Born in Montevideo, Uruguay. She started her piano studies at four with her mother and a few months later with Santiago Baranda Reyes and Walter Gieseking.

She gave her first public recital at the age of six. Later on, she perfomed in several Latin American countries. In 1949 in Buenos Aires she interpreted Bach’s Harpsichord Concerto No.5 in F minor, under the direction of Bruno Bandini with the State Radio Orchestra. The audition was retransmitted for London’s BBC.

Due to the success of the event, she was invited by the Press Circle and the The Argentinian Society of Music Authors and Composers to perform a recital at its headquarters. “Owner of a technical and sound mastery of the instrument and a ponderable musical sense, this artist knew how to liven up with expertise and sensitivity works of Mozart, Beethoven, Chopin, Prokofiev and Shostakovich. In her, the interpreter and the performer are balanced and that was the reason for her legitimate success.”
- Newspaper La Prensa. Buenos Aires.

In 1951 Montevideo’s musical world was shaken by her exceptional performance of Mussorgsky’s Pictures at an Exhibition and Debussy’s Suite Pour le piano: Preludio, Sarabanda and Toccata. “Susana Frugone represents a legitimate hope for Uruguay’s musical art.”
- Newspaper El Plata, Montevideo.

In 1956 she was admitted to Montevideo’s National Music Conservatory, where she continued her musical education with Hugo Balzo, Carlos Estrada and Héctor Tosar among others.

In 1960 she was awarded a scholarship by the french government and travelled to Paris where she continued to perfect her art under Pierre Sancan’s direction at the Paris Superior National Conservatory of Music.

In 1962 she got a grant from UNESCO to study at Salzburg’s Mozarteum in Austria and at the Royal Conservatory of The Hague. His professor, the dutch composer León Orthel dedicated her his work Hommages en forme d’etude pour piano, Op.40.-

After her arrival in Europe, she continued her concerts and recitals in Holland (Amsterdam, The Hague); France (Paris, Aix-en-Provence; Honfleur International Festival); Germany (Stuttgart, Munich, Saarbrucken, Cologne); Great Britain (London); Italy (Rome, Siena, Naples, Milan); Israel (Tel-Aviv, Jerusalem); Denmark (Copenhagen) and Austria (Salzburg, Vienna). After several years of intense musical activity, she decisively turned towards the diffusion of contemporary Latin American music. Particularly in Paris, in 1971 alongside the Philharmonic Orchestra of the ORTF under the direction of Manuel Rosenthal, and at Space Cardin with the Orchestra “Ars Nova” under the direction of Marius Constant, where she premiered Marlos Nobre’s Sonancias and Almeida Prado’s Portrait de Lili Boulanger.

André Schaeffer. / “Elle a su transmettre a son public la force et l’originalite de ces jeunes createurs dont les oeuvres ont reçu un accueil enthousiaste.”. “Susana Frugone fut au piano une remarquable soliste, maîtrisant fermement une partition impitoyable.”

Luis Heitor Corrêa de Azevedo. / “As sonancias de Marlos Nobre exigem tanto do pianista como do único percussionista um virtuosismo consumado. Ela foi Liszt um século depois. O sucesso de ambos foi triunfal.”

In Munich during the Olympic Games of 1972 she premiered works of Guevara (Ecuador), Enriquez (Mexico), and Valcárcel (Peru) as part of the exhibition “Cultures of the World and Contemporary Art.”

She took an active interest in vast areas of art, living and experiencing at first-hand a period of cultural apogee of plastic arts, literature, music, cinema, theatre, dance and photography. She was invited as a member of the jury in international contests: piano (Italy, Poland and Spain); ballet (Brazil); choreography (Italy); folklore and traditional art. (Tunisia and Italy).

In 1967, she was appointed as Honorary Cultural Attaché of Uruguay’s Permanent Delegation to UNESCO. In her role of such functions she stressed that dance had been neglected in international deliberations on cultural issues. In that world she had the opportunity to reach several nongovernmental organizations that dealt with the arts, and to hold a meeting with UNESCO's General Director René Maheu to make him aware of her concern: that void should be filled. Mr. Maheu´s answer was that to create a specific body for the dance, support had to be achieved from both cultural and political international personalities.

Therefore, since 1971 she started working on this great idea of giving the Dance the place that it deserved within UNESCO. Achieving all the requirements, in November 1973 the General Director provided a hall to hold the first comitee. About a hundred representatives from many countries attended: dancers, choreographers, dance and literature personalities and fine arts and diplomatic authorities.

See *Address. Opening remarks by Susana Frugone at the first assembly.
In this first meeting bylaws were adopted and authorities were appointed. Susana Frugone was elected General Secretary and reelected in the General Assemblies of Stockholm (Sweden, 1975), Cologne (Germany, 1979), London (United Kingdom, 1983) and Paris (France, 1987).

In 1976 she married the uruguayan diplomatic Lic. Hermes Basualdo.

Below are some of the activities organized by the International Dance Council, under Bengt Häger’s presidency who was Founder and Director of the First Dance Museum, General Secretary of Paris’ Dance Archives and Professor in Dance Science, until both retired:

1975 - Sweden, Stockholm. Filmed Dance Festival. I.D.C.’s first world manifestation, where 40 countries took part with more than 150 films,
           followed by several symposiums attended by experts from all continents.

1976 & 1977 - India (Bombay, New Delhi, Madras (Chennai), Kovalam. Indian Classical Dances Festival (Bharata-Natyam, Kuchipudi, Kathak,
                       Manipuri, Purulia Chhau, Odissi, Kathakali) with the participation of around 200 artists. Under the auspices of Stockholm’s Dance
                       Museum and Monsieur Michel D’Ornano, France’s Secretary of Culture.

1977- Italy, Agrigento. In “La Sagra del Mandorlo in Fiore” International Colloquium on “Folkloric dance, subject of participation or subject
           of representation.”

1978 - United States, New York. First International Choreographers Conference”. Opened at the United Nations Headquarters /
           Library and Museum of Performing Arts, Lincoln Center. “Problems of today and tomorrow.”

1979 - Uruguay, Montevideo. First International Filmed Dance Festival. Cinemateca Uruguaya.

1980 - United States. Symposium “American Dance in all its forms.”

1980 - France, Paris. Gala Tribute to Alicia Alonso. UNESCO’s headquarters.

1980 - United Kingdom, London. Symposium “The situation of the dance artist: dance and health”

1981 - United States. International Conference on “Videos and dance films” with over 250 participants. The conference was followed by a Festival.

1981 - France, Paris. Gala Tribute to Galina Ulanova. Under the high sponsorship of Monsieur François Mitterrand, President of the Republic.
           Nouvelle Salle Pleyel.

1981 - Argentina, Buenos Aires. Symposium. “Movement and health”

1982 - People's Republic of China, Beijing. First Asian conference on popular and traditional dances.

1982 - Hong Kong. In coordination with the International Music Council, Conference “East-west exchanges in music and performing arts”

1982 - Spain, Madrid. Gala to honour Antonia Mercé “La argentina”. Under the presidency of H.M. Queen Sofía’s high patronage.
           Various acts were performed at the Teatro de la Zarzuela, Círculo de Bellas Artes and the Ateneo de Madrid.

1983 - Uruguay, Montevideo. Conference “The role of audiovisual technology in traditional dance’s preservation.” / ALADI’s headquarters.

1984 - United States, New York. Conference “Major ballet companies and their present problems”. Under Murray Louis´ presidency.

1986 - Sweden, Stokholm. Symposium “Ballet and the end of the XVIII century.”

1986 - Russia, Moscow. Conference "Traditional and popular dances and their adaptation for the stage.”

1987 - Ivory Coast, Yamusukro. Conference about “Present dance’s situation in black Africa”

1987 - Czech Republic, Praga. International Spring Festival. Exhibition of “La danse dans le Monde” collection, by Master photographer
           Serge Lido, one of the world´s greatest dance photographers of the 20th century.

1988 - France, Cannes. Conference “Relationship between contemporary choreographers and composers.” MIDEM.

1988 - Creation of the Great International Video Dance Award.

1989 - Czech Republic, Praga. Regional Choreographic Atelier on “The situation and perspectives of contemporary choreography.”

1989 - Promoted by the I.D.C., a UNESCO official collection of dance films and videos was started at the Dance Museum of Stockholm,
           to gather and preserve as a future cultural heritage, all forms of dance. Such data-collection and processing was a task never done before.

In the year 2000 she was invited as I.D.C. UNESCO founder to the World Arts Meeting (City of Arts and Sciences architectural and cultural complex. (Valencia, Spain).

In 2003 the Carina Ari Foundation names her Artistic Counsellor. “Susana Frugone de Basualdo honours the Carina Ari Foundation in the quality of Artistic Counsellor. Her presence at the meetings of the Executive Councils of said Foundations which are performed yearly in Stockholm and Paris, is of great importance for the Art of Dance”





*See Address. Opening remarks by Susana Frugone at the first assembly.



Expose de Susana Frugone.

Madame la Présidente,
Mesdames, Messieurs,

Certaines des personnalités ici présentes m’on dit – en plaisantant, peut-être, qu’elles venaient ici, aujourd’hui, parce qu’elles tenaient à assister à une reunión “historique.”

C’est vrai que nous faisons quelque-fois l’histoire, sans nous en rendre compte nous-mêmes, et c’est peut-être une des grandes qualitès de l’homme que cette inconscience de laquelle peuvent naître des grandes choses.


Il nous est apparu nécessaire de créer un Conseil International de la Danse – organisme qui n’existe pas encore – non, pour faire naître une organisation internationale de plus; non point pour orchester, comme d’aucuns seraient tentés de le croire, les activités de la danse dans le monde, ni simplement, pour fournir à des diletantes désoeuvrés des occasions de réunions mondaines au cours desquelles ils pourraient parler des heures durant d’un art qui leur est cher; il nous est apparu nécessaire de créer, à travers un Conseil iInternational de la Danse, un terrain de rencontre utile à tous ceux qui s’intéressent aux divers aspects de l’art de la danse, et qui désirent, comme nous, en explorer toutes les possibilités dans le contexte de notre monde moderne, en utiliser toutes les ressources à des fins de promotion artistique et culturelle, certes, mais aussi à des fins d’universalisation de langues coréographiques que ne connaissent et n’utilisent, jusqu’ à présent, que certaines peuples du monde.


C’est pour cela, qu’à notre avis, il aurait été absurde ou simplement inutile d’envisager un Conseil International de la Danse en dehors d’une participation effective de l’Afrique, l’Amerique Latine, de l’Asie, toutes régions où la danse fait partie integrale de la vie et contribue à l’améliorer considérablement.


Dans le fond, ce qui sera intéressant dans le Conseil Iinternational de la Danse, ce sera moins la rencontre des individus que nous sommes, que la rencontre des civilisations que nous représentons, pour une confrontation d’idées sur l’art coréographique, de laquelle naîtra, il faut l’espérer, une vérite pour un monde meilleur. Cela place d’emblée le Conseil International de la Danse au centre des activités même de l’Unesco, dont le Programme vise précisément à l’amélioration de la vie des hommes dans la compréhension internationale et la paix.


Je sais d’ores et déjà, d’apres la correspondance que j’ai entretenue, depuis deux ans avec son Directeur Général, que l’Unesco voit dans le Conseil International de la Danse un organisme susceptible de l’aider grandement dans sa lourde tâche dans l’avenir, par sa spécialisation dans un domaine de l’art qui fait appel, plus directement encore que d’autres, à l’homme lui-même, à ses qualités physiques, morales et spirituelles, telles qu’elles s’expriment au nom de la beauté et de la vie.


Vous percevez donc, Mesdames et Messieurs, l’importance de cette reunión, à laquelle, je vous remercie d’avoir bien volu assister.



November 23th, 1973. UNESCO's Headquarters, Paris.