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SOC 27-2031
This page corresponds to O*NET's combined category Dancers and Choreographers, named Dancers in the mainland Chinese occupational index. This round's evidence anchors to its precise O*NET-SOC occupation code 27-2031.00 (Dancers). The official scope is performing dance, potentially onstage, in broadcasts or video recordings. Work includes executing choreography: learning and practicing role-specific movements, coordinating body movements with musical accompaniment, coordinating with partners or a group, and performing classical, modern or acrobatic dance to express stories, rhythm and sound through the body. It also includes choreography-related work: collaborating with choreographers to refine or revise steps, designing and choreographing dances for oneself or others, and teaching dance students when needed. Long-term training and fitness maintenance, understanding fitness and limitations and choosing dance styles accordingly, auditions and costume fittings and other preparation, and monitoring dance trends are also required. The preparation level is Job Zone Three (medium preparation needed, SVP 6.0 to below 7.0). The official education survey shows that among new entrants, 45% require a high school diploma or equivalent, 34% below-high-school education, and 14% a postsecondary certificate. O*NET tasks, work context and preparation level for this detailed occupation 27-2031.00 use its own scope. Its 2025 national wage page publishes hourly wage percentiles only and no annual median. Comparable Chinese roles involve dance performance and choreography in performance companies, dance companies and commercial performances. Responsibilities, employment and payment scopes do not correspond one to one with this US detailed occupation and cannot be interchanged.
Model impact index for three equally weighted representative core tasks; not a measured share of working time or a job-loss probability. floor((25+50+0)/3+0.5)=25; fermatmind-ai-impact-v1; 2026-10-18.
Work mainly takes place in rehearsal studios and on stages, often refining the same passage through prolonged repetitive rehearsals and coordinating with choreographers, partners, music and stage technical support. Choreography and execution often alternate within the same person. Schedules and payment arrangements differ substantially by dance form (classical, modern, acrobatic, ethnic and commercial performance) and organization type.The core output is to turn choreographic intent into verifiable stage and recorded results: performances completing the movement sequences required by a role, movements aligned with musical beats, formations and positioning coordinated with partners or ensembles, collaboratively or independently completed choreographic designs and confirmed revisions, rehearsal records, audition and contract materials, and records of training and fitness maintenance, rather than how long you have practiced.
Similar names of adjacent roles do not mean identical responsibilities. First compare whether the work concerns dance performance, choreography and rehearsal direction, singing and instrumental performance, acting, competitive sports training, or modeling and commercial presentation, and whether it involves responsibilities such as work attribution, decisions on creative direction or teaching.
The frozen local name is Dancers and the slug is dancers-and-choreographers. Its existing identity explicitly anchors to 27-2031.00 Dancers. This round's nine modules use evidence for that detailed occupation and do not describe the BLS27-2030 combined row for dancers and choreographers as precise data for this page. Dancers correspond to their own 27-2031.00; the core is performing dance with the body, onstage, in broadcasts or in videos. There are 14 tasks, 10 core and 4 supplementary: training, learning role movements, aligning with beats, joint rehearsals, understanding physical limitations, revising with choreographers, auditions, styling calls and monitoring trends. Pointe shoes, additional singing or acting, teaching and choreography are supplementary and not requirements common to all dance forms. Choreographers focused on creation are the adjacent 27-2032, but people may perform both roles; names do not rule out task overlap. Chinese job titles serve only as responsibility comparisons; a one-to-one classification match has not been verified.
Career direction comparison
The table below compares dancers (O*NET combined category Dancers and Choreographers, with evidence anchored to 27-2031.00) with five adjacent directions across four dimensions: occupational direction, core work and outputs, key differences, and the choices each better suits. Occupation codes follow O*NET-SOC. Sharing stage, performing arts or physical training settings does not make responsibilities, evaluation standards or qualifications interchangeable.
| Occupational direction | Core work and outputs | Key differences | Which choices it better suits |
|---|---|---|---|
| Choreographers (an adjacent occupation within the combined category on the same page, 27-2032.00) | Conceive and choreograph dances, design movement structures and formations, and direct rehearsals. | The distinction is that the objects are choreographic structure and creative intent, and the output is completed choreography. Within the official task list, this page includes collaboration with choreographers to revise steps and choreography for oneself or others, but does not encompass the full responsibilities for work attribution, deciding creative direction and directing rehearsals. |
AI's impact on occupations
Verified materials are task, context and software profiles. This page has not measured adoption, time savings, wage causality or replacement dates. Playback, beat cues, choreography records and material drafts are editorial candidates; ordinary software automation does not equal GenAI. Actual implementation requires checks of erroneous cues, physical and venue conditions, and content permissions. Tools cannot authorize high-risk movements. AI Impact Score 25% is an editorial estimate. Model impact index for three equally weighted representative core tasks; not a measured share of working time or a job-loss probability. floor((25+50+0)/3+0.5)=25; fermatmind-ai-impact-v1; 2026-10-18.The three tasks, ratings and sources are listed in the FermatMind method source record on this page.
FermatMind AI Impact Score estimation method v1
FermatMind / 费马测试 · 2026-10-18
Mainland China wage reference
US O*NET-SOC occupation code 27-2031.00. This round obtained no directly comparable Chinese occupational wage scope.
In China, search dance performance roles in performance companies, theaters, themed entertainment or commercial performances. This round obtained no corresponding occupational wages or contract distribution. US codes do not establish Chinese classifications, employment qualifications or income.
Insufficient evidence: The NBS2025 release read this round uses industry and other groupings. This round did not obtain a separately reported wage distribution for dance performance jobs in China; this does not mean such data have never been officially published or that income is zero.
Note: Comparable mainland Chinese roles involve dance performance and choreography in performance companies, dance companies and commercial performances. This round obtained no separately reported value for such roles. Public wage statistics and bounded research did not establish an occupational scope corresponding one to one to 27-2031.00: A one-to-one match between dancers and Chinese classifications or a national payment pattern has not been verified. Per-performance fees, fixed pay and self-employment business revenue must be distinguished by contract. No quotation samples for this occupation were obtained.
US wage reference
US 27-2031 itself: 2025 hourly 10/25/50/75/90 percentiles are USD 14.88/17.23/24.80/38.36/52.30. No annual median is provided for this occupation; neither the combined annual value for 27-2030 nor a conversion using 2080 hours can substitute. OEWS excludes self-employment income; employment and projections separately use 2025–2035 and include self-employment.
| Wage position | Wage reference (hourly) | Conversion boundaries for annual income | How to understand this position |
|---|---|---|---|
| Lower wage position (10 percentile) | USD 14.88 per hour (2025, 10 percentile; not starting wages) | Cannot be annualized using fixed hours | Wage percentiles are distribution positions within the same statistical scope, not starting wages, skills, principal roles or contract durations. The source does not decompose the contributions of region, company, role or contract factors; it does not support an inference that high percentiles usually result from long-term contracts with large companies. |
Occupational fit guide
Fit is not a personality judgment; it means taking the actual demands of everyday work—sustained training and fitness maintenance, repeated practice of role movements and alignment with musical beats, repeated work on positioning at extremely close distances with partners or ensembles, acceptance of competition and audition waiting, and honest reporting of pain or discomfort—Compare each item with your own tolerable limits.
Worth exploring further： Editorial self-observation: Compare experiences of long-term training, movement revisions, peer collaboration and audition feedback. Perseverance 75/achievement 71/adaptability 67 are Impact scores among 18 work styles, not evidence of competence probabilities for people with these preferences.
First check real-world conditions： Check actual role training and rehearsal hours, support and contracts. The combined US BLS handbook says part-time work is common and hours may include mornings, evenings and weekends; this does not mean every dancer works evenings or establish a national Chinese short-term contract pattern.
First try a small experience： First use public or fictional materials to complete an exercise: write a movement and beat breakdown for a fictional role, describe positioning and coordination points for a fictional ensemble passage, and write a procedure for stopping and reporting pain or discomfort during training; or follow a rehearsal once, then assess your preferences.
Work stress, risks and occupational boundaries
Editorial risk overview: Physical ability limitations, positioning and coordination errors, movement difficulty, and venue and equipment hazards may involve physical or operational safety risks. Audition competition, project schedules and income uncertainty also require checks against actual contracts. Training loads and recovery conditions require specific assessment; work context frequencies do not prove individual cumulative injury.
Tasks and US context provide an observational basis. Listed risk scenarios and controls are editorial suggestions, not accident samples or Chinese incidence rates. The BLS handbook qualitatively describes higher injury and illness rates without a specific rate on this page. Chinese on-site safety follows commercial performance 19–23; content rights separately follow law, and NIST provides voluntary tool governance only.
Typical scenarios：Editorial conditional risk scenario, not an accident or illness record: Continuing intensive movements while in pain, uncomfortable or in poor condition may increase injury or symptom aggravation risks and affect schedules. Specific consequences depend on movements, loads and personal circumstances. Individual exposure doses or illness rates have not been verified; injury cannot be diagnosed from this.
Entry, certificates and career development
Editorial pathway example: Training and understanding physical limitations → Role movements, beats and joint rehearsals → Applicable auditions and verification in actual roles. This page has no statistics proving a uniform promotion order across ensemble, solo and understudy positions. Teaching and choreography may be supplementary; if they are the main work, check adjacent direction conditions.
Career outlook and transitions to related occupations
Demand levels: National projections, actual institutional and contractual structures, and current audition samples answer different questions. This round has no actual Chinese recruitment samples and does not claim market or project structures have caused job changes.Recruitment and audition announcements show demand only for a particular organization or project at a particular time. The three cannot substitute for one another.
United States · Dancers (BLS 2025–2035 projections, this detailed occupation 27-2031)
2.2% (2025–2035; approximately 13800 → 14100)
Overall employment changes
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label; the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
Perform dance, potentially onstage, in broadcasts or video recordings: learn and practice role-specific dance movements; coordinate body movements with the rhythm of musical accompaniment; maintain technical proficiency, physical ability and fitness through training, exercise and dance classes; coordinate with partners or a dance group; develop awareness of personal fitness and limitations and select dance styles accordingly; perform classical, modern or acrobatic dance, expressing stories, rhythm and sound through the body; collaborate with choreographers to refine or revise steps; attend auditions, costume fittings, photography and makeup calls; follow dance trends; prepare supplies such as pointe shoes; sing or act in addition to dancing when needed; teach dance students; and design and choreograph dances for oneself or others.
Choose a real task from this page for a small practice project or a conversation with someone in the field. Use the planning guides to set a date, an output and feedback questions before deciding whether to continue.
Worth trying first: You are willing to maintain long-term training, exercise and dance classes to sustain technique and fitness; repeatedly refine the same movement sequence to meet choreographic requirements and align your movements with musical beats; repeatedly work on positioning and coordination with partners or ensemble formations; participate in choreography and revisions (for example, collaborate with choreographers to refine steps or design and choreograph dances for yourself or others); keep preparing under audition and competitive pressure; and honestly report pain or discomfort instead of pushing through it.Treat choreographic requirements, musical beats, formations and positioning, choreographic revisions and your physical condition as inputs that must be checked. Your perceived condition does not justify skipping warm-up and recovery; you must not continue high-risk movements while injured or unwell, or perform as usual when the venue or equipment presents hazards.
Consider carefully: If you find long-term intensive training hard to accept, your physical condition is a major constraint, you are unwilling to rehearse the same passage repeatedly or attend frequent auditions and wait for results, or you struggle with evening and weekend performances or fluctuations in project-based earnings, the actual work will differ from your expectations.Assess fit using observations of actual rehearsals and performances, mentoring and peer feedback, and checks of your own condition. An interest type or a single test cannot replace these.
Low-risk trial: Use public or fictional materials to complete an exercise: write a movement and beat breakdown for a fictional role; describe positioning and coordination points for a fictional ensemble passage; outline choreography and reasons for revisions for a fictional piece of music; and write a procedure for stopping and reporting pain or discomfort during training. Assess work preferences only. The exercise involves no actual intensive training, performances or auditions and does not constitute passing a medical examination, performer qualification or a promise of employment.All paper-based exercises on this page use fictional materials. Actual intensive training, high-risk movements such as jumps, turns and lifts, use of stage equipment and venues, working hours and safety arrangements for performances and tours, and arrangements for use and attribution of choreography and works must follow the group and venue's safety procedures, labor and performance management regulations, copyright and contractual arrangements, and employer policies. Where specific performance permits are involved, local requirements must also be met.
This page is anchored to 27-2031.00 Dancers; teaching, choreography and additional singing or acting are supplementary. 27-2032, centered on creation and rehearsals, is a separate occupation; roles can overlap or be combined, and work attribution alone does not define the boundary. Editors organize the workflow around training, joint rehearsals and presentation. Core tasks include learning role movements, coordinating beats and partners, assessing physical limitations, collaborating on choreography and auditioning. Pointe shoes, singing or acting, teaching and choreography are supplementary; roles may combine them, and not everyone performs all three categories individually. Process records are suggested materials; a uniform employer policy has not been verified.
Training and fitness records, descriptions of condition and limitations
Records of rehearsals and confirmed revisions, audition materials
Dance performance deals with role-specific movement sequences, coordination between musical beats and body movements, and stage space, formations and partners' positions. Outputs include choreographed performances and recordings, positioning and coordination consistent with partners or ensembles, rehearsals and confirmed revisions, and training and fitness maintenance records. Decisions are based on choreography and musical beats, group and venue safety procedures, rehearsal and performance schedules, and employer policies, rather than the job title. This table compares dancers with adjacent choreographers, actors, musicians and singers, postsecondary art, drama and music teachers, athletes and sports competitors, and fitness trainers and group fitness instructors across seven dimensions: core purpose, main objects and basis, core process, main outputs, responsible parties, collaboration and supervision, and limits on conclusions. Adjacent roles all involve bodily expression or stage presentation, but their objects (executing choreographed dance movements, creating and directing choreography, lines and characters, vocal and instrumental music, competitive results, or fitness instruction) and whether they execute choreographed movements with their own bodies do not transfer merely because the roles are adjacent. Compare actual responsibilities and the specific stage of production item by item.
| Dimension | Main direction | Comparison direction |
|---|---|---|
| Core purpose | Perform dance, using the body to express stories, rhythm and sound as choreographed, potentially onstage, in broadcasts or in video recordings. | Core purposes of adjacent roles: choreographers design and create dances and direct rehearsals; actors develop characters through lines and acting; musicians and singers play or sing musical works; postsecondary art, drama and music teachers teach and conduct research; athletes and sports competitors pursue competitive results; fitness trainers and group fitness instructors guide exercise and group classes. |
| Main objects and basis | Role-specific dance movement sequences, coordination between musical beats and body movements, and stage space and formations. The basis consists of choreography and music, group and venue safety procedures, and rehearsal and performance schedules. | Objects and basis of adjacent roles: choreographic structures and creative intent (choreographers), scripts and characters (actors), scores and works (musicians and singers), courses and syllabuses (teachers), training plans and competition rules (athletes), and class design and member goals (fitness trainers). |
| Core process | Training and fitness maintenance → Learn and practice role movements → Align with beats and rehearse with partners or the group → Revise steps with the choreographer → Present choreography onstage → Review and record. | Processes of adjacent roles: conceive and arrange movements and structures (choreographers), analyze scripts and rehearse roles (actors), practice and play or sing (musicians and singers), prepare and deliver lessons and assess learning (teachers), undertake periodized training and compete (athletes), and design and lead classes and correct movements (fitness trainers). |
| Main outputs |
Training, exercise and classes are core; preparing pointe shoes is supplementary and applies only to dance forms requiring them.
Develop awareness of your fitness and limitations, use it to select and adjust dance styles and movement intensity, and reduce risks when your condition is poor.
Learn and practice role-specific dance movements, coordinate them with the rhythm of the musical accompaniment, and coordinate with partners or the dance group.
Collaborate with choreographers to refine or revise steps, confirm the boundary between choreographic intent and personal adjustments, and implement revisions in rehearsals.
Perform classical, modern or acrobatic dance, expressing stories, rhythm and sound through the body, and sing or act in addition to dancing when needed. Complete preparation, warm-up and venue checks before going onstage.
Audition for dance roles or dance company membership, attend costume fittings, photography and makeup calls, follow trends in dance, and, when needed, teach dance students and design and choreograph dances for yourself or others.
Six recurring professional judgments: whether role-specific movement sequences have been learned correctly and align with musical beats; whether personal fitness and limitations are understood and dance forms and movements match one's condition; whether formations and positioning align with partners or ensembles; whether the choreographer's intended revisions are understood and implemented; whether warm-up and venue and equipment checks are complete; and whether pain, loss of movement control or formation coordination errors prompt a pause, recheck and escalation.
Judgment one: Do the movements align with the beats?
Judgment two: Does your physical condition match the demands?
| Better suited to people who want creative design and rehearsal direction as their main work. |
| Actors (adjacent occupation, 27-2011.00) | Play roles onstage, in film or television, or in recordings, developing characters through lines, facial expressions and physical performance. | The distinction is that the core means are lines and dramatic performance, requiring development of a character's personality. This occupation centers on executing choreographed dance movements in coordination with musical beats. | Better suited to people who want to develop characters through acting and lines. |
|---|
| Musicians and Singers (adjacent occupation, 27-2042.00) | Play instruments or sing musical works, presenting music in recordings and live performances. | The distinction is that the objects are scores and sounds and the core consists of instrumental or vocal technique. This occupation presents choreography through body movements; music is something to coordinate with, rather than the output itself. | Better suited to people who want sound and instruments as their main means of expression. |
|---|
| Art, Drama, and Music Teachers, Postsecondary (adjacent occupation, 25-1121.00) | Teach and conduct research in art, drama or music at postsecondary institutions. | The distinction is a focus on course teaching and academic research, usually requiring more education. This occupation's main outputs are stage and recorded performances; teaching is only one possible responsibility. | Better suited to people who want to teach and conduct research. |
|---|
| Athletes and Sports Competitors (adjacent occupation, 27-2021.00) | Participate in competitive sports training and competitions, pursuing results and rankings. | The distinction is a goal of competitive results, following competition rules and periodized training. This occupation aims at artistic presentation and choreographic requirements, with different evaluation standards. | Better suited to people who want to pursue competitive results. |
|---|
| Exercise Trainers and Group Fitness Instructors (adjacent occupation, 39-9031.00) | Design and lead fitness or group classes, guiding others to exercise correctly. | The distinction is a focus on guiding others' exercise and class safety. This occupation centers on personally executing choreographed movements and presenting them onstage. | Better suited to people who want guiding others' exercise as their main work. |
|---|
Conclusion: These directions all involve stage presentation or bodily expression, but differ substantially in their objects (executing choreographed dance movements, choreography and rehearsal direction centered on work attribution, lines and characters, vocal and instrumental music, teaching and research, competitive results, or fitness instruction) and whether people execute choreographed movements with their own bodies. Choose based on the target role's actual responsibilities, methods and stage of production, rather than the occupation name alone.
Next step: Use this page's fictional exercises or follow a rehearsal once to check whether the target direction concerns executing choreographed dance movements, choreography and direction centered on work attribution, lines and characters, vocal and instrumental music, competitive results, or fitness instruction, then choose a direction.
Editorial ratings use the existing occupational responsibilities and AI task analysis on this page. They are not adoption rates, measured effects, job-disappearance or personal-unemployment probabilities, or official scores from Stanford or another external institution. No measured time weights or future robot deployment are assumed.
The extent to which a task can be performed or assisted by existing technology; it does not indicate whether employers adopt it or how staffing or wages change.
The following are editorial candidate mappings between tasks and tools, not records of adoption or demonstrated efficiency gains. Budget, venues, training and licences are conditions requiring investigation; adoption speed has not been verified.
Staffing and income are outcomes requiring separate investigation. This round has no dancer samples on AI adoption, measured efficiency gains or causal wage and employment effects. Predictions or interest scores do not establish inevitable increases or decreases.
| Work direction | Task | Current changes | Human control points |
|---|---|---|---|
| Learning and rehearsals | Learn and practice role-specific dance movements | Editorial candidate awaiting validation, not measured adoption or efficiency gains: choreography and movement-recording software may assist recording and review. | People remain responsible for completing movements and the quality of presentation. |
| Beats and coordination | Coordinate body movements with the rhythm of musical accompaniment | Editorial candidate awaiting validation, not measured adoption or efficiency gains: accompaniment and beat tools may provide cues. | People remain responsible for immediate alignment and live adjustments. |
| Ensemble and lift coordination | Coordinate movements with partners or a dance group | Editorial candidate awaiting validation, not measured adoption or efficiency gains: video playback may assist comparisons of positioning. | People remain responsible for immediate coordination and safety judgments. |
| Choreographic collaboration | Collaborate with choreographers to refine or revise dance steps | Editorial candidate awaiting validation, not measured adoption or efficiency gains: collaboration tools may synchronize revisions and versions. | People remain responsible for understanding and implementing choreographic intent. |
| Performance preparation | Costume fittings and makeup calls are core; pointe shoe preparation is supplementary and limited to applicable dance forms. | Editorial candidate awaiting validation, not measured adoption or efficiency gains: scheduling and supply checklist tools may provide reminders. | People remain responsible for assessing the suitability of supplies and styling. |
| Stage presentation | Perform classical, modern or acrobatic dance in performances | Editorial candidate awaiting validation, not measured adoption or efficiency gains: lighting, sound and accompaniment systems may assist with cues. | People remain responsible for executing movements and responding in the moment. |
| Choreography and teaching | Design and choreograph dances for oneself or others | Editorial candidate awaiting validation, not measured adoption or efficiency gains: choreography software may assist in recording and experimenting with movements. | People remain responsible for creative judgments and teaching demonstrations. |
Below, each source used on this page is listed with the object it actually regulates or measures and its limitations of use.
The following are editorial candidate mappings between tasks and tools, not records of adoption or demonstrated efficiency gains. Budget, venues, training and licences are conditions requiring investigation; adoption speed has not been verified.
What AI mainly changesEditorial candidate awaiting validation: choreography and video analysis tools may record movements, compare positioning and support playback reviews.
Still people's responsibilityComplete movements, assess presentation quality and take responsibility for performance results.
What AI mainly changesEditorial candidate awaiting validation: collaboration and document tools may synchronize revisions and organize audition and work materials.
Still people's responsibilityPeople remain responsible for confirming intent with choreographers and implementing revisions.
What AI mainly changesEditorial candidate awaiting validation: lighting, sound and accompaniment systems may assist with beats and cues.
Still people's responsibilityPeople remain responsible for physical execution, live responses and coordination.
Responsibility cannot be transferred along with the system when tools are introduced. Below are human control steps that can be carried out in this occupation.
Check that choreographic requirements, music versions and beats, formation and positioning arrangements, and the versions used by tools agree. Incorrect inputs can cause the entire rehearsal group to diverge from choreographic intent.
Retain human review of execution of role movements, coordination with partners and ensembles, physical condition judgments and safety plans for high-risk movements. Tools or playback cannot replace rehearsal direction or venue safety procedures.
Retain rehearsal revisions, positioning and formation adjustments, venue and equipment checks, performances and reviews according to group procedures, with confirmation by responsible persons and records of timing and basis.
When pain or discomfort, loss of movement control, venue or equipment hazards, formation coordination errors, or tool outputs inconsistent with choreography are found, stop high-risk movements, recheck and report according to procedures.
Editorial suggestion: Tool operation must follow the actual organization's training and permissions. Before uploading clips or creating digital doubles, check purposes and permission scopes for works, performances, likenesses and voices. Software proficiency does not confer reuse rights. In China, separately check rights and permissions for performing works, recording and distributing performances, and likenesses and voices. For other rights in employment-related performances, first check agreements (if unclear, they belong to the performing organization); protection of identity and image remains with the performer. Public clips do not automatically authorize arbitrary digital doubles or reuse. Fair-use exceptions and specific contracts require separate checks.
Tools can record movements and positioning but do not reflect physical workload, immediate coordination or live conditions. Watching playback alone may overlook risk signals in yourself and partners.
Control method:Treat tool outputs as references, check physical and venue conditions according to rehearsal direction and safety procedures, and have authorized personnel confirm and record high-risk movements.
Editorial risk scenario: Movements beyond one's ability or continuing with discomfort may increase injury and schedule interruption risks. Incidence, diagnoses and individual conditions for returning to rehearsals have not been verified.
Control method:Safety suggestion: Stop relevant high-risk movements and report pain or discomfort; obtain assessment by qualified medical professionals when needed. Decide on resumption based on professional advice and actual safety arrangements, rather than a webpage or self-declared recovery.
In ensemble and lift passages, inconsistent positioning or timing may cause collisions or falls, resulting in injuries and interrupted performances.
Control method:Confirm positioning and stop signals individually in rehearsals, establish clear commands and protective measures for high-risk passages, and check and record venues and equipment before use.
Improper floor conditions, stage equipment, and lighting and sound arrangements increase movement risks.
Control method:Before performances, check floors, stage equipment and positioning space according to procedures. Report hazards promptly and adjust the presentation plan.
Among US respondents, 51% report extremely intense competition and 35% very limited freedom over tasks or goals. These describe context, not mental illness or a wage fluctuation rate. Pressure from prolonged waiting is an editorial scenario; its incidence has not been verified.
Control method:Treat audition and rehearsal feedback as information rather than rejection, seek peer and professional support when needed, and communicate schedules and condition honestly instead of pushing through to cope with pressure.
First develop fundamentals and fitness and align movements with beats, then learn choreography and video analysis tools and establish warm-up, recovery and safety habits.
Treat tool outputs as references and leads for review, retain independent judgment of physical condition, high-risk movements and coordinated positioning, and record and communicate honestly.
Define tool use and human review points, rehearsal and performance safety requirements, venue and equipment inspection rules, and anomaly reporting paths, and incorporate safety into procedures.
Train movements and beats, ensemble coordination and safety protection, and judgment and responsibility under the division of work between people and machines together.
O*NET lists the following for Dancers (27-2031.00): learn and practice role-specific dance movements; coordinate body movements with the rhythm of musical accompaniment; maintain technical proficiency, physical ability and fitness through training, exercise and dance classes; coordinate with partners or a dance group; develop awareness of personal fitness and limitations and select dance styles accordingly; perform classical, modern or acrobatic dance, expressing stories, rhythm and sound through the body; collaborate with choreographers to refine or revise steps; audition for dance roles or dance company membership; attend costume fittings, photography and makeup calls; follow dance trends; prepare performance supplies such as pointe shoes; sing or act in addition to dancing when needed; teach dance students; and design and choreograph dances for oneself or others.
Source:O*NET detailed profile: 27-2031.00 DancersOriginal materials ↗
Shares for Photoshop/Facebook/Office/Outlook in 2025 US job postings are all unavailable, which does not mean 0 or non-use. The full software categories include choreography software, FinalCutPro and others. This is a tool profile, not data on actual workplace adoption, proficiency or GenAI.
Source:O*NET hot technology: Dancers 2025 job postingsOriginal materials ↗
No. O*NET work context percentages describe tasks and environmental conditions (such as physical proximity, contact frequency, the share of bending and twisting the body, time spent standing and walking, competition and decision-making freedom). They contain no data on changes in technology adoption, staffing numbers or personal income.
Source:O*NET detailed profile: 27-2031.00 DancersOriginal materials ↗
There are no verifiable causal data for this occupation. Technological capability, organizational adoption and staffing numbers are three distinct levels. This page does not present any of them as a conclusion or interpret the task exposure framework as a probability of job loss.
Source:O*NET detailed profile: 27-2031.00 DancersOriginal materials ↗
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label; the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
Source:BLS2025–2035 occupational projection table 1.2: Dancers 27-2031Original materials ↗
No. Task exposure measures the proximity between tasks and technology; it provides no replacement date or prediction for a single occupation. ILO's task exposure framework cannot be interpreted as a probability of job loss.
Source:ILO: Generative AI and Jobs—Refined Global Index (summary)Original materials ↗
Follow NIST's voluntary recommendations to confirm roles, records and oversight. Separately check actual content-use obligations under rules for works, employment-related performances, likenesses and voices; separately check on-site safety against commercial performance regulations and actual plans.
Source:NIST AI RMF Core: GOVERN 3.2 and othersOriginal materials ↗
After obtaining applicable permission, first confirm music and movement versions, reviewers, and physical and venue conditions, then compare erroneous cues, omitted revisions and rework. This page has not implemented testing. For identifiable faces, voices or performance records, first check the purpose and scope of distribution.
Insufficient evidence: This round did not obtain verifiable recruitment or quotation statistics for mainland Chinese dance performance jobs. Quotes from individual projects or platforms cannot represent national levels
Mainland Chinese public information search entry points: NBS wage and statistical release pages and public authority and industry information. This round obtained no separately reported value for this occupation.
| Education and training background | Role direction | Explanations and verification suggestions |
|---|---|---|
| Dance movement and stage training (editorial checklist item) | Observe actual ensemble or other role responsibilities; do not assign by education | For profit-making live public performances in China, apply commercial performance rules: separately check group and agency licences, registration or filing for individual professional performers, and approval for a particular performance. Under implementing rules 7/9, proof of artistic ability may consist of specified graduation certificates, professional titles or other valid evidence. A secondary vocational qualification, performance agent certificate or internal organizational authorization cannot be presented as the sole entry requirement for all dancers. Applicability to recordings requires separate checks of the specific conditions. |
| Target group announcements and proof of artistic ability (editorial checklist item) | Check training, auditions and applicable proof requirements for each target role | For profit-making live public performances in China, apply commercial performance rules: separately check group and agency licences, registration or filing for individual professional performers, and approval for a particular performance. Under implementing rules 7/9, proof of artistic ability may consist of specified graduation certificates, professional titles or other valid evidence. A secondary vocational qualification, performance agent certificate or internal organizational authorization cannot be presented as the sole entry requirement for all dancers. Applicability to recordings requires separate checks of the specific conditions. |
| Specific role and audition requirements (editorial checklist item) | Check solo or principal role requirements against actual projects; do not infer them from a bachelor's degree | Editorial organization: Roles involving intensive training, high-risk movements such as jumps, turns and lifts, use of stage equipment and venues, and performance and tour arrangements are subject to group and venue safety procedures, labor and performance management regulations, and organizational policies. Responsibilities and permitted operations must be checked against the specific project and current rules. This page does not constitute safety, health or legal advice. |
| Choreography or teaching training (editorial checklist item) | When considering choreography, rehearsal direction or teaching, separately check abilities and employment conditions | Teaching and choreography may be supplementary dancer responsibilities. When they are the main work, check the separate role's requirements. Institutional education, teaching qualifications or other systems have not been fully verified this round. Performance experience does not automatically confer eligibility for employment. |
Note: Failure to obtain separately reported occupational values does not mean they have never been officially published. This page records only the actual scope and results of research, without filling gaps using US data, industry averages or opaque quotation samples.
Editorial verification scenario: Separately check employment status, rehearsal pay and settlement for company employment, resident contracts, individual projects and self-employment. This round did not examine actual Chinese contract samples and cannot assert that short-term or per-performance arrangements predominate nationally.
NBS2025 culture, sports and entertainment industry annual averages before tax: CNY 129447 for urban non-private units and CNY 64015 for private units. Non-private does not mean only state-owned enterprises. Coverage includes legal entities with 5 or more people and excludes freelancers and individual businesses. This is context only for actual employees in that industry, not a substitute for dancer wages or employers in other industries such as bars or education.
Editorial suggestion: Check paid rehearsals and performances, cancellation clauses, settlement, insurance and annual working hours against actual contracts. Chinese statistics on schedules, peak and off seasons, or income fluctuations were not obtained. Do not extrapolate US part-time contexts to all of China.
Insufficient evidence: Chinese dance performance AI adoption, measured efficiency gains or wage causality have not been verified. Industry wages provide no AI figures for this occupation. This does not establish that tool changes cannot produce quantitative effects or imply inevitable increases or decreases.
| Median wage position |
|---|
| USD 24.80 per hour (2025 hourly median; annual value unavailable) |
| Does not equal fixed monthly income |
| The median is the midpoint of a distribution: half of workers in that statistical scope fall below it and half above. It is not an average starting wage or a value reached immediately upon entry. |
| Higher wage position (90 percentile) | USD 52.30 per hour (2025, 90 percentile; not an experience level) | Does not represent sustained high income throughout the year | Individual after-tax income, actual paid hours or annual income were not obtained. Hourly wages are not stable monthly or annual pay. The BLS combined handbook says part-time work is common and hours may be nonstandard, but does not establish that all dancers have short-term contracts or provide income fluctuation statistics for this occupation. Wages also exclude the self-employed. |
|---|
Wages · Hourly 10 percentile：USD 14.88 per hour (2025, 10 percentile; not starting wages)；2025 hourly percentiles for this occupation, not attribution to seniority, role or contract factors. OEWS excludes self-employment； annual wages are not provided, and personal annual income is not inferred.
Wages · Hourly 25 percentile：USD 17.23 per hour (25 percentile, 2025 wage data)；The 25 percentile indicates that approximately one-quarter of workers earn hourly wages below that value. It is a statistical position, not a skill level. O*NET national wages: 27-2031.00 (2025 wage data, this detailed occupation's scope)
Wages · Hourly median：USD 24.80 per hour (2025 hourly median; annual value unavailable)；The median is the midpoint of the national hourly wage distribution in that scope, not an average starting wage or employer quotation. The occupational wage page publishes no annual median；annual pay cannot be inferred from hourly figures. O*NET national wages: 27-2031.00 (2025 wage data, this detailed occupation's scope)
Wages · Hourly 75 percentile：USD 38.36 per hour (75 percentile, 2025 wage data)；The 75 percentile marks the upper-quarter position in the distribution, from the same statistical period. It does not establish years of experience or contract types. O*NET national wages: 27-2031.00 (2025 wage data, this detailed occupation's scope)
Wages · Hourly 90 percentile：USD 52.30 per hour (2025, 90 percentile; not an experience level)；2025 hourly percentiles for this occupation, not attribution to seniority, role or contract factors. OEWS excludes self-employment； annual wages are not provided, and personal annual income is not inferred.
State or regional wages were not queried. This page does not claim that local data do not exist. 2025 national hourly wages, 2025–2035 projections for this occupation itself, and task surveys retain their own statistical periods and coverage. Without actual hours and contracts, personal income cannot be inferred.
O*NET2025 gives two industry categories, 37/16%, without separately listing the remaining 47% (an editorial difference). The BLS handbook separately classifies actual employers as self-employed approximately 41/performing arts and sports 33/bars 16/education 5/other entertainment 3. Categories and rounding differ; do not combine or substitute them or treat them as wages.
Wage percentiles are distribution positions within the same statistical scope, not starting wages, skills, principal roles or contract durations. The source does not decompose the contributions of region, company, role or contract factors; it does not support an inference that high percentiles usually result from long-term contracts with large companies.
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label; the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
| Industry | Industry employment share / statistical status | How to interpret |
|---|---|---|
| Arts, entertainment and recreation | Arts, entertainment and recreation 37% (2025 industry employment share) | 2025 O*NET arts, entertainment and recreation 37%: the category is not limited to dance companies or theaters; employment distribution is not wages. |
| Accommodation and food services | Accommodation and food services 16% (2025 industry employment share) | 2025 O*NET accommodation and food services 16%: it cannot be directly broken down into dinner shows or theme parks or used to infer industry hourly wages. |
| Remaining industries (not separately reported) | Remaining share not separately reported 47% (editorial difference, not an official third category) | The remaining 47% is the editorial difference 100−37−16, not an official separately reported O*NET other industries value; its composition has not been further subdivided. |
| Employment status (separate statistic) | Self-employed 40.7% (employment status, not industry wages) | BLS table 1.2, this occupation itself: 2025 self-employment 40.7%, rounded to approximately 41% in the handbook. This is employment status, not a third industry, and cannot be added to the two industry shares. OEWS wages exclude the self-employed; this does not establish that employment projections omit them. |
Editorial contract checklist: Record fixed pay, paid hours, project fees, self-employment business revenue and expenses separately. Wage contributions of individual factors, national contract shares or fluctuation magnitudes have not been verified. Self-employment shares do not establish personal take-home income.
Responsibilities vary substantially within the same occupation name: different dance forms (classical, modern, acrobatic, ethnic and commercial performance) and role positions entail different training requirements, movement risks and presentation standards, corresponding to different skills and work intensity.
Editorial contract checklist: Record fixed pay, paid hours, project fees, self-employment business revenue and expenses separately. Wage contributions of individual factors, national contract shares or fluctuation magnitudes have not been verified. Self-employment shares do not establish personal take-home income.
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label； the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label； the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
BLS table 1.2, Dancers 27-2031 itself: approximately 13800 in 2025 → approximately 14100 in 2035, a net increase of approximately 300/2.2%, and 1600 average annual openings including growth and replacement. O*NET's Slower1–2% is a category label； the precise value follows BLS2.2%. This is not a hiring rate, a net increase of 1600, or a date for technological replacement.
Are my interests close to dance performance?
O*NET publishes ARS as the interest code for Dancers (27-2031.00): Artistic corresponds to bodily expression and performance; Realistic to fitness training and movement execution; and Social to teaching and collaborative situations with peers and audiences. Treat the code as a clue to activity types, not a personality label.
Do not use it this way:Interest codes describe activity types only; they do not predict work performance or constitute hiring standards.
Understand my vocational interestsCan my personality traits help with dance performance?
Big Five descriptions can provide clues for discussing self-observation. This page's task and work style materials have not validated rankings of relationships between dimensions and performance or occupational fit thresholds. Check rehearsal records, collaboration feedback and stress conditions; dimension levels do not predict hiring or fit.
Do not use it this way:Trait descriptions do not diagnose personality or predict competence in a specific role.
Understand my Big Five traitsCan MBTI tell me whether I am suited to performing or to teaching and choreography?
MBTI-like tools describe preferences, not occupational allocation. Differences between performing and teaching or choreography mainly concern the form of work (presenting through oneself versus directing and choreographing), rather than preference types. Check through actual experience.
Do not use it this way:Do not use type results for hiring, assignment or promotion.
Understand my personality preferencesCan the Enneagram help me understand why I want to dance?
Enneagram-like descriptions offer motivational clues: wanting to express yourself onstage, work steadily in performance, or enter a company and teaching system to build professional experience leads to different choices. Use it as a questioning tool, not a conclusion about a role.
Do not use it this way:Do not treat motivation descriptions as career choice conclusions or a basis for employment decisions.
Understand my motivational cluesWhat cognitive and operational abilities does this occupation require?
O*NET JobZone3/SVP6 to below 7 is a preparation grouping. Respondents' views of required education are 45% high school/34% below high school/14% postsecondary certificate, not employees' educational composition or a uniform law. BLS lists no formal educational credential as typical, together with long-term on-the-job training, which does not mean no training or establish Chinese requirements. Coordination, rhythm and movement memory require actual observation. There is no evidence for mapping JobZone to an IQ hiring cutoff for this occupation.
Do not use it this way:Cognitive test results are not hiring standards and do not replace training and stage experience.
Understand my cognitive performanceAre strong communication and emotion management abilities needed?
Among US respondents, 85% have constant contact with others, 84% have daily face-to-face discussions, and 69% say teamwork is extremely important; 29% encounter conflict more than monthly but not weekly, which is not a probability of any conflict. Emotion tools are for self-observation only and do not replace professional health assessment.
Do not use it this way:Do not use communication style to decide hiring or assignment, or treat descriptions of emotions as health conclusions.
Understand my communication cluesA closer match:Sustain fundamentals and fitness training, understand personal fitness and limitations and adjust dance forms and movement intensity accordingly. Suits people willing to make training part of daily work.
Note:Constrained by physical condition and recovery pace; requires self-discipline and patience during long-term repetitive training.
A closer match:Learn and practice role movements, align with musical beats, refine positioning with partners or ensembles and present onstage. Suits people willing to refine repeatedly within rehearsal and performance cycles.
Note:Constrained by rehearsal schedules and performance arrangements; requires consistency under competitive pressure and evening and weekend performances.
A closer match:Conceive and choreograph dances, design movement structures and formations, and direct rehearsals.
Note:Mainly create movements and direct rehearsals. Dancers may undertake supplementary choreography, and choreographers may demonstrate or perform. Work attribution alone does not define occupational entry or responsibility boundaries.
View related occupation:ChoreographersA closer match:Play roles onstage, in film or television, or in recordings, developing characters through lines, facial expressions and physical performance.
Note:Focus on developing characters through lines and acting; transitioning requires additional dramatic acting abilities.
View related occupation:ActorsA closer match:Play instruments or sing musical works, presenting music in recordings and live performances.
Note:Use sound and instruments as the main means of expression; transitioning requires additional professional instrumental or vocal training.
View related occupation:Musicians and SingersA closer match:Teach and conduct research in art, drama or music at postsecondary institutions.
Note:This adjacent occupation includes teaching roles and roles combining teaching and research. Editors suggest checking education, teaching and research requirements of the target institution individually. This page did not obtain comparative evidence on training time for dancers transitioning to this occupation.
View related occupation:Postsecondary Art, Drama, and Music TeachersEditorial observation point: Training and rehearsals include repeated refinement of movements. Record movement execution, rhythmic coordination, feedback and your condition to identify needed training and support; attitudes toward repetition do not predict competence.
Editorial observation point: Record specific issues raised by choreographers or rehearsal directors, adjustments and subsequent feedback. Feelings about feedback may inform discussion of preferences but are not a necessary condition for continuous improvement.
O*NET reports that 51% describe competition as extremely intense and 35% describe freedom over tasks and priorities as very limited. Treating audition results as information and maintaining training routines is more prudent than giving up emotionally.
Stage performance emphasizes movement presentation and coordination; choreography and teaching emphasize choreographic design and instructional abilities. Understand the target direction before deciding.
In the O*NET survey, 91% report extremely close physical proximity, 85% constant contact with others, 84% daily face-to-face discussions, and 76% continual or almost continual bending or twisting. The work requires physical engagement and close communication with peers and production teams.
O*NET reports that 58% continually or almost continually maintain or regain balance, 49% continually or almost continually stand, and 60% continually or almost continually perform repetitive movements. People concerned about intensive physical workload should prioritize checking training and recovery conditions.
Check actual schedules and contracts. The US handbook says part-time work is common and work may occur in mornings, evenings or weekends. National Chinese proportions or individual annual hours have not been verified. Employment and self-employment also do not equal fixed or short-term contracts.
Editorial observation point: Record completion of specific tasks, collaboration issues, condition and review feedback during training and performances, and continually check training needs. These records provide different information from test descriptions; they do not establish personal fit conclusions or comparisons of predictive validity.
No. Tests describe preference clues, do not predict performance and do not constitute hiring, qualification or physical condition judgments. Actual judgments come from training and rehearsal observations, mentoring feedback and your own condition.
Use this page's fictional exercises or follow a rehearsal once to check actual conditions, and compare observations item by item with the target direction's objects, training requirements and safety boundaries.
Main roles：Roles involving long-term training and intensive rehearsals
Possible consequences：Physical injury and interrupted training may occur; this page provides no individual diagnosis or injury or illness incidence rate.
Reduce risks：Safety suggestion: Stop relevant high-risk movements and report pain or discomfort; seek assessment by qualified medical professionals when needed. Return to rehearsals depends on professional advice and actual safety plans, not a webpage or self-declared recovery.
Basis：BLS Occupational Outlook Handbook: Separate statistics for dancers and choreographers · O*NET detailed profile: 27-2031.00 Dancers
Typical scenarios：Editorial risk scenario, not an accident or illness record: Errors in coordination with partners or ensemble formations, or inconsistent timing or positioning, may cause collisions, falls and associated injuries at extremely close distances and during rapid movement.
Main roles：Roles with dense ensemble, lift and displacement passages
Possible consequences：Positioning coordination errors may cause collision and fall injuries.
Reduce risks：Editorial safety checklist suggestion: Confirm positioning and timing individually during rehearsals and establish clear stop signals; arrange protective measures and safe distances for high-risk passages; recheck formations and venues before performances. Specific stop signals, protective measures and adjustments are determined by the actual project's safety plan. Statutory safety obligations of commercial performance venues and organizers apply under regulations; these suggestions must not each be treated as statutory duties for all dancers.
Basis：BLS Occupational Outlook Handbook: Separate statistics for dancers and choreographers · O*NET detailed profile: 27-2031.00 Dancers
Typical scenarios：Editorial risk scenario, not an accident or illness record: Losing control of movements during classical, modern or acrobatic dance performances may cause on-site injuries or interrupt performances. Fatigue, equipment and floor conditions, costumes and props can all increase risks.
Main roles：Roles performing jumps, turns, lifts and acrobatic elements
Possible consequences：Loss of control in high-risk movements may cause on-site injuries and performance interruptions.
Reduce risks：Editorial safety checklist suggestion: Recheck choreography and movement difficulty according to procedures; inspect venues, floors and equipment before performances; implement protective measures and assistance; and adjust movement plans when condition is poor. Specific stop signals, protective measures and adjustments are determined by the actual project's safety plan. Statutory safety obligations of commercial performance venues and organizers apply under regulations; these suggestions must not each be treated as statutory duties for all dancers.
Basis：BLS Occupational Outlook Handbook: Separate statistics for dancers and choreographers · O*NET detailed profile: 27-2031.00 Dancers
Typical scenarios：Editorial risk scenario, not an accident or illness record: Uneven or overly slippery floors, improper stage equipment and lighting and sound arrangements, insufficient positioning space or blocked passageways all increase movement risks and affect entrance timing.
Main roles：Roles performing in theaters, on temporary stages and at touring venues
Possible consequences：Venue and equipment hazards increase movement risks.
Reduce risks：Editorial safety checklist suggestion: Inspect floors, equipment and positioning space before rehearsals and performances according to procedures; report hazards promptly and adjust presentation plans, stopping use when needed. Specific stop signals, protective measures and adjustments are determined by the actual project's safety plan. Statutory safety obligations of commercial performance venues and organizers apply under regulations; these suggestions must not each be treated as statutory duties for all dancers.
Basis：Regulations on the Administration of Commercial Performances: Entities, individuals and on-site safety
Typical scenarios：Editorial stress scenario: In the US context, 51% report extremely intense competition and 35% very limited freedom over task goals; 29% encounter conflict more than monthly but not weekly, and 26% rude people more than weekly but not daily. Frequency questions do not describe mental illness or Chinese incidence; effects of waiting require personal observation.
Main roles：Roles participating in auditions and project selections
Possible consequences：Competition and audition pressure affect condition and career continuity.
Reduce risks：Treat audition and rehearsal feedback as information rather than rejection, maintain training and recovery routines, seek peer and professional support as needed, and communicate schedules and condition honestly.
Basis：O*NET detailed profile: 27-2031.00 Dancers
Typical scenarios：Editorial scenario: If paid hours or performance opportunities in a particular contract are insufficient or canceled, income and training continuity may be affected. National peak and off seasons, project contract shares or magnitudes have not been verified this round.
Main roles：Roles mainly based on projects and short-term contracts
Possible consequences：Schedule and income fluctuations affect career and training continuity.
Reduce risks：Editorial suggestion: Check contracting parties, paid rehearsals and performances, cancellation and settlement, insurance and self-employment costs, and plan manageable arrangements. This page provides no uniform contract or recovery plan.
Basis：BLS Occupational Outlook Handbook: Separate statistics for dancers and choreographers
For profit-making live public performances in China, apply commercial performance rules: separately check group and agency licences, registration or filing for individual professional performers, and approval for a particular performance. Under implementing rules 7/9, proof of artistic ability may consist of specified graduation certificates, professional titles or other valid evidence. A secondary vocational qualification, performance agent certificate or internal organizational authorization cannot be presented as the sole entry requirement for all dancers. Applicability to recordings requires separate checks of the specific conditions.
| Entry-level roles | What do you mainly do at the start of employment? | Evidence editors suggest checking (no uniform employer standard verified) | How to demonstrate ability without experience | Differences from other directions |
|---|---|---|---|---|
| Ensemble or supporting positions | Perform ensemble, understudy and supporting passages under mentoring, completing movements and positioning according to rehearsal requirements. | Movement execution, rehearsal discipline, adherence to safety procedures and communication of condition. | A fictional ensemble passage sample explaining movements and positioning. | Supervised passage execution, without independent responsibility for principal roles and presentation. |
| Principal role or solo dance position | Editorial role example: Execute movements and presentation according to the actual choreography of that solo or principal role; not every role necessarily includes high-risk movements. |
O*NET JobZone3/SVP6 to below 7 is a preparation grouping. Respondents' views of required education are 45% high school/34% below high school/14% postsecondary certificate, not employees' educational composition or a uniform law. BLS lists no formal educational credential as typical, together with long-term on-the-job training, which does not mean no training or establish Chinese requirements. For profit-making live public performances in China, apply commercial performance rules: separately check group and agency licences, registration or filing for individual professional performers, and approval for a particular performance. Under implementing rules 7/9, proof of artistic ability may consist of specified graduation certificates, professional titles or other valid evidence. A secondary vocational qualification, performance agent certificate or internal organizational authorization cannot be presented as the sole entry requirement for all dancers. Applicability to recordings requires separate checks of the specific conditions.
The O*NET summary page gives the preparation level as Job Zone Three. The US scope cannot be directly equated with hiring and training requirements for such roles in mainland China.
The US BLS handbook qualitatively describes physical demands and nonstandard hours. Specific risks and Chinese contracts require checks against actual roles, rather than a uniform medical examination conclusion.
This page obtained no uniform public conditions for mainland China. Check the target organization's requirements for the relevant year. This page does not constitute health or hiring advice.
Able to complete role movements as choreographed and align with musical beats, maintain formations and positioning with partners or ensembles, and pause and report when in poor condition or when venues present hazards (from O*NET task and work context data).
Deliverable: A completely fictional dance passage breakdown containing movement sequences, alignment with musical beats, and annotations of key techniques and difficulties.
State the basis for each annotation (choreographic requirements, musical structure or rehearsal direction). The breakdown must not contradict itself.
Deliverable: A fictional ensemble passage positioning explanation containing formation changes, movement paths, timing coordination points with peers and stop signal arrangements.
Distinguish given data from your judgments and explain the basis. Do not use actual performance projects or unpublished choreography materials.
Deliverable: A fictional one-week training schedule covering fundamentals, fitness, recovery and condition observation points, and specifying conditions for pausing and reporting pain or discomfort.
Deliverable: A one-page explanation of how you handle movement errors, misaligned formations or physical discomfort, which step takes the most time and what to practice next. Do not include actual project information or unpublished choreography.
| Stage | What may be assessed | Observation evidence | Limits of use |
|---|---|---|---|
| Training and movement questions | Whether you can explain basic requirements and the basis for role movements, beat alignment and your training arrangements. | Answer records and the movement demonstration process. | One organization's assessment method does not represent a uniform process. |
| Safety and anomaly judgments | Whether you can describe the sequence of pausing, rechecking and reporting pain or discomfort, loss of movement control, venue or equipment hazards, and formation coordination errors. | Answer records and judgment basis. | Assessment scope is determined by the group and venue; this page makes no inference. |
| Coordination and formation questions | Whether you understand basic requirements for ensemble positioning, timing coordination and stop signals. |
| Qualification / preparation item | Who it mainly suits | Practical job-seeking role | Whether it is a general entry requirement | Application / processing conditions | Investment considerations | Important limitations |
|---|---|---|---|---|---|---|
| Education and dance training background | People preparing to enter performance roles | Editorial checklist item; pass conditions for most roles have not been verified | O*NET JobZone3/SVP6 to below 7 is a preparation grouping. Respondents' views of required education are 45% high school/34% below high school/14% postsecondary certificate, not employees' educational composition or a uniform law. BLS lists no formal educational credential as typical, together with long-term on-the-job training, which does not mean no training or establish Chinese requirements. | Follow the target organization's recruitment or selection announcement | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans |
Fictional situation: A dancer faces four problems within one rehearsal cycle. First, the choreographer changes an ensemble passage's formations and positioning shortly before joint rehearsal. Second, after repeated rehearsals of a lift passage, the partner reports timing consistently half a beat off. Third, persistent knee discomfort appears during rehearsal, with only three days until the premiere. Fourth, the performance venue's floor is more slippery and positioning space narrower than the rehearsal studio's.
Provided materials: Choreographic requirements and revision notes; movement and beat requirements; ensemble positioning and stop signal requirements; training and performance safety procedures and reporting paths.
Materials not provided: How to reconfirm formations after temporary revisions, who arranges protective measures for the lift passage, whether rehearsal and performance may continue with physical discomfort, and authority for adjustments when venue conditions change. If these conditions are needed, explicitly state your assumptions and whom you need to consult.
Write a one-page handling and reporting plan covering confirmation of temporary formation changes, rechecks of lift timing and protective measures, handling and communication of physical discomfort, and responses to changed venue conditions.
Identify which information comes from the exercise materials and which remains assumed, and whether your basis is choreography, rehearsal processes or training and performance safety procedures.
The plan should include: temporary formation revisions (confirm new positioning and timing with the choreographer, recheck slowly before joint rehearsal, and establish stop signals before full-speed rehearsal); lift timing (recheck musical beats and starting positions, have the rehearsal director arrange protective measures, and resume joint rehearsal only after safety confirmation, without forcing completion); physical discomfort (report honestly, stop that movement, assess and resume according to safety procedures, without deciding independently to continue while injured); venue changes (inspect floors and positioning space before performance, adjust movement difficulty or routes when needed, and seek confirmation from the rehearsal director); and handover (state the status of all four matters, actions taken and pending confirmations).
Find public educational materials on dance training or stage safety, mark three key requirements and corresponding practices, and note what you want to confirm.
Use fictional music and movements to write a passage's movement sequence and beat alignment table, noting conditions needing confirmation.
Use a fictional passage to list formation changes, movement paths, coordination timing and stop signal arrangements.
Use a fictional week to plan training, fitness and recovery, marking conditions for stopping and reporting pain or discomfort.
Use a fictional scenario to write a recheck and reporting record for movement errors or misaligned formations, including judgment basis and handover content.
Ask a peer to recheck your judgments using only your plan and record their questions.
Typical responsibilities：Perform ensemble, understudy and supporting passages under mentoring, completing movements and positioning according to rehearsal requirements.
Advancement evidence：Able to execute movements to rehearsal requirements, follow safety procedures and report condition promptly.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Become familiar with movement vocabulary, rehearsal processes and stage standards.
Typical responsibilities：Independently complete ensemble passages and routine positioning coordination, maintaining consistent formations and beats during joint rehearsals.
Advancement evidence：Acceptable movements and positioning, stable coordination, and clear records and condition communication.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn complex passages and intensive movements.
Typical responsibilities：Editorial role example: Complete the role's actual movements and presentation. Check movement difficulty and safety requirements against physical condition and specific plans. Not all solos require high-risk movements.
Advancement evidence：Able to balance movement difficulty, presentation quality and safety requirements.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn interpretation of works and stage expressiveness.
Typical responsibilities：Handle choreographic design, rehearsal direction or dance teaching, with responsibility for creation and demonstrations.
Advancement evidence：Able to balance artistic intent, rehearsal efficiency and people's condition.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Check the direction's responsibilities and employment requirements.
Typical responsibilities：Assist with rehearsal records, positioning cues and venue preparation, recording revisions and feedback according to procedures.
Advancement evidence：Able to complete records and preparation according to procedures and promptly communicate movement and venue problems.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Become familiar with rehearsal processes and choreographic requirements.
Typical responsibilities：Undertake understudy duties and joint rehearsals for multiple passages, quickly learning different positions and maintaining formation consistency.
Advancement evidence：Fast learning, accurate positioning and clear condition communication.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn adaptability across positions and dance forms.
Typical responsibilities：Assist with class preparation and demonstrations and record student progress according to teaching requirements.
Advancement evidence：Able to demonstrate according to teaching requirements and honestly record student conditions.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Become familiar with teaching methods and classroom organization.
Typical responsibilities：Independently design and deliver courses, demonstrate movements and correct student problems.
Advancement evidence：Clear teaching plans, accurate demonstrations and classroom safety.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn curriculum design and teaching assessment.
Undertake ensemble, understudy or supporting passages under rehearsal direction and peer mentoring, completing movements and positioning to rehearsal requirements and following safety procedures. The goal is familiarity with rehearsal processes, movement vocabulary and stage standards.
Independently complete ensemble passages and routine positioning coordination, adjust details according to choreography, maintain consistent formations and beats during joint rehearsals, and honestly explain poor condition.
Editorial ability stage example: Undertake the actual role's difficulty, expression and coordination requirements. Not all principal roles require high-risk movements; increased risk does not prove advancement.
Editorial development example: Undertake choreography, direction or teaching; dancers may combine supplementary tasks. Check each target role's conditions separately. People do not automatically advance along a uniform seniority pathway.
Cannot establish：Projections describe changes in total occupational employment, not individual hiring probabilities. Openings in that scope include growth and replacement and do not indicate immediate job increases or decreases.
United States · Dancers (O*NET 27-2031.00 scope)
Certification and training search entry point
Certification and training information
O*NET provides certification and training search entry points for this detailed occupation to check certificate and training information. This explains an information entry point, not a demand signal. Certification does not equal a licence, employer appointment, signing authority or local authorization, and training programs do not equal hiring.
Cannot establish：Certification and training entry points do not predict job numbers or wages or equal hiring or performance authorization.
Editorial compilation on this page · Dancers
Scope for checking audition and performance announcements (editorial compilation)
How to check recruitment information
Editorial explanation of the scope for checking role information: Audition and performance announcements show demand only for a particular organization or project at a particular time.
Cannot establish：Audition and performance announcements do not represent national demand, median hourly wages or uniform entry requirements.
These are relationships of ability proximity, not automatic promotion or transitions without additional learning.
Transferable：Conditional editorial mapping: Dance vocabulary, movement structure and musical understanding, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Editorial transition checklist: Original movement structures, music and rehearsal direction abilities. Do not treat attribution itself as an occupational certificate or the sole preparation evidence.
View occupation detailsTransferable：Conditional editorial mapping: Foundations in stage presentation, rehearsal discipline and bodily expression, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Lines, character analysis and dramatic acting abilities.
View occupation detailsTransferable：Conditional editorial mapping: Musical beat and stage performance experience, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Professional instrumental or vocal training and a body of work.
View occupation detailsTransferable：Conditional editorial mapping: Foundations in dance and artistic practice and demonstration ability, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Teaching ability and research training, usually with higher education requirements.
View occupation detailsTransferable：Conditional editorial mapping: Understanding of musical structure and rhythm and stage collaboration experience, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Composition, arrangement or music direction abilities.
View occupation detailsTransferable：Conditional editorial mapping: Understanding of performance presentation and audition processes, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Casting assessment, project coordination and talent judgment abilities.
View occupation detailsTransferable：Conditional editorial mapping: Physical expressiveness, camera awareness and coordination with styling, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Runway walking, still photography and commercial presentation abilities.
View occupation detailsTransferable：Conditional editorial mapping: Foundations in movement demonstration and classroom leadership, only where actual training or responsibilities have provided related experience. This does not prove competence or a direct job transition.
Needs development：Needs development: Course design, teaching methods and student management abilities.
View occupation detailsThis page corresponds to O*NET's combined category Dancers and Choreographers (evidence anchored to 27-2031.00). Its scope includes executing choreography and choreographing and revising steps within the official task list. Choreographers conceive and create dances and direct rehearsals; actors develop characters through lines and acting; musicians and singers present musical works through playing or singing; postsecondary art, drama and music teachers focus on teaching and research; athletes and sports competitors pursue competitive results; fitness trainers and group fitness instructors focus on guiding others' exercise. Similar names do not make responsibilities, evaluation standards or qualifications interchangeable.
Choreography and movement-recording software, video playback and movement analysis may assist with recording choreography, comparing positioning and reviewing revisions. Social and video platforms also change distribution of work and audition materials. These may reduce some recording, organization and communication work. However, execution of role movements, coordination with musical beats, immediate coordination with partners and ensembles, physical condition judgments and live responses still depend on human bodies and judgment and are constrained by rehearsal and performance safety procedures. O*NET reports 91% extremely close physical proximity, 85% constant contact with others, and 76% continual or almost continual bending or twisting for this occupation. Technological exposure does not equal organizational adoption or job disappearance and cannot be interpreted as a probability of job loss.
Verifiable changes are at task level: tools may partially undertake three task categories—choreography records and positioning reviews, rehearsal communication and material organization, and auxiliary cues for live presentation. This page has no adoption rate or replacement data for a single occupation.
Execution of role movements, immediate alignment with musical beats, coordination and safety control with partners or ensembles, physical condition judgments, and the ability to pause, recheck and report according to procedures.
The median hourly wage in US 2025 wage data is USD 24.80. Hourly wage percentiles are USD 14.88/17.23/24.80/38.36/52.30, within this detailed O*NET-SOC occupation 27-2031.00. The occupational wage page publishes no annual median (annual values are marked n/a), so hourly figures cannot establish annual pay or personal income and cannot serve as individual quotations. Occupational values for mainland China were not obtained; this page treats this as a gap without using industry averages or project quotation samples to fill it.
The US preparation level is Job Zone Three (SVP 6.0 to below 7.0). The official education survey shows that among new entrants, 45% require a high school diploma or equivalent, 34% below-high-school education, and 14% a postsecondary certificate. Mainland Chinese roles mostly require dance training foundations and stage experience, and some require dance-related education; specifics follow the target organization's rules.
O*NET provides certification and training search entry points for this detailed occupation, but certification does not equal a licence, employer appointment, signing authority or local authorization. Mainland Chinese roles of this kind mostly obtain performance opportunities through selection and training according to group and project requirements. Specific performances or stage operations may require additional authorization. Check specific conditions against the target organization and current regulations.
First use public or fictional materials to complete an exercise: write a movement and beat breakdown for a fictional role, describe positioning and coordination points for a fictional ensemble passage, and write a procedure for stopping and reporting pain or discomfort during training; or follow a rehearsal once. Then check the target direction's objects, training requirements and safety boundaries.
The O*NET summary and employment trends pages (based on BLS 2024–2034 projections, within this detailed occupation 27-2031.00) show approximately 12,300 people in 2024, a faster than average projection label (5%–6%), and approximately 1,800 average annual openings including growth and replacement. The projection concerns total occupational employment and the occupation is relatively small. Work mainly involves training, rehearsals and performances. Check against local performance markets, production structures and project-based employment, prioritizing training and recovery conditions, venue and equipment safety, pay settlement and insurance arrangements.
FermatMind Career Content Editorial Team (source verification and exercise design)
Updated: 2026-10-09 (see source registry for individual retrieval dates)
The local slug has a combined name, but this round's existing identity anchors to 27-2031.00 Dancers. Only its own tasks, 2025 hourly wages and 2025–2035 projections are used; wages or employment from the 27-2030 combined category are not borrowed. Legal, NBS industry and ILO/NIST scopes are registered separately. Old protected content was not changed.
Limitations of use：Supports only choreographic design and rehearsal direction tasks centered on work attribution and creative direction for Choreographers (an adjacent occupation within the combined category on the same page). Within the official task list, this page includes collaboration with choreographers to revise steps and choreography for oneself or others, but does not incorporate full responsibilities for choreographic work attribution and rehearsal direction.
Limitations of use：Supports only casting assessment and project coordination tasks of Talent Directors (adjacent occupation). This occupation participates in auditions and executes choreography; casting and talent assessment responsibilities are not incorporated.
Limitations of use：Supports only teaching and research tasks of Postsecondary Art, Drama, and Music Teachers (adjacent occupation). This occupation's main outputs are stage and recorded performances; teaching and research responsibilities are not incorporated.
Limitations of use：Old 2024–2034 consumers are retained. This round's authorized modules use current 27-2031 itself for 2025–2035, not the combined 27-2030.
Limitations of use：The old gov.cn homepage does not support specific qualification and safety provisions; actual regulations and implementing rules are listed separately.
Limitations of use：Supports only recreational course teaching tasks of Self-Enrichment Teachers (adjacent occupation). This occupation's main output is stage performance; recreational course teaching responsibilities are not incorporated.
Limitations of use：Supports only composition, arrangement and music direction tasks of Music Directors and Composers (adjacent occupation). This occupation completes dance presentation in coordination with music; music creation and direction responsibilities are not incorporated.
Limitations of use：Supports only runway walking and commercial presentation tasks of Models (adjacent occupation). This occupation centers on presenting choreography; commercial presentation responsibilities are not incorporated.
Limitations of use：Supports only exercise instruction and class leadership tasks of Exercise Trainers and Group Fitness Instructors (adjacent occupation). This occupation centers on personally executing choreographed movements; fitness instruction responsibilities are not incorporated.
Limitations of use：Current categories are 37/16, with 47 an editorial difference; education 45/34/14 describes views of requirements, not employee composition.
Limitations of use：Supports only instrumental and vocal performance tasks of Musicians and Singers (adjacent occupation). This occupation presents choreography through body movements; instrumental and vocal performance responsibilities are not incorporated.
Limitations of use：The interest questionnaire describes experiential preferences only, does not replace ability, physical condition, qualifications, training or hiring judgments, and does not predict work performance.
Limitations of use：Public wage statistics are released by industry category and personnel category, without an occupational detailed category corresponding to 27-2031.00. Industry or personnel category averages are not wages for this occupation and cannot be extrapolated to national occupational income. This page obtained no separately reported occupational value; the gap is marked visibly and is not filled with industry averages.
Limitations of use：A voluntary governance framework, not mandatory safety law.
Limitations of use：Provides an entry point for occupation-code wage statistics and coverage explanations. Percentile values on this page are published through O*NET's national wage page (27-2031.00) for this detailed occupation. That page publishes hourly wage percentiles only and no annual median. Hourly wages cannot be annualized using fixed hours, and percentiles cannot be treated as starting wages.
Limitations of use：Supports tasks, work activities, work context percentages, preparation level, interest code and work styles for this occupation (27-2031.00). It covers a single occupation and contains no technology adoption, job replacement or income change data.
Limitations of use：Shares for Photoshop/Facebook/Office/Outlook in 2025 US job postings are all unavailable, which does not mean 0 or non-use. The full software categories include choreography software, FinalCutPro and others. This is a tool profile, not data on actual workplace adoption, proficiency or GenAI.
Limitations of use：The old homepage is retained; the actual 2025 NBS cultural industry data added this round provide context only.
Limitations of use：Explains OEWS population coverage, wage components and conversion assumptions. It provides no specific values for this occupation and cannot be used to convert hourly wages into personal monthly or annual income.
Limitations of use：Publishes hourly wage percentiles of USD 14.88/17.23/24.80/38.36/52.30 for this detailed occupation. Annual values on that page are marked n/a, with no annual median published, so this page provides no annual wages and does not infer annual pay from hourly figures. Percentiles are statistical positions, not skill levels. State or regional data must be queried on that page by region and period.
Limitations of use：Provides certification and training search entry points for this detailed occupation. Certification does not equal a licence, employer appointment, signing authority or local authorization, and does not replace mainland Chinese selection, training and performance authorization requirements.
Limitations of use：The summary read this round did not verify a matched dancer score; this does not assert that the full text has no score.
Limitations of use：Supports tasks, work activities and work context percentages for this occupation (27-2031.00). The page covers a single occupation and contains no technology adoption or job replacement data.
Limitations of use：Supports only lines and dramatic acting tasks of Actors (adjacent occupation). This occupation executes choreographed dance movements; lines and character development responsibilities are not incorporated.
Limitations of use：14 tasks comprise 10 core and 4 supplementary tasks. Pointe shoes, additional singing or acting, teaching and choreography are supplementary, not mandatory for everyone. Among 18 styles, Impact scores for perseverance 75/achievement 71/adaptability 67 are not percentages or only three items. Interests A90/R64/S44/E36/C10/I7 are not personality or hiring measures. 45 high school, 34 below high school and 14 postsecondary certificate are views of required education, not employee composition or statutory thresholds. Context frequencies are not injury or illness probabilities; Updated is not a common survey year.
Limitations of use：27-2031 itself: hourly 10/25/50/75/90 percentiles are USD 14.88/17.23/24.80/38.36/52.30. Annual wages are not provided; do not annualize using 2080 hours. OEWS excludes self-employment income. Percentiles do not establish seniority, starting wages or causal wage factors.
Limitations of use：Shares for Photoshop/Facebook/Office/Outlook are all Not available, not 0 or non-use. The full 8 software categories include choreography and video tools, but do not prove actual adoption, proficiency or generative AI adoption.
Limitations of use：27-2031 itself: 13.8 → 14.1 thousand, +0.3 thousand/+2.2%, average annual openings 1.6 thousand, self-employment 40.7%. Employment in thousands is rounded in the table; this is not the combined 27-2030 figure of 18.6 thousand. O*NET's Slower1–2% category does not replace the precise BLS 2.2%. Typical no formal educational credential/no related experience/long-term on-the-job training does not mean no dance training is needed.
Limitations of use：The combined page distinguishes dancers and choreographers. Dancer self-employment is approximately 41%, performing arts and sports etc. 33%, bars 16%, education 5%, and other entertainment and recreation 3%. These do not use the same classification as O*NET's two industry categories 37/16. Part-time work is common and hours may include mornings, evenings and weekends. The qualitative statement of high injury and illness rates is not a specific incidence rate on this page or a medical standard for returning to rehearsals. Wages exclude self-employment.
Limitations of use：2 limits scope to profit-making live public artistic performances; 6 group/agency licences; 9 registration of individual professional performers and filing within 20 days; 13 performance approval; 19–23 public venue safety and fire protection, temporary stage acceptance and evacuation, etc. Not all recordings are live performances, and not every dancer needs a performance agent certificate.
Limitations of use：7 proof of artistic ability may be a graduation certificate in artistic performance at secondary vocational level or above, a professional title or other valid evidence; 9 individual performers apply for filing with identity and artistic ability proof, while individual agents separately use agent certificates; 19 profit-making performances at non-performance business venues require an agency; 21 recordings outside studios are subject to approval only if 2 conditions are met; 15 minors separately follow national rules, whose full supporting provisions have not been verified.
Limitations of use：38 permission to use works in performances; 39 performers' rights regarding recording, live broadcasting and distribution etc.; 40 retention of identity and image rights in employment-related performances, with other rights governed first by agreement (if unclear, belonging to the performing organization). Do not state that recording and distribution rights always belong wholly to performers. Rights in works, performances and sound or video recordings are not identical.
Limitations of use：1018–1020 creation, use and disclosure of likenesses, prohibition of infringement through information technology forgery, and statutory reasonable-use exceptions; 1023 voice protection follows likeness protection. Public videos do not automatically establish rights for arbitrary training or digital double reuse. Do not generalize that all AI outputs infringe rights.
Limitations of use：NIST's voluntary AI risk governance framework, not mandatory performance safety, medical or rights-use law.
Limitations of use：ILO's broad-scope task exposure methodology. The summary read this round did not verify a matched 27-2031 score; this does not establish that the full study has no score or support adoption or replacement dates.
Limitations of use：2025 urban non-private culture, sports and entertainment CNY 129447 per year, private CNY 64015 per year. These are before-tax industry averages, not dancer wages. Non-private does not mean state-owned enterprises only. Coverage includes legal entities with 5 or more people and excludes individual businesses and freelancers. Use only as context for actual industry employees, without assuming all bar or education employers belong to it.
Distinguish official data, legal provisions, editorial suggestions and actual evidence gaps. Old out-of-scope values were not changed. This round does not represent full-page or formal publication acceptance. The frozen local name is Dancers and the slug is dancers-and-choreographers. Existing subject and old facts explicitly anchor to 27-2031. This round's nine modules retain that anchor and explain the scope. O*NET detailed occupation data do not equal the BLS27-2030 combined category, and supplementary teaching and choreography tasks of the detailed occupation are not excluded. US 2025 hourly wages for this occupation itself exclude self-employment; 2025–2035 employment includes self-employment. There is no annual wage for this occupation; do not annualize. Chinese NBS2025 cultural industry data provide context only. Occupational wage and actual contract gaps remain. Actual adoption, efficiency gains, occupational wage causality and injury and illness rates have not been verified; risks and pathways are editorial suggestions. Protected old identity and projection text in subject, Hero, FAQ and five exercises was not changed; complete page consistency cannot be claimed.
Personality preferences (EN) · Big Five traits (EN) · Understand my personality preferences · Understand my Big Five traits
| Choreographed performances and recordings, formations and positioning consistent with partners or ensembles, rehearsals and confirmed revisions, and training and fitness maintenance records. |
| Outputs of adjacent roles: completed choreography and rehearsal plans (choreographers), stage or screen character portrayals (actors), recordings and live performances (musicians and singers), courses and student outcomes (teachers), competition results (athletes), and training plans and member outcomes (fitness trainers). |
| Responsible parties | Practitioners are responsible for the accuracy and safety of their own movements and coordination with partners or ensembles. Choreographers determine the choreography and artistic intent. Performance presentation and safety plans must follow group and venue procedures and are not decided unilaterally by the dancer. | Responsible parties in adjacent roles: choreographers are responsible for choreography and rehearsal direction; actors for character portrayal and lines; musicians and singers for instrumental and vocal performance; teachers for courses and teaching; athletes for training and competition results; and fitness trainers for class safety and instruction. |
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| Collaboration and supervision | Collaborate within your authority with choreographers, partners and ensemble members, music and stage technical support, and costume and makeup staff, and report to the rehearsal director or stage manager. When injuries, loss of movement control, venue or equipment hazards, or formation coordination errors occur, stop high-risk movements, check the situation, retain records and report according to procedures. | Collaboration in adjacent roles: choreographers work with producers and performers; actors with directors and production crews; musicians and singers with conductors and production teams; teachers with institutions and colleagues; athletes with coaches and team doctors; and fitness trainers with venues and members. |
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| Limits on conclusions | Distinguish the main purpose of work from actual responsibilities: dancers may teach, choreograph or additionally sing or act, and actors may also dance or sing. When choreography, character portrayal, music or courses are the main focus, check the adjacent directions separately. Names alone do not establish mutual exclusivity. | Preparation levels and practice requirements for adjacent roles do not apply to this occupation. Check each occupation's official information and the requirements of the actual role individually. |
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Judgment three: Are formations and positioning coordinated?
Judgment four: Has choreographic intent been implemented?
Judgment five: Is performance preparation sufficient?
Judgment six: Have risks and anomalies been addressed?
| A fictional solo movement breakdown and presentation explanation sample. |
| Responsible for the quality of the work's presentation; must follow safety procedures and retain records. |
| Joint rehearsal and understudy position | Undertake understudy duties and joint rehearsals for multiple passages, quickly learning different positions and maintaining formation consistency. | Learning speed, positioning accuracy and adaptability across multiple passages. | A fictional record of positioning and substitutions across multiple passages. | Focuses on adaptability across positions and joint rehearsal coordination, constrained by schedules and formation requirements. |
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| Dance teaching assistant position | Assist with class preparation and demonstrations and record student progress according to teaching requirements. | Correctness of demonstrations, classroom safety awareness and complete records. | A fictional class demonstration and student progress record sample. | Focuses on classroom demonstrations and records; the lead teacher handles teaching design and assessment. |
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| Choreographers (adjacent direction) | Conceive and choreograph dances, design movement structures and formations, and direct rehearsals. | Abilities in choreographic structure, movement design and rehearsal direction. | A fictional choreographic structure and rehearsal plan sample. | Mainly choreography and rehearsal direction; may also be a dancer, demonstrate or personally perform. Do not state that they undertake no stage execution. |
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These are task and context observation points, not personality labels or hiring thresholds. Work context shows 91% extremely close physical proximity, 85% constant contact with others, 76% continual or almost continual bending or twisting, and 51% extremely intense competition.
Shares for Photoshop/Facebook/Office/Outlook in 2025 US job postings are all unavailable, which does not mean 0 or non-use. The full software categories include choreography software, FinalCutPro and others. This is a tool profile, not data on actual workplace adoption, proficiency or GenAI.
Software categories do not indicate proficiency or adoption rates. Pointe shoes are supplementary for applicable dance forms and do not replace individual filing or performance approval.
| Answer records or live demonstrations. |
| Assessment standards are determined by the group; this page makes no inference. |
| Trial training or trial work observations | Compliance of movements, positioning, coordination and safety protection completed according to rehearsal requirements. | Mentor evaluations or trial training records and process reviews. | Assessment and employment conditions are determined by the group. This page does not constitute an employment promise or performance authorization. |
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| Physical condition and medical examinations | People undertaking intensive training and performances | Affects whether specific movements and schedules can be undertaken | Follow group and project requirements | Medical examinations and assessments according to group requirements | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans | Medical examination conclusions have a scope and validity period and do not equal hiring or performance authorization. |
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| Group selection or audition results | People seeking roles or dance company membership | Directly affects whether a role or contract can be obtained | Depends on the group and project | Participate according to the group's and project's selection process | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans | A single selection result does not establish long-term ability or subsequent hiring. |
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| Authorization for specific performances or stage operations | People undertaking high-risk movements or operating stage equipment | Affects whether specific movements or operations may be performed independently | Not an entry requirement for every role | Confirm and train according to group and venue procedures | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans | Authorization has a scope and duration and is not a general qualification. |
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| Choreography and rehearsal direction abilities | People preparing to undertake choreography or rehearsal direction | Affects preparedness for related roles | Not an entry requirement for every performance role | Develop through creative and rehearsal practice | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans | Choreographic ability does not confer work attribution or production decision-making authority. |
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| Teaching and course abilities | People preparing to teach dance | Affects competitiveness and preparedness for teaching roles | When teaching is the main work, separately check target institution and jurisdiction requirements; these were not fully verified this round | Develop through teaching practice and course design; institutional roles additionally have education requirements | Insufficient evidence: This round has no verifiable cost or uniform duration for this preparation item; check actual training or processing plans | Teaching ability does not equal eligibility for institutional employment. |
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The reference deliverable lists required elements only; wording need not match the example if the basis for judgments is explained.
This exercise tests only awareness of formation and coordination checks, timing and protective measures, physical condition judgments and venue risk handling. It does not assess compliance of actual rehearsal and performance handling or constitute safety, health or legal advice.
Do not use actual projects or unpublished choreography information. Actual intensive training, high-risk movements, and stage equipment and venue use must follow group and venue safety procedures and labor and performance management regulations, with applicable authorization under current rules where needed.
Return to this page's judgment checklist and write three reasons to continue and two conditions requiring caution.
Typical responsibilities：Coordinate rehearsal pace, venues and personnel, consolidate revisions and feedback and deliver them to choreographers.
Advancement evidence：Able to balance rehearsal efficiency, implementation of revisions and people's condition.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn rehearsal organization and communication and coordination.
Typical responsibilities：Handle performance operations, positioning and safety arrangements, and live coordination.
Advancement evidence：Able to balance presentation quality, safety and process requirements.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Check the direction's responsibilities and employment requirements.
Typical responsibilities：Design choreographic structures, movements and formations and direct rehearsals and revisions.
Advancement evidence：Able to balance work structure, presentation quality and rehearsal feasibility.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Learn creative methods and collaboration processes.
Typical responsibilities：Teach and conduct research in dance at educational institutions.
Advancement evidence：Able to balance teaching, research and demonstrations.
Qualification boundaries：Editorial checklist item: Check training, experience and applicable qualifications against the specific role or institution's announcement. Actual Chinese recruitment samples were not obtained; do not claim uniform advancement thresholds. Check adjacent teaching and choreography roles separately.
Next step：Check the relevant requirements for this direction.
Limitations of use：Editorial ratings use the existing occupational responsibilities and AI task analysis on this page. They are not adoption rates, measured effects, job-disappearance or personal-unemployment probabilities, or official scores from Stanford or another external institution. No measured time weights or future robot deployment are assumed.
