(lively traditional folk music) - My upbringing is like very typical for the Soviet time.

I grew up in Siberia.

I started my professional music education in arts college.

I didn't want to go to music school.

It was my mother's idea, and I couldn't resist it.

Our family was quite musical.

They liked to sing together, and every time they were getting together, having some holiday party or such an event, they would start singing.

And little by little, I was involved in this process.

The instrument I play is called balalaika, and modern balalaika looks like triangular mandolin.

It comes from same family of Asian lutes, constructed very similarly.

Balalaika became popular I believe since 17th century.

And it was exactly the century when any kind of folk music and particular instrumental music was forbidden to play.

The main part of our education in a musical college and in a conservatory was a pedagogy.

So we were prepared as music teachers.

I was basically qualified for that by finishing my education.

This is how I became music teacher.

How Russian Duo was started is a different story.

When I won green card lottery, I've got opportunity to stay in the United States, and I found Terry's webpage.

So I wrote her nice email and attached samples of my performance.

And this is how we met.

- Russian Duo, it is balalaika virtuoso from Siberia, American pianist, singer, singer, and we are performing music from the Russian folk tradition.

There's a huge repertoire written originally for balalaika-piano duo.

- The mission of Russian Duo is collaboration between two different cultures, which is difficult and exciting at the same time.

- When we go into the schools, we have workshops, concerts, and residencies.

For example, our concert is kind of a living, breathing example of collaboration, because we are modeling for the students how we collaborate and how hard it is to collaborate.

And then we set up kind of a storyline where the students are asked to collaborate with us either in singing or in body percussion or in playing percussion instruments or counting beats.

And in order for the story to progress, the students have to succeed in listening to each other and listening to us.

Every activity becomes teamwork, and the only way to succeed is by working together.

- Oleg is a fantastic musician.

He takes his music seriously.

He, to this very day, is one of the few serious balalaika virtuosos in the world.

But he also is very down to earth, very matter of fact, and he has a very dry sense of humor, which is fantastic.

So when he's presenting, he has a wonderful stage presence, and he just draws the audience in.

When we're doing school outreach programs, when you're talking with kindergartners or elementary school kids, explains things at a very basic level, but at a level where really has impact.

And the children will understand the origin of the balalaika, some of the origins of the Russian folk music.

And he puts together a superb educational program.

ORMACO stands for Ohio Regional Music, Arts, and Cultural Outreach.

So the mission is to make music, arts, and culture accessible for all.

And then we focus on programming for underserved, disadvantaged, and rural populations.

When we're working with rural populations or underserved populations, they have no exposure to different types of music.

And the balalaika is not an everyday instrument.

They're absolutely fascinated.

And then they can come up afterwards and talk with him and look at the instrument and ask questions.

So it does have impact.

- Ohio Heritage Fellowship Award means a lot to me.

It means that I didn't spend my time for nothing playing balalaika in US, and I got some appreciation.

I felt proud for sure, and I was excited.

- I think the most fun I ever have in my life is performing with Oleg because he gives 500%.

He risks everything.

It's like going down a slalom ski slope.

So it's so risky, but so exciting and so nourishing and so fun.

I don't know how to describe it.

- It is, had lots of fun.

- (laughs) It just pulls on all my skills and all my attention to try to make music in this way.

- I think by learning other culture, you getting broader picture about how world is working because every culture has its own point of view.

Like different people, you have pair of eyes, I have pair of eyes, Terry has pair of eyes, and it's our vision.

But if we combine all three, we will get broader picture and more detailed.

I think same is going on with learning other cultures.

You making your world broader and more detailed.

- I think when you step into someone else's culture, especially through music and dance, that you are learning empathy.

You're stepping into that person's world with your energy and your understanding, and hopefully eventually wisdom.