Sara Manente lives in Brussels and works as a choreographer and performer.

Born close to Venice in 1978, she began practising ballet at an early age. In 2003, she completed a degree in Communication Sciences at the University of Bologna with a graduate thesis on Semiotics and Dance before moving to Belgium with a research scholarship at the University of Antwerp. In 2007 she attended the Royal Academy of Fine Arts of Antwerp (In Situ department) for a year. In 2008 she completed the post-master’s programme of a.pass at deSingel (advanced performance and scenography studies, previously A.P.T).

Since 2004 she has made performances, videos and research projects of her own and in collaboration, namely with Marcos Simoes, Ondine Cloez, Michiel Reynaert, Alessandra Bergamaschi, Constanze Schellow, Hwang Kim and the members of the non-profit organization Cabra.
Among others: Democratic forest (research project and workshops, 2008-2009), To park (performance installation, 2008-2010), Some performances (video, 2008), Lawaai means Hawaai (trio after two previous projects on noise and dance, 2009), Grand Tourists (experimental in-situ project, 2010), Not not a lecture (lecture performance and publication, 2011), Faire un four (quartet on the making of 4 similar and 4 different, 2011), x: I liked B better/ y: I am 29 too (telepathic experiment between North and South Korea, 2013), This place (a series of performances based on ESP and tarot reading made in two weeks with seven different artistic couples, 2012-2014), Rita (video and performance of a joint Cabra project, 2014) and #3 (a dance to read, 2014)

Since 2009 she has been working for Juan Dominguez, Kate McIntosh, Aitana Cordero Vico, Marcos Simoes, Jaime Llopis, Nada Gambier and Gaëtan Bulourde.

Sara is one of the founding members of Cabra vzw.


is a research which takes as its starting point the distance between language and experience, specifically the experience of dance and performance. Following a critical line of the investigation into the overcapitalization of language as its transformation into an oppressive tool, the research aims to restore and emancipate the relation between language and dance from a point of view of performativity. What are the limits of language for speaking about aesthetic experience? What do we talk about when we talk about dance? How do we talk about something we don’t know how to talk about? Which language performs a choreography? How can we move with(out) words?

a project by Sara Manente with guests
assistance Christophe Albertijn
in dialogue with Lucia Amara
set design Canedicoda
production Hiros, Cabra
in collaboration with Xing, BUDA, Bains Connective, DePianofabriek, TinoLab
with the support of Flemish Government