Student Spotlight: Manuela Sánchez Goubert

What’s it like to study at Berklee? Our Student Spotlight series asks current students all about their Berklee experience—what they’re learning in class, what kinds of projects they’re involved in onstage or behind the scenes, how they recharge, and of course, what they’re listening to. This week, meet vocalist Manuela Sánchez Goubert, a ninth semester vocal performance and music production and engineering double major from Bogotá, Colombia.

Follow Manuela on Instagram, Facebook, and YouTube.

Tell us about your path to Berklee. What made you decide to come here?

I was born in Bogotá and moved to New York City at nine, growing up surrounded by music from my rich musical lineage. My maternal grandmother was a classical pianist and one of the first women to earn a professional diploma from the Conservatorio Nacional in Colombia. In contrast, my paternal grandmother was a composer and singer from Villavicencio who collaborated with local musicians. After studying voice at LaGuardia High School and immersing myself in the NYC jazz scene, I began my studies at Berklee College of Music with a full-tuition scholarship. Berklee was pivotal for me—it was the only place in the U.S. where I could deeply explore Latin American folk music through specialized classes, allowing me to academically study my cultural heritage and connect my musical roots to my identity, drawing from family traditions of cumbias, bambucos, and popular music.

Berklee was pivotal for me—it was the only place in the U.S. where I could deeply explore Latin American folk music through specialized classes, allowing me to academically study my cultural heritage and connect my musical roots to my identity.

— Manuela Sánchez Goubert

What's a project you've worked on since coming to Berklee that you've been incredibly excited about?

Since coming to Berklee, one of my most exciting projects has been the recent release of my debut album, RAÍCES. This album is deeply personal, as it blends my immersion in jazz with the Latin American folk rhythms I grew up with—cumbia, joropo, and currulao. It's my reencounter with these rhythms after being in the United States and experiencing my “Colombianness” from abroad. It’s a seven-track journey that reimagines my musical roots, capturing the joy and the pain embedded in my culture’s history. The songs also reflect my connection to social justice, exploring themes from love and happiness to the struggles against social violence. Creating RAÍCES has been an incredible journey, and I’m thrilled to share it with the world!

How do you typically recharge or find new ideas outside of class?

I intentionally try to balance work with rest, even though it’s challenging in an environment where there’s always someone doing more. After trying the nonstop-work approach—and eventually burning out—I realized that creativity needs breathing space. You need to live life to have something to write about. I’m a huge nature person; hiking, biking, and running all help me recharge. I also find inspiration in other art forms; I enjoy visiting art museums and galleries, which give me fresh perspectives and fuel my creativity.

When you think about your future, who inspires you most?

When I think about my future, Patricia Zárate is one of the women who inspires me the most. She is an incredible saxophone player, a driving force within the Danilo Pérez Foundation, and cofounder of the Panama Jazz Festival. Each year, she helps raise millions of dollars to produce this tremendous festival, which fosters creativity and ignites curiosity and passion for the arts in underserved communities across Panama. Patricia has shown me how influential art can drive social change through her vision of music therapy and social activism. As a Berklee Global Jazz Institute student led by Maestro Danilo Pérez and Patricia, I’ve discovered a passion for “artivism”—activism through the arts. Patricia’s dedication has inspired me to dream of creating a nonprofit in Colombia to educate youth while developing my artistic career, using art to make a real difference.

You and your band recently completed a tour supported by Berklee Global and the Berklee Global Jazz Institute—can you tell us about that experience?

Our RAÍCES tour, supported by Berklee Global and the Berklee Global Jazz Institute, took us across Colombia, Ecuador, and Peru, blending performances with master classes and social outreach. The band—Simón Martínez (piano, Ecuador), Luana Brazzán (percussion, Peru), Juan Diego Panadero (clarinet, Colombia), Felipe Álvarez BM ’23 (guitar, Chile), Sebastián Guerrero (bass, Colombia), Federico Aristizábal (drums, Colombia), and Juan Sebastián Ramírez Cubides (percussion, Colombia)—shared Latin American folk rhythms infused with jazz to preserve traditions and inspire innovation. The social impact was central to our mission. In Bogotá, we partnered with the organization Temblores to engage marginalized communities, leading improvisation workshops for unhoused individuals in El Bronx and music sessions for underserved children in Chía. We also connected with Berklee Global Partner schools students, fostering cross-cultural exchange. Berklee’s support made this journey possible, reinforcing my commitment to music as a tool for social change—an approach inspired by the “artivism” philosophy taught by Patricia Zárate and Danilo Pérez. I remain dedicated to keeping Latin American folk music alive and inspiring future generations to embrace and evolve these traditions.

What's one piece of advice you'd give to your high school self?

Don’t rush growing up.

Manuela Sánchez Goubert's Top Five Songs Right Now

We asked Manuela to pick her five favorite songs of the moment. Here's what she said:

1. “Movimiento,” Jorge Drexler

“Movimiento” (“Movement”) speaks to my bicultural identity and the internal conflict of not fully knowing if I’m Colombian or American; it celebrates diversity and resonates deeply with me, capturing the feeling of belonging everywhere and nowhere—a sentiment of being "from all places a little bit."

2. “Ay Mi Gallina (Afrobeat-Chalupa),” Petrona Martinez and Angelique Kidjo

This track is from one of my favorite albums, Ancestras. It combines chalupa—a rhythm from Colombia’s Caribbean coast—with Afrobeat. The album’s concept revolves around merging traditional rhythms with influences from other cultures, brought to life by visionary women who honor their musical heritage while pushing its boundaries through innovation.

3. “Déjala Llorar,” Lucía Pulido

One of my favorites by Lucía Pulido, this track beautifully merges jazz with Colombian folk, creating a perfect balance between the two genres.

4. “Prende la Vela,” Lucho Bermúdez

One of the most famous cumbias of all time, a song that brings me back home, with its melody embodying happiness, dance, and a strong sense of community, sung by one of the greatest cantaoras [a term used in Colombia to describe singers from the coast]: Totó la Momposina. This song also has many different versions from all around the world. It is a testament to how cumbia expanded and was transformed throughout Latin America.

5. “La Tierra del Olvido,” Carlos Vives

Carlos Vives’ 1995 hit truly celebrates Colombian culture and forgotten landscapes. The accordion's sound and the vallenato rhythms instantly transport me back home. It’s also one of the first songs to blend rock with vallenato, creating a new audience for Carlos Vives and Colombia.