JEWISH COMMUNITY HIGH SCHOOL OF THE BAY
notebook
SUMMER 2017
Giving voice to
WOMEN in SCIENCE JCHS Drama premiered Alice & the Black Hole Blues in the Performing Arts Theater in May, 2017. Photos: Brian Dean
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young girl’s curiosity, a college student’s wonder at the splendor of the universe, and the richness of women’s contributions to science are set against the fantastical dreamscape of Wonderland in Alice & the Black Hole Blues, the devised theater work JCHS Drama premiered locally in May and internationally at the Edinburgh Festival Fringe in August, 2017. Conceived and directed by Visual & Performing Arts Chair Dylan Russell, the play was written entirely by the company members using the Word-for-Word process, a playwriting technique that intertwines literary text— taken word-for-word from the sources—and original material in a kaleidoscope of theatrical storytelling. In the fall of 2016, the company began development on the play, which incorporates physical theatre, poetic and pop culture elements, as well as student-created visual, auditory, and scenic designs. Inspired by Lewis Carroll’s Alice’s Adventures in Wonderland, the work imagines a collision of 2
multiple universes in which Carroll’s Alice Liddell meets a modern-day astrophysics student named Alyce. The two of them fall down a rabbit hole where they encounter five historical women who have challenged societal assumptions about women and science: mathematician Hypatia, chemist Marie Curie, inventor and movie star Hedy Lamarr, geneticist Rosalind Franklin and astrophysicist Vera Rubin. Throughout their journey, the Alices experiment, observe, and learn to stand up for themselves, finding out what is possible when others believe in you, but most importantly when you believe that you are unstoppable.
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Company: Marty Cohen ’19, Olive Fox ’19, Becky Grintsaig ’17, Ellie Grintsaig ’19, Yael Homa ’20, Evelyn Inker ’18, Jeremy Mackles ’18, Nathan Magid ’19, Maya Menachem ’19, Eli Moldavsky ’19, Sara Moss ’19, Benjamin Robinow ’19, Avram Rosenzweig ’19, Sophia Salesky ’18, Tessa Zitter ’17, and Avima Aniela Zuliani ’19.
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HEDY But we are free, free to be the people we wish to be. And ultimately, only you can determine who you become in life. When I was a little girl in Vienna, I remember my father sitting me down on the chaise and telling me that I must make my own decisions, mold my own character, think my own thoughts.
Our company came across a variety of challenges on the road to Scotland, but I think that the most difficult one was the creative process itself. Almost the entire cast is new to the world of devised theater, which in itself is a difficult concept to wrap one’s head around. As part of a high school theater department, you are used to being handed a script and given blocking and direction. When we started rehearsal we had no script, essentially no plot, and a hazy idea of what the show was even about.
ALYCE But how can I do that if everyone around me keeps making decisions for me?
We began by learning a new technique called “word-forword,” which is also the name of the San Francisco theatre company that developed the process. At first, it felt foreign and uncomfortable, but with time, and with guidance from Valerie Weak, who works with Word-for-Word, it became a helpful storytelling tool that we utilized often and with ease. After learning the basics of the technique, we began working with concepts. We did visualization exercises, both to better understand our relationship to our subject matter and to generate material that, although we did not know it then, we would later use. We would be given objects, pieces of text, phrases, or specific instructions (such as “use two instances of complete stillness and one non-human sound”) and told to make a scene out of that framework.
ALICE It makes life so boring. ALYCE Uninteresting. Nothing new taught... ALICE Nothing new to experience... ALYCE Kept from learning... ALICE Kept from leaving the house...
It was a new and difficult form of collaboration that challenged everyone in the cast to step outside their comfort zones and trust our cast mates and our own creative abilities. After three months of work, we finally finished a first draft of a full script after spring break. Even then, we essentially overhauled the entire thing more than once and were making changes in text, blocking, and tech up until opening night. All in all, the show was a beautiful monster to create. It is a feat of creativity and collaboration which could not have been achieved without the time, energy, and hard work of an incredibly committed ensemble. Tessa Zitter ’17
ALYCE From adventuring... ALICE Always misunderstood... And bored!!
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ALICE/ALYCE
HEDY Well, I can excuse everything but boredom. Boring people don’t have to stay that way. You ended up here didn’t you? Doesn’t that prove that your opportunities are endless, your imagination is limitless?
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The Art of
Zentangles When Sabrina Katz ’19 was first introduced to Zentangles, she says she didn’t take to the method immediately. But doodling in her planner soon turned into a much more satisfying creative process, a blend of calculation and intuitive letting go. “Sometimes it makes me more focused—I’m sitting there drawing and I feel like I hear the world around me much more clearly,” she says. “Then, other times it feels like I’m just deep in the art itself. For me, it requires patience to do them. In a stressful situation I can get so easily aggravated, but if I can find my patience while drawing Zentangles, then I feel like it reduces the stress.” Zentangle artwork created by Sabrina Katz ’19.
“The pen does the work and there are no mistakes,” she continues. “Even if you ‘messed up’ and make a big circle of ink, you just make that into part of the design, you let it happen. Once I was trying to make an eye, and it started looking like a flower. When I don’t have an inspiration, I might start drawing an eye and it could turn into an animal.” Mary and Robert Thomas first developed what is known today as the Zentangle method, although creative practices that incorporate ritual, symbol and pattern are of course as old as human art. Still, the Zentangle method is enjoying popularity as an art therapy practice that promotes mindfulness and relaxation while creating results that sometimes surprise even the artist. The core concept starts with a “string” that defines an area, which is then filled in with a repeated pattern
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or “tangle.” Practitioners tend to use finely pointed pens for precision. Strokes are laid down with deliberate focus and apparent mistakes become the foundations for new patterns. Sabrina says her Zentangles can take from a few hours to a few months to complete-- always done in pen because “with pen you just do it, it forces you to just put that pen on paper.” That’s shifted her attitude toward other areas of life, too, in which she takes a stance of “just do it,” instead of hesitating. How does she know when a piece is finished? “You look at it and it feels done,” she says, “ I mean, it’s never done technically, until you run out of space, but usually I stop when I get to edge of the paper.”
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SUMMER HARVEST: A bevy of vegetables grown in the APES class garden boxes. Photo: Mary Ellen Hunt
How does your
garden grow? S
cience and sustainability are more than just academic topics in Marta Fuentes-Filp’s AP Environmental Science class, nicknamed APES, affectionately. Integrating knowledge gained in previous JCHS science classes (Physics, Chemistry, and Biology), seniors study environmental principles and concepts, and grapple with contemporary issues in an effort to understand our world and the real consequences of our actions. Among the pertinent questions they address: What are the possible remedies for our current environmental situation? Can it be changed? How can it be changed? Will the change occur in a time frame that will be of use to the human race? “Ultimately, students come to understand that their voice is necessary for change to occur. Everyone is responsible,” says Fuentes-Filp. 6
JEWISH COMMUNITY HIGH SCHOOL OF THE BAY
In the initial weeks of the course, students examine large-scale structures that contribute to the cycles that sustain the planet. They look at geological processes including volcanoes, plate tectonics, mountain building, and subduction zones. They study the Earth’s atmosphere at ground level and altitude, and begin to understand the formation of the current atmospheric balance of oxygen and carbon dioxide. From there, the APES class investigates how matter and energy move through a system and learn about the kinds of energy (solar, biotic chemical, abiotic chemical) and qualities of energy. How does energy interact with living systems and what are the important biological and geologic chemical cycles (nitrogen, carbon, oxygen, phosphorous, calcium)?
As they begin to piece together the complicated and interdependent elements that factor into healthy ecosystems, the questions turn to human impact in the dynamic. What parts do natural selection, habitats, resources, weather and invasion play in determining species diversity? What is sustainability, how do we maintain it, and should we? What is the economic impact? Understanding the complexity of these questions and evaluating potential solutions to problems enables individuals to envision ways in which they can take an active role in creating change.
that they plant and tend throughout the spring. Nurturing crops that include fava beans, peas, carrots, squash, tomatoes, radishes, beets, chard, and potatoes gives APES students a chance to see what techniques for planting work well, and why. They can examine the habitat for pollinators such as bees and butterflies created by their gardens, and they can enjoy the unparalleled pleasure of eating what they grow.
Throughout the second semester, students also learn about soil structure, and the science of growing food. They literally get their hands dirty designing 4-foot-by-4-foot garden boxes
INSET: Vickie Maler ‘17 and Michelle Barash ‘17 preparing a 4 x 4 garden box. MAIN PHOTO: A variety of pollinators visited the garden boxes. Photo: Marta Fuentes-Filp
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S
eparating from the past o we can move forward
In Aron Wolgel’s Mishna and Gemara class, students created an original image meant to convey a particular message. In a personal essay, Sophie Katz ’19 reflects on the details of her photographic composition and how the choices she made about what to include in the image relate to a teaching from Pirkei Avot.
Living in the past is comfortable because it is known, but only by separating from our past are we able to move forward... We can’t let our past hold us back from continuing to grow, nor can we let it dictate our future. When you don’t let go, you hold yourself back from moving forward. I have a really hard time with moving on and letting go. I constantly beat myself up about coulda, shoulda, wouldas. My anxiety escalates and I become stuck in something I did a day or a week ago. By refusing to let go of something imperfect I have done, I am not giving myself the opportunity to gain perspective and move on. But if I do let go, and put the past behind me, I am able to move past the spiraling anxiety. While acknowledging your past is important, you must separate from the past in order to move forward. You have to see and acknowledge your past, learn from it, and move on as opposed to dwelling in your history. By dwelling in the past you become stagnant and unable to learn and grow. We gain experience and knowledge by putting ourselves in uncomfortable situations and entering the unknown, and only
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through this process are we able to move forward into our future. In this photo, I am walking out of a childhood bedroom and into a hall to symbolize moving forward from my past and starting a journey of self-discovery and growth. I have struggled with an anxiety disorder and OCD since I was little. The room I am leaving is extremely tidy with minimal objects to clutter the space, representing my need to have a perfectly clean, tidy room in order to feel stable. By walking out of this room, I am representing my desire to leave behind the anxiety and OCD that so often debilitates me. The teddy bear and the small photo of my family propped up on the corner of the bed frame are both objects from my childhood. I am simultaneously walking away and separating from these objects as well as holding them close. I am still bringing them with me on my journey because these elements of my past will always be inside me, which is why you can see these objects through my body. The Union Jack represents a friendship
JEWISH COMMUNITY HIGH SCHOOL OF THE BAY
that I had with a British teacher in middle school. Mr. D. supported and helped me get through a rough period in 8th grade but although this friendship was incredible and beneficial at the time, I needed to move on into making new connections with peers and teachers in high school. The angle of the camera is such that the viewer can see what I am letting go of and what I am moving forward into. I am moving into a hallway, which is a place of transition, not destination. The two large picture frames are reflecting the messy sink with unwashed dishes in my kitchen to show that I am moving towards becoming more comfortable around untidiness. The reflection also shows that along the journey, i.e. along my hallway, I need to reflect on experiences and emotions in order to keep growing and moving. The clock hanging in the door frame is symbolic of the pressure of time, but also of the importance of letting go of that pressure and just being present in the moment.
The specific time on the clock reads 9:34 p.m., which represents another challenge I am working on: my struggle to accept the completion of the day and the beginning of night. The placement of the clock in the door frame suggests that I am in the process of conquering this challenge. The placement also represents that the pressure of time will always be present, but I must choose if this is something I want to dwell on. Sitting on the clock is my Lambie. Lambie is very big part of my life and has been since preschool. Lambie is in the in-between state as well because they (I’ve never identified Lambie as a he or she) are part of my life and I want to take Lambie with me, but I also need to let go of other elements of my childhood and move on into adulthood. The travel hat and the strap of the bag slung across my chest symbolize my readiness to move on; the absence of a jacket depicts my hesitation and worry of letting go because I don’t yet have everything I need to feel comfortable leaving. My red and gold scarf is left behind on the bed because scarves have been a safety blanket for me. I never leave the house without one on. Leaving this article of clothing behind represents moving out of my comfort zone and knowing that I must let go of my anxieties
Photographic collage by Sophie Katz ‘19
and leave what’s comfortable and familiar to move forward. To have an open mind for the future you must not be mired in the past. Rabbi Yaakov said, “This world is like a hallway before the world to come. Fix yourself in the hallway so you may enter the drawing room.” (Pirkei Avot, 4:16) Just as I leave my room and enter the hallway in my photograph to exemplify the importance of moving on, so too does Rabbi Yaakov acknowledge the necessity of entering the hall so that you can move to another place. The hallway being representative of transitions and new growth.
It is important to acknowledge where you came from, but ultimately, the emphasis has to be on where you are going and on your future, otherwise you stay stagnant in the past. Akavia ben Mahalalel says: “Keep your eye on three things, and you will not come to sin: Know from where you came, and to where you are going, and before Whom you will have to give an account and a reckoning” (Pirkei Avot, 3:1). In my photo, I am carrying elements of my past with me in the transparency of my body, but leaving the room is representative of the idea that I am not stuck in these objects of the past.
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GEORGE ORWELL’S
1984
As part of an integrated unit bridging their English and Jewish Thought classes, seniors in Dr. Jonathan Ayres’ AP Literature class studied George Orwell’s 1984 in dialogue with philosophical works by Hannah Arendt, Eliezer Berkovits and Emil Fackenheim. Reading Orwell’s novel through the lens of these Jewish thinkers, students addressed challenging questions about the origin, existence and nature of evil during the Holocaust as well as in Orwell’s fictionalized dystopia of Oceania.
The following excerpts are taken from a “timed write” essay assignment in which students were given only 40 minutes to respond to a specific prompt in a well-organized, thesis-driven essay. The prompt, taken from the AP English Literature and Composition exam, asks them to “identify a character who outwardly conforms while questioning inwardly” demonstrating “how this tension between outward conformity and inward questioning contributes to the meaning of the work.”
Jake Libenson ’17 In George Orwell’s renowned novel 1984 the protagonist Winston Smith continues to preserve his normal, day to day activities while secretly questioning the rigid policies of Oceania’s ominously dark society within his mind. As Winston continues to expand his private questioning of the government and even the validity of Big Brother himself, it becomes apparent that his inner thoughts are a valuable form of resistance to government rule despite the immense danger it puts him in. Winston’s illegal, clandestine thoughts and actions demonstrate how valuable an inwardly questioning stance is as an effective method of resistance against a ruthless, totalitarian machine. Although Winston is not openly physical in his act of rebellion, he still succeeds by preserving the most basic human dignity, which the government seeks to extinguish. When explaining his tactics, Winston even remarks, “It was not by making yourself heard but by staying sane that you carried on the human heritage.” Overall, Winston’s inward scrutiny of the government proves to be a very viable approach to combat the strict, totalitarian society Winston is subject to. Although Winston may not be physically defying the government through his day to day routine, his form of rebellion is still one that causes the party endless anguish as Winston possesses knowledge that has the potential to even destroy the Party. All in all, Winston’s indirect acts and the 10 JEWISH COMMUNITY HIGH SCHOOL OF THE BAY
employment of the power of thought as a tool of resistance is a viable way to avoid the propaganda of Oceania and serves as a testament to an exceptional method of defiance against any ruthless government.
Yonim Schweig ’17 George Orwell’s 1984 speaks of the dystopic reality in which all conform to the government’s monopoly over history, thought, and action. Winston Smith, the central character of the book, serves as an example of the conflict of partaking in inner questioning in a society that values conformity above all else. In centering the novel on Winston’s struggle, Orwell shows how the oppression of the inner voice of rebellion and reason can manifest in a fascist, omnipotent, and potentially oppressive government, but that nonetheless, no government is capable of eliminating the universally natural human tendency to question and challenge. Orwell represents the totalitarian state of Oceania as a place in which conformity has been drilled into the heads of every individual, and even supercedes human nature. The government control of truth extends to all facets of life and limits the individual’s right to questioning. What Orwell shows through Winston, is that even in the most extreme circumstances, in which conformity has utterly stifled the questioning nature of the individual, that individual is still
Art by Riana Iosilevsky ‘17. For more on blackout poetry, see page 13.
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capable of change, of building the desire, ability and nerve to unveil their concealed ability to question. Additionally, 1984 shows the universal triumph of the rebellious spirit--that even in its most stifled environment, it finds a way out, even at the peril of the individual.
Ma’ayan Epstein ‘17 Humanity is defined by the capacity to exercise free will and freedom of thought: our ability to form individual opinions, think critically and question authority is what makes us most human and gives us the power to protect our freedom of thought from an oppressive system that attempts to limit our humanity. In his novel 1984, George Orwell tells the story of an extreme socialist and totalitarian government, the Party, through the protagonist Winston, who struggles with outward conformity and inward questioning. The party monitors the people’s every move, enforcing stark conformity by brainwashing and vaporizing anyone suspected of individual thought in order to maintain a country of brainless soldiers to do their bidding. By outlining Winston’s tension between humanity versus conformity and analyzing his ultimate surrender to the Party, Orwell shows how individual thought and morals are often no match for an oppressive system, for human actions are not always dictated by their own free thoughts. Our humanity lies in our ability to question and think critically. Without the ability to have different points of view and opinions from our neighbor, we forfeit the individuality that makes us
Art by Riana Iosilevsky ‘17. For more on blackout poetry, see page 13.
human and submit to a conformity that renders us helpless against an illegitimate leader. In 1984, the Party strips its citizens of their humanity through constant surveillance and brainwashing that generates an army of passive conforming robots. While Winston struggles between his duty to conform and a human urge to question, this poses a major threat to the Party. Despite Winston’s desire to stop the Party, he is ultimately captured and tortured, the humanity beaten out of him and the criticism destroyed. Winston’s individual rebellion is insufficient
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to protect him from the clinical annihilation of free thought that the Party has mastered. Orwell ultimately leaves his audience with a foreboding warning: that conformity for the sake of a political regime is a surrender of humanity. Once this dehumanizing system is in place, there is nothing an individual subject to its control can do to stop it. An intellectual control of the masses is the most dangerous form of oppression, for that is where our purest humanity resides.
Entopic Graphomania & Blackout Poetry
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magination ran freely as JCHS artists explored Surrealist art techniques in both Jennifer Sturgill’s Studio Art class and Creative Tefillah with Natan Kuchar. Blackout poetry and entopic graphomania both utilize the element of chance and what Dada artists called “automatic process” to break with traditional modes of established art methods. With the development of psychoanalysis and Freud’s rise to prominence, Surrealist artists became interested in the expression of the subconscious and devised mechanisms they hoped would allow them to produce works free of conscious control. As part of their study of entopic graphomania, students took a “found” piece of text and examined the paper carefully, including looking at the structure of the paper itself, for instance, at flecks of fiber and small flaws. They then created a rule that would govern their actions and decided how they wanted to execute that rule: perhaps identifying each flaw with a dot, or putting a dot next to every “h” or marking each punctuation symbol, and then connecting the dots through a series of lines. The result is a drawing created in part automatically, but which also reflects a subconscious intention, only obliquely influenced by the desire to represent a symbol in your mind. Similarly, artists transforming a text with the blackout poetry technique compose a poem from the “anchor words” that they identify on the page. They then devise an illustration or rule for eliminating, or blacking out portions of the text to highlight the selected words. Liberating and meditative, these techniques are related to Zentangles and doodling, methods that open up a different path in the brain that might not be accessible any other way. Here, the process is more meaningful than the product itself and the art becomes a reflection of that process rather than a concept to be illustrated.
Zach Cook ‘20 and Louis Gluck ‘19 work on blackout poetry pieces during Natan Kuchar’s Creative Tefillah.
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We are a class of very different people...
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At the 2017 JCHS Commencement at Congregation Emanu-El, Ma’ayan Epstein & Yonim Schweig, pictured here, delivered the Class of 2017 address, created by Epstein, Oksana Chubrikova, Sophia Felson, Gabi Finestone, Sasha Manus, and Talya Sandel, from the thoughts and memories of the 34 members of the senior class. You can listen to this speech online in our video gallery on Facebook. (Photo: Brian Dean)
e have different goals, personalities, and hobbies. In our many differences, the profile of our grade often seem disjointed.
include the whole school.
Sure, we inevitably got closer through commiserating over physics tests, sharing candy at the Shabbaton, playing basketball in the courtyard, and canyoneering in Arctic temperatures. But we each have our own identity. Each of us has a unique personality. We are not so much a cohesive grade, but 34 faces, 34 personalities, 34 separate beings.
Two weeks ago, every senior wrote and presented a graduation speech to the class. We listened to each person give their unique spin on the same shared memories and journeys, shabbatons, and dayto-day JCHS life, like foraging for candy between classes and stopping in the Humanities office to hang out with our teachers. Interspersed between the shared experiences are the unique ones. Each person also has memories that are just their own—memories of working on the yearbook, playing on sports teams, acting in theatre—that make up their JCHS experience.
Throughout our four years, each one of us stayed distinct, much to the frustration of the rashim trying to plan great bonding activities. We often joked about how difficult it was to get our grade together to do anything—whether it be taking our class photo during lunch, or planning a senior ditch day that didn’t actually
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For most of our four years here, many of us wondered why couldn’t we put on a united front?
The beauty of this particular class is that we each maintained and grew our individual identities and passions. We are each our own people with our own voices, and for four years we got to explore who we are alongside our goofy, passionate classmates, living through the ups and downs of high school together. Even though we all have our own memories, our own lives, our own interests, we all sat in the auditorium last week and listened intently to our peers. We embraced our differences, reminisced about the good times, and celebrated each others’ growth and success. Each of us, from 34 unique places. This being said, while we are very much a class of individuals, we have not laughed any less than any other grade. Our deep and vulnerable moments have not been any less profound than any other class, and saying goodbye is not going to be any easier. Despite our historic lack of cohesion, we are united and we love each other. Where else in life will we be surrounded by people who will together forge our identity? At JCHS, even if we seem organizationally impaired as a class, we are nonetheless a group of individuals united by our identity as Jews, by our interest in fully encountering and understanding each other, and by our experience of that which is uniquely JCHS. This unity cannot be discounted by anything. JCHS is definitely one of the quirkiest, most unique, and weird high schools ever. We are vegetarian by default, and no one ever stands in a lunch line— here, we stand in a lunch clump. We go through journeys, community blocks, and other special JCHS traditions together. Our school has offered us countless divrei torah, multitudes of snacks, oh, and a great education, too.
But beyond the traditions and experiences, JCHS has helped us grow as people through its unique culture and energy. As one student put it, “Depth is a graduation requirement.” As another student put it, “Width may also be a graduation requirement, due to the hundreds of Milky Ways and Snickers we have all consumed in between classes.” At JCHS, teachers and students are best friends and are seen as equal members of our community. Even if sometimes we hide from teachers when they dress code us or strongly urge us to go to club meetings, we couldn’t even begin
Here we are loved for who we are, and who we will become. to count the number of random conversations we’ve had or ping pong games we’ve played with them. At JCHS, students don’t rush to leave as soon as the final bell rings. They stay for hours, working on the literary magazine, going to sports practice, rehearsing for a show, meeting with teachers, skateboarding in the parking lot—to the security guards’ continued exasperation—or just hanging out in the Commons. That is why at 8:00 pm, when school is closing, there are still students there, finally leaving after 12 full hours in the same building. And although it hasn’t all been easy—whether it was trying really hard to have an “I-thou” relationship with every tree on campus, struggling through chemistry
or experiencing the immense, utter joy of a “timed write,” we’ve gotten through it with the tremendous support of a school environment that celebrates individuality as the core of a strong community. Don’t get us wrong, we’re ready to leave, but for all the right reasons. We’re ready to leave because of the teachers who have pushed us to become better and more mature students, because of the responsibilities that we’ve taken on during and after school, because of the friendships that we’ve made, and because of so many other people and opportunities at JCHS that pushed us to become the best versions of ourselves. Here we learned how to take school seriously, but not take ourselves too seriously. Here we learned how to be beginners more often, to try anything and everything, to stretch our limits beyond just what we thought we were good at. Here we are loved for who we are, and who we will become. And so today, in the final minutes of the final days, of the final weeks, of the final months, of the final year of our high school experience, we would like to ask the question, “In what other environment would you have become the person you are today, sitting on this stage?” At JCHS, it didn’t matter if we were a totally disorganized class. We were given the community and support to become our own people, to grow into authentic, self-aware, well-rounded individuals. As one of our classmates put it so perfectly, “You are your future.” That’s what JCHS gave us. A supportive, loving environment to grow and explore the unique hobbies, values, and senses of humor that make each of us our own people. That was our high school experience. And we can take that anywhere. NOTEBOOK
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The JCHS Girls Varsity Basketball team play a scrimmage at the Golden State Warriors’ home, Oracle Arena during halftime on Jewish Heritage Night, December 15, 2016. Wolves Basketball enjoyed a historic season, with the Girls team finishing the regular season with an 11-5 record. The Boys Varsity Basketball team led by senior Jordan Kimel also found success, finishing second in the league. Kimel attained a career 1,039 points, a remarkable achievement for any high school varsity player. In the 201718 season, the Wolves will move to the Bay Counties League-Central in the North Coast Section. Cover: Sophia Salesky ‘18 portrays Madame Marie Curie in Alice & the Black Hole Blues. Photo: Brian Dean
The Notebook is a showcase of work by students at the Jewish Community High School of the Bay. To comment or contact the editor, please email Mary Ellen Hunt at notebook@jchsofthebay.org. The Jewish Community High School of the Bay (JCHS) is a unique college preparatory high school committed to integrating deep learning, universal wisdom, and Jewish values. We empower each student to embrace her or his Jewish identity, generate empathy and compassion, delight in lifelong education, and improve the world.
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