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A Conversation With Argine Safari: NJ 2017 Teacher Of The Year, Marjorie LoPresti
A Conversation With Argine Safari NJ 2017 Teacher of the Year
Argine Safari teaches vocal music at Pascack Valley High School. In addition to her role teaching choirs and music theory, Argine is an accomplished conductor, pianist, vocal coach, and clinician. NJMEA could not be prouder to have one of our own representing and advocating for all New Jersey educators and their students as New Jersey State Teacher of the Year. In addition to receiving a six-month paid sabbatical, use of a rental car for official travel, a new laptop, and a Smartboard, Argine has been nominated for 2017 National Teacher of the Year.
Recently, Argine generously made time for an extended conversation about what makes the difference for her as a music educator, and how she makes a huge impact on her students and colleagues.
ML: In your acceptance speech in Trenton, you spoke about the impact that seeing a performance of La Traviata with Placido Domingo had on you. How old were you then? Was that the moment when you got hooked on vocal music?
AS: Absolutely. I was 13 years old. I cannot ever forget the feelings, the emotions that I felt when I first saw La Traviata. And the acting, the singing, were just superb. I think what helped the experience was just that--the quality of the performance. It’s not just about listening to any music, but listening to a masterpiece of music performed by top-notch performers. I think the combination of all of that plus the acting is an incredible experience.
ML: You described that moment at the opera as being filled with awe and wonder. How do you pass that on to your students?
AS: There are three things that I really make sure that I share with my students to help create a special atmosphere: • Big masterpieces--real music that is not only well written but meaningful in many ways--historically, or by great composers. • I show them quality performances--things that they probably don’t get to see or hear on their own. Teenagers these days don’t
really turn on the radio and listen to opera or symphonic music, or anything like that, but they don’t know what they’re missing out on. That’s one thing I try to open the doors on, so they can hear real music, and masterpieces they are missing out on. • I always prepare the students to hear the performance by making a connection to what they know and feel passionate about already. I always tell them what the story is about, who the composer is, and a little story from the composer’s life. I use anything like that to get them hooked and make a connection with them.
When students hear a performance like that because you created a special atmosphere, it has a lasting impact.
Right now, for instance, I’m collaborating with the English and Theatre teachers on Romeo & Juliet. When I heard that the Metropolitan Opera is doing a new production of Gounod’s Romeo & Juliette with world class performers, I knew I had to do this crossdisciplinary project! We hope to craft something really special for the students by making connections between Romeo & Juliet and West Side Story so the students can relate to it. The theatre class will perform some of the original Shakespeare Romeo & Juliet, and my students will perform some of West Side Story. In addition, there will be a workshop and a master class with the professional tenor James Valenti. The project will culminate with a trip to the Met to see the performance of the Gounod Romeo & Juliette featuring Diana Damrau and Vittorio Grigolio. I think it’s the projects like this that get the kids hooked: they get the connection and they feel it, and all preparation also gets them ready to handle an opera in five acts. Most importantly, the connections they make along the way make the whole project come to life and leave a lasting impression.
ML: Your resume shows that you were a devoted music student in Armenia, then went on to conservatory in Moscow. But then you ended up in Brooklyn and got a business degree. Tell me the story of how you came to America, and where the business degree fit in. Or did it?
AS: When I emigrated, I was in the middle of a doctorate and had a young child. Things happened really fast. Everyone around me was telling me I was crazy for wanting to do music. Not that I was really influenced by the people around me that much, but I knew that I needed to improve my language skills. Being someone who wants to get the best opportunities out of whatever I do, I decided to go to college and study language. I was always taught to finish what I started, so getting a degree came logically. Everyone was talking about finance, business, and management, and I was good at that. While I was in school, I started music gigs at night--teaching privately, play-
ing shows and conducting. After graduating from college, I got several offers. I worked in insurance, as a financial advisor, and on Wall Street. That was a blessing, because I realized how much I hated it. I wanted to get back to music, what I really love doing.
ML: How does your background impact your students?
AS: I’m really very social and open, but I don’t like to talk about my past that much. It could be that I always felt like an outsider, having been a refugee. I only bring my experience into the classroom when I feel it will benefit the teaching or to inspire students. I try to help them see they have all these opportunities in front of them and they should work their hardest to achieve what they want and to pursue their dreams. I made lots of mistakes, but that’s what made my journey of finding myself so powerful and profound.
ML: Were there any teachers or other mentors who inspired you?
AS: I don’t know where I would be now without those teachers, and I had quite a few. My biggest and first inspiration was from when I was freshman, in music college in Armenia. My harmony and ear-training teacher saw something in me that I didn’t see in myself. I was a music theory major. She told me that I was somebody special, and pushed me so far. I wrote an extensive paper on the historical significance and development of “prelude” as a musical form. From that time on, she had extremely high expectations of me and gave me different assignments from the other students. That was the moment that I knew I had to do something more, go that extra mile, and push myself farther. She never stopped talking about me as an example to other students and teachers. It was because of her that I applied to the conservatory in Moscow. She really believed in me.
In Moscow, I had tremendous professors. My piano professor was so dedicated to her students, and was there day and night. My musicology professor and I are still in touch. She invited me to be the keynote speaker at the conference at the Moscow Conservatory this past February. I was the only representative from the United States. It was quite an honor. She is a world-renowned musicologist who has written hundreds of books and publications, and she’s a tough cookie. While I was in conservatory, I got married and had my daughter. A week after my daughter was born, she called me to congratulate me and to confirm an appointment by saying, “I’ll see you tomorrow with 15 more pages.” I was working on my doctorate at the time. There were no excuses with her, and she pushed me so hard. At the same time, she would constantly admire her students. She would be the first one to tell you how wonderful you are and how much she wanted to be a student in your class. How cool is that? After my presentation in February, she took my hands and told me again how much she would like to be a student in my class. My eyes were full of tears-this was the teacher I aspired to be. She was always there for her students throughout their lives by phone or by email, no matter how busy she was. She was a teacher I always adored, and who now is asking for my advice, my opinions.
ML: What did you learn about how to be that kind of teacher for your students?
AS: I think the role of the teacher is to help students find that special quality within themselves. So many times we see students in our classrooms who are shy, don’t believe in themselves, don’t believe that they are able to do anything special. It is our job to find that special talent in each one of them. Just like Michaelangelo said when he was carving the marble to let the “David” out. The statue was in there the whole time. I wouldn’t have the courage or drive to do this for my students if my teachers did not do this for me. Talking in today’s terms, having different expectations for each student based on individual talents and needs is aligned with differentiation. Some students need higher expectations, and others need you to not push too hard that they shy away.
ML: You seem to have boundless energy. How do you recharge?
AS: I never really felt the need to recharge, but there are times that I’m super exhausted; like at the end of a day or after a concert, when you feel you’ve accomplished something. The tiredness comes up on you after the stress and exhilaration of a concert or big performance. I usually sit down, think through the day, each moment, the excitement, to live in that moment a bit longer, and recapture that energy. If something doesn’t go so well, I do the same thing to analyze it and plan for positive results after a negative experience, finding what I can learn and what my students can learn.
ML: What advice do you have for other teachers who are looking for ways to connect with their students better?
AS: For me, the first step to engage with my students is to get to know the students, their worries, their dreams, their fears, their aspirations. When I know my students better, I can help them better. A big concern for our profession is that so many people are not comfortable getting on stage and performing. We need to instill in our students positive energy and positive thinking about themselves by knowing more about them and understanding them better. We have an advantage. Not every teacher in other academic areas has the same wonderful opportunities with the students that we have, like in after school rehearsals, concerts, and field trips. We get to see our students in a completely different light. Most of the time, we get kids who want to be in our classrooms. This gives us an advantage in getting to know them better so we can help them better.
My second piece of advice is to absolutely never give up. To absolutely believe in the kid who we think may not be able to accomplish certain things, at least not yet. Believe that they still have a chance. You never know how you are affecting this kid. Have higher expectations than students have for themselves and make them believe in themselves. You never know how much they might be able to do. It’s hard because you have so many kids in your classroom and you’re trying to get to know and accommodate every kid. But we shouldn’t predetermine how far they can go.
Teachers in our field have the added challenges of maintaining our programs, with funding and making sure that students get scheduled properly. The main focus and main concern for us is to help every child develop and find their own voice, believe in themselves, and help open doors so they see that there are so many opportunities. We need to stay focused and consistent, even when there are schedule conflicts and students don’t show up for rehearsal. Don’t ever believe that your program is an afterthought or not important. Keep that passion of music going. That’s the one thing that keeps me going and transforms my students’ lives. I see them change just through the music.
