Répétiteur to artistic coach
A répétiteur already meets 37% of what the artistic coach role asks for. The move turns on 10 required skills not yet in the profile.
66.7/ 100
1 How much of what an artistic coach is expected to do is already part of a 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 6 of its required skills as things a répétiteur already does. You would walk in with these on day one.
- create a work environment where performers can develop their potential
- identify performers' needs
- maintain safe working conditions in performing arts
- manage artistic career
- manage personal professional development
- work with broad variety of personalities
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 13 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 répétiteur background worth leading with.
- 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 13 carried skills, including the 6 the artistic coach role treats as required.
Table 3 · What you may need to learn
The 22 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 describe artistic experience required
- still to learn manage participants' expectations in arts required
- still to learn understand the emotional dimension of a performance required
- optional, not held contribute to the choreographer's process of reflection optional
- optional, not held develop proposed choreographic language optional
- optional, not held identify artistic niche optional
- optional, not held teach dance optional
- optional, not held create new fight sequences optional
- still to learn be a role model in community arts required
- optional, not held analyse your fight discipline expertise optional
- 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
- still to learn work with respect for own safety required
- optional, not held clarify how various components work together optional
- still to learn assess data collected to improve community arts programme required
- optional, not held study community as a target community 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 13 skills that carry over
- already held create a work environment where performers can develop their potential 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 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 stimulate performers' imagination skill
- already held subject of music coaching knowledge
- already held work in an international environment skill
12 supplementary skills, helpful but not required
- optional, not held clarify how various components work together optional
- optional, not held analyse your fight discipline expertise optional
- optional, not held contribute to the choreographer's process of reflection 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 study community as a target community optional
- optional, not held teach dance optional
- optional, not held create new fight sequences 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 analyse own performance skill
- not needed by the target role develop a coaching style skill
- not needed by the target role develop drama production process skill
- not needed by the target role guide performers' training sessions skill
- not needed by the target role identify requirements of the work in the artistic performance 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 manage feedback skill
- not needed by the target role manage prompt book skill
- not needed by the target role music literature knowledge
- not needed by the target role musical theory knowledge
- not needed by the target role participate in music studio recordings skill
- not needed by the target role perform music in ensemble skill
- not needed by the target role perform music solo skill
- not needed by the target role perform musical improvisations in therapy skill
- not needed by the target role play musical instruments 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 musical score skill
- not needed by the target role record music skill
- not needed by the target role select music for training skill
- not needed by the target role self-promote skill
- not needed by the target role study music skill
- not needed by the target role transpose music skill
- not needed by the target role work with an artistic team skill
- not needed by the target role write musical scores skill
Common questions about this move
Can a répétiteur become an artistic coach?
Yes, and it is a substantial move. A répétiteur already covers 37% of what an artistic coach is expected to do: 13 skills carry over, 6 of which the artistic coach role treats as required.
What skills does a répétiteur need to become an artistic coach?
10 required skills are missing, plus 12 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 répétiteur to artistic coach?
Its learning distance is 66.7 out of 100, which is the substantial 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.