© Luísa Homem
Sara Anjo (PT, 1982) moves between choreography, sound, and landscape. Her artistic practice, situated between dance and ecology, unfolds through meditative and ecstatic states, where breathing and walking are understood as gestures of resistance, care, and composition. She approaches the body as a living, porous, and interdependent ecosystem, in symbiotic relationship with air, soil, and territory — a body participating in the planet’s collective metabolism.
Rooted in an ecofeminist sensibility, her research proposes dance as a political and ecological act: to dance is to think and act upon the conditions of life on Earth; to breathe is to affirm the interdependence between humans and more-than-humans; to move is to imagine new ethics of coexistence and re-enchantment with the world. Through choreographic composition, Sara investigates the body as a place of listening and transformation, where somatic practices, critical thought, and sensitive ecologies intersect.
She trained in Dance at the Contemporary Dance Academy (2001), holds a BA in Artistic Studies from the Faculty of Arts, University of Lisbon (2008), and a Postgraduate Diploma in Contemporary Art from the Catholic University of Lisbon (2011). She completed her MA in Choreography at DAS Graduate School, Amsterdam (2016).
Among her creations are Ninguém Sabia Contar Aquela História (in collaboration with six women artists, BoxNova CCB, 2011); Paisagens Líquidas (Teatro do Silêncio, 2012); Em Forma de Árvore (Negócio ZDB, 2016); and Sacro (Negócio ZDB, 2018) — works that explore the landscape as body and the body as a sensitive territory. Between 2020 and 2023 she developed Ilhas — uma constelação, a project on insular geography and imagination, and Traça, which investigates the relationship between body, territory, and ecosystem. She also creates performative walks within Caminha para um Lugar de Força, proposing walking as an aesthetic and political practice.
Since 2017, she has collaborated with Teresa Silva on Oráculo Expandido, and worked with Michelle Moura (Nós Aqui Neste Passinho, 2018–19) and with Thea Patterson and Jeremy Gordaneer (Intensive Maps, 2016–19). Alongside her stage work, she has developed publications and research around movement notation and the writing of choreographic scores, conceiving them as devices of attention and tools of poetic resistance.
She also creates works for children, exploring the intersection between figurative and abstract imagination, in continuity with her research on sonic theatre. Notable works include Tudo no Mundo Começou com um Sim (with Filipe Raposo, Fábrica das Artes – CCB, 2016) and As Estrelas Lavam os Teus Pés (with Madalena Palmeirim, Fábrica das Artes – CCB, 2018). She is the author of the book Um Ponto que Dança (2018), from which she develops workshops and staged readings. In 2025 she premiered Andar para Trás.
She is an associate artist at Agência 25 and was an associate artist at Cliff Catalyst in 2024.
Sara Anjo (PT, 1982) moves between choreography, sound, and landscape. Her artistic practice, situated between dance and ecology, unfolds through meditative and ecstatic states, where breathing and walking are understood as gestures of resistance, care, and composition. She approaches the body as a living, porous, and interdependent ecosystem, in symbiotic relationship with air, soil, and territory — a body participating in the planet’s collective metabolism.
Rooted in an ecofeminist sensibility, her research proposes dance as a political and ecological act: to dance is to think and act upon the conditions of life on Earth; to breathe is to affirm the interdependence between humans and more-than-humans; to move is to imagine new ethics of coexistence and re-enchantment with the world. Through choreographic composition, Sara investigates the body as a place of listening and transformation, where somatic practices, critical thought, and sensitive ecologies intersect.
She trained in Dance at the Contemporary Dance Academy (2001), holds a BA in Artistic Studies from the Faculty of Arts, University of Lisbon (2008), and a Postgraduate Diploma in Contemporary Art from the Catholic University of Lisbon (2011). She completed her MA in Choreography at DAS Graduate School, Amsterdam (2016).
Among her creations are Ninguém Sabia Contar Aquela História (in collaboration with six women artists, BoxNova CCB, 2011); Paisagens Líquidas (Teatro do Silêncio, 2012); Em Forma de Árvore (Negócio ZDB, 2016); and Sacro (Negócio ZDB, 2018) — works that explore the landscape as body and the body as a sensitive territory. Between 2020 and 2023 she developed Ilhas — uma constelação, a project on insular geography and imagination, and Traça, which investigates the relationship between body, territory, and ecosystem. She also creates performative walks within Caminha para um Lugar de Força, proposing walking as an aesthetic and political practice.
Since 2017, she has collaborated with Teresa Silva on Oráculo Expandido, and worked with Michelle Moura (Nós Aqui Neste Passinho, 2018–19) and with Thea Patterson and Jeremy Gordaneer (Intensive Maps, 2016–19). Alongside her stage work, she has developed publications and research around movement notation and the writing of choreographic scores, conceiving them as devices of attention and tools of poetic resistance.
She also creates works for children, exploring the intersection between figurative and abstract imagination, in continuity with her research on sonic theatre. Notable works include Tudo no Mundo Começou com um Sim (with Filipe Raposo, Fábrica das Artes – CCB, 2016) and As Estrelas Lavam os Teus Pés (with Madalena Palmeirim, Fábrica das Artes – CCB, 2018). She is the author of the book Um Ponto que Dança (2018), from which she develops workshops and staged readings. In 2025 she premiered Andar para Trás.
She is an associate artist at Agência 25 and was an associate artist at Cliff Catalyst in 2024.