>>> Announcer: PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSMAKESART.COM >> THIS TIME ON ìBROAD & HIGHî -- A LOCAL ARTIST WHO GREW UP IN NIGERIA TELLS US ABOUT THE INSPIRATION FOR HIS PAINTINGS.

A YOUNG WOMAN SHARES HER EXPERIENCES WITH WAR, IMMIGRATION, AND FINDING A NEW HOME.

DISCOVER AN ARTIST WHO EXPRESSED HIS PASSIONS IN MANY DIFFERENT MEDIUMS.

AND, MEET THE MEMBERS OF A GROUP WHO USE DANCE TO CONFRONT THE IMPACT OF IMMIGRATION ON WOMEN.

THIS AND MORE RIGHT NOW, ON ìBROAD & HIGH.î !

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>>> WELCOME TO ìBROAD & HIGH.î I'M YOUR HOST KATE QUICKEL.

SAID OLEDAJO LAWAL WAS BORN IN NIGERIA AND STUDIED ART THERE BEFORE COMING TO THE UNITED STATES AS AN ADULT.

HIS VIBRANT PAINTINGS ARE FULL OF MOTION AND EMOTION.

WE VISITED HIM IN HIS STUDIO TO FIND OUT MORE ABOUT WHAT MOVES HIM TO CREATE SUCH COLORFUL WORKS OF ART.

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>>> GENERALLY, INSPIRATION TO BE AN ARTIST CAME FROM MY DAD.

MY DAD WAS A PAINTER.

WE PAINTED HOUSES.

WHICH WOULD INCLUDE INTERIOR DECORATION, COTTON STENCILS, DOING FREEZEES, BORDERS, AND STUFF.

MY DAD, HE HAS THIS WRITING DESK.

AND THAT THING HAD DRAWERS WHERE HE STASHED ALL HIS DRAWINGS AND STENCILS.

AND WHEN I'M IN THE HOUSE, YOU KNOW, I WOULD GO THROUGH THE DRAWERS AND JUST LOOK AT THINGS.

AND JUST LOOK AT THE CUTS, THE DRAWINGS, AND THE COLOR SWATCHES.

HE HAD ALL THESE COLOR CHARTS.

YOU KNOW, THEY WERE ACCORDION FOLDED TYPE.

YOU'D LOOK, AND LOOK, AND COLORS.

SO, COLORS STARTED REGISTERING THAT EARLY.

YOU WOULDN'T THINK IT'S GONNA BE USEFUL YET I'M PROVING.

[ LAUGHTER ] SO, COLORS STARTED REGISTERING VERY EARLY.

I PAINT WITH BRIGHT COLORS INTENTIONALLY, YOU KNOW?

WITH BRIGHT COLORS.

THERE'S A SCHOOL IN ARTISTRY THAT I LIKED.

THEY CALL THEM ìTHE FAUVISTS.î THEY JUST LOVE PAINTING WITH COLORS IN THEIR ORIGINAL HUES.

THEY CAN PICK A YELLOW AND JUST SLAPPED IT THERE.

RED.

BLUE.

SO, THEY GRADE THOSE COLORS ACCORDING TO THEIR STRENGTH.

LIGHT AND SHADE.

YELLOW BECOMES THE LIGHTEST.

BLUE, ULTRA MARINE, OR COBALT, BECOMES THE DARKEST.

AND THE REDS MIGHT BE IN THE MIDDLE WITH THE ORANGE AND STUFF.

SO, MARKS YOU WOULD THINK THAT PERSON, ARTIST WOULD NOT RETAIN BECAUSE ISN'T HE THE MYSTICAL PAINT OVER.

THOSE I LEAVE THERE.

AND THEY MAKE THE MOST IMPACT BECAUSE THEY TRICK YOUR MIND INTO THINKING THE ACTION IS STILL ON, AND ON, AND ON, AND ON.

SOMETIMES I DO PAINT IN SUCH A WAY THAT SAY I MOSTLY USE FLAT BRUSHES, WHICH ARE LIKE CHISELHEADS.

WHEN YOU MAKE A MARK WITH THEM, THEY HAVE A SQUARE, ANGULAR FEEL TO THEM.

I CAN MAKE THOSE ANGLES, AND DIRECT ANGLES, AND SQUARES THAT CAN BE PATCHES THAT MAKE UP A FACE.

MAKE UP A PAINTING.

AND YOU SORT OF SEE DIFFERENT SWATCHES OF SQUARES AND YOU'RE LIKE -- WHEN YOU STAND BACK, EVERYTHING MERGES AND FORMS THE PICTURES.

AND THEN ALSO SOMETIMES I'M LISTENING TO SAY VIVALDI, WHICH IS ONE OF MY FAVORITES.

ìFOUR SEASONS.î AND YOU'RE PAINTING AND IT FEELS AS IF YOUR HAND IS BEING MOVED BY THE VIOLIN.

MAYBE.

MAYBE NOT.

BUT, IT WORKS.

AND I HAVE MY PHONE DOING THAT.

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I ALWAYS INTENTIONALLY WANT MY BRUSHWORK TO CREATE THE KIND OF EFFECT THAT, YOU KNOW, BRINGS EMOTION OUT.

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I TAKE INSPIRATION FROM LIFE.

I LIKE MUSIC.

I DON'T PLAY AN INSTRUMENT.

BUT, I LIKE MUSIC.

AND I ALWAYS FELT LIKE LIFE, EVEN LANDSCAPE, EVEN GENERAL DAY-TO-DAY THINGS THAT WE DO, THERE IS MUSIC BEHIND.

THERE'S A READING.

THERE'S A RHYME.

THERE'S BALANCE.

THERE'S EVERYTHING IN THERE.

BUT, THEN WHEN YOU LOOK AT A PAINTING WHICH IS A TWO-DIMENSIONAL THING YOU'RE WONDERING HOW DO YOU FIT MUSIC INTO THAT?

OTHER THAN PAINTING A PICTURE OF A MUSICIAN, RIGHT?

SO, I STARTED PLAYING AROUND WITH HOW TO PRESENT SOUND.

I ALWAYS LIKE TO MAKE PAINTINGS THAT YOU STAND IN FRONT OF IT AND YOU'RE LIKE YOU CAN FEEL MOVEMENT.

YOU CAN FEEL DEPTH.

YOU CAN JUST SORT OF BE LIKE YOU'RE IN A CONCERT LISTENING TO WHATEVER THE PICTURE IS SAYING.

IN NIGERIA, THERE'S A LOT OF DANCE.

TECHNICALLY WE HAVE A PARTY FOR EVERYTHING.

THERE'S ALWAYS A REASON TO DANCE.

WEDDINGS IN NIGERIA.

WOW.

I MISS THAT.

COLORS.

YOU SEE THE WOMEN DRESS.

YOU SEE THE YOUNG LADIES DANCE.

IT'S BEAUTIFUL.

I WANTED TO PRESENT THE JOYFUL FEELING THAT YOU FIND IN AN ENVIRONMENT WHERE PEOPLE ARE DANCING AND CELEBRATING.

AND THERE'S SOME CERTAIN CULTURES WHEN THEY DANCE IN NIGERIA, THEY HOLD HANDKERCHIEFS.

AND THAT HANDKERCHIEF MOVES WITH THEIR BODY, THEIR ARMS.

AND THAT HANDKERCHIEF SORT OF -- IT'S LIKE A CONDUCTOR CONDUCTING A CLASSICAL PIECE.

YOU KNOW?

YOU FOLLOW THE CONDUCTOR'S HAND.

YOU FOLLOW THE BEAT, THE RHYTHM, AND EVERYTHING.

SO, I WANTED TO SHOW ALL THAT.

BUT, AT THE SAME TIME BE ABLE TO SHOW THAT, YOU KNOW, IN LIFE THERE ARE CELEBRATIONS.

AND WHEN THE TIME TO CELEBRATE IS HERE, YOU MAKE THE MOST OF IT.

THERE ARE TIMES THERE ARE NO REASONS TO CELEBRATE.

BUT, WHO WOULD KNOW IF YOU CHOOSE TO CELEBRATE EVEN THOUGH YOU HAD NO REASONS TO CELEBRATE.

WHO WOULD REALLY, REALLY FAULT YOU FOR IT, REALLY?

I MEAN, PEOPLE MIGHT THINK IT'S AWKWARD AND OUT OF PLACE.

BUT, THAT'S WHAT YOU MIGHT NEED FOR YOUR SANITY.

YOUR WORLD IS YOUR WORLD.

WHAT YOU MAKE OF IT IS YOURS.

IF YOU CHOOSE TO HAVE IT ALL BLUE AND SAD, IT'S STILL YOURS.

BUT, IF YOU CHOOSE TO JUST ìYES!î IN SPITE OF EVERYTHING, BREAK FORTH AND BE THE JOY FOR YOURSELF AND OTHERS.

IT AFFECTS OTHERS.

IT'S LIKE A REACTION THAT JUST MULTIPLIES.

GANDHI WAS THE ONE WHO SAID ìBE THE CHANGE THAT YOU HOPE TO SEE.î MY PAINTING IS ONE OF MY WAYS OF BEING THE CHANGE AND PRESENTING THE CHANGE.

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AT LAWALSAID.COM.

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>>> SARA ABOU RASHED AND HER FAMILY FLED WAR-TORN SYRIA WHEN SHE WAS 13, EVENTUALLY FIND THEIR WAY TO COLUMBUS.

WHILE A STUDENT AT DENISON UNIVERSITY, SHE SHARED HER EXPERIENCE IN A ONE-WOMAN PLAY.

LET'S LEARN MORE ABOUT HER JOURNEY.

>>> IT USED TO BE FUN BEING FROM SOMEPLACE ELSE.

MY UNCLE SAM TOLD ME.

ISN'T IT COOL?

I HAVE AN UNCLE SAM JUST LIKE AMERICANS.

>> I AM SARA ABOU RASHED.

I AM 19 YEARS OLD AND I'VE BEEN IN COLUMBUS FOR FIVE YEARS.

COLUMBUS WAS NOT PART OF THE PLAN INITIALLY.

BUT, YOU KNOW, IT WAS INTERESTING HOW WE GOT HERE AND HOW I CAME HERE FIVE YEARS AGO NOT KNOWING ANY ENGLISH.

AND YET, NOW I AM WRITING AND PERFORMING A PLAY ABOUT LANGUAGE AND BELONGING.

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>> JUST WANT TO REMEMBER THAT THE JOKE IS -- >> TONIGHT IS A VERY SPECIAL NIGHT.

WE ARE AT DENISON UNIVERSITY WHERE SARA IS A SOPHOMORE.

AND IT IS OUR DEBUT PERFORMANCE OF ìA MAP OF MYSELF.î >> I CAN FEEL MY FINGERS AROUND HIS NECK!

I COULD CHOKE HIM TO DEATH!

>> SO, I WAS 13 AND IN SYRIA WHEN THE WAR STARTED GETTING CLOSER TO WHERE WE LIVED.

WE DECIDED TO COME TO COLUMBUS.

MY FIRST DAY OF SCHOOL I WALKED INTO ENGLISH CLASS AND THE TEACHER SAID ìHERE IS THE BOOK WE'RE READING.î >> MY EYES WIDE OPEN AS THE TEACHER HANDED ME A COPY.

THE ASSIGNED READING.

ìTHE AUTS.î [ LAUGHTER ] >> I SPOKE ABSOLUTELY NO ENGLISH AT THE TIME AND I GENUINELY THOUGHT IT WAS THE DICTIONARY.

SO, I REMEMBER JUST GOING BACK HOME AND STARTING TO TRANSLATE EVERY SINGLE WORD INTO ARABIC.

>> IF I ASK YOU WHERE YOU COME FROM.

SAY TOLEDO, DETROIT, MISSION VIEJO, FULL SPRINGS, TOPEKA.

>> WE DO SOMETHING I THINK VERY UNUSUAL FOR THIS FORMAT WHICH IS EACH SCENE BASICALLY ENDS IN A POEM.

SO, WE'RE MIXING UP CLASSIC STORYTELLING IN THEATER AND POETRY.

ONE POEM IS DONE IS ARABIC.

[ SPEAKING IN A FOREIGN LANGUAGE ] >> IT IS ONE THING TO BE ASKED TO TELL YOUR STORY FOR AN INTERVIEW OR FOR AN ARTICLE OR SOMETHING.

BUT, IT'S A WHOLE OTHER THING TO JUST STAND THERE AND TELL IT THE WAY YOU WANT IT TO BE REMEMBERED.

THERE ARE PARTS EVEN I DON'T WANT TO REMEMBER.

SO, THE FACT THAT I'M GOING TO TELL THEM TO HUNDREDS OF PEOPLE IS TERRIFYING.

>> SHE REALLY GIVES JUST A REAL HUMANE AND RELATABLE STORY ABOUT IMMIGRATION.

>> I AM AMERICA AND OH DEAR AMERICA I LOVE YOU.

EVEN AT TIMES WHEN YOU DO NOT.

>> YOU KNOW, I'M DELIVERING A VERY PERSONAL EXPERIENCE THAT IS MINE.

BUT, ALSO PAYING TRIBUTE TO EVERY OTHER IMMIGRANT AND AT THE END OF THE DAY, IT'S OUR OWN EXPERIENCES THAT MAKE US VALID.

[ CHEERS AND APPLAUSE ] >>> NEXT, WE MEET AN ARTIST WHOSE WORK BLENDED MANY STYLES.

THE LATE MARC DE WAELE PAINTED IN OIL, PASTELS, AND ALMOST TRANSPARENT WATERCOLORS.

HOWEVER, HIS TRUE PASSION WAS METAL SCULPTURE WHICH HE LEARNED FROM HIS BLACKSMITH UNCLE IN BELGIUM AT AGE 13.

UNTIL HIS PASSING IN MAY OF 2018, THIS BELGIUM IMMIGRANT HAMMERED AWAY ON HIS ART IN RURAL PASCO COUNTY, FLORIDA.

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[ HAMMERING ] >>> I'M BORN IN A SMALL TOWN IN BELGIUM.

IT'S NAMED EEKLO.

IT'S A REALLY SMALL TOWN.

BUT, WE HAVE A REALLY GOOD HIGH UP ACADEMY.

OVER THE TIME I WAS IN THE SCHOOL, I MORE AND MORE WAS BECOMING INTERESTING IN DIFFERENT STYLES.

WHEN I WAS 22, 23 YEARS OLD, I DEVELOPED MY OWN STYLE.

AND MY TEACHER, HE HELPED A LOT OF PEOPLE, UNKNOWN PEOPLE.

AND HE BROUGHT US OVER TO THE PEOPLE AND HE NAMED IT MY STYLE ìREALISM SANTASTIQUE.î IT WAS A COMBINATION FROM DIFFERENT STYLES, DIFFERENT MATERIALS, AND DIFFERENT TECHNIQUES.

I HAD MY FIRST EXPOSITION WITH MY PAINTINGS WHEN I WAS 23 YEARS OLD.

I SOLD ALL MY PAINTINGS.

BUT, MY STYLE WAS REALLY COMING OUT AND MY AGENT PUT ME ALL OVER EUROPE FOR EXPOSITIONS.

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THE GOAL WAS IF I WAS COMING HERE, TO BUILD THE DIFFERENT STUDIOS ALL UNDER ONE ROOF.

AND CAN DO MY WORK AND BUILD MY OWN FACILITY, ART STUDIO.

AND IT TOOK PRETTY MUCH 18 YEARS AND HERE WE ARE.

[ LAUGHTER ] WE HAVE IT UNDER ONE ROOF.

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HERE WE HAVE TO COME UP WITH THE IDEA AND DESIGN IT.

AND MAKING A SKETCH OF.

AND, THEN FROM HERE IT GOES TO THE BIG STUDIO WHERE WE CAN WORK IT OUT.

WE HAVE TWO REALLY GOOD WELDERS AND ONE THAT WE CAN TRANSPORT TOO.

AND, WE HAVE A FORGE.

A LOT IS FORGED.

IT'S ALL PRETTY MUCH HANDLED THE OLD FASHIONED WAY.

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IT'S AN ORDER FROM ENGLAND AND THEY PARTICULARLY WANTED THE DRAGON, ALTHOUGH THE DRAGON HAVE NOT REALLY WINGS.

AND THERE'S A LITTLE BIRD ON TOP.

I THINK THE BIRD IS TALKING.

I WAS TOLD THE STORY.

THAT'S WHAT THEY WANTED, SO THAT'S WHAT I DO IT.

BECAUSE IT'S A DRAGON, I MAKE IT MUCH TOO SMOOTH.

SO, I'M GOING TO WELD EVERYTHING FULL.

SO, I WELD IT, AND WELD IT, AND WELD IT AND THEN YOU HAVE THE STRUCTURE FROM THE WELDINGS SITTING ON TOP.

AND THE PIECE OF STEEL THAT I'M USING FOR THE TAIL, SO I COULD MAKE IT IN ONE PIECE.

SO, THAT'S WHAT I'M DOING.

IT'S A LOT OF HAMMERING TO MAKE A ONE PIECE FROM LIKE AN INCH OR MAYBE A LITTLE BIT MORE TO PRETTY MUCH NOTHING.

I PREFER WORKING WITH STEEL FOR SOME OF THE SCULPTURES BECAUSE IT'S A NICE MATERIAL TO WORK WITH.

IT'S NICE TO HAMMER WITH.

I ALSO LIKE TO WORK AT THE SAME TIME WITH ALUMINUM.

WITH ALUMINUM, YOU CANNOT DO WHAT YOU CAN DO WITH STEEL.

AND OTHERWISE, WE'RE ALSO WORKING IN COPPER.

AND WE ALSO CAN WORK IN WOOD.

SO, WE'RE STARTING WITH LIKE AN THREE INCH PIPE AND AN HALF INCH PIPE TOO.

SO, WE MADE IT ALL WORK AND WE ALSO FIND A WAY TO TEXTURE THE VEINS IN.

THE RESTAURANT IS ìTERRA GAUCHA.î THEY WANTED TO FEATURED, THEY KNEW NOT JUST WHAT THEY WANTED.

BUT, THEY GAVE IT A LITTLE BIT LENGTHS.

YEAH, WE SAW SOMETHING LIKE THAT.

LIKE LITTLE TREES, LITTLE BRANCHES, AND THAT AND THAT.

SO, WE MADE A DESIGN AND THEY LOVED IT.

THE REASON WHY WE'RE HANGING THE SCULPTURE FIRST IS A SALAD BAR WILL BE UNDER HERE.

WE HAVE TO PLACE THE SCULPTURE FIRST, OTHERWISE THEY COULD NOT REACH IT.

WE ALWAYS HAVE A LITTLE BIT OF WORRY WHAT'S GOING TO HAPPEN.

AND IT'S HEAVY.

THE WHOLE SCULPTURE IS AWKWARD TO LIFT AND TO HANG UP.

PLUS, YOU CANNOT STAND IN THE PLACE WHERE IT'S -- JUST ON THE BOTTOM BECAUSE YOU HAVE A FLOORING HERE.

AND YOU CANNOT DRIVE OVER IT WITH LIFTS AND THINGS.

SO, WE HAVE TO HOLD IT ONE POSITION AND LIFT IT ON ANOTHER POSITION.

IT MAKES IT A LITTLE BIT TRICKY, BUT IT WAS WORKING OUT.

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THE BLACK WIDOW, I WANTED TO DO A BODY.

I WANTED TO MAKE IT IN STEEL.

BUT, I WANTED THIS LADY TO HAVE LIKE HALF INSECT, HALF HUMAN.

AND IT IS ALSO A LOT OF WELDING TEXTURE THAT GIVES LIKE THE SKIN FROM A LIZARD.

THEN WE HAVE THE HEART THERE.

IT'S AN ABSTRACT SCULPTURE, BUT ITS ALL POINTED AND FROM THERE.

I NAMED IT ìDON'T TOUCH MY FEELINGS.î WHAT GOES WITH THE WHOLE CONCEPT FROM THE SCULPTURE.

THE FISH AN ABSTRACT AND THEN THE BUTTERFLIES ARE STEEL FORGED AND THEY ARE PAINTED.

AND THEY'RE SITTING ALL ON A STAND AND THEY'RE MOVING.

AND THE NAME IS ìI WANT TO BE A BUTTERFLY.î THEN WE HAVE ìCLIMBING IN BALANCE.î IT'S A GREEN SCULPTURE STACKED ON EACH OTHER.

IT WON A PRIZE IN TAMPA.

IT WAS MADE FOR A COMPETITION IN TAMPA.

THE BIG FOUNTAIN OUTSIDE, THE NAME IS ìHER FANTASY.î THERE IS A LADY TORSO ON THE FRONT.

WHAT I REALLY WANTED TO MAKE WAS SOMETHING THAT IS BIG, THAT YOU CAN SEE THROUGH, AND HAVE A REALLY LOT OF MOVEMENT.

WE HAVE THE OIL PAINTING MADE OF CUBISM.

THE NAME FROM THE PAINTING IS ìTRUST ME.î AND IF YOU SEE THE LADY'S HEAD, IT'S CUBISTIC PAINTED.

SO, THIS CUBISM HAS MORE EXPRESSION THAN IF I WAS MAKING HER REALISTIC.

ìTHE SPANISH FLY.î IT'S A PAINTING THAT IS MADE FROM A SHEET OF ALUMINUM.

PAINTING WITH A HAND AND DRIPPING IT AND DOING IT.

AND ALSO PUT SOME GOLD LEAF IN.

SO, I TRY TO MIX UP THINGS, BUT IT'S ACTUALLY AN ABSTRACT WORK.

ANOTHER PAINTING, I PAINTED MY WIFE.

THAT'S PRETTY REALISTIC, BUT THEN THE BACKGROUND AGAIN HAS A WAVING KIND OF THING THAT GOES OUT TO SOMEWHERE ELSE.

BUT, IT HAS A WARM AND A COMPLETE FEEL TO THE THING.

THERE WAS A TIME THAT MY WORK WAS PRETTY WILD.

THERE WAS A LOT GOING ON BECAUSE I REALLY EXPLAINED IT WAY OVER THE TOP.

MY WORK TODAY, THEY ARE MORE SIMPLE.

THEY ARE MORE STRUCTURED.

THEY ARE TWO OR THREE STYLES.

AND MORE SOFTER TO LOOK AT.

>> SEE MORE OF HIS WORK AT MARCDEWAELE.COM.

>>> YOU MAY NOT THINK OF ART AS THERAPY, OR DANCE AS LANGUAGE, BUT THAT'S JUST WHAT OUR NEXT STORY REPRESENTS.

ìON BOARD(HERS)î IS A CONTEMPORARY DANCE PERFORMANCE THAT USE BOTH TO SHARES THE EXPERIENCES OF 15 FEMALE IMMIGRANTS.

LET'S TAKE A LOOK AT THEIR REHEARSAL AND PERFORMANCE WHICH TOOK PLACE AT COLUMBUS COLLEGE OF ART AND DESIGN.

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>>> SO, ìON BOARD(HERS)î IS A SERIES OF DANCE WORKSHOPS THAT TRY TO USE MOVEMENTS TO HELP FEMALE IMMIGRANTS TO COPE WITH THE TRAUMA THAT IS IMMIGRATION.

I DECIDED TO CREATE A SPACE TO EXPAND THE CONVERSATION ABOUT WHAT IT MEANS TO BE A FEMALE IMMIGRANT.

WHAT WE NEED, WHAT OUR DIFFICULTIES WE'RE GOING THROUGH.

HOW IS GENDER AN EXTRA LAYER OF DISCRIMINATION AS IN THE WHOLE PROCESS OF IMMIGRATION.

WE BASED OUR MOVEMENT FROM OUR WRITING, OUR STORIES, OUR VOICES, THE DIFFERENT LANGUAGES WE SPEAK.

>> THE COLLECTIVE CHOREOGRAPHY IS BUILT, INSPIRED BY INDIVIDUAL MOVEMENTS THAT WE HAVE COME UP DURING REHEARSALS.

AND WHAT WE DO IS NOT FULLY DANCE IN THE TRADITIONAL SENSE.

THAT IS NOT PART OF OUR PARTICULAR VOCABULARY, OR REPERTOIRE, OR TECHNIQUE.

IT'S REALLY BASED ON IMPROVISATION.

AND IT'S BASED ON CONTACT IMPROVISATION.

SO, IT'S REALLY MORE MOVEMENT THAN DANCE IN A TRADITIONAL SENSE.

>> FOR EXAMPLE, WE TAKE ONE SENTENCE THAT MEANS A LOT TO US.

AND THEN WITH THAT SENTENCES WE WILL CREATE A MOVEMENT.

FOR EXAMPLE, IN THE LAST OPENING REHEARSAL WE HAD THIS MOVEMENT.

THIS ONE.

IT WAS JUST TO REPRESENT THE FINGERTIPS THAT YOU HAVE TO DO IT EVERY TIME YOU PASS A BORDER.

TWO BEAUTIFUL WALLS.

DIFFERENT WEIGHTS.

ONE IS EXTREMELY HEAVY MADE OUT OF WOOD.

THE OTHER ONE IS VERY LIGHT MADE OUT OF FOAM.

AND WE'RE PLAYING WITH THEM.

WHAT'S THE BURDEN OF AN ACTUAL WALL?

CIVICALLY, BUT ALSO PLASTICALLY.

IF WE ALL CARRIED THE WALL, THEN IT'S WAY LESS HEAVY.

>> MOST OF WOMEN, THEY ARE NOT DANCERS.

AND THIS IS ACTUALLY VERY INTERESTING BECAUSE WHEN THEY PROPOSE A MOVEMENT, IT'S VERY TRUE.

LIKE THERE IS NO TEACHING BACKGROUND, OR TRAINING BEHIND THIS MOVEMENT.

>> I LOVE TO DANCE BECAUSE OF CULTURAL BACKGROUND, BUT I'M NEW TO THIS DANCE THAT LIKE TELLS A STORY.

LIKE WITH MOVEMENTS AND STUFF.

I'M A FAST PACED DANCER AND WE HAVE TO DO THESE LIKE REALLY SLOW MOVEMENTS.

AND LIKE A MODERATE PACE.

SOMETIMES IT'S HARD FOR ME TO LIKE COMPETE WITH IT, BECAUSE I REALLY LIKE, LOVE TO MOVE TO THE BEAT.

>> I HAVE A BACKGROUND IN CLASSICAL SOUTH INDIAN DANCE.

THIS IS A VERY DIFFERENT KIND OF DANCE.

BUT, YOU KNOW DANCE IS A LANGUAGE OF THE BODY.

DANCE IS MOVEMENT.

SO, IN THAT RESPECT IT'S BEEN FANTASTIC EXPLORING A DIFFERENT KIND OF DANCE.

TO TELL A DIFFERENT KIND OF STORY.

>> MOVEMENT, IT IS VERY, VERY POWERFUL.

AND I'M ALSO IN A PROCESS WHERE I KIND OF LOSE INTEREST IN THE VERBAL COMMUNICATION.

AND I FEEL LIKE NO MATTER WHAT THIS IS SAYING.

WHAT THIS IS SAYING IS MUCH MORE EXPRESSIVE AND MORE HONEST IN A WAY.

LIKE YOU CAN'T HIDE ANYTHING UNLESS LIKE YOU STAND STILL.

AND THAT EVEN SAYS SOMETHING.

THAT YOU'RE HIDING SOMETHING.

>> MOST OF THE DANCERS, THEY'RE FROM ALL OVER THE WORLD.

SO, TO UNDERSTAND EACH OTHER IT'S EASIER TO DANCE TOGETHER THAN MAYBE TO SPEAK.

AND OF COURSE, LIKE, THE MOVEMENT I THINK IT'S A UNIVERSAL LANGUAGE.

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>> THESE BORDERS THAT WE HAVE CREATED, ARE ALSO BORDERS THAT WE CAN FLEX.

AND THAT WOULD BE A BIG TAKEAWAY FROM THE DANCE.

AND FROM THE PROJECT.

>> IT CREATES A NEW IMAGE OF WHAT WE LOOK LIKE.

OR WHAT WE SOUND LIKE.

WE ARE OFTEN, YOU KNOW, HEAR ONE SORT OF NARRATIVE IN THE MEDIA AND IN THE POLITICAL DISCOURSE RIGHT NOW.

AND IT'S ALWAYS THE ONE FROM THE HOST COUNTRY HAVING THE OPINION ABOUT THE OTHER ONES.

AND I WANT TO HAVE THE OTHER ONES THAT ACTUALLY ARE IN THE HOST COUNTRY AND WHAT ARE THOSE STORIES, YOU KNOW.

SO, IT'S NOT JUST ABOUT A MASS OF PEOPLE.

IT'S ABOUT INDIVIDUALITIES WITHIN THE MASS.

>>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF YOUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

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>> Announcer: PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSMAKESART.COM