fight directortoartistic 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.
21%
79.4/ 100
1 Share of the artistic coach role’s weighted skill requirement already met by the fight director 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 artistic coach role treats 3 of its required skills as things a fight director already does. These are the ones it depends on most.
- 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. A 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 would need to learn
The 27 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 assess your competences for artistic coaching required
- required, not held collaborate with coaching team required
- required, not held provide arts coaching sessions required
- required, not held define artistic approach required
- required, not held describe artistic experience required
- required, not held identify performers' needs required
- required, not held manage participants' expectations in arts required
- required, not held understand the emotional dimension of a performance required
- required, not held 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
- required, not held be a role model in community arts required
- required, not held 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
- required, not held assess data collected to improve community arts programme required
- required, not held 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 a 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 skill · occupation specific
- 02 assess your competences for artistic coaching skill · occupation specific
- 03 collaborate with coaching team 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 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
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.