About Martina Fasano
Martina Fasano began her teaching career in 2003 at YCDSB’s St. Joan of Arc Catholic High School. She also taught grade 8 at Our Lady of the Rosary Catholic Elementary School before returning to the secondary panel and eventually serving as the department head of Canadian and World Studies at St.Maximilian Kolbe, where she taught economics, law, and history. As a vice-principal, Martina has had the honour and privilege of serving both the Our Lady Queen of the World Catholic Academy as well as the St. Brother Andre Catholic High School communities prior to being appointed as the principal of St. Elizabeth.
Martina has served on various committees at the Board level, including the YSCPC (York Secondary Catholic President’s Council), Drug and Alcohol Awareness (DAW), and the Covid-19 Logistics and Planning Committee. She was also a member of the committee that developed teacher resources for the history curriculum revisions which focused on the implementation of the Truth and Reconciliation Commission’s Calls to Action to embed Indigenous history into the grade 10 history curriculum in Ontario. As a member of the Ontario History and Social Science Teacher’s Association (OHASSTA), Martina also developed curriculum-based teacher modules on behalf of the Ontario Ministry of Education as part of a targeted project about the role of school trustees.
Throughout her career, Martina’s passion for engaging students has been at the forefront of her efforts toward forward thinking curriculum development in the social sciences, student leadership, school-based digital tool implementation, arts education, school/student safety, and data-informed school improvement. She has also had the opportunity to work with music industry professionals in the capacity of musician, author, social media manager, and public relations strategy. These experiences have allowed Martina to connect student learning to the world beyond the classroom, and bring exciting and dynamic opportunities to the school communities that she has served.
Connect with Martina Fasano: Email | Instagram
Listen Now
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Resources Mentioned
St. Joan of Arc Catholic High School
Our Lady of the Rosary Catholic Elementary School
Our Lady Queen of the World Catholic Academy
St. Brother Andre Catholic High School
St. Elizabeth Catholic High School
Ontario History and Social Science Teacher’s Association
The Transcript
**Please note that all of our transcriptions come from rev.com and are 80% accurate. We’re grateful for the robots that make this possible and realize that it’s not a perfect process.
Sam Demma
Welcome back to another episode of the High Performing Educator Podcast. This is your host, Sam Demma, and today we are joined by my good friend, Martina Fasano. Martina and I met just over a year ago now. She began her teaching career just over 20 years ago, and she is now a phenomenal principal of a school in the York Catholic District School Board. I’m going to allow her to introduce herself.
Sam Demma
Martina, please share a little bit about who you are with the audience.
Martina Fasano
Thank you so much for having me, Sam. Yeah, it’s been almost over a year now, which before you did your first gig here at St. E’s. So yes, I’m the principal here at St. Elizabeth Catholic High School, home of the Regional Arts Program as well, and having a great time.
Sam Demma
So you have one of the most interactive offices I’ve ever walked into in a school building. There are records hanging on the wall, guitars, and interesting objects on the shelves. Tell me a little bit about your own involvement in the arts that makes you so passionate about being at St. Elizabeth.
Martina Fasano
Absolutely, so I’ve been myself a musician probably since I was about maybe in the fifth grade or so. I’m not counting the drum set that I got when I was about four years old. But so that part is something very near and dear to my heart. Arts education in general for me was really something that helped shape who I am and the self-discipline that came from it. It was an even playing field, is what I would call it.
You start out where I was very fortunate. I was in a school board in Toronto, a Toronto Catholic as a student, and we started our music education programs there in grade 6 with a full band program. So that was the first time I had actually played music in a group, and you basically had a chance to start from scratch and learn an instrument, practice, and do all those things.
And I figured out very quickly that if you just practice and you play all the right notes at the right time, then everything sounds nice. So that’s kind of a metaphor too, for life in general, which is kind of where I took it. I started out as a saxophone player—that was my first instrument—together with piano. And then by the time I got to be a teenager, I added guitar in there because I was listening to a lot of rock, metal, and grunge at the time. It was the height of the grunge era, let’s say, with Nirvana and Pearl Jam and all those guys.
But definitely something that I carried into adulthood, into university. You jump from high school into post-secondary or into “What am I going to do with my life?” To quote Dee Snider from Twisted Sister, “What are you going to do with your life?” We want to rock, right? So I looked at going into the music industry from a more—not just the creative aspect—but looked into the business side of things.
That didn’t really resonate with me because I wasn’t doing anything that I enjoyed in my post-secondary program. I started out in business administration, and I thought, “I can’t do this for the rest of my life. I’m bored. There’s no creativity happening anywhere.” People work in cubicles. I can’t do that. And that’s why my office looks the way it does. It needs to have things in it that bring joy, make me happy, and serve as conversation pieces.
Because when a student walks in, for me, this is just my workspace. But for a student, especially if they’ve never been in trouble, they assume the principal is there to get you in trouble. So I don’t see it that way. But I noticed very early on in my career as an administrator, they see the title that’s on the door. And I noticed that having a lot of these little things around helped kind of put them at ease because they were conversation pieces.
So we get to that before we get to why the student was there. And most often, the student actually is not here because they’re in trouble. So it’s kind of a reputation thing—people think you only get sent to the principal’s office when you’re in trouble—but we’re dealing a lot more with supporting students as opposed to discipline.
Sam Demma
Well, you’re also the only principal that has a record on the wall with the plaque and their name on it. What is it all about?
Martina Fasano
So, the one that’s hanging in my office was actually when I left a school I was at, St. Maximilian Colby. The Canadian World Studies Department re-recorded Hotel California and changed all the lyrics as a goodbye gift. So that’s what’s hanging on the wall. And the little plaque actually has all of the changed lyrics, which are actually quite funny if you read them.
And it’s interesting because I do have a real one at home that 17-year-old me probably would have been really, really happy about. And, you know, wouldn’t have believed me if I said, “You’re going to end up getting a platinum record, but it’s not for what you think.” You’re not going to be in the band, you’re not going to be one of the producers, and you’re not going to be one of the managers, but it’s going to happen by way of your involvement in the music industry somehow.
And I would have laughed at you and said, “Sure, okay, whatever.” But I ended up being a ghostwriter for a rock musician, and that was the gift. The gift was the platinum record from the Guardians of the Galaxy soundtrack because the band that the artist originally recorded with, The Runaways, which is Joan Jett’s first band, had a number-one song, Cherry Bomb, which went to number one when Guardians of the Galaxy came out as a movie.
So, the record went platinum, and that person that I ghostwrote for was in that band. They got the platinum record and decided to also get me one because I was working on her book at the time. It was just about finished when that happened.
So that’s kind of cool. You’re right, I don’t know of any other principals that maybe came to education for the same reason. For me, it was like, “Why do you want to work with young people? Why do you want to specifically be around teenagers all day?” I get that question a lot.
And for me, it’s quite easy. There’s an energy to young people and a hope to young people that they naturally have that unfortunately, for a long time, schools have kind of almost stifled. And I thought in my wisdom as a young person myself when I made the decision, “If I can maybe change the way schools work, maybe it doesn’t have to be boring, maybe it doesn’t have to be something where there’s all these expectations, instead of actually cultivating a lifelong love of learning.”
Because when you look at, “My mom really wants me to do this and go to university to have this job, and I don’t want to do it, and I don’t know how to tell her,” I’ve had quite a few conversations with students and their parents about that. The fact that I switched my major halfway through from business administration to fine arts cultural studies, talk about a complete polar opposite.
But you have to find what brings you joy. You can make lots of money and maybe even be powerful in some cases doing something that you don’t enjoy. But you’re not going to be as good at it, in my view. You’re not going to be as fulfilled as a human being. And in the end, for me, it was like, I would like to be for young people what I would have needed at the age that I was at all along the way.
And that goes for why I became a vice principal or a principal as well. What did I need when I was a first-year teacher? So that’s what you try to be for somebody else.
Sam Demma
What do you think first-year teachers need to hear, specifically ones that are starting in the education space today, with so much change, especially coming out of the pandemic?
Martina Fasano
That they don’t need to be afraid to take a risk. That it is supposed to be difficult, that all great things are, but that they don’t have to do school and classrooms the way maybe they experienced and to not be afraid to be different.
Because right now, in my personal view, we’ve been doing education wrong for a long time. We have all the great people in the buildings, we have all the great programming in the buildings, we have a curriculum that helps us open those doors. But we are also based on a model that came to be in the 1800s as part of the Industrial Revolution.
Public education was meant to get everyone in line and trained to go to work. Sitting in rows, being obedient, and doing repetitive drills—memorization and all these things. Maybe for that world, those were the skills that were needed. But right now, we live in a world that schools haven’t caught up with yet, if that makes sense.
A perfect example: I was at the Billie Eilish concert last night, and you have the stereotype that young people are lazy, not passionate about things. I saw about 20,000 young people who were quite passionate about what they were seeing. They weren’t bored, they weren’t lazy—they were jumping up and down. The place was almost thunderous.
And in my view, I thought to myself, “This is what school should be like with all these young people in a building. Why are we trying to make everybody so quiet?” It doesn’t make sense to me. So part of being here at St. Elizabeth and having the Regional Arts Program here is that you get to showcase that. You get to see people being creative all day long.
Even if someone’s not in the Regional Arts Program, they still get the benefit of being in that space where creativity is free to flow and to happen. It has an impact on the children that surround those kids that are in the program.
So that’s definitely what I say to a first-year teacher: Don’t be afraid to take the risk. Don’t be afraid to be authentic. The students will see right through you if you’re not.
Sam Demma
I perform at many schools, and I intentionally call it a performance for the same reason you think students shouldn’t be quiet. Like, it needs to be an experience where they have a say and a voice in it, and it speaks to them on an emotional level—not just an educational level—and evokes emotion.
So many times, I’ll finish a speech or a performance, and one of the teachers will walk over and go, “Oh my goodness, I’m so sorry that the students were so loud.” And I say, “No, I encourage it! I egg them on throughout the performance. I want that. Yes, this is what we want. We don’t want them to just sit there with their legs crossed and hands on their lap, just looking in silence.”
Martina Fasano
Yep. You don’t learn if you’re being passive; there’s no learning happening. I distinctly remember being in my second year of teaching, and I was teaching English at the time. The play we were doing was Romeo and Juliet, Shakespeare’s Romeo and Juliet.
I always had a problem with Shakespeare being taught the way it was. I used to say, “Us reading Shakespeare like a book is the same as showing children a movie by reading the screenplay.” It’s a play—you’re not supposed to be reading it; you’re supposed to be acting it out.
So, I had a relatively rowdy class. I remember that distinctly. I said, “I can’t do this to these kids. The things my department gave me to use, this is not what we’re going to do. We can’t do this. These children will not only get nothing out of this and miss the complete point of the story, but you cannot expect a young person to want to read that old English text as a dramatic piece and not ask them to act it out and see what’s going on.”
So, we constructed this day where we said, “First, we have to figure out what this section of the play is about. Where are we? What’s going on? Romeo and Juliet meet at the party.” So, we basically said, “We’re going to make it a masquerade party.”
We made masks and everything else. I had the vice principal, bless her heart, come by. There was all this noise coming out of my classroom. She knocks on the door, and I opened it, horrified. I thought, “Oh my God, someone must have complained, or something happened.”
I explained, “We’re acting it out because it’s a play.” And there was this pause, and I thought, “This is it; I’m in trouble.” But then she said, “I’m so glad that all this noise is coming out of here because it means the kids are learning. Keep it up and have a nice day.”
The kids thought they were in trouble too! What does that say? If we’re learning stuff and having a good time, we must be in trouble? So, as a classroom teacher, I made it a point to do things that are fun. You have to because if you don’t, you don’t learn. Even if some of them are cheesy or purposely cheesy, they’ll remember them because they’re memorable.
Sam Demma
I couldn’t agree more. I absolutely love that you shared that story, and I hope the educator listening to this reshapes how they think about student engagement. There’s a phenomenal book I’ve been reading called The Advantage by a guy named Patrick Lencioni. He talks about the difference between really successful organizations and ones that fall flat on their face.
One thing he mentions is cohesion among the leadership team. It could be cohesion in a classroom or a staff room. He says the whole team needs to weigh in their thoughts and have constructive disagreements. If the whole team doesn’t weigh in, they won’t buy in.
So, if there’s no weigh-in, there’s no buy-in. That stuck out in my head. When you think about a classroom, students weigh in by using their voice. You don’t want silent people silently agreeing. Silent agreement means they’ll leave the classroom and tell their friends, “I disagree with everything we just talked about in the classroom.”
You want thoughtful disagreement to come up with the best ideas. I love that you shared that story. Thank you so much.
Martina Fasano
Absolutely. There’s a lot more where that came from. I eventually got the hint that if you don’t engage them, they won’t learn. Some of those kids in that class had repeated referrals to the office when they were in someone else’s class—repeated.
I knew that coming in because sometimes, unfortunately, I’d get warned and told, “Oh, you have so-and-so; watch out.” I did my best to know my audience. The best thing about teaching is the powerful, real-time feedback.
If you’re teaching a lesson and everyone’s asleep, guess what? You’re not reaching anybody. But you have that feedback in front of you. If you’re willing to step away from what you think you should be, because maybe that’s what you were used to or how you learned, you can adjust.
We’re preparing students for a world that doesn’t even exist yet, using methods and tools from an era long gone. Then we wonder why students aren’t engaged or willing to take creative risks. Starting from when they’re four years old, we teach them compliance. Line up in a straight line, or you get in trouble.
Structure is important because people thrive in it, but there’s a difference between structure for compliance and structure for growth. They’re two very different things.
Sam Demma
Yeah, I love that. It’s like having a fence that keeps people in a space, but within that fence, there’s freedom. Is there any experience you’ve had as an educator or principal where you’ve had a big learning experience—something you tried that didn’t work out the way you thought but became a pivotal learning moment?
Martina Fasano
Absolutely. One of the first things I learned as an administrator was related to communication. Let’s say there’s an initiative or a memo you put out, and a couple of teachers don’t follow through or do something different.
It’s easy to send a staff-wide email saying, “Remember to do this,” when really, you’re talking to just two people. I learned from doing that once that it’s not the best approach.
As a classroom teacher, how would I feel if I got that email and I was already doing everything right? So now, when I communicate, I think about the high-performing teachers doing amazing work. I base my decisions on the best people in the organization, not the outliers who didn’t follow through this week.
That applies to classroom management too. If you punish the whole class for one student’s behavior, it affects everyone’s morale. Make decisions based on your best people—it goes a long way.
Sam Demma
That’s such good feedback. I’ve really enjoyed this conversation, and I know the person listening feels the same. If they want to reach out, is it okay to put your email on the podcast page?
Martina Fasano
Absolutely. They can also follow me on Instagram, where we post about our school’s Regional Arts Program, performances, exhibits, and more. There’s always a lot going on, which is why the hive metaphor works—it’s always buzzing, and that’s a good thing.
Sam Demma
It’s been such a pleasure. Keep up the great work, and I look forward to connecting with you again soon.
Martina Fasano
Absolutely. Thank you so much, Sam. All the best.
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