Fight director to artistic coach
A fight director already meets 21% of what the artistic coach role asks for. The move turns on 13 required skills not yet in the profile.
79.4/ 100
1 How much of what an artistic coach is expected to do is already part of a fight director’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 3 of its required skills as things a fight director already does. You would walk in with these on day one.
- manage artistic career
- manage personal professional development
- work with respect for own safety
What stands in the way is 13 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 8 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 fight director background worth leading with.
- already held create new fight sequences communication, collaboration and creativity
- already held analyse your fight discipline expertise management skills
- already held manage artistic career communication, collaboration and creativity
- already held work in an international environment communication, collaboration and creativity
- already held manage artistic project management skills
- already held work with respect for own safety assisting and caring
All 8 carried skills, including the 3 the artistic coach role treats as required.
Table 3 · What you may need to learn
The 27 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 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 describe artistic experience required
- still to learn identify performers' needs required
- still to learn manage participants' expectations in arts required
- still to learn understand the emotional dimension of a performance required
- still to learn work with broad variety of personalities required
- optional, not held contribute to the choreographer's process of reflection optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop proposed choreographic language optional
- optional, not held identify artistic niche optional
- optional, not held teach dance optional
- still to learn be a role model in community arts required
- still to learn create a work environment where performers can develop their potential required
- optional, not held develop methods for choreographic integration optional
- optional, not held inspire dance participants to improve optional
- optional, not held inspire enthusiasm for dance optional
- optional, not held match needs of target community with your skills optional
- optional, not held stimulate performers' imagination optional
- still to learn assess data collected to improve community arts programme required
- still to learn maintain safe working conditions in performing arts required
- optional, not held study community as a target community optional
- optional, not held clarify how various components work together optional
- optional, not held subject of music coaching 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 8 skills that carry over
- already held manage artistic career skill
- already held manage personal professional development skill
- already held work with respect for own safety skill
- already held analyse your fight discipline expertise skill
- already held create new fight sequences skill
- already held manage artistic project skill
- already held show intercultural awareness skill
- already held work in an international environment skill
14 supplementary skills, helpful but not required
- optional, not held clarify how various components work together optional
- optional, not held contribute to the choreographer's process of reflection optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop methods for choreographic integration optional
- optional, not held develop proposed choreographic language optional
- optional, not held identify artistic niche optional
- optional, not held inspire dance participants to improve optional
- optional, not held inspire enthusiasm for dance optional
- optional, not held match needs of target community with your skills optional
- optional, not held stimulate performers' imagination optional
- optional, not held study community as a target community optional
- optional, not held subject of music coaching optional
- optional, not held teach dance optional
21 held skills the artistic coach role does not ask for
- not needed by the target role adapt fighting techniques for performance skill
- not needed by the target role adjust the work to the venue skill
- not needed by the target role coach performers in your fight discipline skill
- not needed by the target role communicate expectations of fight actions skill
- not needed by the target role define an approach to your fight dicipline skill
- not needed by the target role develop strategy to solve problems skill
- not needed by the target role engage in fencing skill
- not needed by the target role ensure the longevity of the fight actions 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 memorise lines skill
- not needed by the target role monitor art scene developments skill
- not needed by the target role perform risk assessment for fight actions skill
- not needed by the target role performing arts fights legal regulations knowledge
- not needed by the target role prepare performance training session skill
- not needed by the target role read dance scores skill
- not needed by the target role read musical score skill
- not needed by the target role supervise performers' fights skill
- not needed by the target role use personal protection equipment skill
- not needed by the target role work ergonomically skill
- not needed by the target role write risk assessment on performing arts production 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.
- optional, not held subject of music coaching optional
Common questions about this move
Can a fight director become an artistic coach?
Yes, and it is a career change move. A fight director already covers 21% of what an artistic coach is expected to do: 8 skills carry over, 3 of which the artistic coach role treats as required.
What skills does a fight director need to become an artistic coach?
13 required skills are missing, plus 14 optional ones. They fall into 5 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 fight director to artistic coach?
Its learning distance is 79.4 out of 100, which is the career change 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.