Dance répétiteur to artistic coach
A dance répétiteur already meets 60% of what the artistic coach role asks for. The move turns on 7 required skills not yet in the profile.
47.8/ 100
1 How much of what an artistic coach is expected to do is already part of a dance répétiteur’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 artistic coach role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
An artistic coach role treats 9 of its required skills as things a dance répétiteur already does. You would walk in with these on day one.
- create a work environment where performers can develop their potential
- describe artistic experience
- identify performers' needs
- maintain safe working conditions in performing arts
- manage artistic career
- manage personal professional development
What stands in the way is 7 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. An artistic coach role needs them, and most people applying for one will not have them already. This is the part of a dance répétiteur 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 9 the artistic coach role treats as required.
Table 3 · What you may need to learn
The 13 missing skills fall into 4 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 assess your competences for artistic coaching required
- still to learn collaborate with coaching team required
- still to learn provide arts coaching sessions required
- still to learn define artistic approach required
- still to learn manage participants' expectations in arts required
- optional, not held identify artistic niche optional
- optional, not held show intercultural awareness optional
- still to learn be a role model in community arts required
- optional, not held inspire dance participants to improve optional
- optional, not held match needs of target community with your skills optional
- still to learn assess data collected to improve community arts programme required
- optional, not held study community as a target community optional
- optional, not held clarify how various components work together optional
Table 4 · Where to start
The 3 entries an artistic coach role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 assess data collected to improve community arts programme practise this
- 02 assess your competences for artistic coaching practise this
- 03 collaborate with coaching team 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 create a work environment where performers can develop their potential 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 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 contribute to the choreographer's process of reflection skill
- already held create choreographic material skill
- already held create new fight sequences 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 subject of music coaching knowledge
- already held teach dance skill
- already held work in an international environment skill
6 supplementary skills, helpful but not required
- optional, not held clarify how various components work together optional
- optional, not held identify artistic niche optional
- optional, not held inspire dance participants to improve optional
- optional, not held match needs of target community with your skills optional
- optional, not held study community as a target community optional
- optional, not held show intercultural awareness optional
28 held skills the artistic coach role does not ask for
- not needed by the target role analyse a script skill
- not needed by the target role analyse music score skill
- not needed by the target role contribute to the development of a creative choreography skill
- not needed by the target role develop a coaching style skill
- not needed by the target role develop an artistic framework skill
- not needed by the target role develop the physical language skill
- not needed by the target role follow time cues skill
- not needed by the target role guide performers' training sessions skill
- not needed by the target role help document artistic work at all stages skill
- not needed by the target role help set performance schedule skill
- not needed by the target role help set rehearsal schedule skill
- not needed by the target role intellectual property law knowledge
- not needed by the target role labour legislation knowledge
- not needed by the target role link between dance and music style knowledge
- not needed by the target role participate in technical aspects of the production skill
- not needed by the target role perform dances skill
- not needed by the target role prepare performance training session skill
- not needed by the target role prepare rehearsals skill
- not needed by the target role prompt performers skill
- not needed by the target role read dance scores skill
- not needed by the target role read scripts skill
- not needed by the target role rehearse artist fly movements skill
- not needed by the target role represent artistic production skill
- not needed by the target role test artist flying systems skill
- not needed by the target role train artists in flying 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 physical language of a live performance skill
Other moves recorded from dance répétiteur
Common questions about this move
Can a dance répétiteur become an artistic coach?
Yes, and it is a moderate move. A dance répétiteur already covers 60% of what an artistic coach is expected to do: 22 skills carry over, 9 of which the artistic coach role treats as required.
What skills does a dance répétiteur need to become an artistic coach?
7 required skills are missing, plus 6 optional ones. They fall into 4 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is assess data collected to improve community arts programme.
How hard is the move from dance répétiteur to artistic coach?
Its learning distance is 47.8 out of 100, which is the moderate 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.