Course Descriptions
This course examines characters who are “between worlds” and searching for “home” by focusing on texts such as Homer’s The Odyssey, August Wilson’s Fences, and Charles Yu’s Interior Chinatown. In these and other literary works, students study characters struggling with identity and attempting to create a more harmonious society while confronting internal and external challenges. In class, they consider a variety of fictional worlds, reflecting on their role in creating peaceful and meaningful lives. The writing program includes analytical, personal, and imaginative assignments. Students continue to refine skills and learn strategies for developing a persuasive literary argument by formulating claims and supporting them with textual evidence and thorough, detailed explanations.

Students encounter characters caught in the struggle to be good while in conflict with external forces and their own passionate impulses. To imagine and evaluate such predicaments, students examine crux scenes—carefully crafted episodes in which characters are driven to make difficult choices. In the process, students refine their vocabulary of human motives, mental and emotional states, and ethics as they find themselves increasingly called upon to make responsible choices of their own. Readings include a variety of voices across time and cultures, such as Mary Shelley’s Frankenstein, William Shakespeare’s Twelfth Night, Margaret Atwood’s The Handmaid’s Tale, Jesmyn Ward’s Salvage the Bones, and selected short stories and poems. The writing program practices and refines analytical skills learned in the seventh through ninth grades. Students become more independent in discovering, developing, and defending their interpretations in persuasive essays. In addition, a study of language builds on students’ knowledge of grammatical concepts and promotes awareness of their stylistic options as writers.

America has always been a land of stories—so many, in fact, that finding a common thread can be elusive. What, then, makes a life distinctly American when the promise of freedom often contradicts people’s lived experiences? That Thomas Jefferson wrote the Declaration of Independence while owning enslaved people is a paradox that reflects this contradiction and the disparate experiences of Americans from different backgrounds. In this course, students encounter the struggles to fulfill our communal ideals and identify ways those ideals remain elusive. With their unique perspectives, students grow to see themselves as playing vital parts in shaping and telling ongoing American stories. Readings may include F. Scott Fitzgerald’s The Great Gatsby, Nella Larsen’s Passing, Carson McCullers’ The Member of the Wedding, Toni Morrison’s The Bluest Eye, and Tommy Orange’s There There as well as poems by Emily Dickinson, Langston Hughes, and Walt Whitman.

America is a big place—but a much bigger idea. James Baldwin once remarked that it is “larger, more various, more beautiful, and more terrible than anything anyone has ever said about it.” Baldwin may be right, but poets and novelists still try. In this course, works that reflect, celebrate, and challenge America’s cherished image of itself as a beacon of hope, freedom, and opportunity are explored. These works wrestle with many of the cultural tensions that make America a dynamic, fascinating, inspiring, and infuriating place: the promise and pitfalls of American exceptionalism, the individual versus the community, the ideal of equality, and the reality of racism. Tracing these themes through classic and contemporary texts provides a glimpse into literary history. Students should walk away more curious about themselves and their identity as Americans and more aware of the cultural values that shape them. The readings mirror the chronology of American history, allowing students to see how social and cultural forces influence the stories Americans tell about themselves. Works may include William Faulkner’s As I Lay Dying, F. Scott Fitzgerald’s The Great Gatsby, Nathaniel Hawthorne’s The Scarlet Letter, Chang-rae Lee’s On Such a Full Sea, Toni Morrison’s Beloved, Justin Torres’s We the Animals, and Jesmyn Ward’s Sing, Unburied, Sing.

For Americans, pursuing happiness is enshrined in the Declaration of Independence as a God-given right and self-evident truth. Is it any surprise then that people spend so much time searching—for the right person, the right job, the perfect meme? American writer Gore Vidal once said, “Americans are future-minded to the point of obsession. We are impatient at living in the present. Tomorrow is bound to be better... next year, next century, always what might be rather than what is.” Texts for this course feature characters on the move and seeking, not always by choice. They might be looking for something simple, like a lock that fits a mysterious key, or something more complex, like a new sense of self, a place to feel at home, or a way to make peace with their past. By tracing these journeys, students enter new worlds and see how each character’s quest feeds the soul or fuels dissatisfaction. Reading with curiosity, students search, too—for an escape, a little fun, or some meaning that is not obvious at first glance. Works may include Steph Cha’s Your House Will Pay, Don DeLillo’s White Noise, Ralph Ellison’s Invisible Man, Jhumpa Lahiri’s Interpreter of Maladies, Viet Thanh Nguyen’s The Sympathizer, Tim O’Brien’s The Things They Carried, Anthony Veasna So’s Afterparties, Morgan Talty’s Night of the Living Rez, Justin Torres’s We the Animals, and Edith Wharton’s The Age of Innocence.

Corequisite: Concurrent enrollment in Honors English III: Imagining America or an Honors English IV course.

Students read poems and short stories as guides for writing their own. Poetry is the initial focus to make students sensitive to what good literary writing requires—vivid and precise detail purposefully selected and arranged. After emulating some masters and experimenting in formal verse and freer forms, students clarify and deepen their visions by revising their work. Later, the focus is on the task of creating meaningful short fiction, dramatizing characters’ conflicts in well-crafted scenes, experimenting in narrative points of view, and fine-tuning language through revisions. Readings include Mary Oliver’s A Poetry Handbook, several poems by writers including W. B. Yeats, Elizabeth Bishop, and Langston Hughes, as well as short stories by authors including Anton Chekhov, Katherine Anne Porter, and Raymond Carver. The class culminates with a final project rather than with a final examination.

Curiosity about William Shakespeare is the only prerequisite for this course. Shakespeare’s contemporary Ben Jonson wrote that Shakespeare was “not of an age, but for all time.” This class explores the ways in which Jonson was right. Students look at Shakespeare from multiple angles—historically, theatrically, and poetically—seeking to understand why there is always someone reading, performing, or watching Shakespeare in nearly every country on earth. Assignments include creative options, allowing students to explore individual interests as they develop. The course is conceived in a three-year cycle: the readings do not duplicate plays read in other courses, and, within each cycle, no play is repeated. Students may take up to six semesters of Shakespeare and Our World. Film and theater versions, as available, are studied in connection with each text.

Curiosity about William Shakespeare is the only prerequisite for this course. Shakespeare’s contemporary Ben Jonson wrote that Shakespeare was “not of an age, but for all time.” This class explores the ways in which Jonson was right. Students look at Shakespeare from multiple angles—historically, theatrically, and poetically—seeking to understand why there is always someone reading, performing, or watching Shakespeare in nearly every country on earth. Assignments include creative options, allowing students to explore individual interests as they develop. The course is conceived in a three-year cycle: the readings do not duplicate plays read in other courses, and, within each cycle, no play is repeated. Students may take up to six semesters of Shakespeare and Our World. Film and theater versions, as available, are studied in connection with each text.

This creative-writing course introduces students to the history, composition, and performance of poetry as an oral and aural medium. After a brief history on the emergence of modern spoken-word poetry in the context of the American civil rights movement, students study a variety of historical and modern written works and performance videos. Building on an examination of what makes for effective and moving performance poetry, the course becomes a workshop for writing, revising, and performing original works, both individual and group pieces. In the second semester, students perform in a school showcase and have the option to audition for the spoken-word team to compete in Get Lit’s April citywide Classic Slam competition.

Plato imagined one of the first ideal societies in the fourth-century B.C.E. dialogue Republic. In 1516, Sir Thomas More’s Utopia gave these fictional societies a name. But what some visionaries see as utopian may be its counterpart: dystopian. Students explore texts that imagine perfect societies as well as those that extrapolate contemporary threats to nightmarish ends. Although it includes fictional works, the course is rooted in nonfiction, with an emphasis on argumentative writing and the study of rhetoric, rather than literary analysis. Each fictional text is accompanied by relevant essays, historical documents, documentaries, and other nonfiction pieces. Course texts may include Karl Marx and Friedrich Engels’s The Communist Manifesto; speeches by Susan B. Anthony, Martin Luther King Jr., Abraham Lincoln, Elie Wiesel, and Malcolm X; allegories by Isaac Asimov, Octavia E. Butler, and Jonathan Swift; and classic dystopias from Aldous Huxley’s Brave New World to Alan Moore’s V for Vendetta.

Thirty years after writing Where the Wild Things Are, Maurice Sendak said, “I remember my own childhood vividly. I knew terrible things. But I knew I mustn’t let adults know I knew. It would scare them.” Students in this course explore the mysterious relationship between adults and children. What is the nature of the different worlds children and adults inhabit? Where do these worlds overlap? Where do they remain separate? What happens when one world encroaches upon the other? To what extent do people remain their parents’ children, even after growing up? What can adults learn from the children in their lives? In addition to investigating how literature answers these questions and others, students reflect on how authors use the parent/child relationship to illuminate larger themes, both social and personal. Works may include Jane Austen’s Pride and Prejudice, James Baldwin’s Go Tell It on the Mountain, Jamaica Kincaid’s Annie John, William Shakespeare’s Hamlet, Colm Tóibín’s Brooklyn, and Tarjei Vesaas’s The Ice Palace.

Humans are social beings. From birth, people create communities cemented by familial, social, political, religious, and civic ties. For some, however, acceptance into these communities proves elusive. Students in this course analyze drama, fiction, and poetry to explore the stories of these outliers. What or who prevents someone from fitting in? Does any power exist for those forced to society’s margins? What do stories reveal about human nature? What do they expose about contemporary social and cultural realities? A wide range of lived human experience is studied via challenging and compelling works of classic and contemporary literature. Core texts may include Emily Brontë’s Wuthering Heights, Junot Diaz’s The Brief Wondrous Life of Oscar Wao, Cathy Park Hong’s Minor Feelings, Toni Morrison’s Song of Solomon, William Shakespeare’s Hamlet, Virginia Woolf’s Mrs. Dalloway, and selected works of poetry.

Mary Oliver declares that living requires three things: “to love what is mortal; to hold it against your bones knowing your own life depends on it; and, when the time comes to let it go, to let it go.” This course explores harrowing experiences with loss and its attendant, grief. It examines how people react to these catastrophes and struggle to make sense of them and find meaning. Through both classic and contemporary novels, plays, and poetry, students address questions from diverse angles: Why are some people able to overcome the worst losses while others cannot? To what extent do people create and perpetuate such crises? How much does success in coping, healing, and emerging wiser depend on one’s self? What does compassion really require? Works may include the Book of Job, Jane Austen’s Sense and Sensibility, Arturo Islas’s The Rain God, Rachel Khong’s Goodbye, Vitaman, William Shakespeare’s Hamlet, Danez Smith’s Don’t Call Us Dead: Poems, and Virginia Woolf’s Mrs. Dalloway.

Criminal behavior can be fascinating. Stories of cruelty and human error can simultaneously disturb and compel. This course examines the psyche that disrupts order and the investigators who aim to restore peace. Students consider what the search for truth requires and how justice confronts the extremes of human behavior. From detective fiction to contemporary thrillers to texts that look beyond the traditional genre, this course explores the impulse to break rules and transgress boundaries. Students continue analytical skill-building while also writing reflective pieces, including a final project where they build a dossier that envisions themselves as a case to be cracked. Works may include Oyinkan Braithwaite’s My Sister the Serial Killer, Raymond Chandler’s The Big Sleep, Arthur Conan Doyle’s Sherlock Holmes stories, Patricia Highsmith’s The Talented Mr. Ripley, Naomi Hirahara’s Clark and Division, and Dennis Lehane’s Mystic River.

Writers have always wondered about the value of a human life. While some lives can appear more important than others, some seem to have no value at all. And if a life can be imagined as lesser than another or even completely worthless, how can such views be reconciled with our most basic sensibilities about sitting shoulder to shoulder in a learning community? This seminar challenges assumptions about human worth and worthiness. Placing works with deep roots in Western culture into conversation with more contemporary voices, students explore issues of power, privilege, and who sets the price on a person’s value; what self-value can have to do with it; and both how this conversation is changing and how to be part of it. Core readings include Jane Austen’s Persuasion, Samuel Beckett’s Waiting for Godot, Homer’s Iliad, and William Shakespeare’s The Merchant of Venice. Readings around this core may include Terrance Hayes’s American Sonnets for My Past and Future Assassin, Franz Kafka’s The Metamorphosis, Khaled Khalifa’s Death Is Hard Work, Claudia Rankine’s Citizen: An American Lyric, Virginia Woolf’s A Room of One’s Own, and poems by Gwendolyn Brooks, Charles Bukowski, T. S. Eliot, Ada Limón, Adrienne Rich, Christian Wiman, and others.

Corequisite: Concurrent enrollment in Honors English III: Imagining America or an Honors English IV course.

This course explores the functions of American government and its development over time. Students become familiar with the underlying principles and unique structure of our democratic republic, analyze the U.S. Constitution and landmark Supreme Court cases, discuss the principles that inform our political processes, and consider the social and cultural implications of important legislation and political events. This course aims to provide an understanding of American government so that students become informed, committed citizens. Study strategies and organizational skills—including careful reading and annotation, primary source analysis, critical thinking, note-taking, and research skills—are taught. Students develop interpersonal communication skills through collaborative projects, class discussion and debate, the writing of expository essays, oral presentations, and electronic communication. Use of a variety of digital tools enhances students’ twenty-first-century learning experience.

This survey of the Mediterranean world and Europe from the Bronze Age to the sixteenth century focuses on the political, socio-economic, and cultural developments in the region. Coursework builds skills necessary for history students: reading comprehension, critical analysis of sources, inferential and analytical thinking, writing and discussion skills, research techniques, and study strategies. Readings are drawn from a variety of primary and secondary sources; they provide an overview of historical events, cultural developments, and insights into patterns of civilization and highlight a diverse range of voices with emphasis on groups that have traditionally been subject to historical silences, such as women, peasants, and the enslaved.

This course, which is taken in conjunction with the tenth-grade drawing and painting course, equips students to visually and critically understand the modern world. Students examine major artistic, political, economic, intellectual, social, and cultural developments of the sixteenth through the late-twentieth centuries and the interplay of those developments around the globe. They consider the signiﬁcance of key ideas and movements that helped shape the modern world—economic systems, revolution, industrialism, nationalism, racism, feminism, socialism, rise of nation-states, imperialism, decolonization, cultural appropriation, and globalization—and how those movements impact the evolution of different artistic periods. Coursework emphasizes skill development in reading, critical thinking, coherent argumentation, research, argumentative writing, collaborative inquest, and interpretation of primary and secondary sources.

Corequisite: Drawing and Painting I/The Rise of the Modern World: Art and History (U0280-0). ELEVENTH GRADE

This course covers the history of Europe from 1300 to the present. It is fast paced, discusses a wide variety of topics, and, similar to a college-level history survey, requires sophisticated analysis of historical change. The course is designed for students with highly developed reading and writing skills and requires independent learning and initiative. Students are expected to invest the time and energy necessary to understand the readings and think through complex issues. Topics of study include the Renaissance and Reformation, Scientific and Industrial Revolutions, formation and fall of empires, decline of monarchies, rise of nation-states and democratic governments, spread of totalitarianism, world wars, Cold War, and formation of the European Union. Class discussions are based on in-depth analysis of primary and secondary texts, images, and propaganda. Major assessments focus on strengthening composition skills and formulating interpretations of historical change that analyze the influence of political, economic, social, and cultural factors; examine how society is influenced by religion, nationality, class, ideology, technology, gender, race, and ethnicity; and trace the role of art and literature in shaping Western views of humanity, society, and the world.

Prerequisite: Grade 10—A in The Mediterranean and Europe: Ancient to Early Modern World; Grade 11—B+ in The Rise of the Modern World or The Rise of the Modern World: Art and History

This course is organized thematically around essential historical issues: American ideals, power, and rights, capitalism, equality, foreign policy, and immigration. It does not attempt to tell a comprehensive and chronological story of United States history; rather, it offers points of reflection on what it means to be an American and what one needs to know about the past to understand the present. In every unit, students ask who is “We” in “We the People.” Who is included and who is excluded? What does it mean to be an American, and how has this evolved over three centuries? Students learn how to navigate the past, become more responsible citizens, and strive for that more perfect, yet never finished, Union. This approach highlights continuity and change over time, encouraging students to make connections between past events and contemporary issues and to reflect on how these moments in time have helped shape our American story and identity.

This course provides a broad study of the development of world civilizations, incorporating the history of peoples and cultures from every part of the globe. Coursework prepares students to compare diverse societies across geographic regions, from the earliest human societies through the twentieth century. In addition to studying the rise and fall of empires, key issues incorporated into each unit include the origins and development of gender inequality; growth and evolution of religious beliefs; influence of philosophical, intellectual, and technological breakthroughs; roles of law and government; and influence of the economy and environment in shaping human society. Second semester focuses on the modern era from 1500 CE to the present, investigating the interaction of peoples and ideas across continents to examine how and why some societies dominated their regions of the world and others did not.

Prerequisite: Honors United States History or B+ in United States History or We the People: Thematic United States History.

The goal of urban studies is to assess the causes and impacts of city life and ethnic studies to understand and explain cultural diversity in American society. This course merges these missions by immersing students in the systematic examination of patterns and processes that continuously shape the urban and cultural landscapes of America. Students analyze the constructs of race and ethnicity, as well as their intersection with gender and socioeconomic class, while exploring the effects of oppression and discrimination and the emergence of resistance, acculturation, and assimilation. They also deconstruct popular culture and its role in these studies. The course focuses on understanding why people live in cities (and suburbs), how urban settings influence human behavior, how human behavior sculpts the urban landscape, and how to grapple with long-term issues such as urban poverty, education, and economic transformation and dislocation. This is filtered through the lens of Los Angeles, with significant emphasis and work tied to the city and region.

This course investigates factors that contribute to the weakening of democratic governments. It begins with a study of the failure of democratic governments in the 1920s and 1930s to understand the political, economic, and social factors that undermined democratic institutions and eroded trust in popular government and then looks toward current questions: Have changes in contemporary society led to a decline in the effectiveness and popularity of democratic governments? Is there an anti-democratic wave spreading around the world? Students choose among a group of countries where democracy has significantly decayed in the past decade for an in-depth analysis of the causes of that decline. The semester concludes with an assessment of the current strength of popular rule in well-established democracies such as the United States and Great Britain.

Curiosity about William Shakespeare is the only prerequisite for this course. Shakespeare’s contemporary Ben Jonson wrote that Shakespeare was “not of an age, but for all time.” This class explores the ways in which Jonson was right. Students look at Shakespeare from multiple angles—historically, theatrically, and poetically—seeking to understand why there is always someone reading, performing, or watching Shakespeare in nearly every country on earth. Assignments include creative options, allowing students to explore individual interests as they develop. The course is conceived in a three-year cycle: the readings do not duplicate plays read in other courses, and, within each cycle, no play is repeated. Students may take up to six semesters of Shakespeare and Our World. Film and theater versions, as available, are studied in connection with each text.

Curiosity about William Shakespeare is the only prerequisite for this course. Shakespeare’s contemporary Ben Jonson wrote that Shakespeare was “not of an age, but for all time.” This class explores the ways in which Jonson was right. Students look at Shakespeare from multiple angles—historically, theatrically, and poetically—seeking to understand why there is always someone reading, performing, or watching Shakespeare in nearly every country on earth. Assignments include creative options, allowing students to explore individual interests as they develop. The course is conceived in a three-year cycle: the readings do not duplicate plays read in other courses, and, within each cycle, no play is repeated. Students may take up to six semesters of Shakespeare and Our World. Film and theater versions, as available, are studied in connection with each text.

This creative-writing course introduces students to the history, composition, and performance of poetry as an oral and aural medium. After a brief history on the emergence of modern spoken-word poetry in the context of the American civil rights movement, students study a variety of historical and modern written works and performance videos. Building on an examination of what makes for effective and moving performance poetry, the course becomes a workshop for writing, revising, and performing original works, both individual and group pieces. In the second semester, students perform in a school showcase and have the option to audition for the spoken-word team to compete in Get Lit’s April citywide Classic Slam competition.

The goal of urban studies is to assess the causes and impacts of city life and ethnic studies to understand and explain cultural diversity in American society. This course merges these missions by immersing students in the systematic examination of patterns and processes that continuously shape the urban and cultural landscapes of America. Students analyze the constructs of race and ethnicity, as well as their intersection with gender and socioeconomic class, while exploring the effects of oppression and discrimination and the emergence of resistance, acculturation, and assimilation. They also deconstruct popular culture and its role in these studies. The course focuses on understanding why people live in cities (and suburbs), how urban settings influence human behavior, how human behavior sculpts the urban landscape, and how to grapple with long-term issues such as urban poverty, education, and economic transformation and dislocation. This is filtered through the lens of Los Angeles, with significant emphasis and work tied to the city and region.

This course focuses on disrupting the patterns and routines that shape traditional notions of success at Harvard-Westlake and creates space for students to authentically explore their “why.” Students cultivate ideas and projects that are important to them and are aided by mentors from the school’s alumni community. While students encounter tough choices, challenges, and the failures that often come with entrepreneurial efforts, they also cultivate a stronger sense of meaning, purpose, happiness, and wisdom. Enrollment priority is given to those continuing project work from Catalyzing Change: Entrepreneurial Thinking.

This course provides a window into the culture and society of Athens, Greece, during the classical period when numerous ideas that influenced the modern concepts of democracy, drama, history, and philosophy were born. Using primary sources and survey texts, the history of the period is considered in terms of its cultural, political, and social structures and how those structures have influenced the modern world. Works of Athenian drama, including both tragedy and comedy, are read and discussed in their historical and cultural contexts, allowing for a deeper understanding of their authors’ intent during composition, their audiences’ reactions during performance, and their influence on both the development of drama in the modern world and contemporary media.

In this course, students extract core concepts from their other studies and employ them to discover the forces that drive careers, commerce, and human economic behavior. Working in small teams, they tackle problems and scenarios that introduce them to economics, finance, insurance, accounting, negotiation, social equity, strategy, and entrepreneurship. Through this shared guided experience, they gain a deeper understanding of prior learning and develop a metacognitive mindset, one that will serve them well in college and beyond. Even more importantly, team and class collaborations provide a hands-on laboratory for wrestling with teamwork, management, and leadership skills. Visiting alumni “sages” reinforce the character issues that emerge, from initiative and courage to ethics and a service mentality. Along the way, students are challenged to consider their life paths, learning more about the diversity of opportunities ahead and thinking about what “success” means to them.

This course introduces students to myths and legends from the past and the complex roles they played in ancient societies. These traditional tales are examined not only for their literary and artistic value, but also within their social, cultural, and religious contexts through ancient art, architecture, and surviving literary sources. Theories of modern scholars who have attempted to decode meaning behind the tales of gods and heroes are discussed. Students come to appreciate the impact of these myths on art and music in the modern world and see the relevance of these stories to their own lives.

This discussion-based seminar explores the boundaries of life and what it means to be human. How do humans distinguish themselves as different from machines? To consider what it means to have life or personhood, and how technologies have changed both, students explore several fields, including history, literature, media studies, philosophy, and science. Texts include primary literature written by philosophers and scientists starting with the Enlightenment and a few short stories from the Romantic era onward. Some television shows and films are viewed as well. Students acquire historical and philosophical context to explain why certain works, such as Mary Shelley’s Frankenstein, are timeless and ethically meaningful. They may also suggest materials and serve as discussion facilitators.

This Kutler Center seminar provides an interdisciplinary approach to tracking and providing context for the 20204 presidential election and will only be offered this school year. Informational content on the who, what, and how of the election complements contextual analysis of the process and outcome. While focused especially on media—both traditional and new technologies—and its role and impact, cultural, sociological, and economic influences and effects are also considered. An array of materials from multiple sources, along with guest speakers, provides ideas for students to explore and from which to create their own takeaways.

In 1837, Horace Mann became the first secretary of the newly created Massachusetts Board of Education. Mann believed that a nonsectarian “common school” system, in which every student had the opportunity to be educated at local taxpayer expense, was key to the success of democracy. His ideas became the basis for the country’s public school system. Since then, the public system has struggled to educate all children equally. How do class, race, geography, and politics factor into the kind of education that children receive? This course examines issues surrounding public school systems in the United States, such as funding, segregation, the charter school movement, teachers’ unions, and various government efforts that have attempted to improve the nation’s schools.

This course addresses overarching issues in criminal law, including origins of the Anglo-American system, fundamental constitutional protections (proof beyond a reasonable doubt, right to a trial by a jury of peers, protection against unreasonable searches and seizures, right of habeas corpus, right against self-incrimination, right to confront witnesses, and due process), criminal responsibility (diminished capacity, the insanity defense, and duress), and proof (reliability of eyewitness evidence and confessions and the role of expert and forensic evidence). The course includes a field trip to observe a criminal trial. Topics are addressed through mock-trial simulations, readings and media materials, guest speakers, and a required original research project.

This course analyzes how law and history have combined to create the social construction of race and racial hierarchy in the United States. Contemporary analysis of racism in America finds that it less often takes the form of explicit aggression typified by Jim Crow and the Ku Klux Klan and instead is expressed through implicit bias, microaggressions, color-blindness, and unconscious systematic behaviors that result in unequal access to resources and justice. Such disparities are created by legal, economic, social, and political structures. Because law is so closely intertwined with economics, politics, and society, it is an excellent vehicle for understanding how systems and institutional biases are created. By examining the historical and legal evolution of race in America, students hone their historical analysis skills, explore how race functions in society and within their own lives, conduct legal analysis, study the media’s representation of identity, and build communication skills needed to discuss race.

This seminar-style, discussion-based course traverses the cultural landscape and history of California from its admission to the Union in 1850 to present times. It focuses on the political and social aspects of the state, with an emphasis on gender and race. The texts, articles, videos, and other resources read/watched foster the discussions in which the classroom community engages. At least one field trip vital to enhancing the course experience is planned. Students complete both an independent research paper and a group presentation pertaining to an aspect of California culture approved by the instructor.

This course introduces linguistics and its many subdisciplines through an in-depth study of the English language. Students first learn how linguists study and describe languages scientifically. They explore what language is and discuss how it is stored, processed, and produced by the brain. English works as a system, and by comparing it with other world languages, students discover what makes it unique. Next, language is examined as a marker of identity as students analyze the geographic and social diversity of English, look at its many dialects, and ask why people sometimes care so much about how they themselves—and often others—speak. Finally, students consider the origins of this linguistic system by surveying its history, examining literature from Beowulf to the present day, asking where English came from, and learning how linguists reconstruct stages of language that predate writing.

Through this course, students develop a foundation for understanding modern China politically, culturally, and socially. Analyzing traditions, such as saving face, “eating bitterness,” and filial piety, enables students to contextualize trends in China’s foreign policies, domestic development, and current affairs. Through primary sources and case studies, the foundations that have shaped modern China, including the legend of Mulan and Confucianism, are examined. Ethnic minorities in modern China, the art and literature of ancient China, the Wuxia genre, the Cultural Revolution, U.S.–China relations, and regional conflicts with Hong Kong and Taiwan are among the topics covered. Gaining appreciation for the differences between Chinese and Western cultures advances students’ understanding of identity. Student work includes group presentations, in-class discussions, conversations with guest speakers, and building a learning portfolio. No prior Chinese language study is required.

Students examine the emergence of the Middle East from imperialism to the current upheavals in the region and focus on topics such as Arab-identity politics, Islamic fundamentalism, the Arab–Israeli conflict, and the impact of Western policies. Students focus on the twentieth-century experience and assess the region’s developments from political, economic, cultural, and ideological perspectives. Whirlwind events following the tragedy of 9/11 conclude the analysis. The Fertile Crescent, Anatolia, the Arabian Peninsula, the Persian Gulf, and North Africa serve as the geographic backdrop, while an appreciation of how the monotheistic faiths of Judaism, Christianity, and Islam have shaped the region are interwoven into this area-studies discourse. Readings include popular and scholarly historical surveys, selections from literary works, primary-source documents, and newspaper editorials.

American society is increasingly intertwined with the whole of the global community, but Latin America holds special significance to understanding local and national issues and circumstances. Its connection to economic and political matters and its social and cultural influence on the United States should lead to a more considered understanding of this neighboring region. For the purposes of the course, “Latin America” is defined as Mexico, Central America, and South America. Students examine the historical, cultural, and societal facets of Latin American countries and peoples, searching for both unique identities and common connections. They then assess the manner in which those identities and connections play out in relation to local and national circumstances. This interdisciplinary course includes literature, music, art, film, articles from various media, guest educators, and local field trips. Students participate in journal work, in-class discussions and presentations, and individual and collaborative projects.

This course captures the Black diaspora and its aesthetic across time, space, and imagination, looking forward before looking back. First semester, students analyze rich texts of Afrofuturism such as Black Panther; Takashi Okazaki’s manga, Afro Samurai; the works of Octavia Butler; the music of Outkast; and the jazz compositions of Kamasi Washington before shifting focus to recent hip hop within the era of late-stage (or corporate) capitalism. Second semester, they examine the origins of hip hop, including how the genre was manifested and shaped during the post-World War II era and blended into the Great Migration of Southern Blacks as they moved to the North, Midwest, and West during the early- to late-twentieth century. This migration created “chocolate cities,” where communities with specific, regional aesthetics were forged and Black folk could live out their present lives and imagine a future for themselves and their nation. Students from all backgrounds are welcome to learn and apply visual and cultural literacy, critical thinking, and historical insights to better understand modern America and, potentially, reimagine its future.

This course explores the intersection of technology, ethics, and society in an age of artificial intelligence (AI). Because coding is not required, the course is open to all students regardless of their experience with computer programming. Students examine the complex ethical challenges and societal implications that arise from rapid advancements in AI technologies. Through a colloquium-style format that incorporates speakers from Harvard-Westlake faculty, the industry, and academia, students develop knowledge and insight to navigate the future landscape of AI and shape a world in which technology serves humanity responsibly and ethically.

Memories make people who they are, but why do people recall some experiences so vividly and forget others? How can memory be improved, and how is it sometimes manipulated for personal or political reasons? What role does memory play in this age of information overload? Students explore these questions while considering a range of perspectives from cultural studies, neuroscience, psychoanalysis, and psychology. They also examine depictions of recollection in literature, film, and popular culture. Throughout the year, students not only write about their experiences but also study and practice techniques to improve their memories.

This course traces a history of women, sexuality, and gender from ancient to modern times. It focuses on feminism and gender issues from the twentieth century to the present and introduces key concepts in the study of sex and gender. The course is rooted in discussion and explores these concepts through a variety of media. Much of the content is driven by student interests and concerns. Students complete a research project presented in a form of their choice. They also prepare an independent project in lieu of a final examination.

Designed for film appreciation, criticism, and analysis, this course teaches students the art of “reading” film. Students are taken step-by-step through the vocabulary of film with the goal of gaining a command of “the grammar of film” and an understanding of how films tell their stories. Bonnie and Clyde is used as a benchmark to look at the movements and directors preceding and following that seminal film, including, among others, film noir, the French New Wave (particularly François Truffaut and Jean-Luc Godard), Peter Bogdanovich, and Alfonso Cuarón. More than one-hundred films are viewed, several of them in their entirety. Films highlighted include A Clockwork Orange, Battleship Potemkin, Casablanca, Citizen Kane, David Lean’s Oliver Twist, The 400 Blows, The Birth of a Nation, There Will Be Blood, and Y tu mamá también. Directors studied in-depth include Lean and Stanley Kubrick. Over the course of the year, students prepare two term projects and review four films. The first project’s topic is “The Language of Film.” Students choose their topic for the second project. Several tests and a midyear examination are also given.

This course evaluates the cultural significance and artistic merits of international cinemas as well as current trends in American films. In the first semester, students analyze the influence of Hollywood and how countries develop a national voice by examining the French New Wave; Japanese cinema and the films of Akira Kurosawa and Yasujirō Ozu; Mexican cinema and the films of Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro; and Indian cinema, including Bengali and Bollywood movies. They also study pan-European films responding to the Holocaust and World War II. In the second semester, students investigate ongoing trends in contemporary American cinema from the last ten years. Students view movies in class, write responses, and participate in class conversations.

Prerequisite: Cinema Studies I.

This project-based course is designed for students with an interest in leadership. Classwork centers on discussion, development, and implementation of crucial aspects of good leadership (teamwork, self-awareness, effective communication, conflict resolution, etc.). Students reflect on their beliefs and opinions about leadership, exchange ideas and perspectives with their peers, and then apply what they learn to a project proposal. Students engage in activities designed to put theory into practice, enabling them to identify their leadership style and recognize the strengths and contributions of others. In the final project, students consider the type of leader they are currently and the work they would like to do to benefit their communities. Elected ninth- and eighth-grade Student Council senators are required to enroll in this course.

Students develop leadership skills as well as an understanding of the nature of innovation. Two texts, Peter G. Northouse’s Leadership: Theory and Practice and Joseph C. Rost’s Leadership for the Twenty-First Century, serve as springboards for challenging conventional narratives about leadership. Through the lens of multiple disciplines, leadership is examined via works by Sir Arthur Conan Doyle, Thomas L. Friedman, Malcolm Gladwell, Steve Jobs, and Michael Lewis. Students are exposed to the nature of leadership through in-class activities ranging from simulations and guest lectures to improvisational comedy workshops, role plays, and public-speaking exercises. Students are assessed on the synthesis, evaluation, and application of course materials. In general, this course teaches students to focus more on questions of “How?” and “Why?” rather than on “What?” Assessments include written tests, frequent class presentations, group projects, and public-engagement work such as opinion–editorial articles and partnerships with local nonprofit organizations.

This course explores media literacy, the ethics of journalism, and the changing media landscape. It examines the responsibilities of journalists and the roles social and traditional media play in our lives. Students learn to evaluate the credibility of news stories and photographs, examine bias, and seek out a variety of reliable sources. Students are also encouraged to think critically about current events, engage with diverse perspectives, and consider how reporting can reinforce or combat bias and inequities. The course provides a foundation in responsible journalism and student press law and is a prerequisite for Introduction to HW Media.

Can a fake tweet cause the stock market to crash or change the results of an election? What is a real image or fact, and does it matter? This course explores the ever-changing landscape of information, media, and technology and the roles they play in people’s lives. Students learn to evaluate the credibility and format of information, examine bias, and identify and use reliable sources. The class studies the ethical dilemmas inherent in social media and current news cycles and evaluates issues such as logical fallacies, the function of algorithms in content curation, and the stratification of culture. Most work is done in class and involves longer-term small-group and individual projects related to current events.

Students write, produce, and promote news, feature, sports, and opinion stories for all Harvard-Westlake media outlets. Working under the guidance of students in HW Media II and III (and supervision of teachers/advisors), students investigate topics relevant to the community and work together to develop and circulate daily print and digital media productions using audio, broadcast/streaming, and/or social media formats. They learn to defend, both orally and in writing, decisions regarding the message, medium, and style of their journalistic output and its legal and ethical soundness. Students analyze writing styles, perspectives, and values in professional media and their own work.

Prerequisite: A middle school journalism course or Introduction to HW Media.

Students write, produce, and promote news, feature, sports, and opinion stories for all Harvard-Westlake media outlets. Students serve in a leadership role as part of a peer-editing and production team for one or more student media products. Options range from serving as a section or managing editor to business manager or as an editor-in-chief over a full staff. Students work to create a sense of community, foster the development of good journalistic principles, help each other and their peers in the selection of story ideas, conduct primary research, and serve as writing coaches.

Prerequisite: HW Media I.

Students write, produce, and promote news, feature, sports, and opinion stories for all Harvard-Westlake media outlets. Students serve in a leadership role in charge of a peer-editing and production team for one or more student media products. Options range from serving as a section or managing editor to business manager or as an editor-in-chief over a full staff. Students work to create a sense of community, foster the development of good journalistic principles, help each other and their peers in the selection of story ideas, conduct primary research, and serve as writing coaches. They demonstrate mastery of all media reporting and writing principles as well as print, digital, and mobile package planning and execution.

Prerequisite: HW Media II.

Students learn to express themselves with confidence and clarity. The course is designed to develop presentation, listening, and critical-thinking skills. Students become aware of the elements of verbal and non-verbal communication and how to effectively incorporate visual aids. They deliver both impromptu and prepared speeches, including biographical introductions, informative “how-to” explanations, and persuasive arguments. Students gain additional insights into the basics of public speaking by watching and critiquing speeches. They provide constructive feedback to their peers, articulating insights that can be applied to improve their own performances as well as to help others.

This course demystifies the world of entrepreneurship by exploring fundamental concepts and skills common to the entrepreneur. Students embark on a journey to understand how startups grow into businesses that work and what it takes to earn that first customer. Through case studies, practical exercises emphasizing design thinking, and interactive discussions, students develop the skills essential to entrepreneurship, such as ideation, prototyping, problem identification and solving, communication, and presentation. Students also cultivate important financial literacy skills in the context of entrepreneurship. Throughout the semester, students research the growth and development of their favorite for-profit and non-profit organizations and use those examples as a touchstone to contextualize their learning. The course culminates in a final presentation on the company of their choice.

At the end of Tony Kushner’s epic play, Angels in America, the character Prior Walter addresses the audience directly and urges them to action with “The Great Work begins.” While Prior’s message reflects on the AIDS crisis in the 1980s, his pronouncement has since become a rallying cry for American playwrights. Students in this course dig into important theatrical pieces from the last few decades that are doing the work in Prior’s appeal. As they study and honor the diverse voices making an impact on the current climate, students are encouraged to find their own voices as playwrights through a series of writing workshops and projects. This course explores a wide range of contemporary American theater-makers (e.g., Ayad Akhtar, Annie Baker, David Henry Hwang, Dominique Morisseau, Suzan-Lori Parks), is appropriate for both experienced and novice theater artists, and is recommended for students participating in the school’s annual playwrights festival.

Every region on Earth experiences the effects of natural hazards. This laboratory course discusses how science impacts society’s understanding of and responses to the natural world and aims to give students a foundation for critically evaluating future approaches to managing hazards from technical, personal, and societal points of view. During the first half of each unit, students focus on the scientific understanding of natural processes that cause natural disasters, such as earthquakes, volcanic eruptions, tornadoes, hurricanes, and floods. In the second half, students examine how society evaluates and confronts the dangers posed by these natural processes from political, social, and ethical perspectives. Students study technological advances that allow a large population to monitor, predict, and warn society about natural hazards and impending disasters. Case studies of recent and past natural disasters are discussed, focusing on both the geological and meteorological context of the hazard and its impact on individuals, society, and the environment.

Should humans be cloned? How are medical trials on humans regulated? Who owns the intellectual property of biological molecules? Should research investigating the biology behind sexual orientation be funded? Who should have access to genetic information? These are just a few of the questions that society grapples with as medicine and biotechnology advance. This course explores moral issues from philosophical and policy standpoints. Students investigate the science behind the phenomena and use case studies to understand the perspectives and interests involved. With each case, students also research how current policies, procedures, and laws respond to and regulate each scenario.

Everyone with a brand, from nonprofits and politicians to bands and coffee shops, wants “merch.” These products can create excitement and brand loyalty. But how can someone make effective merchandise? Students in this course are introduced to and explore the craft, materials, techniques, and ideology of graphic design for tee shirts and other forms of fashion merchandising. The curriculum is grounded in two-dimensional design. Students explore their favorite brands and clothing, construct their own visual identity, and then deconstruct the design and creation of these products. They learn the fundamentals of adding designs to garments, including silkscreen, embroidery, and direct-to-garment printing, and the software tools that relate to these processes. Students emerge with ample exposure to the production of merchandise, as well as a vocabulary for design-thinking and how to communicate ideas through this medium.

This course is designed for advanced Latin students who have successfully completed AP Latin and wish to continue their study of the language and Roman society and culture. Students read challenging and substantial passages of Latin poetry and prose to develop their facility with the language, an appreciation for the variety of Latin styles from one historical period to the next, and an ability to analyze and interpret a text. The legacy of the Latin language and classical literature is of primary interest, and students read Latin outside of the classical period to appreciate the impact that classical literature has had and continues to have on art, music, and film. Students may take this course in the fifth or sixth year of the Latin program.

Prerequisite: B in AP Latin and permission of current instructor.

This course offers students the opportunity to use their advanced Spanish-language skills in creative and analytical ways. Those skills may be applied to a wide range of topics, from art and literature to current events, economics, history, politics, and social studies. The seminar focuses on the history of Spain and Latin America as well as on contemporary political and social issues related to both regions. It includes historical analysis from the ancient, or pre-Colombian, period through modern times, including discovery of the New World, independence of the colonies, and contemporary issues. The course is conducted entirely in Spanish and involves daily reading, writing, speaking, and listening. Students are expected to read four to five pages every day and are quizzed on that material. The readings are discussed in class together with videos related to the historical events. A historical movie is viewed at the end of every unit and students write a summary of each movie. There are unit exams with questions about the material read and videos and movies watched. Two research papers and their related presentations with slides, one within each semester, are due in lieu of semester and final examinations.

Prerequisite: AP Spanish Literature and Culture or B+ in AP Spanish Language and Culture.

This fast-paced course, designed for students with a mastery of prealgebra skills, investigates traditional algebraic concepts using a variety of problem-solving strategies. Students must develop skills quickly and then apply them to complex problems. Students are expected to become proficient in the mechanics of a given topic and in its application to word problems. Mastery is expected in solving, writing, and graphing linear equations, inequalities, and systems as well as in solving and graphing quadratic equations. Other topics include radicals, exponents, and rational expressions.

Prerequisite: Prealgebra or Algebra I: Grade 7 and permission of current instructor.

Topics covered in this college-level course include the algebra of functions and advanced graphing techniques, limits and continuity, the derivative and its applications, techniques of differentiation for the elementary functions, area under a curve, integrals and their applications, and the fundamental theorem of calculus. Concepts are presented on an intuitive level without rigorous proof. A graphing calculator is used throughout the year. Tests and quizzes rely heavily on problem-solving ability; graded problems are not always exactly like homework or in-class problems. Students are expected to apply general concepts in new situations.

Prerequisite: B in Advanced Precalculus. Corequisite: AP Calculus AB examination.

This course is for students who have demonstrated ability and interest in studying mathematics beyond the level of calculus. Topics include set theory, vector spaces, basis and dimension, matrix arithmetic, eigenvalues and vectors, and diagonalization. Jordan canonical form, graph theory, and Markov processes may also be covered. The focus is on exposing students to a foundational branch of mathematics while developing their ability to think and communicate mathematical ideas at the advanced level. Students learn to write proofs and are expected to become familiar with LaTeX, an industry-standard document-preparation system for high-quality typesetting. The majority of class time is spent in discussion and working with peers and the instructor.

Prerequisite: B in AP Calculus BC or AP Calculus C.

This course introduces the fundamentals of computer science. Students learn the guiding principles of object-oriented software design and programming in Java. They apply concepts such as abstraction, encapsulation, inheritance, and arrays to solve problems. Topics include algorithm design, writing classes, programming principles, class hierarchy, inheritance, and interfaces. Material is introduced in presentations that are reinforced through homework. Students are assigned laboratory exercises to develop their ability to create solutions to problems in realistic situations. While there is no prerequisite, a solid foundation in mathematical reasoning and prior programming experience are recommended, and priority is given to students who have taken Introduction to Programming I and II or Introduction to Computer Science.

Students extend skills learned in the prerequisite course through an investigation of abstract data structures and practical program design. The Java programming language is used, but the course stresses universal programming concepts that can be applied to most languages. The course covers implementations and performance analyses of arrays, lists, stacks, queues, trees, heaps, maps, and graphs, including Java’s implementation through the Java collections framework. Practical skills, such as basic graphical user interfaces and I/O, complement these theoretical topics. Critical programming concepts such as abstraction, encapsulation, inheritance, polymorphism, and top-down design are reinforced as students create complete executable programs from start to finish. Students choose the proper data structures to create solutions to tasks such as spell-checking, lossless data compression, and Markov chain-based text generation.

Prerequisite: AP Computer Science A or Advanced Computer Science.

This course extends students’ knowledge of computer science and advanced topics such as decentralized programming, cryptocurrency, design of and ethics in artificial intelligence, and web development. Creating practical applications allows students to develop the skills and discipline necessary to program for industry. Coding in teams in Solidity, JavaScript, Assembly, and Python, they are given the opportunity to realize their potential and become technical directors of large projects. Students are evaluated on their design, technical communication, and coding mechanics and utility. Topics may change depending on the interests of the class and advances in computer science.

Prerequisite: Honors Design and Data Structures.

This course emphasizes the philosophy, development, and operation of market-based economic systems and their impact on individuals and society. Students learn about inflation, unemployment, and national output. They explore government options to address contemporary economic problems through fiscal and monetary policy. Through simulations and project-based learning, students learn how markets operate to allocate scarce resources to meet the unlimited needs and wants of society. The course also demonstrates how economic forces affect our lives and introduces students to financial decision making, including budgeting, banking, saving, and investing. Lastly, students analyze issues of international trade and explain how the U.S. economy affects—and is affected by—economic forces beyond its borders. Course grades are determined by contributions to group projects, class participation, research papers, and traditional assessments.

This course introduces students to the principles of micro- and macroeconomics. Emphasis is placed on mathematical modeling and quantitative analysis. The microeconomic portion of the course focuses on the pervasive problem of scarcity and how individual choices, incentives, and systems of prices affect the allocation of limited resources among competing uses. This includes an analysis of the effect of competition, cartels, monopolies, and government regulation on resource allocation and human welfare. The macroeconomic portion of this course is an introductory study of the domestic and international factors affecting national income, inflation, and unemployment. Among these factors, the role of money and government taxation and expenditure policy are emphasized. Although this course covers the AP Microeconomics and AP Macroeconomics syllabi, it does not specifically focus on preparing students for those examinations. Students planning to take the AP examinations will need to prepare for them independently, and review materials will be made available to them. Concurrent enrollment in Calculus and Statistics or an AP Calculus course is encouraged.

Prerequisite: Honors Precalculus, Advanced Precalculus, or A in Precalculus.

Student Leaders for Inclusion Diversity and Equity (SLIDE) is a coalition devoted to diversity, equity, and inclusion (DEI). SLIDE promotes DEI at Harvard-Westlake by engaging in robust internal discussions that encourage allyship and cross-cultural understanding, supporting and uplifting each other, collaborating with the Prefect Council and all student affinity groups, conversing with administrators about how the school can cultivate a true sense of belonging for students of marginalized identities, attending trainings to become better leaders, and hosting all-community town halls and large-scale events. This non-credit course functions as a leadership development program as well as a common meeting time for productive reflection, intersectional courageous conversations, logistical organizing, and DEI event-planning. SLIDE membership comprises leaders of all identity-based affinity groups on campus, students who attend the Student Diversity Leadership Conference (SDLC), and students who have demonstrated DEI leadership in other ways within the school community.

Prerequisite: Application.

This course gives students opportunities to reflect on the changes and choices adolescents experience and face in their daily lives. Students are encouraged to integrate personal values into their decision making and to develop a sense of responsibility about their actions, thoughts, and feelings. The course aims to increase student knowledge of important personal, social, and health issues to enable them to make informed and better choices. Topics addressed include identity development; wellness, stress, and relaxation techniques; integrity in interpersonal relationships; self-esteem, assertiveness, relational aggression, and harassment; stereotypes, implicit bias, and appreciation of cultural diversity; prevention of substance use and abuse; and body image, puberty, sexual health, and reproduction. The course consists of scenarios, video clips, role playing, journal writing, and small-group and seminar-style discussions.

This beginning-level course for students with developing and changing voices focuses on the fundamentals of singing and music literacy. Students who have or will develop a lower vocal range are encouraged to enroll regardless of their current stage of voice maturation. Typically, this chorus is made up of new baritones, mid-voice tenors, and unchanged tenors who are new to choral singing. The course covers breathing, pitch matching, tone production, and the coordination of the young voice and also introduces the fundamentals of sight-singing. A varied repertoire accessible to inexperienced singers is explored. After-school rehearsals are generally limited to the week of a concert or performance.

This beginning-level course for students with developing treble voices focuses on the fundamentals of singing and music literacy. Typically, this chorus is made up of students new to choral singing who have treble voices that will remain in the soprano–alto range. The course covers breathing, pitch matching, tone production, and the coordination of the young voice and also introduces the fundamentals of sight-singing. A varied repertoire accessible to inexperienced singers is explored. After-school rehearsals are generally limited to the week of a concert or performance.

This advanced ensemble is for experienced singers representing all voice parts who are dedicated to the choral art. The course focuses on improving vocal technique and musicianship skills, including more advanced levels of sight-singing and music literacy. The repertoire is drawn from a cappella as well as accompanied styles in genres ranging from classical to contemporary and is generally voiced for four-part ensembles. Independent a cappella groups may be derived from this ensemble. Madrigals represents the school in the community. After-school rehearsals are generally limited to the week of a concert or performance.

Prerequisite: Audition or prior enrollment.

Wolverine Chorus is a nonauditioned choir for soprano, alto, tenor, and bass voices. The course is designed to teach and facilitate the application of fundamental musical concepts. These include aural skills, vocal technique, musicianship, critical listening, group dynamics, and how to rehearse and perform a diverse choral repertoire ranging from Western European choral standards to contemporary songs and folk music from various world cultures. Sight-singing ability, while helpful, is not required. The chorus performs in three major concerts per year and participates in festivals, special events, and trips. Extra rehearsals and some work outside of class, while minimal, are required.

Chamber Singers is a highly selective soprano/alto/tenor/bass ensemble drawn from yearly auditions. Its membership of sixteen to twenty students is based upon vocal talent and sight-reading and musicianship skills. Because of its quick pace, sophisticated rehearsal requirements, and additional performing opportunities, Chamber Singers demands a significantly larger amount of outside work than the other choral classes. The advanced repertoire is taken from the full spectrum of choral art. A particular emphasis is placed upon unique twentieth- and twenty-first-century music, as well as medium-sized works by great classical composers. The ensemble participates in community events, three major concerts, and many festivals during the school year. Chamber Singers may tour during spring break. Extra rehearsals are required.

Prerequisite: Audition or prior enrollment.

This course is for an ensemble of treble voices from the tenth through twelfth grades. The class introduces choral techniques such as blend, diction, intonation, voicing, and vowel production. Advanced choral skills, such as multipart singing, stylistic tonal modification, and vibrato, also are addressed. It covers a variety of musical styles from the Renaissance to the twenty-first century, as well as some arrangements of popular a cappella and Broadway music. Sight-singing ability is not required but recommended. Bel Canto performs in three major concerts and select festivals throughout the school year. Extra rehearsals and work outside the classroom are required.

Prerequisite: Audition or prior enrollment.

This course introduces students who have no prior experience playing a stringed instrument to the violin, viola, cello, or double bass. Students are provided with a school instrument and daily group instruction. By the end of the year, students read music written in a variety of styles. Intensive study of music literature, technique, ear training, and music theory make possible a lifelong involvement and appreciation for the discipline of instrumental music. After-school rehearsals, usually one each in the winter and spring, prepare students for the biannual concerts in which they perform.

This is the most advanced symphonic music ensemble on the middle school campus. In this course, students with advanced playing experience rehearse and perform music of various styles and periods. Auditions for this ensemble are held in the spring. Students are exposed to string, wind, and symphonic literature throughout the course, and the classwork provides appropriate challenges and technical difficulties to all members. This orchestra performs in three concerts and participates in a nationally recognized competition or festival. Extra rehearsals outside the classroom, while minimal, are required.

Prerequisite: Audition or prior enrollment.

This is an advanced class for string, woodwind, brass, and percussion players with their own instruments (exceptions are granted for cello, bass, low brass, and percussion). The repertoire is drawn from a wide range of styles and periods, and original (i.e., nonsimplified) editions are used. Symphony students perform in three concerts during the school year. A few after-school rehearsals are added the week before concerts. Because of ensemble balance requirements, students who audition for Symphony must be prepared to honor the commitment that participation in this program entails.

Prerequisite: Audition or prior enrollment.

This course provides an opportunity for students with no prior experience to learn how to play a woodwind or brass instrument, including the flute, oboe, clarinet, bassoon, tenor saxophone, baritone saxophone, trumpet, French horn, trombone, euphonium, or tuba. Students learn to care for their instruments. They also learn the fundamentals of music theory and how to read music. Students enrolled in this class are provided with a school instrument, texts for the class, and daily group instruction. By the end of the year, students become proficient readers of music and acquire the proper technique to ensure a lifelong appreciation of and involvement in the discipline of instrumental music. After-school rehearsals, usually one each in the winter and spring, prepare students for the biannual concerts in which they perform.

This course provides an opportunity for students with between one and four years of playing experience on a wind, brass, or percussion instrument to further develop technical and musicianship skills. Auditions for this ensemble are held in the spring, and placement is at the discretion of the conductor. Students learn how to play an instrument in a large ensemble, how to follow a conductor, and what it means to be part of a musical team. Students are exposed to a variety of musical styles, ranging from classical to popular. The repertoire is sequenced so that concepts learned in class are continually reinforced, and students are engaged and challenged. After-school rehearsals, usually one each in the winter and spring, prepare students for the biannual concerts in which they perform.

Prerequisite: Audition or prior enrollment.

This course is open to advanced wind, brass, and percussion players whose skill level is beyond the intermediate stages of learning how to play an instrument. Students must have at least two years of playing experience as a member of a large ensemble. Auditions for this ensemble are held in the spring, and placement is at the discretion of the conductor. There is an emphasis on learning how to adjust one’s intonation in relationship to others, as well as on interpreting the music beyond the notes printed on the page. Musical expression, phrasing, tone quality, challenging technical passages, and the opportunity to become familiar with classic symphonic-band repertoire are all elements covered in this performing ensemble. After-school rehearsals, usually one each in the winter and spring, prepare students for the biannual concerts in which they perform.

Prerequisite: Audition or prior enrollment.

This course is for experienced-to-advanced players. Each spring, students may audition for this class—a band molded from a traditional big-band set-up (five trumpets, four trombones, five saxophones, piano, bass, drums, and guitar). Students who feel qualified on nontraditional instruments (e.g., strings, mallets, Latin percussion, etc.) may also audition for placement consideration. The course of study for the ensemble includes advanced high school and college repertoire, student-written pieces, and commissions from professional jazz writers. In-depth areas of jazz and “commercial music” performance skills (tone quality, intonation, sectional balance, improvisational techniques, and style) are the major focus of the coursework. The class studies big-band charts and classic recordings representing various historical periods and styles of jazz. Additional after-school rehearsals may be scheduled for concerts, recording sessions, and extra performances. The Harvard-Westlake Jazz Explorers, the school’s top jazz combo, is selected from members of the Jazz Band. Additional small combos may be formed at the instructor’s discretion.

Prerequisite: Audition or prior enrollment.

Designed for the intermediate-to-advanced jazz player, this is a performance-oriented class for brass, woodwind, keyboard, and rhythm-section players who desire an intensive experience studying jazz music. Students who wish to eventually place into Jazz Band should audition for this course. Classwork focuses upon performance skills, ensemble techniques, reading, improvisation, and specific jazz techniques and styles. The materials are chosen from standard big-band arrangements and combo charts. The class provides a unique opportunity for individuals to develop their overall playing skills while working in alternating settings of a twenty-two piece jazz band and jazz combos. Advanced members of this class may audition for the smaller combos that rehearse during class time. Selection for placement in these smaller groups can be competitive. Studio Jazz Band and its small combos perform in several concerts during the school year. Additional after-school rehearsals are scheduled before concerts and as needed.

Prerequisite: Audition or prior enrollment.

Designed for the less-experienced jazz player, this is a performance-oriented class for brass, woodwind, keyboard, and rhythm-section players who have had at least two years of instrumental training. Students who wish to eventually place into Studio Jazz Band or Jazz Band should audition for this course. Classwork focuses on performance skills, ensemble techniques, reading, improvisation, and specific jazz techniques and styles. The materials are chosen from standard jazz repertoire and classic jazz combo arrangements. The class provides an opportunity for students to develop their overall playing skills while working in a smaller jazz band. Jazz Ensemble performs in several concerts during the school year, and additional after-school rehearsals are scheduled as needed.

Prerequisite: Audition or prior enrollment.

This course enables already-practicing student musicians to grasp aspects of music that they may not be able to focus on in their individual musical studies. This includes areas of music theory, such as rhythm, harmony, melody, scales, orchestration, and form. Students are introduced to basic elements of music history and to music traditions from diverse cultures. Music technology equipment, including Apple Mac Pro computers, Kurzweil stage pianos, and Logic Pro software, is used on a daily basis. Students should have at least one year of formal music instruction prior to enrolling in this course. Students who complete Music Technology for Musicians I in the first semester have the option to enroll in Music Technology for Musicians II in the second semester.

Prerequisite: A middle school instrumental or choral music course.

Each Music Tutorial offers student members of another Performing Arts course the opportunity to develop discipline-specific skills. The content is determined through individual meetings with the instructor of the tutorial and is intended to supplement and enhance other in-class instruction. Typical tutorials are undertaken in music-related areas, such as composition, arranging, counterpoint, conducting, orchestration, jazz and commercial improvisation, early music, music history, music production, and voice and instrumental study. A limited number of tutorials can be supported by the music faculty each year, and the one meeting per cycle is arranged by the instructor. Students must be capable of working independently to complete the substantial amount of work assigned.

Prerequisite: Application.

This course is for dancers with prior training and performance experience who wish to deepen their understanding of contemporary dance and choreography. Students explore a wide range of styles and techniques (including ballet, jazz, hip hop, and modern dance) and learn about their historical and cultural origins. Through improvisation, collaboration, and choreographic studies, dancers find their voices and learn to express themselves through movement. The course ends with a showcase of student-created works and includes after-school rehearsals during the week prior to that event.

Prerequisite: Introduction to Contemporary Dance, audition, or prior enrollment.

This course builds on the technical, creative, and performance skills of Contemporary Dance Workshop I. Students learn choreographed combinations and explore a culturally diverse variety of dance genres. Strength, flexibility, and coordination improve through the study of ballet, modern dance, jazz, and hip hop techniques, while improvisation and choreographic prompts emphasize creativity and self-expression. Students expand their critical-thinking capabilities by analyzing and discussing the works of contemporary choreographers. The course ends with a performance of works created in collaboration with their peers and includes after-school rehearsals during the week prior to that event.

Prerequisite: Two semesters of Contemporary Dance Workshop I, audition, or prior enrollment.

This course offers an in-depth exploration of dance technique, choreography, improvisation, performance, aesthetics, and characteristics through lecture, video, and physical practice. Genres include, but are not limited to, modern, contemporary, jazz, hip hop, and ballet. Students learn to identify and discuss various dance forms as well as compose and perform through a series of collaborative choreographic assignments and showcases. The class provides the opportunity to appreciate dance as an art form and a space to explore expression through movement. Students enrolled in this course are welcome to join Harvard-Westlake’s dance ensemble and perform in the annual dance concert.

This course offers an in-depth study of choreography and the creative process through lectures and physical practice. Dance genres include, but are not limited to, modern, contemporary, jazz, hip hop, and ballet. Technique and performance are also examined. Students focus on developing choreographic approaches for both site-specific and stage work. The class provides the opportunity to appreciate dance as an art form and creates a space to explore expression through movement. Students enrolled in this course are welcome to join Harvard¬-Westlake’s dance ensemble and perform in the annual dance concert.

Prerequisite: Audition or prior enrollment.

Students develop and deepen their approach to the art of acting while simultaneously gaining exposure to several notable acting techniques and viable pathways to character development through an exploration of characters and scenes from contemporary plays. All classwork springs from the Atlantic Acting School’s concept of “practical aesthetics,” which stresses the universal necessity of objective-driven action across a diverse range of dramatic literature and acting styles. The acting process is demystified by giving each actor a set of analytical and physical tools with which to work, starting with the ability to use one’s experiences and imagination to transform “self” into character. The course highlights the actor’s ability to be present in a believable way within any circumstance as well as conditions the actor’s willingness and resilience to transform the concept of “self” beyond pre-established boundaries.

Prerequisite: The Actor and the Stage I, Acting I: Voice and Movement, or Acting I: Improvisation.

This course provides a practical introduction to four unique styles of performance: acting for the camera, Shakespeare, verbatim theatre, and improvisation. Students build on training from the previous two courses as they adopt the appropriate physical tools, vocal dynamics, and imaginative play required for each genre and its conventions. Students broaden their expressive capabilities and agility with different acting styles while continuing to develop their own philosophies and approaches to performance.

Prerequisite: The Actor and the Stage I–II, The Actor and the Stage II, or Acting II: Scene Study.

At the end of Tony Kushner’s epic play, Angels in America, the character Prior Walter addresses the audience directly and urges them to action with “The Great Work begins.” While Prior’s message reflects on the AIDS crisis in the 1980s, his pronouncement has since become a rallying cry for American playwrights. Students in this course dig into important theatrical pieces from the last few decades that are doing the work in Prior’s appeal. As they study and honor the diverse voices making an impact on the current climate, students are encouraged to find their own voices as playwrights through a series of writing workshops and projects. This course explores a wide range of contemporary American theater-makers (e.g., Ayad Akhtar, Annie Baker, David Henry Hwang, Dominique Morisseau, Suzan-Lori Parks), is appropriate for both experienced and novice theater artists, and is recommended for students participating in the school’s annual playwrights festival.

This course explores the foundations of American musical theater history and performance, paying special attention to the act of storytelling through song and dance. Moving between personalization and characterization, students focus on solo work from various decades and styles of musicals, approaching the material as actors first. With this method, singers of all levels can comfortably and effectively participate in classwork and gain valuable tools to advance their skills. Theater dance technique and choreography are also taught through this lens, placing character objective and action at the forefront. Throughout the semester, students connect the work to the artistic landscape in which musical theater was born and look at how the industry continues to evolve today. The class culminates in an ensemble performance of a fully staged musical number and is a great vehicle for expanding students’ repertoire and audition readiness.

This course builds upon the principles learned in Middle School Stagecraft I. Students study advanced concepts in theatrical design with a particular emphasis on the role of design and technology in the storytelling process. Students also gain an understanding of high-end lighting and sound equipment. The course culminates in a comprehensive design project that is presented to the class. Students enrolled in this course are actively involved in school productions from start to finish and are expected to lead student crews for Performing Arts events. Attendance at performances and after-school rehearsals typically scheduled the week prior to the performance are required.

Prerequisite: Middle School Stagecraft I.

This course continues the lessons taught in Middle School Stagecraft I and II and adds a history of practices and practitioners from Greek theatre to the modern stage. It focuses on the disciplines of scenery, lighting, sound, and stage management. Aesthetics, the design process, and implementation of designs are emphasized. Students master high-end lighting and sound equipment and gain a basic understanding of hand tools and scenic construction practices. The final assessment is based on a project each student chooses from the disciplines offered. Students enrolled in this class serve in an array of roles during rehearsals, technical rehearsals, and live productions. Those not working directly on a project are expected to view the production and contribute to classroom discussions. All students participate in a group strike of scenery, lights, and costumes the day after a production closes.

A student may seek permission from the head of the department to study a Performing Arts subject not offered as an official class or to pursue a particular area of interest in greater depth. Opportunities for directed study are determined by the number of students who apply and an instructor’s current course load. These courses require the commitment of a Harvard-Westlake School Performing Arts department faculty member who agrees to teach the subject of choice during regularly scheduled meeting periods. Directed studies include normal coursework and projects and usually are conducted in the context of a current department production or project. Previous directed studies have included stage management, lighting design, costume design, and musical theater pit orchestra performance for department-directed productions as well as studies in music and dramatic literature. Students should be aware that a directed study may not be available in all disciplines and that these courses cannot be used to fulfill the University of California (UC) system’s VPA (visual and performing arts) subject requirement. For further information, contact the head of the department.

Prerequisite: Application.

A student may seek permission from the head of the department to study a Performing Arts subject not offered as an official class or to pursue a particular area of interest in greater depth. Opportunities for directed study are determined by the number of students who apply and an instructor’s current course load. These courses require the commitment of a Harvard-Westlake School Performing Arts department faculty member who agrees to teach the subject of choice during regularly scheduled meeting periods. Directed studies include normal coursework and projects and usually are conducted in the context of a current department production or project. Previous directed studies have included stage management, lighting design, costume design, and musical theater pit orchestra performance for department-directed productions as well as studies in music and dramatic literature. Students should be aware that a directed study may not be available in all disciplines and that these courses cannot be used to fulfill the University of California (UC) system’s VPA (visual and performing arts) subject requirement. For further information, contact the head of the department.

Prerequisite: Application.

This course is for dancers with prior training and performance experience who wish to deepen their understanding of contemporary dance and choreography. Students explore a wide range of styles and techniques (including ballet, jazz, hip hop, and modern dance) and learn about their historical and cultural origins. Through improvisation, collaboration, and choreographic studies, dancers find their voices and learn to express themselves through movement. The course ends with a showcase of student-created works and includes after-school rehearsals during the week prior to that event.

Prerequisite: Introduction to Contemporary Dance, audition, or prior enrollment.

This course builds on the technical, creative, and performance skills of Contemporary Dance Workshop I. Students learn choreographed combinations and explore a culturally diverse variety of dance genres. Strength, flexibility, and coordination improve through the study of ballet, modern dance, jazz, and hip hop techniques, while improvisation and choreographic prompts emphasize creativity and self-expression. Students expand their critical-thinking capabilities by analyzing and discussing the works of contemporary choreographers. The course ends with a performance of works created in collaboration with their peers and includes after-school rehearsals during the week prior to that event.

Prerequisite: Two semesters of Contemporary Dance Workshop I, audition, or prior enrollment.

This course offers an in-depth exploration of dance technique, choreography, improvisation, performance, aesthetics, and characteristics through lecture, video, and physical practice. Genres include, but are not limited to, modern, contemporary, jazz, hip hop, and ballet. Students learn to identify and discuss various dance forms as well as compose and perform through a series of collaborative choreographic assignments and showcases. The class provides the opportunity to appreciate dance as an art form and a space to explore expression through movement. Students enrolled in this course are welcome to join Harvard-Westlake’s dance ensemble and perform in the annual dance concert.

This course offers an in-depth study of choreography and the creative process through lectures and physical practice. Dance genres include, but are not limited to, modern, contemporary, jazz, hip hop, and ballet. Technique and performance are also examined. Students focus on developing choreographic approaches for both site-specific and stage work. The class provides the opportunity to appreciate dance as an art form and creates a space to explore expression through movement. Students enrolled in this course are welcome to join Harvard¬-Westlake’s dance ensemble and perform in the annual dance concert.

Prerequisite: Audition or prior enrollment.

This course introduces students to individual sports, team sports, fitness, and aquatics. The program challenges students to raise their fitness levels and develop motor and leadership skills, good character, and a positive self-image. During first semester, students rotate through activities of varying intensity. In the second semester, students are assigned to one of two tracks. Placement in the sports-performance track is determined by student desire and staff approval. This track alternates between weight-room workouts and playing sports. The fitness track continues to build athletic skills and improve fitness through sports and games.

The eighth-grade program continues to develop the knowledge and skills introduced in Physical Education 7. Students who enroll for the entire year have the opportunity to sign up for the sports-performance track designed to prepare middle school athletes for high school sports. This track alternates between weight-room workouts and playing sports. If space is available, students who enroll for one semester may also sign up. The fitness track continues to teach students to develop lifelong habits and build character through teamwork, communication, and cooperation while playing sports.

This course is a laboratory-based overview of the fundamentals of biology. Students learn about genetics, the structure and biochemical processes of the cell, ecology, evolutionary trends within and among the various kingdoms, and human-systems physiology. Students improve upon the laboratory skills acquired during Integrated Science I and II as they continue to collect and analyze data. Students gain proficiency with a microscope and are introduced to techniques of dissecting specimens and performing physiological experiments. The course helps students make informed decisions regarding the biological issues that society faces.

This course covers similar skills and topics as those taught in Biology, but at a faster pace, in greater detail, and with an emphasis on the molecular approach to biology. The course is designed for, and limited to, those students who have an intense curiosity about the natural world and life as a process. Due to the advanced and accelerated nature of the course, independent student learning and initiative are required. Students are expected to invest the time and energy necessary to synthesize complex and detailed processes.

Prerequisite: Placement test.

This introductory survey exposes students to some of the major methods of thinking encountered in a postsecondary engineering course. It focuses on habits of mind and problem-solving techniques rather than on computations or analytical content. Students develop an understanding of concepts and hone interpersonal, creative, and problem-solving skills through collaborative completion of challenges. They are exposed to the practices of and specialized fields within several major branches of engineering, including chemical, mechanical, aerospace, and civil. The course is well suited for students considering engineering as a career as well as those curious about what it means to be an engineer or who are interested in learning how to better identify and solve real-world problems. No previous knowledge of engineering is required.

Prerequisite: Chemistry or Honors Chemistry.

This course provides a general overview of ocean science. Students learn about the physical, chemical, and geological features of the ocean environment (oceanography) and about the history of ocean exploration and navigation. The organisms that live in the ocean and their ecological relationships (marine biology) are also explored, with emphasis placed on our local marine environment and organisms. The course is designed to appeal to students with a wide range of scientific backgrounds and interests. The workload tends to be light to moderate compared with other science courses at Harvard-Westlake. Activities include lectures, laboratory experiments and observations, watching educational films, and field trips. The costs of the field trips vary depending on the specific activities and number of participants.

This advanced course in biology connects the anatomy (structure) to the physiology (function) of the human body. The year begins with an introduction to the main organ systems of human biology (circulatory, respiratory, digestive, endocrine, etc.). Students investigate the organs and tissues involved in these systems through dissections and by viewing videos of surgeries. Interactive models and articles from scientific journals are used to reveal the functions of those structures. Second semester, students engage in an extensive research project. They explore experimental techniques used to study physiology and the history and ethics of human research. The project continues with students applying the techniques researched, when applicable, to collect and analyze data sets and concludes by researching a physiological disorder and the treatments for that disorder.

Prerequisite: One year of chemistry and permission of current instructor.

This course introduces fundamental techniques of biotechnology; it examines how these techniques have revolutionized our understanding of genetics, medicine, and human evolution, and it considers selected ethical and societal issues stirred by this revolution in biology. In the first semester, students learn how scientists discovered that DNA controls heredity and address the issues of scientific priority, competition, and genetic variation. Students perform experiments using some of the basic techniques of biotechnology (bacterial transformation, genetic recombination, the polymerase chain reaction, protein purification, and RNA interference) on different model organisms and examine how these techniques are used in connection with protein and DNA sequencing, microarrays, and bioinformatics. In the second semester, students learn how to identify genes and apply that knowledge to raw sequencing data. Students then focus on how disease-related genes are discovered and investigate associated issues, such as cloning, stem-cell research, and the CRISPR/Cas9 system. They study how genomics has provided a new perspective on evolutionary processes and relationships within and among species.

Prerequisite: One year of chemistry and permission of current instructor.

Working with the Seung Kim Laboratory at the Stanford University School of Medicine, this course provides students who have a strong interest in cutting-edge science the opportunity to develop into contributing members of a research laboratory. Employing transposon biology and other techniques used by molecular biologists and geneticists, students create their own transgenic fruit flies, which are sent to a fly data bank for use in professional laboratories that do tissue-specific genetic manipulation. During the fall, students spend much of their time building stable stocks and doing five selective-mating crosses. In the spring, they use a variety of molecular techniques to characterize their fly lines. Students confirm their findings through larval dissection and fluorescent microscopy. The project culminates with students sharing their findings through a poster presentation with peer schools at a symposium hosted at Stanford. In addition to completing original research, students sharpen their communication skills and ability to read and process scientific literature.

Chemical basis of biological structure and function, experimental design, data analysis, and evolutionary change are major themes reinforced throughout the year. Subject areas include macromolecules, enzyme regulation, cell structure and function, energy transformation (cell respiration, photosynthesis), cell communication, cell reproduction (DNA structure/function, mitosis), protein synthesis, gene regulation, and biotechnology. Inquiry-based lessons and interactive lectures present topics at a level similar to a first-year course for a college biology major. Assessmen