UK dataswitch to US
Dancers and choreographers
creating and refining routines for a polished performance, discussing ideas with producers to create innovative dance performances and conducting practical classes or demonstrations to teach specific skills. If that's your week, this page is about your job.
The honest answer
AI changes the edges of this job, not the middle: rehearsing with dancers to prepare for performances is work software can't reach.
What shifts is sending out CVs, photographs and footage for self-promotion: the paper around the work, not the work.
Your week, as this page understands it
Dancers and choreographers devise, direct, rehearse and perform classical and contemporary dance routines. The job title says “dancers” or “choreographers”: officially one job, two names. The real job is the part underneath: rehearsing with dancers to prepare for performances. That is the thing someone has to be right about.
The exposed part of this job is specific, and we won’t pretend it is coming back. But dancers and choreographers is not one task. It is 67 scored ones, and they are nowhere near equally exposed. The most durable of them, on this evidence, is rehearsing with dancers to prepare for performances, and the ledger below shows exactly why.
Where the work sits, by task weight
- shifting to AI
- 2%
- changing shape
- 9%
- staying human
- 89%
These bars are tasks changing hands, not people being counted out. The ledger below shows which.
Whole-job exposure score 15 out of 100 (10–20 allowing for uncertainty): minimal exposure, across 67 scored tasks. The number is the support for the sentence above it, not a headline about anyone’s future.
How we know this
What is measured: Every published task statement for dancers and choreographers is rated on five dimensions: can a model produce the output, does the work need a body in a room, does it need a legally accountable person, does it depend on a person being trusted in the moment, and how much data exists. A published formula turns those five ratings into the score; the model never writes the number.
How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.
Release: 2026-q4.1, scores computed 2026-08-04. Read the full method.
Your job, task by task
These are the official task statements for this occupation, in plain English, sorted by what the evidence says is happening to each one. The official wording sits under every line so you can check the rewrite against it.
Shifting to AI
2 tasksTasks today’s tools can already do most of. This is the part we will not soften: where these rows are the bulk of your week, the week changes.
Sending out CVs, photographs and footage for self-promotion
This is reading one thing and writing another: cvs, photographs and footage in, a record out. That is the shape today's tools are built for.
importance 60 · 3414/03Source: “Send out CVs, photographs, and footage for self-promotion.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Preparing and sending CVs, photos and showreels to companies is routine admin that tools already automate.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Performing administrative tasks relevant to the job role
This is reading one thing and writing another: this work in, a record out. That is the shape today's tools are built for.
importance 60 · 3414/02Source: “Perform administrative tasks relevant to the job role.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: General office administration is screen-based, documented work software supports strongly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Changing shape
7 tasksTasks where the machine takes the producing and a person keeps the checking, the deciding, or the answering-for-it. For most jobs this is the biggest group, and it is where "transformation, not termination" is literally visible.
Selecting music, sound effects or spoken narrative to accompany a dance
The software now makes the first pass at music, sound effects or spoken narrative, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3414/01Source: “Select music, sound effects, or spoken narrative to accompany a dance.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Music can be searched and suggested by software, but the final artistic choice is a judgement call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Identifying appropriate music resources for dance sessions
The software now makes the first pass at appropriate music resources, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3414/02Source: “Identify appropriate music resources for dance sessions.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Finding suitable music for sessions is a search task, though what suits a particular group is a judgement call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Choosing music suitable for the concept or subject you
The software now makes the first pass at music suitable, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3414/01Source: “Choose music suitable for the concept or subject you have been tasked with.” (UK task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Music catalogues are searchable and easy to shortlist from, though the final artistic fit is a human call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Planning a series of movement sessions around a particular client or client group's requirements
The software now makes the first pass at a series of movement sessions around a particular, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3414/02Source: “Plan a series of movement sessions around a particular client or client group's requirements.” (UK task statement)
How this row was scored
Exposure score: 57 out of 100 (50–64 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; mistakes that are cheap to catch.
The rating behind it: Planning a series of sessions is structured programme design, though it rests on knowing the specific group.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Staying human
58 tasksTasks that stay with a person, because they happen in the physical world, because the rules need someone accountable, or because the value is that a specific person does them.
Rehearsing with dancers to prepare for performances
This work happens in the physical world: dancers, in a real place. Software cannot follow it there.
importance 95 · 3414/01, 3414/03Source: “Rehearse with dancers to prepare for performances.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Rehearsing means dancers and a director in the same room moving together.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Maintaining dance skills and techniques
This work happens in the physical world: dance skills, in a real place. Software cannot follow it there.
importance 85 · 3414/01, 3414/03Source: “Maintain dance skills and techniques.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Keeping your own dance technique sharp means practising physically.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Planning choreographed movements to align with music under the guidance of artistic and musical directors
This work happens in the physical world: choreographed movements, in a real place. Software cannot follow it there.
importance 90 · 3414/01, 3414/03Source: “Plan choreographed movements to align with music under the guidance of artistic and musical directors.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Matching movement to music is worked out physically in the studio with the directors watching.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Developing creative ideas for dance routines
This work happens in the physical world: creative ideas, in a real place. Software cannot follow it there.
importance 90 · 3414/01, 3414/03Source: “Develop creative ideas for dance routines.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (6–20 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Dance ideas are worked out through movement in the studio, not written down for a computer to learn from.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Show the other 57 tasks
Using audio-visual aids and technologies to present information interactively
changing shapeThe software now makes the first pass at audio-visual aids, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3414/02Source: “Use audio-visual aids and technologies to present information interactively.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (49–57 allowing for uncertainty): partial exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Slides, clips and interactive materials are quick to generate, though someone still runs the session in the room.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 4/4.
Keeping notes and sketches to record influences
changing shapeThe software now makes the first pass at notes, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3414/01Source: “Keep notes and sketches to record influences.” (UK task statement)
How this row was scored
Exposure score: 50 out of 100 (38–62 allowing for uncertainty): partial exposure, low confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Personal notes and sketches record private impressions rather than anything written for a computer.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Adhering to ethical codes and confidentiality rules when sharing client information
changing shapeThe software now makes the first pass at ethical codes, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3414/02Source: “Adhere to ethical codes and confidentiality rules when sharing client information.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: The rules are written down and systems can enforce them, but judging what to share in a particular case rests with a person.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Recording dance steps using a notation system
staying humanThe ratings behind this row put dance steps well outside what today's tools can do on their own.
importance 65 · 3414/01Source: “Record dance steps using a notation system, such as Labanotation or Benesh, for certain dance forms.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Movement notation systems are documented, but writing steps down accurately means watching the dance closely.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Liaising with and referring to other professionals within the industry
staying humanThe value here is that a specific person handles this work and stands behind it. That is earned, not computed.
importance 60 · 3414/02Source: “Liaise with, and refer to, other professionals within the industry.” (UK task statement)
How this row was scored
Exposure score: 35 out of 100 (28–42 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Knowing who to ask and being able to ask them rests on personal contacts.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Choosing costume styles appropriate for the performance
staying humanThe ratings behind this row put this work well outside what today's tools can do on their own.
importance 80 · 3414/01Source: “Choose costume styles appropriate for the performance.” (UK task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Costume options can be generated and compared, but the choice depends on how they look and move on stage.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Picking props that enhance the storytelling of the performance
staying humanThe ratings behind this row put props well outside what today's tools can do on their own.
importance 80 · 3414/01Source: “Pick props that enhance the storytelling of the performance.” (UK task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Prop ideas are easy to suggest, but what actually helps the story is judged in the space.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Applying knowledge of physiology and anatomy to maintain health and safety standards
staying humanThis work happens in the physical world: knowledge of physiology, in a real place. Software cannot follow it there.
importance 80 · 3414/03Source: “Apply knowledge of physiology and anatomy to maintain health and safety standards.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: The anatomy knowledge is textbook, but applying it happens while handling animals on site.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing production scores in collaboration with music editors
staying humanThe value here is that a specific person handles production scores and stands behind it. That is earned, not computed.
importance 60 · 3414/01Source: “Develop production scores in collaboration with music editors.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Building a production score is creative work settled in conversation with music editors.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Engaging in continuous professional development to maintain or improve knowledge and skills
staying humanThe ratings behind this row put continuous professional development well outside what today's tools can do on their own.
importance 75 · 3414/02Source: “Engage in continuous professional development to maintain or improve knowledge and skills.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over.
The rating behind it: AI can find and summarise material, but the learning itself is something the teacher has to do.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Developing ideas for performances
staying humanThis work happens in the physical world: ideas, in a real place. Software cannot follow it there.
importance 85 · 3414/01Source: “Develop ideas for performances.” (UK task statement)
How this row was scored
Exposure score: 25 out of 100 (18–32 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Ideas can be suggested, but choreography is usually worked out in the studio on real dancers.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Recording dance movements and technical aspects based on choreography patterns
staying humanThis work happens in the physical world: dance movements, in a real place. Software cannot follow it there.
importance 70 · 3414/01Source: “Record dance movements and technical aspects based on choreography patterns.” (UK task statement)
How this row was scored
Exposure score: 21 out of 100 (14–28 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Writing down movement uses specialist notation that is barely represented in the material AI learns from.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Adapting teaching techniques to the age and skill levels of students
staying humanThe value here is that a specific person handles techniques and stands behind it. That is earned, not computed.
importance 90 · 3414/02Source: “Adapt teaching techniques to the age and skill levels of students.” (UK task statement)
How this row was scored
Exposure score: 21 out of 100 (14–28 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Materials can be pitched at different levels automatically, but adjusting on the spot to how a class is coping needs a teacher there.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Designing lighting and costumes for productions in collaboration with cast members
staying humanThis work happens in the physical world: costumes, in a real place. Software cannot follow it there.
importance 70 · 3414/01Source: “Design lighting and costumes for productions in collaboration with cast members.” (UK task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Designs can be drafted, but they are settled through fittings and conversations with the cast.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Planning or conducting activities for an instructional programme that balances demonstration
staying humanThis work happens in the physical world: activities, in a real place. Software cannot follow it there.
importance 80 · 3414/02Source: “Plan or conduct activities for an instructional programme that balances demonstration, instruction, and work time.” (UK task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Session plans are easy to draft, but running a class that mixes demonstration and practice happens live in the studio.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Meeting regularly with costume designers
staying humanThe value here is that a specific person handles costume designers and stands behind it. That is earned, not computed.
importance 75 · 3414/01Source: “Meet regularly with costume designers.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Regular design meetings are a working conversation about how ideas are coming along.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Attending production meetings
staying humanThe value here is that a specific person handles production meetings and stands behind it. That is earned, not computed.
importance 70 · 3414/01Source: “Attend production meetings.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: A production meeting is the team working things through together, often in the same room.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Seeking informal feedback from dancers on steps and placements
staying humanThis work happens in the physical world: informal feedback, in a real place. Software cannot follow it there.
importance 75 · 3414/01Source: “Seek informal feedback from dancers on steps and placements.” (UK task statement)
How this row was scored
Exposure score: 15 out of 100 (8–22 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Asking dancers how a step feels is a conversation that happens in the studio.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Planning and overseeing class projects
staying humanThis work happens in the physical world: class projects, in a real place. Software cannot follow it there.
importance 70 · 3414/02Source: “Plan and oversee class projects, field trips, visits by guest speakers, competitions, or other experiential activities, and guide pupils in learning from those activities.” (UK task statement)
How this row was scored
Exposure score: 15 out of 100 (8–22 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Trip plans and paperwork can be drafted quickly, but running the activity and supervising the group happens in person.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 1/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Studying story lines to translate ideas into dance movements
staying humanThis work happens in the physical world: story lines, in a real place. Software cannot follow it there.
importance 90 · 3414/01Source: “Study story lines to translate ideas into dance movements.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (6–20 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Turning a story into movement is creative work that lives in the studio rather than in documents.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Preparing and implementing remedial programmes for students requiring extra help
staying humanThis work happens in the physical world: remedial programmes, in a real place. Software cannot follow it there.
importance 65 · 3414/02Source: “Prepare and implement remedial programmes for students requiring extra help.” (UK task statement)
How this row was scored
Exposure score: 12 out of 100 (5–19 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: A catch-up plan can be drafted from the assessment, but working through it with a struggling student happens face to face.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 1/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Collaborating with costume, lighting and sound departments to ensure technical quality
staying humanThis work happens in the physical world: costume, lighting and sound departments, in a real place. Software cannot follow it there.
importance 90 · 3414/01Source: “Collaborate with costume, lighting, and sound departments to ensure technical quality.” (UK task statement)
How this row was scored
Exposure score: 11 out of 100 (4–18 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Getting costume, lighting and sound working together happens between the departments as the show is built.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Discussing ideas with producers to create innovative dance performances
staying humanThe value here is that a specific person handles ideas and stands behind it. That is earned, not computed.
importance 85 · 3414/01Source: “Discuss ideas with producers to create innovative dance performances.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (3–17 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: New ideas come out of a creative conversation where trust with the producer shapes what gets made.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Engaging musical and artistic directors in planning
staying humanThe value here is that a specific person handles musical and stands behind it. That is earned, not computed.
importance 80 · 3414/01Source: “Engage musical and artistic directors in planning.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (3–17 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Bringing directors into planning works through a working relationship, not a document.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Encouraging students to persevere with challenging tasks to prepare for later years
staying humanThe value here is that a specific person handles students and stands behind it. That is earned, not computed.
importance 80 · 3414/02Source: “Encourage students to persevere with challenging tasks to prepare for later years.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Keeping a young dancer going through hard work depends on encouragement from someone they know and trust in the room.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Guiding students in learning from these experiential activities
staying humanThe value here is that a specific person handles students and stands behind it. That is earned, not computed.
importance 70 · 3414/02Source: “Guide students in learning from these experiential activities.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (6–14 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Helping students make sense of what they just did is a live conversation with people the teacher knows.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Advising dancers on proper posture and movement to prevent injuries
staying humanThis work happens in the physical world: dancers, in a real place. Software cannot follow it there.
importance 90 · 3414/01Source: “Advise dancers on proper posture and movement to prevent injuries.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (2–16 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Posture advice depends on watching a particular dancer move.
The five ratings: output a model can produce 2/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Teaching students individually and in groups
staying humanThis work happens in the physical world: students, in a real place. Software cannot follow it there.
importance 90 · 3414/02Source: “Teach students individually and in groups, adapting teaching methods to their needs and interests.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (5–13 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Teaching dance means being in the studio with students and adjusting to them as you go, which no tool replaces.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Discussing and interpreting choreography
staying humanThis work happens in the physical world: choreography, in a real place. Software cannot follow it there.
importance 85 · 3414/03Source: “Discuss and interpret choreography.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (2–16 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Talking through and interpreting choreography relies on shared studio experience that is rarely written down.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Preparing for auditions by rehearsing and selecting appropriate material
staying humanThis work happens in the physical world: auditions, in a real place. Software cannot follow it there.
importance 75 · 3414/03Source: “Prepare for auditions by rehearsing and selecting appropriate material.” (UK task statement)
How this row was scored
Exposure score: 8 out of 100 (1–15 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Software can help pick suitable pieces, but rehearsing them until they are audition-ready is something only the performer does.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Conducting practical classes or demonstrations to teach specific skills
staying humanThis work happens in the physical world: practical classes, in a real place. Software cannot follow it there.
importance 85 · 3414/02Source: “Conduct practical classes or demonstrations to teach specific skills.” (UK task statement)
How this row was scored
Exposure score: 7 out of 100 (3–11 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Running a practical class means demonstrating in person and correcting learners' technique as they try it.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Organising and supervising games and other recreational activities to promote physical
staying humanThis work happens in the physical world: games, in a real place. Software cannot follow it there.
importance 65 · 3414/02Source: “Organise and supervise games and other recreational activities to promote physical, mental, and social development.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (2–10 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Supervising children at games and activities has to be done in person.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Creating and refining routines for a polished performance
staying humanThis work happens in the physical world: routines, in a real place. Software cannot follow it there.
importance 95 · 3414/01Source: “Create and refine routines for a polished performance.” (UK task statement)
How this row was scored
Exposure score: 5 out of 100 (0–12 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: A routine is shaped in the studio on real bodies, adjusting to what the dancers can actually do.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Creating choreography for performances
staying humanThis work happens in the physical world: choreography, in a real place. Software cannot follow it there.
importance 95 · 3414/01, 3414/03Source: “Create choreography for performances.” (UK task statement)
How this row was scored
Exposure score: 5 out of 100 (1–9 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Choreography is made on bodies in a studio, and very little of it is written down.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Restaging traditional dances and works in dance companies' repertoires
staying humanThis work happens in the physical world: traditional dances, in a real place. Software cannot follow it there.
importance 80 · 3414/01Source: “Restage traditional dances and works in dance companies' repertoires, developing new interpretations.” (UK task statement)
How this row was scored
Exposure score: 5 out of 100 (0–12 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Restaging an existing work means rebuilding it on dancers in the studio.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Supervising and monitoring students' use of tools and equipment
staying humanThis work happens in the physical world: students' use of tools, in a real place. Software cannot follow it there.
importance 70 · 3414/02Source: “Supervise and monitor students' use of tools and equipment.” (UK task statement)
How this row was scored
Exposure score: 5 out of 100 (1–9 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Watching students handle equipment safely needs an adult present who can step in straight away.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 1/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Auditioning dancers for performances
staying humanThis work happens in the physical world: dancers, in a real place. Software cannot follow it there.
importance 95 · 3414/01Source: “Audition dancers for performances.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Auditioning means watching dancers perform in front of you.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Directing and staging dance presentations for various forms of entertainment
staying humanThis work happens in the physical world: dance presentations, in a real place. Software cannot follow it there.
importance 95 · 3414/01Source: “Direct and stage dance presentations for various forms of entertainment.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Staging a dance for an audience means directing performers in the space as they rehearse and perform.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Assessing students' dancing abilities to identify areas for improvement
staying humanThis work happens in the physical world: students' dancing abilities, in a real place. Software cannot follow it there.
importance 85 · 3414/01Source: “Assess students' dancing abilities to identify areas for improvement.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Judging how someone dances means watching them move in the room.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Teaching pupils about rhythm and interpretive movement
staying humanThis work happens in the physical world: pupils, in a real place. Software cannot follow it there.
importance 80 · 3414/01Source: “Teach pupils about rhythm and interpretive movement.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Teaching rhythm and movement to pupils is done by demonstrating in person.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Providing individual tuition on topics
staying humanThis work happens in the physical world: individual tuition, in a real place. Software cannot follow it there.
importance 85 · 3414/02Source: “Provide individual tuition on topics such as cooking, dancing, writing, physical fitness, photography, personal finance, and flying.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: One-to-one dance teaching means demonstrating, watching and correcting a body in the room, built on a relationship with the student.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Observing and evaluating client movements
staying humanThis work happens in the physical world: client movements, in a real place. Software cannot follow it there.
importance 75 · 3414/02Source: “Observe and evaluate client movements.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Judging how someone is moving means watching them in the room and responding as they go.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Collaborating with choreographers to refine or modify dance steps
staying humanThis work happens in the physical world: choreographers, in a real place. Software cannot follow it there.
importance 95 · 3414/03Source: “Collaborate with choreographers to refine or modify dance steps.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Refining steps happens by trying them in the studio with the choreographer watching.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Leading rehearsals to instruct dancers in dance steps and in techniques to achieve desired effects
staying humanThis work happens in the physical world: rehearsals, in a real place. Software cannot follow it there.
importance 95 · 3414/01Source: “Lead rehearsals to instruct dancers in dance steps and in techniques to achieve desired effects.” (UK task statement)
How this row was scored
Exposure score: 3 out of 100 (0–7 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Leading a rehearsal means being in the room demonstrating and correcting.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Teaching dancers to improve their skills
staying humanThis work happens in the physical world: dancers, in a real place. Software cannot follow it there.
importance 85 · 3414/01Source: “Teach dancers to improve their skills.” (UK task statement)
How this row was scored
Exposure score: 3 out of 100 (0–7 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Teaching dance means demonstrating and correcting movement in person.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Developing a secure setting where individuals can express and communicating their feelings safely
staying humanThis work happens in the physical world: a secure, in a real place. Software cannot follow it there.
importance 65 · 3414/02Source: “Develop a secure setting where individuals can express and communicate their feelings safely.” (UK task statement)
How this row was scored
Exposure score: 3 out of 100 (0–10 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: A safe space for people to open up exists because a trusted person is there with them.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 4/4 · how much data exists 1/4.
Choreographing fight scenes or theatrical stunts in collaboration with other professionals
staying humanThis work happens in the physical world: fight scenes, in a real place. Software cannot follow it there.
importance 75 · 3414/01Source: “Choreograph fight scenes or theatrical stunts in collaboration with other professionals.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Fight and stunt choreography is built and drilled physically so performers stay safe.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Exercising to prepare for performances
staying humanThis work happens in the physical world: prepare, in a real place. Software cannot follow it there.
importance 70 · 3414/01, 3414/03Source: “Exercise to prepare for performances.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Physical preparation for performance is exercise a person has to do.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Creating props for dance teaching sessions
staying humanThis work happens in the physical world: props, in a real place. Software cannot follow it there.
importance 70 · 3414/02Source: “Create props for dance teaching sessions.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Making props is hands-on craft work with real materials.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Performing classical, modern or acrobatic dances in productions, expressing stories, rhythm and sound with their bodies
staying humanThis work happens in the physical world: classical, modern or acrobatic dances, in a real place. Software cannot follow it there.
importance 95 · 3414/03Source: “Perform classical, modern, or acrobatic dances in productions, expressing stories, rhythm, and sound with their bodies.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–7 allowing for uncertainty): minimal exposure, high confidence, and it moved between repeat runs, so the range is widened.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Performing is done with the dancer’s own body in front of an audience.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Rehearsing for performances
staying humanThis work happens in the physical world: performances, in a real place. Software cannot follow it there.
importance 95 · 3414/03Source: “Rehearse for performances.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Rehearsing an instrument is physical practice.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Auditioning for membership in dance companies
staying humanThis work happens in the physical world: membership, in a real place. Software cannot follow it there.
importance 90 · 3414/03Source: “Audition for membership in dance companies.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: An audition is the dancer showing what they can do, in person, in the room.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Performing for live audiences
staying humanThis work happens in the physical world: live audiences, in a real place. Software cannot follow it there.
importance 90 · 3414/03Source: “Perform for live audiences.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Standing in front of a live audience is the whole task, and that needs a person in the room.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 0/4.
Attending auditions and casting sessions
staying humanThis work happens in the physical world: auditions, in a real place. Software cannot follow it there.
importance 85 · 3414/03Source: “Attend auditions and casting sessions.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Auditioning means turning up in person and being seen, which nothing at a screen can do for you.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Performing on location
staying humanThis work happens in the physical world: location, in a real place. Software cannot follow it there.
importance 85 · 3414/03Source: “Perform on location for film, television, internet, and radio productions.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Performing on location means physically being at the shoot, which no software can stand in for.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Attending costume fittings for performance attire
staying humanThis work happens in the physical world: costume fittings, in a real place. Software cannot follow it there.
importance 70 · 3414/03Source: “Attend costume fittings for performance attire.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: A fitting only works with the actual performer wearing the actual costume.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 1/4.
Preparing pointe shoes for use in rehearsals and performance by sewing or other means
staying humanThis work happens in the physical world: pointe shoes, in a real place. Software cannot follow it there.
importance 70 · 3414/03Source: “Prepare pointe shoes for use in rehearsals and performance by sewing or other means.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Sewing and preparing pointe shoes is fiddly handwork on the dancer’s own shoes.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
What this job pays, and how many people do it
- Median pay
- No median pay figure is published for this exact group, so there is none here. We would rather show you the gap than a number borrowed from somewhere else.The ONS doesn't publish a reliable pay figure for this exact job (too few people in its survey sample), so none is shown here.
- People doing this job
- 14,700in the UK, 2026.nomis-aps · Apr 2025-Mar 2026 (latest APS 12-month period)This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
What is deliberately not here: a forecast of how many of these jobs exist in ten years. Where an official projection exists for a market we publish it with its vintage; where it does not, we leave the space empty rather than borrow the other country’s number.
Why this is shifting
The reason is boringly specific. Most of what is shifting here is reading one thing and writing another: cvs, photographs and footage in, a record out. The rows above are exactly that shape: sending out CVs, photographs and footage for self-promotion and performing administrative tasks relevant to the job role. What it cannot do is be there in the room, and that is still where dancers get done. Which is why this page talks about your tasks changing, not your job ending.
Your move
Over a pint: what I’d tell you if you were my friend
Start with what does not change: rehearsing with dancers to prepare for performances is the middle of this job, and the evidence on this page says it stays with a person.
So, given all that: 2% of this job's task weight sits in rows the software is already learning, 9% in rows that change shape rather than disappear, and 89% in rows it is nowhere near. That is the position, measured across 67 scored tasks. It is not a forecast about you.
So the thing worth your attention is not the job going away. It is the layer around it. Sending out CVs, photographs and footage for self-promotion is the part turning into software, and being the person who understands that layer is worth money.
This week: one thing
Ask the one question. Find whoever is bringing new software into your workplace (the manager, the office, whoever runs the system) and ask them what it is meant to do to cvs, photographs and footage, and what it is not meant to touch. Ten minutes, this week, before anyone decides it for you.
- What you end up holding
- a straight answer about what is actually being rolled out, and when
- How long it takes
- ten minutes
If there’s nobody obvious to ask, or you’d rather not ask your manager: Put the same question to your union rep, your shift lead or the person who has been there longest, in person, over a break. Same ten minutes, same answer, and you will usually get a straighter one. Write down what they say. The note is the artifact, and it tells you whether dance skills are in scope or not. Nothing to log into, no licence needed.
Over the next 90 days
Get inside the tool rollout rather than waiting for it. Over the next ninety days, ask to be in the group that tests, checks or signs off whatever new system arrives near selecting music, sound effects or spoken narrative to accompany a dance. It is usually an unglamorous seat that nobody fights for, and it is the one that decides how the software is used on your job rather than to it.
Over the next 12 months
On this evidence I would not retrain out of this job, and I will say that plainly rather than hedge it. The task list here is dominated by work that stays with a person. What I would do with a year is get formally recognised for the layer around it (the systems, the compliance, the planning), so you are the one who understands the software instead of the one it is done to. Before you pay for anything, spend an hour with National Careers Service. It is free and government-funded, and it is listed below with the rest of the free routes.
The roads out of here, and why I am not sending you down them
I looked at the obvious moves out of this job, and here is what I found.
I checked the 12 nearest UK occupations to dancers and choreographers (nearest by the work that AI is not taking, not by job title), and none of them survived. The closest was teaching professionals n.e.c.: only about 16% of its durable work is work you already do. And on the numbers you do not need one. This job scores 15/100 here, with only 2% of the task list in the top band, and “audition dancers for performances” is not work that hands over cleanly. None of them beats deepening what you already have.
How that was checked: this job was compared against all 412 UK occupations in this release on their official task statements, and the 12 nearest were examined one by one. A move that turns on an industry, an employer or a qualification rather than on the work itself will not show up in a check like that. And this release carries no licence register, so anything you are weighing needs that looked up separately.
3 moves I checked and rejected
These are the obvious-looking jumps. They are here with their reasons rather than quietly dropped, because the ones that fail are worth knowing about. It is one less thing to turn over at night.
Teaching professionals n.e.c.
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “teach dancers to improve their skills”. Across the whole of both lists that adds up to about 16% of the work in that job the software is not taking.
Why I am not recommending it: You would be starting most of it from nothing: about 16% of the durable work in that job is work you do today, and the rest you would be learning while the bills carried on. This release publishes no median pay for that job, so I cannot show you what the move costs or pays. I do not recommend a move I cannot price.
Musicians
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “perform for live audiences”. Across the whole of both lists that adds up to about 13% of the work in that job the software is not taking.
Why I am not recommending it: You would be starting most of it from nothing: about 13% of the durable work in that job is work you do today, and the rest you would be learning while the bills carried on. This release publishes no median pay for that job, so I cannot show you what the move costs or pays. I do not recommend a move I cannot price.
Actors, entertainers and presenters
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “perform for live audiences”. Across the whole of both lists that adds up to about 9% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 9% of the durable side of that job. That is a different job, not a next step. This release publishes no median pay for that job, so I cannot show you what the move costs or pays. I do not recommend a move I cannot price.
What I’d stop worrying about
A friend tells you what not to spend fear on. This is that list.
The headline number you read somewhere
The big “X% of jobs” figures are about the whole economy, not about you. The number that describes your job is on this page: 2% of its task weight, across 67 scored tasks. Every row behind it is printed above with the source. Check ours; ignore theirs.
The headlines about your trade disappearing
They are usually about the technology, not the timetable. Changes to work like rehearsing with dancers to prepare for performances arrive through rules, insurance and money, slowly and visibly. This page tracks the task evidence and will move when it moves.
Retraining out of a job that is holding up
On this evidence I would not spend money leaving. Spend it on the layer around the job instead: the tools, the paperwork, the planning. That is where the change actually is.
The “obvious” next job everyone suggests
I checked the obvious moves and most of them did not survive. The reasons are printed with the routes above, including the pay and the gate. A move that fails on the numbers is worth knowing about so you can stop turning it over at night.
You are reading the United Kingdom figures
The United States splits this work across more than one official group, of which Dancers is the closest. The pay and employment figures are not directly comparable, and we do not average them together.
Switch to the United States page →partial match
The other groups this work is counted across:
In US official statistics this job is counted as Dancers and Choreographers. Pay is shown separately for each of those groups (medians cannot be averaged together), while the task list and the scores on this page are for this group only.
Your route through this
Where to go next, and what it costs
Free, and complete
The moves above cost nothing. These are the real services that go with them: public, government-funded, and free at the point of use. Nothing on this page is behind an email address or a payment.
In England:
A free hour with a government-funded careers adviser is worth more than another evening of reading. In England that's the National Careers Service.
Free, government-funded
In England:
National Careers Service - Find a course
Search what's actually running near you before you spend anything.
Free to search; individual courses vary
In England:
Free courses for jobs (Level 3 qualifications)
A free Level 3 qualification you already qualify for beats a paid course you don't need.
Free for eligible adults
In England:
Free, up to 16 weeks, and you get a job interview at the end. In England these are Skills Bootcamps - search what's running near you.
Free for eligible adults in England
In Scotland:
My World of Work (Skills Development Scotland)
In Scotland it's My World of Work, from Skills Development Scotland.
Free, publicly funded
In Wales:
In Wales it's Careers Wales.
Free, Welsh Government-funded
In Northern Ireland:
Careers Service Northern Ireland
In Northern Ireland it's the Careers Service on nidirect.
Free, Department for the Economy-funded
Why there is no community here
Collab365, who build this site, run paid Spaces for a small number of subjects, and none of them is built for this job. We are not going to point you at the nearest one and call it a fit.
So the free services listed on this page are the whole answer, and it is the same answer we would give a friend.
Noted, and thank you. We’ll email you if a Space for dancers / choreographers launches. Nothing else.
That did not look like an email address, so nothing was saved. Have another go below.
We could not save that. The fault is ours, not yours, and your address was not stored. Please try again later.
No deadline on any of this. The page will still be here, and the data is refreshed on a published schedule rather than when someone wants a headline.
Questions people ask about this job
- Will AI replace Dancers and choreographers?
- Not as a job, but it is already doing parts of the work. Across the 67 official task statements scored for Dancers and choreographers (United Kingdom, SOC 3414), 2% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 15 out of 100 (range 10–20, band: minimal). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.
- Which tasks in “Dancers and choreographers” can AI already do?
- The highest-scoring tasks in release 2026-q4.1 are: “Send out CVs, photographs, and footage for self-promotion” (93/100, very high); “Perform administrative tasks relevant to the job role” (75/100, high); “Select music, sound effects, or spoken narrative to accompany a dance” (58/100, partial). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.
- Which tasks in “Dancers and choreographers” stay human?
- About 89% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Prepare pointe shoes for use in rehearsals and performance by sewing or other means” (0/100, minimal); “Attend costume fittings for performance attire” (0/100, minimal); “Perform on location for film, television, internet, and radio productions” (0/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.
- What should someone working in “Dancers and choreographers” do about AI?
- Start from the ledger rather than the headline: 2% of this job's weighted core work is exposed, and roughly 89% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.
- How is the AI exposure score for Dancers and choreographers calculated?
- Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 67 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.
Where these numbers come from
About the data on this page
- The ONS doesn't publish a reliable pay figure for this exact job (too few people in its survey sample), so none is shown here.
- This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
- One task scored differently between repeat runs, so its range on this page is wider. We would rather show the wobble than hide it.
- One row is marked low confidence, so treat it as a ballpark rather than a fine measurement.
- The match between this job and its counterpart in the other country is partial, so the two pages count slightly different groups of people.
- 36 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
- ASHE suppresses or does not publish a median for this unit group. We leave it empty rather than interpolating one from sibling groups, which would be a fabricated number.
- Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.
- Task statements
- gaisi-indexProcessing: catalogue-bridge → ssc-relatedness-weighting → task-scoring → score-aggregation
- Task weights
- gaisi-index (relatedness)
- Scores
- Rubric task_scoring_v1.0, model claude-opus-5, computed 2026-08-05.
- Pay and employment
- no pay figure published for this groupnomis-aps (Apr 2025-Mar 2026 (latest APS 12-month period))
Figures on this page come from release 2026-q4.1, published 2026-08-05. Every release keeps its own permanent address, so a figure you cite in March is still there, unchanged, in November.
The plain-English wording on this page is assembled directly from the task statements and the published ratings, not written by hand for this occupation. That is why it is specific, and it is also why we say so.
The routes and free resources further up are today’s, not the release’s (last reviewed 2026-08-05). A route is an offer, not a historical fact, so it moves on its own clock.
Using these figures?
Cite this
Everything on this site is published under CC BY 4.0. Quote it, chart it, sell something built on it. Just say where it came from, and cite the dated release rather than the site, so the figure you quote stays checkable.
Plain text
Collab365 (2026). Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1 (methodVersion 2.0.0, promptVersion task_scoring_v1.0). https://futureproof.collab365.com/data/2026-q4.1. Licensed CC BY 4.0. Built with O*NET data (USDOL/ETA, CC BY 4.0); ONS data (Open Government Licence v3.0); GAISI task framework (arXiv:2507.22748, MIT); BLS data (public domain).
BibTeX
@misc{collab365futureproof2026q41,
title = {Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1},
author = {{Collab365}},
year = {2026},
url = {https://futureproof.collab365.com/data/2026-q4.1},
note = {Release 2026-q4.1, methodVersion 2.0.0, promptVersion task_scoring_v1.0, CC BY 4.0}
}Data as of release 2026-q4.1, published . Releases never change after publication; when the figures move, a new dated release is published beside this one and this one stays exactly where it is.