skill
- already held create a work environment where performers can develop their potential skill
- already held create new fight sequences skill
- already held describe artistic experience skill
- already held identify performers' needs skill
- already held maintain safe working conditions in performing arts skill
- already held manage artistic career skill
- already held manage personal professional development skill
- already held subject of music coaching knowledge
- already held understand the emotional dimension of a performance skill
- already held work with broad variety of personalities skill
- already held work with respect for own safety skill
- already held analyse your fight discipline expertise skill
- already held create choreographic material skill
- already held develop codified movements skill
- already held develop methods for choreographic integration skill
- already held develop proposed choreographic language skill
- already held inspire enthusiasm for dance skill
- already held manage artistic project skill
- already held stimulate performers' imagination skill
- already held teach dance skill
- already held work in an international environment skill
10 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- optional, not held analyse music score optional
- optional, not held follow time cues optional
- optional, not held perform dances optional
- optional, not held prompt performers optional
- optional, not held read dance scores optional
- optional, not held read scripts optional
- optional, not held understand the architecture of a live performance optional
- optional, not held understand the conceptual dimension of a live performance optional
- optional, not held understand the physical language of a live performance optional
13 held skills the dance répétiteur role does not ask for
- not needed by the target role assess data collected to improve community arts programme skill
- not needed by the target role assess your competences for artistic coaching skill
- not needed by the target role be a role model in community arts skill
- not needed by the target role clarify how various components work together skill
- not needed by the target role collaborate with coaching team skill
- not needed by the target role define artistic approach skill
- not needed by the target role identify artistic niche skill
- not needed by the target role inspire dance participants to improve skill
- not needed by the target role manage participants' expectations in arts skill
- not needed by the target role match needs of target community with your skills skill
- not needed by the target role provide arts coaching sessions skill
- not needed by the target role show intercultural awareness skill
- not needed by the target role study community as a target community skill
3 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- still to learn link between dance and music style required
- still to learn intellectual property law required
- still to learn labour legislation required
Common questions about this move
Can an artistic coach become a dance répétiteur?
Yes, and it is a substantial move. An artistic coach already covers 42% of what a dance répétiteur is expected to do: 22 skills carry over, 12 of which the dance répétiteur role treats as required.
What skills does an artistic coach need to become a dance répétiteur?
18 required skills are missing, plus 10 optional ones. They fall into 5 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is contribute to the development of a creative choreography.
How hard is the move from artistic coach to dance répétiteur?
Its learning distance is 68.6 out of 100, which is the substantial band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.