The extent to which creativity and perfection can be considered compatible aims for dancers was investigated. Also investigated were how creativity and perfectionism are (1) nurtured versus inhibited, and (2) related to basic psychological needs (autonomy, competence, relatedness). Seventy-seven ballet students (12-19 years old) in Stockholm, Sweden completed standardized questionnaires, and eight were recruited for interviews. Additionally, five teachers were interviewed. It was found that flexible perfectionistic strivings (PS) were seen to support creativity, whereas rigid PS and perfectionistic concerns (PC) were seen as inhibiting. Creative work was proposed to reduce PC. Creativity appeared to be nurtured when basic needs were met via inspiration and imagery; this was experienced more in contemporary dance. Perfectionism appeared to be nurtured when basic needs were thwarted or unsupported, and when teachers were perfectionistic. This was experienced more in ballet. In conclusion, dance teachers who support basic needs likely support dancers' creativity and aid in perfectionism management. The traditional stereotype of a dancer, especially in classical ballet, is of a hard-working individual with little creative agency (e.g., Morris 2003; Lakes 2005; Pickard 2015). Today, however, dancers are frequently asked to improvise and choreograph in collaboration with choreographers (e.g., Butterworth 2004), and creativity is increasingly recognized as an important component of success. Creativity is also related to well-being, and is sometimes described as a form of optimal human functioning (Simonton 2000). Whether to promote success or well-being, therefore, it would appear that creativity is becoming ever more important. Although differences exist in how creativity is defined or conceptualized, the most established definition is that it comprises originality and usefulness (Runco and Jaeger 2012). In dance, creativity is further conceptualized as both a process and an outcome, and also as a skill that can be taught (Press and Warburton 2007). Given the advantages of creativity, it is important to identify how it can be nurtured. In a study examining this notion directly, collaborative learning, flexible teaching methods, the provision of a safe and family-like environment, encouraging dancers' own voice, and recognizing everyone as an individual were said to nurture creativity among young talented dancers (Watson, Nordin-Bates, and Chappell 2012). Many others have investigated the nurturing of dance creativity in a more indirect fashion (e.g.