répétiteurtoartistic 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.
37%
66.7/ 100
1 Share of the artistic coach role’s weighted skill requirement already met by the 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 artistic coach role treats 6 of its required skills as things a répétiteur already does. These are the ones it depends on most.
- 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. A 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 would need to learn
The 22 missing skills fall into 4 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 manage participants' expectations in arts required
- required, not held 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
- required, not held 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
- required, not held work with respect for own safety required
- optional, not held clarify how various components work together optional
- required, not held 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 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 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
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.