Manuela Cardona García is a Colombian-British composer and interdisciplinary artist whose work blends through-composed forms, spectral textures, spatialized electronics, and visual storytelling. She creates music for voice, live instruments, immersive electronics, and choreographed performance—often integrating her practices as a painter and dancer. Manuela has collaborated extensively with contemporary dancers, including in her upcoming ballet The Twelve Dancing Princesses, a reimagining of the Brothers Grimm tale through sound, movement, and ritual.

The Twelve Dancing Princesses—scored for saxophone quartet, four spatialized chamber ensembles (including a vocal quartet with live voice processing via SOMAX2), and six-channel electronics—explores themes of addiction and transformation. It will premiere at the Boston Conservatory at Berklee in 2026.
 

Recent highlights include the selection of her electroacoustic piece The Space Between for concert hall performance at the 2025 International Computer Music Conference (ICMC); her participation in the SOMAX2 workshop and club concert with IRCAM and ERCresearch—where she performed live voice improvisation; and her acceptance to residencies with the International Brazilian Opera Company, IRCAM’s ManiFeste Festival in Paris, and the Screen Music Residency in Pavia, Italy. In 2026, she will join Künstlerhof Frohnau as a composer-in-residence in Berlin.
 

Her music has been performed throughout the United States and Latin America, including collaborations with the Boston Conservatory String Orchestra and Hinge Quartet. Tomorrow Night I’ll Rest, her chamber work written for Hinge, delves into insomnia through post-minimalist techniques and layered delay to evoke states of rumination and surrender. The piece was featured in an interview with Manuela on Berklee College of Music’s website, highlighting its collaboration with professional ensembles. Her new electroacoustic work you deserve it explores psychoacoustic space and spectral processing, rewarding deep listening through the tension of deferred resolution.​

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She frequently incorporates live painting into her performances and installations and has received recognition for her visual work through international exhibitions and awards. Her artistic language is shaped by an obsession with circles, framing music as memory and movement across nonlinear time.

A passionate collaborator, Manuela is committed to interdisciplinary exploration, often working with dancers, vocalists, and multimedia artists. She currently studies composition at the Boston Conservatory with Marti Epstein and film scoring at Berklee College of Music.

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She lives between Boston and Bogotá, where she continues to explore the edges between ritual, gesture, and image.