dancertochoreographer
A dancer already meets 56% of what the choreographer role asks for. The move turns on 15 required skills not yet in the profile.
56%
57.7/ 100
1 Share of the choreographer role’s weighted skill requirement already met by the dancer 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 choreographer role treats 18 of its required skills as things a dancer already does. These are the ones it depends on most.
- be a role model in community arts
- create choreographic material
- describe artistic experience
- develop codified movements
- develop methods for choreographic integration
- develop proposed choreographic language
What stands in the way is 15 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 28 skills that carry over, these are the ones fewest other occupations ask for. A choreographer role needs them, and most people applying for one will not have them already. This is the part of a dancer background worth leading with.
- already held understand the physical language of a live performance communication, collaboration and creativity
- already held demonstrate specialisation in a dance tradition communication, collaboration and creativity
- already held identify requirements of the work in the artistic performance 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 match needs of target community with your skills management skills
All 28 carried skills, including the 18 the choreographer role treats as required.
Table 3 · What you would need to learn
The 21 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 develop a choreographic language required
- required, not held develop a choreographic work required
- required, not held ensure longevity of choreography required
- required, not held define artistic approach required
- required, not held design flying movements required
- required, not held develop an artistic framework required
- required, not held identify performers' needs required
- required, not held prepare performance training session required
- required, not held train artists in flying required
- required, not held create new fight sequences required
- optional, not held demonstrate technical expertise of your dance style optional
- optional, not held notate different dances optional
- optional, not held practise flying movements optional
- optional, not held select music for performance optional
- required, not held assemble an artistic team required
- required, not held create a work environment where performers can develop their potential required
- required, not held rehearse artist fly movements required
- optional, not held stimulate performers' imagination optional
- required, not held art-historical values required
- required, not held monitor art scene developments required
- optional, not held correct potentially harmful movements optional
Table 4 · Where to start
The 3 entries a choreographer role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 develop a choreographic language skill · occupation specific
- 02 develop a choreographic work skill · occupation specific
- 03 ensure longevity of 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 28 skills that carry over
- already held be a role model in community arts skill
- already held create choreographic material skill
- already held describe artistic experience skill
- already held develop codified movements skill
- already held develop methods for choreographic integration skill
- already held develop proposed choreographic language skill
- already held develop the physical language 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 manage personal professional development 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 understand the physical language of a live 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 demonstrate specialisation in a dance tradition skill
- already held identify requirements of the work in the artistic performance skill
- already held inspire enthusiasm for dance skill
- already held manage artistic project skill
- already held match needs of target community with your skills skill
- already held read dance scores skill
- already held show intercultural awareness skill
- already held teach dance skill
- already held work in an international environment skill
6 supplementary skills, helpful but not required
- optional, not held correct potentially harmful movements optional
- optional, not held demonstrate technical expertise of your dance style optional
- optional, not held notate different dances optional
- optional, not held practise flying movements optional
- optional, not held select music for performance optional
- optional, not held stimulate performers' imagination optional
25 held skills the choreographer role does not ask for
- not needed by the target role acting techniques knowledge
- not needed by the target role analyse own performance skill
- not needed by the target role analyse your fight discipline expertise skill
- not needed by the target role attend rehearsals skill
- not needed by the target role check the production schedule skill
- not needed by the target role develop an artistic approach to your interpretation skill
- not needed by the target role direct community arts activities skill
- not needed by the target role evaluate own dance abilities skill
- not needed by the target role follow directions of the artistic director skill
- not needed by the target role follow time cues skill
- not needed by the target role interact with an audience skill
- not needed by the target role interact with fellow actors skill
- not needed by the target role maintain dance training skill
- not needed by the target role manage feedback skill
- not needed by the target role musical genres knowledge
- not needed by the target role perform dances skill
- not needed by the target role perform fast changeover skill
- not needed by the target role perform live skill
- not needed by the target role perform with motion capture equipment skill
- not needed by the target role self-promote skill
- not needed by the target role sing skill
- not needed by the target role study roles from scripts skill
- not needed by the target role use declaiming techniques skill
- not needed by the target role work with a dance team skill
- not needed by the target role work with an artistic team skill
1 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
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.