Letter from the Editor

The second volume of the special edition of Dalcroze Connections dedicated to the practice of Dalcroze Eurhythmics in Latinamerica offers the DSA community a diversity of applications of the principles of Jaques-Dalcroze in different contexts. 

This issue makes me feel very proud because among the authors of its articles, we find former graduates of the Dalcroze Certification Program in México held at the Conservatorio de las Rosas in Morelia, Michoacán (2012-16) and the seed which was planted there fluorishes currently throughout Mexico, Costa Rica, and Chile (countries represented in this volume, among others). Furthermore, after reading each article, I found valuable Dalcroze Connections in the training received by music educators from different countries at the Instituto Interamericano de Educatiónn Musical (INTEM) sponsored by the University of Chili and the Organization of American States (OAS) between 1967 and 1973. 

The contents of this issue show examples of beginning music reading and Solfège teaching (mainly online) in the article by Maristella Jiménez in Costa Rica. In contrast, Margarita Martínez talks about her Solfège and ear training class of conservatory level in Mexico City. From a historical perspective, Ethel Batres offers us a tour through the history of the parctice of Dalcroze eurhythmics in Guatemala. 

Dalcroze principles for movement are applied in original children´s repertoire written by a female Costarican composer (Ana María Vargas), beautifully presented by Iliana Vindas. Moreover, the sisters Iris and Margarita Ramírez share with us their Dalcroze practice in Michoacán with ethnic groups from that Mexican state and small children in private settings and vulnerable conditions. 

Going South the American continent Ana Elena Buitrón (Mexican musician with Lebanese roots living in Chili) takes us to a fascinating trip through different Chilean traditional music rich in vibrant rhythmic patterns ideal for the practice of Dalcroze Eurhythmics.

I want to draw special attention to Iramar Eustachio Rodrigues, who has played a decisive role in the promotion and professional training of Dalcroze practitioners in Latinamerica. Iramar, of Brazilian origin, never forgets his roots and has had a continuous presence in different Latinamerican countries since 1975 to the present. I met Iramar thanks to Marta Sánchez, who suggested me to invite him to México for the first time in 2003. As a specialist in Dalcroze pedagogy, and in the work with children, Iramar shares with us his insight about the Dalcroze practice in the continent. To him, I dedicate my work on this issue of Dalcroze Connections as a symbol of gratitude for his generosity towards my home country, México. 

Once more I thank the Dalcroze Society of America for being inclusive, and open to the diversity of the Dalcroze practice throughout the American continent.

This article was originally published in the Spring 2022 issue of Dalcroze Connections, Vol. 6 No. 2.

About Elda Nelly Treviño

Dr. Treviño is a professor at the Facultad de Música of the Universidad Autónoma de Nuevo León, professor and coordinator of Programas Dalcroze at Universidad Panamericana and director of the independent studio Música Viva in México. She offers workshops and lectures throughout Mexico and abroad. She has been piano solosist of the symphony orchestras of the UANL, and those of Matanzas and Santiago in Cuba besides being currently active as a collaborative pianist. From 2012-2016 Elda Nelly coordinated the Mexican Dalcroze Certification Program at the Conservtorio de las Rosas. She holds a PhD in Psychology from the UANL (Summa Cum Laude), Bachelor and Master of Music in Piano Literature and Pedagogy from The University of Texas at Austin; Dalcroze Certificate and License from Carnegie Mellon University. She is the representative of the International Federation of Rhythmics Teachers in México and is a member of the publications committee of the Dalcroze Society of America.