Edinburgh Napier University

  Within a dance sphere, it would, perhaps, be logical to consider the concept of ‘ambidexterity’ as linked to the physical use of the dancing body across a multitude of genres, to interrogate the link between physicality and mentality, or to consider the versatility of the dancer who wears the many ‘hats’ of performer, funder, manager, through necessity.

However, here, we draw on the concept of ‘organisational ambidexterity’ to explore how the Dancers’ Education Group (DEG) created and run by Scottish Ballet enables and evidences a balance within the Company that sustains and promotes innovative yet competing education and performance demands. We argue that, within a climate characterised by competing priorities, such an ambidextrous approach is necessary for continued success within the creative industries.