Arising from the growing interest in ecological concerns that intersected with second wave feminism in the 1970s, ecological feminism is a theoretical perspective which argues that the oppression of women is parallel to and mutually reinforcing to that of the natural environment. Interested in the holistic nature of ecofeminist analysis I seek to understand how the processes of contemporary dance making can intersect with the theory and praxis of ecofeminism. Within ecofeminism the body is often used as a reference point for expression and understanding. Contemporary dance making therefore is of relevance for the exploration of ecofeminism as it offers a way of knowing that is of and from the body. The overall research question of this thesis and creative research project is ‘In what ways can contemporary dance making express an ecofeminist perspective?’ In order to investigate how contemporary dance making may express an ecofeminist perspective, creative practice as research formed an appropriate methodology for this project. Creative practice as research is a methodology which proposes that creating artworks not only expresses research, but the artwork becomes the research in itself. The specific creative practice research methods used in this thesis were improvisation, choreography and journaling. The methods used in the creation of this solo allowed investigation into how contemporary dance making fosters my relationship with the environment. Moved by the severe consequences of a nuclear disaster, the experiences of the women of Greenham common and the anti-nuclear movement in Aotearoa, my solo dance is an ecofeminist representation of visceral responses to the environment and the threat of nuclear technology. The solo dance is titled ‘Daughter, there will be no home’ and is a representation of my relationship to the environment of this earth and an expression of my ecofeminist sense of care for the earth.