Career Overlap Transition record
RecordMove

Choreologist to répétiteur

A choreologist already meets 33% of what the répétiteur role asks for. The move turns on 19 required skills not yet in the profile.

Fig. 1 · Skill transfer ESCO v1.2.1 · directional
From choreologist
33 % overlap
Distant match
To répétiteur
14 You already bring
19 Still to learn
41 Skills in the target role2
Learning distance Substantial retraining

73.3/ 100

1 How much of what a répétiteur is expected to do is already part of a choreologist’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 répétiteur role is recorded as needing, required and optional together. What these numbers mean.

Why

Why this move works

A répétiteur role treats 9 of its required skills as things a choreologist already does. You would walk in with these on day one.

  • analyse music score
  • create a work environment where performers can develop their potential
  • identify performers' needs
  • intellectual property law
  • labour legislation
  • maintain safe working conditions in performing arts

What stands in the way is 19 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.

Table 2

Table 2 · What you already bring

Of the 14 skills that carry over, these are the ones fewest other occupations ask for. A répétiteur role needs them, and most people applying for one will not have them already. This is the part of a choreologist background worth leading with.

Skill the target role also needs Area
  • already held work with broad variety of personalities communication, collaboration and creativity
  • already held identify performers' needs communication, collaboration and creativity
  • already held create choreographic material communication, collaboration and creativity
  • already held stimulate performers' imagination management skills
  • already held create a work environment where performers can develop their potential management skills
  • already held develop codified movements communication, collaboration and creativity

All 14 carried skills, including the 9 the répétiteur role treats as required.

Table 3

Table 3 · What you may need to learn

The 27 missing skills fall into 6 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.

Skill to pick up Tier
01 communication, collaboration and creativity 11 required, 8 supplementary
  • still to learn select music for training required
  • still to learn self-promote required
  • still to learn participate in music studio recordings required
  • still to learn play musical instruments required
  • still to learn prepare rehearsals required
  • still to learn read musical score required
  • still to learn transpose music required
  • still to learn work with an artistic team required
  • still to learn write musical scores required
  • still to learn develop a coaching style required
  • still to learn manage feedback required
  • optional, not held analyse a script optional
  • optional, not held develop drama production process optional
  • optional, not held identify requirements of the work in the artistic performance optional
  • optional, not held manage prompt book optional
  • optional, not held perform music in ensemble optional
  • optional, not held perform music solo optional
  • optional, not held prompt performers optional
  • optional, not held record music optional
02 management skills 3 required
  • still to learn guide performers' training sessions required
  • still to learn analyse own performance required
  • still to learn manage personal professional development required
03 arts and humanities 2 required
  • still to learn music literature required
  • still to learn musical theory required
04 assisting and caring 1 required
  • still to learn perform musical improvisations in therapy required
05 education 1 required
  • still to learn subject of music coaching required
06 information skills 1 required
  • still to learn study music required
Table 4

Table 4 · Where to start

The 3 entries a répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 14 skills that carry over
Skill Type
  • already held analyse music score skill
  • already held create a work environment where performers can develop their potential skill
  • already held identify performers' needs skill
  • already held intellectual property law knowledge
  • already held labour legislation knowledge
  • already held maintain safe working conditions in performing arts skill
  • already held manage artistic career skill
  • already held stimulate performers' imagination skill
  • already held work with broad variety of personalities skill
  • already held create choreographic material skill
  • already held develop codified movements skill
  • already held manage artistic project skill
  • already held show intercultural awareness skill
  • already held work in an international environment skill
8 supplementary skills, helpful but not required
Skill to pick up Tier
  • optional, not held analyse a script optional
  • optional, not held develop drama production process optional
  • optional, not held identify requirements of the work in the artistic performance optional
  • optional, not held manage prompt book optional
  • optional, not held perform music in ensemble optional
  • optional, not held perform music solo optional
  • optional, not held prompt performers optional
  • optional, not held record music optional
27 held skills the répétiteur role does not ask for
Skill Type
  • not needed by the target role act as a resource person in dance skill
  • not needed by the target role art-historical values knowledge
  • not needed by the target role be a role model in community arts skill
  • not needed by the target role body language knowledge
  • not needed by the target role clarify how various components work together skill
  • not needed by the target role contribute to an artistic approach skill
  • not needed by the target role contribute to the choreographer's process of reflection skill
  • not needed by the target role create new fight sequences skill
  • not needed by the target role demonstrate specialisation in a dance tradition skill
  • not needed by the target role describe artistic experience skill
  • not needed by the target role develop methods for choreographic integration skill
  • not needed by the target role develop proposed choreographic language skill
  • not needed by the target role develop the physical language skill
  • not needed by the target role draw up choreography skill
  • not needed by the target role evaluate art quality skill
  • not needed by the target role inspire enthusiasm for dance skill
  • not needed by the target role interpret artistic intentions skill
  • not needed by the target role log changes in choreography skill
  • not needed by the target role match needs of target community with your skills skill
  • not needed by the target role monitor art scene developments skill
  • not needed by the target role notate different dances skill
  • not needed by the target role study community as a target community skill
  • not needed by the target role teach dance skill
  • not needed by the target role understand the architecture of a live performance skill
  • not needed by the target role understand the conceptual dimension of a live performance skill
  • not needed by the target role understand the emotional dimension of a performance skill
  • not needed by the target role work with respect for own safety 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.

Skill to pick up Tier
  • still to learn music literature required
  • still to learn musical theory required
  • still to learn subject of music coaching required
Index

Other moves recorded from choreologist

Full index of moves from choreologist

FAQ

Common questions about this move

Can a choreologist become a répétiteur?

Yes, and it is a substantial move. A choreologist already covers 33% of what a répétiteur is expected to do: 14 skills carry over, 9 of which the répétiteur role treats as required.

What skills does a choreologist need to become a répétiteur?

19 required skills are missing, plus 8 optional ones. They fall into 6 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is select music for training.

How hard is the move from choreologist to répétiteur?

Its learning distance is 73.3 out of 100, which is the substantial band. That accounts for both how much is missing and how specialised those skills are.

Note

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.