AI exposure: Choreographers
Create new dance routines. Rehearse performance of routines. May direct and stage presentations.
Reading this score
computedAt 24.6% of weighted task load, Choreographers sits at the 46th percentile, below the point where a job's centre of gravity has moved. 60.0% of what this role does is untouched, meaning current systems cannot produce that work at all, whatever the commercial incentive.
What holds the line here is presence. Across this occupation's 18 tasks it averages 2.22 out of 3, the highest of the five friction dimensions. In plain terms, a person has to be the one present. This is the friction software does not erode. Where the point of the act is that a human is there, to care or to witness or to take responsibility in the room, automating the output misses what was being paid for.
The most exposed thing this job does is Seek influences from other art forms, at 86.7%. The least is Train, exercise, and attend dance classes to maintain high levels of technical proficiency,..., at 0.0%. A gap of 86.7% between two parts of the same job is the reason this index publishes at task level. An occupation-wide number would have hidden both.
Within arts, design, entertainment, sports and media occupations, this one is less exposed than the median of 38.5% across the group's 40 roles, with 33 scoring higher. Being in an exposed family does not make a particular job exposed, and the reverse holds too.
What would move this score. Of 18 tasks, 7 are currently banded exposed, 0 assisted and 11 untouched. For that distribution to shift materially would take robotics cheap and reliable enough to deploy at scale, not a better language model. The score is re-computed every quarter against a fresh capability reference, and the change is published rather than quietly applied.
Where the score comes from
judgedEvery task is scored through the standardised work activities it maps to. These are this occupation’s averages on the six rubric dimensions. Capability is what AI can do; the other five are what stands in the way.
| Dimension | Mean | Scale |
|---|---|---|
| Capability | 1.61 | 0-4 |
| Embodiment | 1.72 | 0-3 |
| Presence | 2.22 | 0-3 |
| Accountability | 0.11 | 0-3 |
| Context | 2.00 | 0-3 |
| Verification cost | 1.06 | 0-3 |
Task by task
18 tasks, O*NET 31.0| Task | Exposed | Assisted | Untouched | Importance | Band |
|---|---|---|---|---|---|
| Seek influences from other art forms, such as theatre, the visual arts, and architecture. | 86.7% | 13.3% | 0.0% | 3.95 | exposed |
| Choose the music, sound effects, or spoken narrative to accompany a dance. | 60.0% | 15.0% | 25.0% | 4.05 | exposed |
| Read and study story lines and musical scores to determine how to translate ideas and moods into dance movements. | 55.0% | 20.0% | 25.0% | 3.57 | exposed |
| Design sets, lighting, costumes, and other artistic elements of productions, in collaboration with cast members. | 50.0% | 25.0% | 25.0% | 3.62 | exposed |
| Direct and stage dance presentations for various forms of entertainment. | 30.0% | 20.0% | 50.0% | 4.25 | exposed |
| Coordinate production music with music directors. | 30.0% | 20.0% | 50.0% | 3.85 | exposed |
| Manage dance schools, or assist in their management. | 30.0% | 20.0% | 50.0% | 3.27 | exposed |
| Direct rehearsals to instruct dancers in dance steps and in techniques to achieve desired effects. | 11.7% | 13.3% | 75.0% | 4.70 | untouched |
| Advise dancers on standing and moving properly, teaching correct dance techniques to help prevent injuries. | 11.7% | 13.3% | 75.0% | 4.57 | untouched |
| Teach students, dancers, and other performers about rhythm and interpretive movement. | 11.7% | 13.3% | 75.0% | 4.35 | untouched |
| Record dance movements and their technical aspects, using a technical understanding of the patterns and formations of choreography. | 10.0% | 15.0% | 75.0% | 4.25 | untouched |
| Experiment with different types of dancers, steps, dances, and placements, testing ideas informally to get feedback from dancers. | 10.0% | 15.0% | 75.0% | 3.95 | untouched |
| Develop ideas for creating dances, keeping notes and sketches to record influences. | 10.0% | 15.0% | 75.0% | 3.90 | untouched |
| Design dances for individual dancers, dance companies, musical theatre, opera, fashion shows, film, television productions, and special events, and for dancers ranging from beginners to professionals. | 10.0% | 15.0% | 75.0% | 3.81 | untouched |
| Audition performers for one or more dance parts. | 10.0% | 15.0% | 75.0% | 3.75 | untouched |
| Restage traditional dances and works in dance companies' repertoires, developing new interpretations. | 10.0% | 15.0% | 75.0% | 2.84 | untouched |
| Assess students' dancing abilities to determine where improvement or change is needed. | 8.3% | 16.7% | 75.0% | 3.74 | untouched |
| Train, exercise, and attend dance classes to maintain high levels of technical proficiency, physical ability, and physical fitness. | 0.0% | 0.0% | 100.0% | 3.61 | untouched |
Task text and importance ratings sourced from O*NET 31.0. Shares computed. The occupation score is the importance-weighted mean.
Occupations either side of this one
The four closest scores in the same occupational family, then the four closest anywhere in the index.
Read this carefully. Exposure is not displacement. A high score means current AI systems can produce this work, not that anyone will stop paying a person to do it. Adoption depends on economics, regulation and inertia that this index deliberately does not model. How the score is built.
What this means in practice
Most of this work is not reachable by current systems, so the immediate pressure is on the administrative edges of the role rather than its core: the scheduling, the reporting, the written records. That is where time is recovered.