About the First Week of Suzuki Teacher Training and the Ninth Spring Retreat

One of the measures taken by military dictatorship that ruled Brazil between 1964 and 1985 was the withdrawal of musical training from the curricula of Brazilian schools. Given that many of the artists, especially singer and musicians—some with great popular appeal—were against the authoritarian regime, the military saw musical training as a threat to the regime that was established. The return of music to the school’s curriculum, after almost 40 years without it, highlights music training and teaching for teachers and children. The establishment of the Suzuki Method, in the form of teacher training and the organization of consistent programs makes the Brazilian situation particularly important and delicate regarding the transformation of music education in the country.

A growing number of professional music teachers and musicians—many who travel to other countries to study and observe the results achieved in places where the Suzuki Method is applied with success—return looking for information on how to achieve similar results within the realities of their regions. The abundance of outreach projects of socio- cultural orientation, linked to music training—such as the Gury Project, the Bacharelli Institute and Music For All Project—have also attracted attention to the Suzuki Method, since they serve a large number of children at risk—marginalized, or socio-economically disadvantaged. Thus, meeting a growing demand for information on the Suzuki Philosophy and the application of the Suzuki Method, in October 2011 we organized a “I Semana de Capacitação de Professores Suzuki” (1st Week of Suzuki Teacher Training).

The week consisted of short term courses of Suzuki Book 1 for Violin, Recorder, and Cello. The event was attended by 40 teachers who travelled from the Federal District and the states of Maranhão, Paraná, Pernambuco, Rio de Janeiro, Rio Grande do Sul, Rondônia and São Paulo. For most of these teachers, it was the first opportunity to attend a Suzuki training course. Some teachers who already had already attended these courses also took the opportunity to review their work, and meet the teachers trainers invited to the event.

The Teacher Trainers invited to minister the courses were Edward Kreitman (violin), Mary Halverson Waldo (recorder) and David Evenchick (cello). It was with great joy that we welcomed them in the city of Atibaia, in the State of São Paulo. Located 40 minutes from the city of São Paulo, we offered a quiet place for classes, and, at the same time, healthy food and a beautiful scenery with lots of trees and silence. Although the trainers were not able to travel to the more famous tourist sites in the region, it was a first opportunity to learn a little about a Brazil that does not appear in the newspapers.

We adopted a similar structure to the “Festival Internacional Suzuki de Música” held by the “Asociación Suzuki del Peru” (ASP), one of the oldest suzuki institutions in Latin America. During the Week of Training, teachers had theory classes for part of the course, and observed individual and group lessons in another event held in parallel to the “Week of Training”, the “Retiro de Primavera Suzuki” (Suzuki Spring Retreat).

The Sprint Retreat, in its 9th edition, is where parents and children gather for music lessons. The event, organized since 2001, is an opportunity for Suzuki families to meet for an intensive 3 days of activities, including individual lessons, group, orchestra, choir, percussion and movement awareness. In addition to encourage students in the final months of the Brazilian school year—where regular study is always more difficult—the Spring Retreat allows trainees to experience some of the atmosphere and spirit of collaboration that emerges in these kind meetings between parents, the teachers, and students.

The overall coordination of both events was Dr. Shinobu Saito’s responsability. She conceived and structured both Spring Retreat and Week of Training. The involvement of SAA in the form of aid for the purchase of the air tickets for the teacher trainers, was crucial for the materialization of both institutes. Without this help, the final cost for trainees would be prohibitive for the Brazilian reality, especially for teachers from the more distant states.

Despite the positive results obtained in many places in the world, the Suzuki Method is still viewed with much apprehension by most music educators in Brazil. It is a common concern of the many Brazilian teachers who had a difficult and arduous music training. Moreover, the unsuccessful applications of the Suzuki Method and Philosophy contributed much to the skepticism of many prominent musicians and teachers in the country. One of the most positive achievements of the organization of both events was the materialization of the Suzuki “spirit”. In children, it creates a general desire to play, improve and study, and in parents, it creates a sense of security and growth. For trainees, it is clear that the task of creating a learning community is not a task accomplished alone, but collectively, similar to the other parts of the educational process. The demonstration of the power of the Suzuki spirit is essential for the flourishing of our musical cultures.

We are, in short and slow steps, seeding a possible future for music education in Brazil, without ever losing sight of the importance of the musical practices and traditions that permeate our daily life and the impact that music has on the development of character. We are sure that the consolidation of the Suzuki Method in Brazil, through these training institutes, will contribute significantly to Suzuki in Latin America by establishing a strong and consistent community.

Edward Kreitman:

I was honored to be invited by Shinobu Saito to present a Violin Book One Suzuki Teacher Training course in Brazil. Our course took place at a beautiful conference center just outside of Sao Paulo. The venue provided a tranquil setting for the course. The participants in the course came from very diverse musical backgrounds and understanding of the Suzuki Method. All teachers, whether new to the Suzuki philosophy, or some who were repeating the course for the second and third time, came to the course with open minds and ready to receive new information. It was such a pleasure to work with teachers who were so motivated and had such a strong desire to learn everything they could during our time together.

In the middle of our teacher workshop, a children’s course took place which allowed for additional observation opportunities and for the teachers to see the Suzuki Method in action. The children who came to the workshop were well prepared and demonstrated good basic skills. Many of the children were students of the teachers enrolled in the course, so those teachers had the opportunity to observe their own students being taught by the workshop faculty.

The schedule for the course was very intense, but the teachers thrived on the opportunity to hear new ideas from the trainer as well as sharing ideas amongst themselves. Many of the teachers in the course had much experience and expertise to offer to the less experienced, creating a multi layered learning environment for everyone…including me! I have enjoyed keeping in touch with many of the teachers on facebook and through emails and I look forward to working with the group again at the next workshop in October of 2012.

It is so exciting to see how well Suzuki is growing and thriving in all parts of Brazil. Bravo to Shinobu Saito, Renata Pereira and Fabio do Santos for organizing this workshop and for their dedication to making Suzuki flourish in Brazil.

Mary Halverson Waldo:

It must be the oxygen! What else would explain the palpable energy bubbling over in that roomful of wind-players. These were Suzuki Book 1 Recorder teacher participants at the Festival near Sao Paolo in October. Predominantly classroom school teachers, they ranged in ability from the fluent pre-professional, to the math teacher turned music teacher, putting in the proverbial 10,000 repetitions toward passing her entrance exam (at the end of the week). Some were engaged in teaching children of the slums.

In keeping with Dr. Suzuki’s teaching about the importance of providing an environment for learning, recorder teacher Renata Pereira brought in her dynamic quartet, Quinta Essentia, just back from a European tour, to perform a full evening concert for the entire Festival. How many folks can actually say that they have experienced a world-recognized recorder quartet in live performance? After hearing the stunningly pure intonation and flexibility of this ensemble, those who previously had held a “less than enthusiastic” attitude towards this ancient flute, found themselves completely turned around. And who will benefit most from this rich week? The teachers yes, but most especially the children, and their devoted parents.

David Evenchick:

The excitement of new beginnings, the intensity of growing, the joy of sharing, and the satisfaction of hard work—how honored I am to have been a part in this first venture into Teacher Development at the Campinas Suzuki Spring Retreat in Atibaia, Brazil!

In this peaceful retreat the trainers and participants came together on many different levels; as teachers, as learners, as guests, as ambassadors and as people becoming ignited with the potential of the Suzuki Method to bring music to young people in Brazil. I was so impressed with the diversity and musicality of the twelve course participants in the Book One Cello class. They truly reinforced what we all know about the innateness of talent, and the naturalness of learning. I leaned many things from them, including how to create drumming samba rhythms on the cello for some Suzuki Cello Volume One pieces.

Their method was pure Suzuki. They demonstrated several times with great skill, they broke the problems down and they used words to teach me the syncopations with many repetitions (pure Mother Tongue!). My Brazilian instructors differed somewhat in their sounds and technique, but they discussed amongst themselves what would work best for a novice like myself. They encouraged me with a unified idea, but also let me know that there are many different approaches.

They taught me that they already understood the essence of teaching. If this is the future of Suzuki Cello in Sao Paulo and Brazil, then they will have great future! Many thanks Shinobu, Fabio and Renata for an unforgettable experience.

Acerca de la I Semana de Formación de Profesores Suzuki del IX Retiro de Primavera Suzuki

Una de las medidas adoptadas al inicio de la dictadura militar que gobernó Brasil entre 1964 y 1985 fue el retiro de la formación musical de los planes de estudios de las escuelas brasileñas. Teniendo en cuenta que muchos de los artistas, especialmente músicos y cantantes—algunos con un mucha popularidad—estaban en contra del régimen autoritario, los militares vieron la formación musical como una amenaza para el régimen que se estableció. El regreso de la música en el currículo escolar, después de casi 40 años sin ella, destaca la formación de los profesores y los jóvenes. Por lo tanto, la consolidación del Método Suzuki, en la forma de capacitación de profesores y de la organización de programas coherentes, hace de la situación brasileña particularmente importante y delicada acerca de la transformación de la educación musical en el país.

Un número creciente de profesores de música y músicos profesionales—muchos que viajan para capacitarse en otros países y observan los resultados obtenidos en los lugares donde se aplica el Método Suzuki con éxito—regresan buscando más información acerca de cómo lograr resultados similares dentro de las realidades de sus regiones. La abundancia de proyectos de orientación socio-cultural, relacionadas con la formación de música—como el Proyecto Guri, el Instituto Bacharelli y Proyecto Música para Todos—también han atraído la atención sobre el Método Suzuki, ya que sirven a un gran número de niños en situación de riesgo—marginalizados o social y económicamente desfavorecidas. Por lo tanto, respondiendo a una demanda creciente de información sobre la Filosofía Suzuki y la aplicación del Método Suzuki, organizamos en octubre de 2011, la “I Semana de Formación de Profesores Suzuki”.

La semana consistió en cursos de corta duración, donde ofrecimos los cursos de Libro 1 del Método Suzuki para violín, flauta dulce y violonchelo. El evento contó con la participación de 40 profesores del Distrito Federal y los estados de Maranhão, Paraná, Pernambuco, Río de Janeiro, Rio Grande do Sul, Rondônia y São Paulo. Para la mayoría de estos profesores, fue la primera oportunidad de asistir a un curso de formación Suzuki. Algunos profesores ya formados también aprovecharon la oportunidad para renovar su trabajo y conocer a los profesores capacitadores invitados al evento.

Los profesores capacitadores invitados a realizar los cursos fueron Edward Kreitman (violín), Mary Halverson Waldo (flauta dulce) y David Evenchick (violonchelo). Fue con gran alegría que pudimos recibirlos en la ciudad de Atibaia, en el Estado de São Paulo. Situada a 40 minutos de la ciudad de São Paulo, pudimos ofrecen un sitio tranquilo para las clases, y al mismo tiempo un alimento sano y una hermosa paisaje, llena de árboles y de silencio. Aunque los profesores maestros no pudieron conocer los lugares más famosos de la región, fue una primera oportunidad para aprender un poco de Brasil que no sale en los periódicos.

Adoptamos una estructura similar del “Festival Internacional Suzuki de Música”, realizado por la Asociación Suzuki del Perú (ASP), uno de los festivales más antiguos de Suzuki de América Latina. Durante la Semana de Formación, los profesores en formación tuvieron clases teóricas como parte del curso, y observaron clases individuales y grupales en un evento organizado paralelamente, el “Retiro de Primavera Suzuki”.

El Retiro de la Primavera, en su novena edición, es donde padres y hijos se reúnen para clases de música. El evento, organizado desde 2001, es una oportunidad para reunir a las familias Suzukis durante 3 días intensos de actividades, incluyendo clases individuales, de grupo, práctica de orquestra, coro, percusión y conciencia corporal. Además de animar a los alumnos a los últimos meses del año lectivo brasileño – donde la práctica regular siempre es más difícil – el Retiro de Primavera permite que los profesores en formación puedan experimentar algo de la atmósfera y el espíritu de colaboración que surge en estas reuniones entre los padres, los maestros y alumnos.

La coordinación general de ambos eventos fue de la Dra. Shinobu Saito, que concibió y estructuró la realización tanto del Retiro de Primavera y de la Semana de Formación. La participación de la SAA, en el apoyo para la compra de los pasajes de los profesores maestros, fue fundamental para la realización de los eventos. Sin esta ayuda, el costo final para los profesores en formación serian demasiados altos para la realidad brasileña, especialmente para los profesores de los estados más distantes.

A pesar de los resultados positivos obtenidos en muchos lugares del mundo, el Método Suzuki aún sigue visto con recelo por la mayoría de los educadores de música en Brasil. Parte de este temor es remanente de la historia de muchos profesores que tuvieran un entrenamiento difícil y arduo. Por otra parte, las malas experiencias en la aplicación del la Filosofía y del Método Suzuki contribuyó mucho al escepticismo de muchos destacados músicos y profesores en el país. Uno de los logros más positivos de la organización de ambos eventos fue la experiencia del “espíritu” Suzuki. En los niños, este crea el deseo de estudiar y superarse, y en los padres crea una sensación de seguridad y crecimiento. Para los profesores presentes, es evidente que el trabajo de formar una comunidad de aprendizaje no es una tarea solitaria, pero sí comunitaria, como toda la educación en general. La demostración del poder de este espíritu es esencial para el florecimiento de nuestras culturas musicales.

Estamos, en pasos cortos y lentos, sembrando un futuro posible para la educación musical en Brasil, sin nunca perder de vista la importancia de las prácticas musicales en nuestra vida diaria y la importancia que la música tiene en la formación del carácter. Estamos seguros de que la solidificación del Método Suzuki en Brasil, a través de estos eventos de formación, contribuirán significativamente a América Latina por medio del la consolidación de una comunidad Suzuki grande, fuerte y consistente.