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Unlike the work available in many creative disciplines, musicians and dancers have the possibility of full-time, company-based employment; however, participants far outweigh the number of available positions. As a result, many graduates become 'enforced entrepreneurs' as they shape their work to meet personal and professional needs. This paper first explores the career projections of 58 music and dance students who were surveyed in their first week of post-secondary study. It then contrasts these findings with the reality of graduate careers as reported by five of that cohort four years later. In contrast with the students' overwhelming focus on performance roles, the graduate cohort reported a prevalence of portfolio careers incorporating both creative and non-creative roles. The paper characterises the notion of a performing arts 'career' as a messy concept fraught with misunderstanding. Implications include the need to heighten students' career awareness and position intrinsic satisfaction as a valued career concept.

Many professional musicians would describe their careers as somewhat different to the careers they imagined when they were students. This study sought to understand the relationships between musicians' higher music education experiences and their professional work, and to expose the adaptive strategies they employ to sustain their work. The researchers amassed in-depth career narratives from eight musicians who were highly respected international performers. The musicians were also 'multi-professional' musicians in that they were recognised as highly proficient in multiple different roles. Narratives were analysed using selection, optimisation and compensation (SOC) theory. The results suggest that essential professional capabilities should be emphasised in the core curriculum of higher music education. A novel finding is that musicians who identify themselves as learners may be better able to create and sustain a career in music.

Performing arts courses within the university sector retain a necessarily strong practical focus as they prepare graduates for work within a highly competitive environment. However, the reality for graduates is a world in which performance is only one component of the myriad activities required to build a sustainable career. This article reports findings from two studies which investigated work patterns, education and professional development of practising and intending musicians and dance artists. Data gathered using a questionnaire, focus groups and interviews reveal disparity between undergraduate curricula, the career expectations of students and the realities of professional practice. Alignment between the results of the music and dance studies suggests the potential for the collaborative delivery of both initial and lifelong education. The findings are discussed within the context of protean careers, and the article advocates the potential for practising artist academics to engage students in career development and the formation of their professional identities.