dance répétiteurtochoreologist
A dance répétiteur already meets 60% of what the choreologist role asks for. The move turns on 10 required skills not yet in the profile.
60%
50.4/ 100
1 Share of the choreologist role’s weighted skill requirement already met by the dance répétiteur profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.
Why this move works
A choreologist role treats 15 of its required skills as things a dance répétiteur already does. These are the ones it depends on most.
- create a work environment where performers can develop their potential
- create choreographic material
- describe artistic experience
- develop codified movements
- develop the physical language
- identify performers' needs
What stands in the way is 10 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 25 skills that carry over, these are the ones fewest other occupations ask for. A choreologist 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 understand the conceptual dimension of a live performance 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
All 25 carried skills, including the 15 the choreologist role treats as required.
Table 3 · What you would need to learn
The 16 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.
- required, not held act as a resource person in dance required
- required, not held draw up choreography required
- required, not held log changes in choreography required
- required, not held demonstrate specialisation in a dance tradition required
- required, not held interpret artistic intentions required
- required, not held notate different dances required
- optional, not held contribute to an artistic approach optional
- optional, not held show intercultural awareness optional
- required, not held evaluate art quality required
- required, not held monitor art scene developments required
- optional, not held study community as a target community optional
- required, not held art-historical values required
- optional, not held body language optional
- required, not held be a role model in community arts required
- optional, not held match needs of target community with your skills optional
- optional, not held clarify how various components work together optional
Table 4 · Where to start
The 3 entries a choreologist role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 act as a resource person in dance skill · occupation specific
- 02 draw up choreography skill · occupation specific
- 03 log changes in choreography skill · occupation specific
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 25 skills that carry over
- already held create a work environment where performers can develop their potential skill
- already held create choreographic material skill
- already held describe artistic experience skill
- already held develop codified movements skill
- already held develop the physical language 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 understand the architecture of a live performance skill
- already held understand the conceptual dimension of a live performance 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 music score skill
- already held contribute to the choreographer's process of reflection skill
- already held create new fight sequences 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
6 supplementary skills, helpful but not required
- optional, not held clarify how various components work together optional
- optional, not held contribute to an artistic approach 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 body language optional
- optional, not held show intercultural awareness optional
25 held skills the choreologist role does not ask for
- not needed by the target role analyse a script skill
- not needed by the target role analyse your fight discipline expertise 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 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 link between dance and music style knowledge
- not needed by the target role manage personal professional development skill
- 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 subject of music coaching knowledge
- 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 physical language of a live performance skill
2 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- required, not held art-historical values required
- optional, not held body language optional
Other moves recorded from dance répétiteur
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.