>> ANNOUNCER: PRODUCTION OF
BROAD & HIGH IS FUNDED IN PART
BY THE GREATER COLUMBUS ARTS
COUNCIL, SUPPORTING ARTS,
ADVANCING AND CONNECTING THE
COMMUNITY TO CULTURAL EVENTS,
ARTISTS & CLASSES AT
COLUMBUSMAKESART.COM.
>> THIS TIME ON "BROAD & HIGH."
EXPERIENCE THE UNCONVENTIONAL
ARCHITECTURE OF THE WEXNER
CENTER THROUGH THE WORK OF SARAH
OPPENHEIMER.
>> LARGELY THE WORK HAS EVOLVED
IN TRYING TO THINK ABOUT HOW
SPACES ARE INTERCONNECTED AND
HOW EXCHANGE WITHIN INTERIOR
SPACE OPERATES.
>> AND MEET A LOCAL MUSICIAN
WHO'S BRINGING THE SOUNDS OF
COAL COUNTRY TO COLUMBUS.
THIS AND MORE, RIGHT NOW, ON
"BROAD & HIGH."
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
>> WELCOME BACK TO "BROAD &
HIGH", I'M YOUR HOST KATE
QUICKEL.
WHEN THE WEXNER CENTER OPENED IN
1989, IT BROKE ALL CONVENTIONAL
STANDARDS OF BUILDING AND MUSEUM
DESIGN.
SARAH OPPENHEIMER CONSIDERED THE
BUILDING'S UNIQUE AND SOMETIMES
DISORIENTING ARCHITECTURAL
FEATURES FOR HER LATEST WORK.
WE'RE TAUGHT NOT TO TOUCH THE
ARTWORK WHEN WE VISIT MUSEUMS.
BUT NOT THIS TIME.
TAKE A LOOK.
>> MOST OF THE WORK INVOLVED IN
TRYING TO THINK ABOUT HOW SPACES
ARE INTERCONNECTED, AND HOW
EXCHANGE WITHIN INTERIOR SPACE
OPERATES.
AND THIS PROJECT WAS
PARTICULARLY INTERESTING BECAUSE
OF THE WAY CIRCULATION OPERATES
IN THE BUILDING.
AND THE RESIDENCY ALLOWED ME A
PERIOD OF TIME TO CONSIDER THAT
PROBLEM IN GREAT DEPTH IN
RELATION TO THIS SPECIFIC
LOCATION.
>> SARAH OPPENHEIMER WAS
ACTUALLY A RESIDENT FOR TWO
YEARS, AND WE USUALLY PICK A
DIFFERENT ARTIST EVERY YEAR, BUT
THIS PARTICULAR CIRCUMSTANCE LED
TO TWO YEARS BECAUSE IT WAS SUCH
A LONG ON GOING INTENSIVE
PROJECT.
THERE WERE ACTUALLY A COUPLE
DIFFERENT CAMPUS CALIBRATIONS
WHICH WE ALWAYS LOVE TO TAKE
ADVANTAGE OF THAT WHEN WE CAN
FOR THESE RESIDENT PROJECTS.
HER LONGEST TERM WAS WITH
DEPARTMENT OF ENGINEERING,
MECHANICAL ENGINEERING.
THEY HAD TWO DIFFERENT
PROFESSORS AND A GRADUATE
STUDENT WHO ALL WORKED WITH
SARAH, AND THEY ACTUALLY HELPED
HER DESIGN THE PIVOTING
MECHANISM THAT IS WITHIN THE
PIECE THAT ACTUALLY HELPS IT
MOVE.
THEIR INPUT WAS REALLY
INSTRUMENTAL.
>> MY WORK MY GENERALLY HAS A
LOT OF ELEMENTS THAT ARE NOT
VISIBLE TO THE VIEWER.
SO, WHEN YOU WALK INTO AN
EXPEDITION SPACE, THE VIEWER
OFTEN IMAGINES BEGINS AND ENDS
WITH WHAT THEY EXPERIENCE, OR
WITH THAT THEY SEE.
AND IN THE CASE OF THIS PROJECT,
AND MOST OF MY PROJECTS TO DATE,
THAT POSSIBLE COMPREHENSION OF,
LET'S SAY THE TOTAL OBJECT OR
THE TOTAL CONSTRUCTION IS
ACTUALLY NOT AVAILABLE TO YOU AS
A VISITOR.
SO THE BUILDING RE-ENFORCEMENT
THAT HAD TO HAPPEN HERE IS
ACTUALLY BURIED WITHIN THE
FLOOR, OR WITHIN THE WALL.
IN FACT SOME OF THE BUILDING RE-
ENFORCEMENT HAPPENS IN THE
BASEMENT AND HAS VERY LITTLE TO
DO WITH THE VISIBLE FOOT PRINT
OF THE PROJECT.
>> SHE DID DO QUITE A BIT OF
MANIPULATION TO THIS GALLERY,
WHICH I AM NOT SURE PEOPLE WILL
NECESSARILY NOTICE RIGHT AWAY.
>> ONE THING PEOPLE WHO ARE
FAMILIAR WITH OUR SPACE MAY KNOW
IS THAT WE CHOPPED DOWN THIS
WALL.
WE CALL IT THE RAMP WALL, WHICH
DIVIDES THE RAMP FROM THE
GALLERY SPACE.
TYPICALLY THIS IS A HIGH WALL,
SO IT ALLOWED YOU TO SEE THE
PIECE AS YOU ARE WALKING UP THE
RAMP.
WHICH IS SOMETHING THAT I CAN'T
RECALL US DOING FOR QUITE SOME
TIME.
SO YOU BEGIN YOUR EXPERIENCE
WITH THE WORK BEFORE YOU EVEN
GET INTO THE GALLERY.
IN ADDITION TO THAT, THIS WALL
THAT WE HAVE BUILT IN THE
MIDDLE, THAT IS ACTUALLY A
45 DEGREE ANGLE TO THE RAMP WALL
THAT SHE IS CALLING OUT.
AND THEN WE BUILD OUT THE WEST
WALL AS WELL.
THERE IS ACTUALLY QUITE A BIT OF
DEAD SPACE BACK THERE THAT
ALLOWS US TO MAKE THIS MORE
REGULAR SPACE.
THIS IS NORMALLY A WEDGE SHAPE,
THIS ALLOWS IT TO BE
RECTANGULAR, WHICH LETS HER
PLACE OFF THE GRID IDEA.
>> A LOT OF THE MATERIAL
SELECTIONS THAT ARE IN THIS WORK
AND PREVIOUS WORKS ARE TAKEN
FROM STANDARD ARCHITECTURAL
ELEMENTS.
SO YOU WILL NOTICE IN THIS PIECE
THAT THERE IS A REALLY EXTENDED
GLASS BOX, BUT BECAUSE OF ITS
THINNESS WE DON'T EXPERIENCE IT
AS BOX LIKE.
AND IN THE CAVITY BETWEEN THE
DOUBLE PANES IS A KIND OF VACUUM
SPACE.
I WAS VERY EXCITED ABOUT
THINKING ABOUT A MECHANICAL
DETAIL THAT WOULD ACTIVATE THAT
SPACE BETWEEN THE TWO GLAZED
PANES WITHOUT ACTUALLY BUILDING
SOME KIND OF CAPTURING FRAME
ELEMENT AROUND THEM.
THE OTHER THING THAT I WAS VERY
EXCITED ABOUT MATERIALLY IS THAT
POSSIBILITY OF HAVING A KIND OF
BEAM SYSTEM THAT USED -- RATHER
THAN A OBVIOUS SIGNIFIER OF SOME
KIND OF STRUCTURAL STRENGTH,
SOMETHING THAT IN FACT INDICATES
LIKENESS OR IMPOSSIBLY OF THAT
STRUCTURAL STRENGTH, AND I THINK
GLASS IS REALLY EXCITING AS A
MATERIAL IN DOING THAT, BECAUSE
WE GENERALLY ASSOCIATE WITH IT
FRIGIDLY OR WITH A KIND OF
LIGHTNESS AND IN THIS CASE IT
HAS JUST AN EXTRAORDINARY MASS
AND HEAVINESS TO IT.
!!musiC@!!!musiC@!
THERE IS SOMETHING THAT IS
REALLY FASCINATING TO ME ABOUT
HOW PEOPLE SEEM TO WANT TO TOUCH
IT AND THEN THEY STEP BACK AND
THEY WATCH OTHER PEOPLE ENGAGING
IN TOUCHING IT.
AND THEN THERE SEEM TO BE
RELATIONSHIPS THAT START UP
BETWEEN PEOPLE THAT ARE NOT
ACTUALLY TOGETHER, THAT THERE IS
A KIND OF SHARED CONDITION
BECAUSE OF THE SCALE OF THEM AND
BECAUSE OF THE HEIGHT YOU CANT
REALLY FULLY CONTROL IT AS A
SINGULAR BODY.
IT MAKES ME THINK OF WHEN YOU
WALK THOUGH A REVOLVING DOOR AND
YOU LOSE THAT SENSE OF YOUR OWN
BODY BECAUSE OF THE WAY THE DOOR
MAKES YOU MOVE, AND I THINK
THERE IS A REALLY BEAUTIFUL
TENSION THAT IS CREATED.
!!musiC@!!!musiC@!
>> S-337473 BY SARAH OPPENHEIMER
IS ON VIEW AT THE WEX THROUGH
APRIL 16TH.
AND YOU CAN SEE MORE EXAMPLES OF
HER WORK ONLINE AT
SARAHOPPENHEIMER.COM COLUMBUS
MUSICIAN LOU POSTER FRONTS THE
LOCAL ROCK BAND DRIFT MOUTH.
AND I LOVE THIS, ON THEIR
FACEBOOK PAGE, THEY DESCRIBE
THEIR MUSIC AS AND I QUOTE--
"ANTIQUATED AND TWISTED
APPALACHIAN MURDER BALLADS AND
BACKWATER TRAGEDIES, DRAGGED
THROUGH A SLUICE OF RUNOFF FROM
THE SLURRY POND AND ROLLED IN
COAL DUST."
LOU COMES FROM COAL-COUNTRY, AND
HE RECENTLY SHARED WITH US HOW
HIS APPALACHIAN ROOTS HAVE
INFLUENCED HIS SONGWRITING.
>> I AM FROM FAIRMONT, WEST
VIRGINIA.
IF YOU SAY WEST VIRGINIA, THE
FIRST THING PEOPLE THINK OF IS
WHAT "DELIVERANCE," YOU KNOW WHAT
I MEAN?
IT'S NOT LIKE THAT.
IT'S JUST NOT.
WELL, I WOULD CONSIDER MYSELF
APPALACHIAN AND I KNOW THERE ARE
TWO DIFFERENT PRONUNCIATIONS OF
THAT TERM, BUT I GREW UP SAYING
APPALACHIAN.
!!musiC@!!!musiC@!
I AM JUST WRITING WHAT IS IN MY
HEAD, AND WHAT IS IN MY HEAD IS
THE STUFF THAT I HAVE LISTEN TO
MY WHOLE MY LIFE.
THE BASIS OF THAT IS COUNTRY AND
BLUEGRASS MUSIC.
MY FATHER'S SIDE OF THE FAMILY
CAME OVER FROM ITALY AND
IMMEDIATELY WENT TO WORK IN THE
MINES.
MY GREAT GRANDFATHER ENDED UP
ACTUALLY HAVING HIS OWN COAL
MINE CALLED SAM POSTER COAL, HE
HAD WORKED FOR THE COMPANY FOR A
WHILE AND SOMEONE PUT AWAY
ENOUGH MONEY TO BUY THE MINERAL
RIGHT TO HIS PROPERTY.
HE AND HIS BOYS, HIS FOUR SONS
WORKED THAT MINE FOR YEARS, AND
MY GRANDFATHER WENT INTO THE
MINES, AND WAS PART OF THE
NUMBER NINE EXPLOSIONS BOTH IN
54 AND 68.
MY FATHER THREE YEARS AFTER THE
LAST NUMBER NINE DISASTER WHEN
INTO THE MINES IN 71 AND HE
WORKED 37 YEARS FOR THE COMPANY.
!!musiC@!!!musiC@!
THERE IS A CERTAIN KIND OF MIND
SET THAT YOU ARE INSTILLED WITH,
THERE IS A LOT OF SELF
RESPONSIBLY, I GUESS.
THERE IS A LOT OF SELF CARE.
BASICALLY IT IS ALMOST LIKE
PIONEERING KIND OF A THING.
THERE ARE VERY FEW PEOPLE IN
THAT AREA.
I LIVE IN A CITY NOW THAT OUT
NUMBERS THAT STATE THAT I LEFT
IN POPULATION.
IT TOOK A COUPLE OF YEARS TO
KIND OF ADJUST TO THAT, JUST THE
OVERWHELMING NUMBER OF PEOPLE
AND THE SCALE OF EVERYTHING.
IT IS JUST THOSE KINDS OF THINGS
THAT SELF RELIANCE THAT I AM
ONLY A GENERATION OR TWO REMOVED
FROM THAT -- COMING HERE SORT OF
MADE ME STAND OUT LIKE A SORE
THUMB IN A WAY.
YA KNOW, I AM COVERED IN GREASE
BECAUSE I WORKED ON MY CAR, I AM
FIXING ANYTHING AND EVERYTHING
FOR MY FRIENDS.
IT CAME DOWN TO WAY I PLAY
MUSIC.
I PUT OUT MY OWN RECORD, I HAD
MY OWN RECORD LABEL.
I RAN MY OWN BAR, I BOUGHT TWO
MUSIC VENUES AND RAN THEM, SO
THAT MY FRIENDS WOULD HAVE A
PLACE TO PLAY THEIR MUSIC, AND
TO CREATE A SPACE FOR WHAT I SAW
AS THE ART OF THIS AREA, WHICH
IS INFLUENCED BY PEOPLE FROM
WHERE I AM FROM.
!!musiC@!!!musiC@!
YOU MEET THESE PEOPLE WHO ARE
ALSO KIND OF MISFITS IN THEIR
RURAL TOWNS AND WE HAVE KIND OF
KIND FOUND EACH OTHER HERE.
YA KNOW?
YEAH, WE MIGHT BE A LITTLE
QUICKER TO ACT, WE MIGHT WHISKEY
A LITTLE BIT MORE THAN THE NEXT
GUY, WE MIGHT BE A LITTLE LOUDER
THAN EVERYONE ELSE, BUT YA KNOW,
IT DOESN'T MEAN THAT WE ARE NOT
GOOD PEOPLE, WE WERE JUST RAISED
DIFFERENTLY.
THAT IS ONE OF THINGS I TRY TO
DO WITH MY MUSIC IS TO TELL THE
STORY OF WHERE I AM FROM TO MAKE
IT A LITTLE LESS MYSTERIOUS AND
SHINE A LIGHT ON THE FACT THAT
WE ARE ALL JUST KIND OF DOING
THE SAME THING HERE.
WE ALL FALL IN LOVE, WE ALL KNOW
PEOPLE WHO ARE ADDICTED TO
SOMETHING, WE ALL KNOW PEOPLE
WHO ARE LOST IN THEIR JOBS OR
CAREERS OR THEIR OWN MINDS OR
WHATEVER.
AND SO, WE TRY TO TELL THOSE
STORIES.
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
I HAVE LIVED HERE NOW A YEAR
LONGER THEN I LIVED IN WEST
VIRGINIA.
SO I HAVE JUST REACHED THIS
TIPPING POINT WHERE YA KNOW, I
STILL SAY THAT I AM FROM WEST
VIRGINIA WHEN PEOPLE ASK ME.
BUT THIS HAS BECOME A HOME FOR
ME.
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
YOU GOTTA KNOW THE SHAPE I AM
IN !!musiC@!
YOU HANG ON ARM OF A LESSER
MAN !!musiC@!
IT'S TOO LATE TO SAY IM SORRY !!musiC@!
TRUTH BE TOLD-- !!musiC@!
!!musiC@!!!musiC@!
!!musiC@!!!musiC@!
>> FOLLOW DRIFT MOUTH ON
FACEBOOK TO LEARN WHERE THEY'RE
PLAYING AROUND TOWN.
AND YOU CAN SAMPLE MORE OF THEIR
MUSIC ON THEIR BANDCAMP SITE.
>> FOR THIS PART OF TOWN.
>> THERE'S A WOODSHOP IN
ROCHESTER, NEW YORK THAT IS ALSO
A MINISTRY.
IT ORIGINALLY OPENED IN THE LATE
1960S TO OFFSET THE CIVIL UNREST
IN THE CITY AS A RESULT OF THE
RACE RIOTS.
AND 50 YEARS LATER, IT IS STILL
CHANGING YOUNG LIVES.
THE TEENS IN THIS WOODSHOP ARE
BUILDING NOT JUST FURNITURE, BUT
ALSO CHARACTER.
>> IT'S FUN LOOKING FOR STUFF
LIKE THIS.
THIS IS SOMETHING THAT I DID
WITH MY DAD WHEN I WAS LITTLE.
>> IT IS NOT RARE TO FIND JAMES
SMITH CRUISING DOWN THE STREETS
OF ROCHESTER SEARCHING FOR
TOSSED OUT OR SOON TO BE
FORGOTTEN HOUSE HOLD ITEMS.
>> I'M LOOKING FOR HARD WOOD
FURNITURE, THINGS THAT CAN BE
REPAIRED THAT DOESN'T HAVE TOO
MUCH DAMAGE OR WATER ROT IN IT,
MOLD.
I CAN SEE DOWN HERE, SEE A LOT
OF THIS IS VENEER.
YOU SEE THE VENEER ON HERE?
>> BUT FOR JAMES, SAVING AND
REBUILDING THE TOSSED OUT AND
FORGOTTEN, .MERE CURBSIDE
THROW-AWAYS, IS ABOUT MUCH MORE
THAN FURNITURE.
>> THEY GET SO MUCH OF YOUR
NEVER GONNA BE ANYTHING, YOU'RE
NEVER GONNA AMOUNT TO ANYTHING,
AND NO ONE TAKES THAT EXTRA
EFFORT TO SAY YOU CAN DO THAT.
YOU CAN BE THAT.
>> JAMES IS REFERRING TO THESE
KIDS AND THE MANY WHO CAME
BEFORE THEM HERE AT A PLACE
CALLED SAINT MICHAEL'S WOODSHOP.
>> I NEVER THOUGHT THAT THIS IS
SOMETHING THAT WOULD REALLY TAKE
ON BECAUSE I'M A GIRL AND WHEN I
TELL PEOPLE THEY'RE LIKE, A
WOODSHOP?
A GIRL?
AND I'M LIKE, YEAH.
>> MAKE NO MISTAKES, WOODWORKING
IN THIS ERA IS A GENDER-NEUTRAL
JOB.
AND YOUNG WOODWORKERS LIKE
SAAMAIYAA MUHAMMAD ARE QUICK TO
POINT THAT OUT.
>> I'VE MADE NATIVITY SETS, LIKE
THAT WITH LITTLE ANGELS AND
HEARTS AND STUFF LIKE BIRD
HOUSES, JEWELRY BOXES, LITTLE
CHEST CASES THAT YOU CAN PUT
STUFF IN, BOARD GAMES.
>> YOU COULD CALL THIS WOODSHOP
A QUIET FORCE IN THE COMMUNITY
WITH A STRONG TEAM OF VOLUNTEERS
WHO KEEP THE OPERATION RUNNING.
THIS AFTER-SCHOOL AND SUMMER
WORK PROGRAM IS FOR HIGH SCHOOL
STUDENTS.
MICHAEL'S JAMES, THE EXECUTIVE
DIRECTOR OF ST. MICHAEL'S
WOODSHOP SAYS THERE IS A
STIPULATION, TEENS WHO APPLY OR
GET REFERRED MUST BE IN NEED OF
A LITTLE SANDING, AS OPPOSED TO
THOSE WHO ARE ALREADY POLISHED.
>> WE DON'T WANT YOU TO BE A
PERFECT STUDENT BECAUSE WE WANT
TO MOLD YOU, WE WANT TO HELP YOU
BUILD CHARACTER, SO WE TRY NOT
TO TAKE PERFECT STUDENTS.
WE WANT FORK OF THE ROAD, WHERE
WE CAN KIND OF, BUILD AND WORK
WITH YOU.
I WAS A TROUBLED TEEN, I'VE BEEN
ON THE STREETS.
I'VE BEEN IN PRISON.
I'VE DONE ALL OF THE THINGS THAT
THESE KIDS WILL AVOID,
HOPEFULLY.
THIS IS WHY I FEEL LIKE I'M IN
THE POSITION TO HELP THEM AVOID
THOSE TRACKS.
>> WHEN I FIRST CAME HERE I
WASN'T A BAD KID.
BUT I NEVER TOOK ANYTHING
SERIOUSLY.
HE BASICALLY PULLED ME ASIDE ONE
TIME AND HE JUST SET EVERYTHING
STRAIGHT.
SAYING THAT PLAYING AROUND ALL
THE TIME WON'T GET ME TOO FAR.
I TOOK THAT TO HEART, AND
BASICALLY BETTERED MY WAYS FROM
THAT.
>> OPERATING FOR NEARLY
50 YEARS, ST. MICHAEL'S WOODSHOP
IS STILL FULFILLING THE MISSION
OF ITS FOUNDER -- THE LATE
SISTER PATRICIA FLYNN OF THE
SISTERS OF MERCY.
FLYNN SAW THE PROGRAM AS A WAY
TO OFFSET THE CIVIL UNREST IN
THE CITY AFTER THE RACE RIOTS OF
THE 1960s.
IT WAS A WAY TO BRING TOGETHER
AT RISK TEENS AND HELP THEM
LEARN A SKILL, GAIN WORK
EXPERIENCE AND DEVELOP A MUTUAL
CARE FOR OTHERS.
>> YOU SEE THE WOODSHOP AND YOU
SEE ALL THE WOODWORKING, BUT THE
MAIN FOCUS OF THIS MINISTRY IS
THE LIFE AND CHARACTER SKILLS.
>> WE LEARNED ABOUT HOW TO
BUDGET OUR MONEY.
LIKE IF MY MOM NEEDED SOMETHING,
LIKE TEN DOLLARS, I WOULD GIVE
IT TO HER, BECAUSE I KNOW HOW IT
IS.
I DID A PAPER ABOUT HOW IT'S
HARD, AND YOU GOTTA PAY BILLS.
>> WE'RE LEARNING SLOWLY HOW TO
BE ADULTS, HOW TO BE MATURE
ABOUT THINGS.
AND HOW TO UNDERSTAND HOW THE
WORLD WORKS.
IT'S NOT ONLY US COMING IN AND
HE'S PUTTING A PROJECT IN FRONT
OF US AND SAYING "HERE, NOW GO
DO IT."
IT'S NOT LIKE SCHOOL.
IT'S TEACHING US HOW TO BE YOUNG
ADULTS.
AND IT'S TEACHING US HOW TO HAVE
RESPECT FOR PEOPLE.
>> THERE'S A SHARED SENTIMENT
AMONG JAMES, THE YOUNG
WOODWORKERS, AND THE FAITHFUL
VOLUNTEERS.
ST. MICHAEL'S WOODSHOP IS A
FAMILY.
REBUILDING DREAMS AND
REDIRECTING YOUNG LIVES.
>> THERE'S SO MUCH VIOLENCE.
THERE'S DRUGS.
THERE'S PEER PRESSURE.
THERE'S BULLYING.
THERE'S ALL OF THESE ELEMENTS
THEY HAVE TO DEAL WITH, THEY
DON'T KNOW WHEN IT'S COMING OR
WHERE IT'S COMING FROM.
HERE, THEY KNOW THAT THEY'RE
SAFE.
>> WE'RE BUILDING, WE'RE
BECOMING GREAT.
AND THE MORE KIDS WE CAN GET IN,
THE BETTER THINGS WILL BE.
>> LEARN MORE ABOUT ST.MICHAEL'S
WOODSHOP BY VISITING THEIR
WEBSITE OR FOLLOW THEM ON
FACEBOOK.
OUR NEXT SEGMENT INTRODUCES YOU
TO A BALLET COUPLE IN
KANSAS CITY, WHO ACTUALLY HAVE
PASSED THROUGH COLUMBUS EARLIER
IN THEIR CAREERS TO DANCE WITH
BALLET MATT, BUT NOW, THEY TEACH
YOUNG DANCERS THE RIGGERS AND
DISCIPLINE OF THE ART FORM.
!!musiC@!!!musiC@!
>> THESE KIDS, SOME OF THEM COME
TWO HOURS BEFORE CLASS EVEN
STARTS, AND NOT BECAUSE THEIR
MOMS ARE LIKE, "OH, I NEED TO GO
SOMEWHERE ELSE.
I GOT TO DROP YOU OFF EARLY."
BUT, BECAUSE THEY WANT TO BE
HERE.
THEY ARE DEDICATED.
>> NOW, WE ARE GOING TO DO IT
TOGETHER.
SO, NIGEL HAS TO KEEP UP.
>> AND THREE, QUICKER LEGS.
AND CLOSE, FOUR.
I JUST THINK JUAN AND STEPHANIE
ATTRACT PEOPLE WHO REALLY WANT
TO COME HERE AND WORK.
IT'S NOT NECCESARILY A SOCIAL
OUTLET FOR THEM.
I MEAN, THEY CAN DO SOCIAL
OUTLET ELSEWHERE.
>> SLOW.
ALLOW THE MACHINE TO HELP YOU TO
FEEL THE MUSCLES.
>> WHAT THEY WON'T FIND ANYWHERE
NEARBY AT LEAST, IS AN ARRAY OF
PILATES AND GYROTONIC MACHINES
LIKE THIS.
PRETTY AS SCULPTURES, DESIGNED
TO HELP DANCERS AND REGULAR
FOLKS ALIKE, REHAB INJURIES AND
GAIN BETTER BODY CONTROL.
THE COUPLE HAD ALL READY BEEN
USING SOME IN A SMALL BUSINESS
BASED OUT OF THEIR HOME.
UNTIL ABOUT FIVE YEARS AGO, THEY
DECIDED TO UP THE ANTE AND OPEN
A SCHOOL OF THEIR OWN.
STEPHANIE REMEMBERS THE FIRST
TIME THEY SPOTTED THIS SOMEWHAT
UNEXPECTED LOCATION.
>> WE DROVE INTO DOWNTOWN
OAKLAND PARK.
THERE WAS ONE PARKING SPOT AND
IT WAS RIGHT OUTSIDE THIS
BUILDING, AND A BIG SIGN THAT
SAID FOR SALE.
LLL AND WE PEAKED IN THE WINDOW,
AND AT THAT POINT, WE DIDN'T
REALIZE HOW BIG THE SPACE WAS OR
WHAT IT COULD POTENTIALLY TURN
INTO.
!!musiC@!!!musiC@!
>> ONE OF THE THINGS I HAVE
ALWAYS SAID IS THAT I COULD
NEVER TEACH FOR RECREATIONAL
PURPOSE.
SO, IF WE WERE GOING TO GET
INVOLVED IN A BALLET SCHOOL, I
WANTED THE BALLET SCHOOL TO BE
PROFESSIONAL.
SO, THIS IS NO FAVOR.
THIS IS NOT ABOUT FINANCES.
IT IS ABOUT ART, AND THE KIDS
ARE GOOD.
THEY HAVE TO SAY WHERE THEY ARE.
WE HAVE PARENTS THAT HAVE BEEN
WITH US SINCE WE STARTED SCHOOL,
AND THEY SEE THIS PROGRESS IN
THEIR KIDS, AND THEY ARE
FASINATED BY IT.
HOW SERIOUS THE KIDS ARE TAKING
WHAT THEY DO, EVEN THOUGH THAT
THEY ARE VERY YOUNG.
HOW -- WHAT WE TEACH THEM HERE
IN THE CLASSROOM, THEY ARE ABLE
TO TAKE IT INTO EVERYDAY
ACTIVITIES.
>> WE'VE HAD MANY YEARS TEACHING
EXPERIENCE, AND OVER THOSE
YEARS, WE'VE KIND OF DEVELOPED
THIS PROCESS THAT WE FEEL REALLY
WORKS FOR THE KIDS.
IT'S A REAL TOUGH LOVE
SITUATION.
THEY KNOW WE LOVE THEM AND CARE
ABOUT THEM AND WANT THEM TO BE
THEIR BEST, BUT WE EXPECT THEM
TO WORK AT 100 PERCENT ALL THE
TIME.
WITH THE EXEPTION OF IF THEY ARE
INJURED OR SICK OR HAVING A BAD
DAY.
ONE OF THE BENEFITS OF BEING A
DANCER AND HAVING HAD SO MANY
AILMENTS, PAINS AND ACHES AS I
CAN RELATE TO ALMOST EVERYTHING
SOMEONE SAYS.
YOU KNOW, A CHILD COMES TO ME
AND SAYS, "MY TENDON IS REALLY
SORE."
I KNOW EXACTLY HOW THEY ARE
FEELING AND I SOMETIMES CAN HELP
THEM TO FEEL BETTER.
>> NOW OFFERING SIX LEVELS OF
INSTRUCTION IN A COMPLEX THAT IS
LARGER THAN IT LOOKS FROM
OUTSIDE, IT'S HARD TO BELIEVE
THE KSCB STARTED WITH ONLY THREE
STUDENTS ENROLLED.
>> WHEN THEY OPENED UP, WE CAME
HERE AND FOLLOWED THEM OVER AND
HAVEN'T LOOKED BACK.
>> JULIE HORTON'S OLDEST SON
RILEY WAS ONE OF THAT ORGINAL
TRIO.
HE'S NOW STUDYING AND WORKING
WITH THE HOUSTON BALLET.
AT 15, HER YOUNGER SON CONNER
ASPIRES TO DO MUCH THE SAME.
>> THIS IS MAYBE WHERE WE SPEND
MORE OF OUR WAKING HOURS THAN WE
DO AT OUR HOUSE.
WE ARE VERY GRATEFUL.
I DON'T THINK EVERY BALLET
SCHOOL FEELS LIKE FAMILY, BUT
THIS REALLY DOES.
>> IT'S A FAMILY WHERE LANGUAGE
ISN'T MUCH OF A BARRIER.
LIKE MANY COLUMBIAN KIDS, ONE
GREW UP ADMIST GREAT POVERTY.
HE CREDITS INCOBALLET, THE
SCHOOL HE ATTENDED IN CAUCA WITH
LITERALLY CHANGING HIS LIFE.
SO NOW EACH SUMMER, STUDENTS
FROM SOUTH AMERICA ARRIVE IN
JOHNSON COUNTY TO SPEND SEVERAL
WEEKS TAKING CLASSES AND
TRAINING ON THE KIND OF
EQUIPMENT THEY MIGHT NOT
OTHER5WISE HAVE ACCESS TO.
>> HE WAS IN THEIR SHOES AND
LOOK WHERE HE IS NOW AND LOOK AT
OUR STUDIO AND LOOK AT HIS
CAREER AND IT GIVES THEM
INSPIRATION THAT MAYBE THEY CAN
DO THAT TOO.
>> IT'S THE BEST PART OF THE
SUMMER WHEN THE COLUMBIANS COME
AND THEY HAVE NO IDEA WHAT I'M
SAYING AND I HAVE NO IDEA WHAT
THEY ARE SAYING, BUT YOU KNOW
THAT'S THE GREAT THING ABOUT
DANCE IS THAT YOU DON'T
NECCESARRILY HAVE TO TALK.
>> AYE, AYE, AYE.
TRAFFIC PROBLEMS HERE.
IT TRANSFORMS THIS STUDIO INTO
SOMETHING DIFFERENT.
WHICH IS WHAT, I THINK IS SO
SPECIAL ABOUT IT FOR OUR HOME
KIDS.
UM --
YOU KNOW, THIS STUDIO BECOMES AN
INTERNATIONAL DANCE STUDIO.
IT'S AN AMAZING EXPERIENCE.
IT REALLY IS.
!!musiC@!
>> EVERY YEAR, MORE AND MORE
KIDS FROM COLUMBIA HAVE BEEN
ABLE TO PARTICIPATE.
BUT MONICA GUERRERO HAS BEEN
INVOLVED ALL ALONG.
SHE'S KNOWN JUAN FOR DECADES.
NOW, HER DUTIES INCLUDE BOTH
TRAINING THE SCHOOLS INSTRUCTORS
AND FINE TUNING IT'S CURRICULUM.
>> EVERY TIME I COME, I LEARN
SOMETHING.
AND I ALWAYS LEARN SOMETHING
FROM HIM.
HE THINKS THAT I'M GIVING
SOMETHING TO THE SCHOOL BUT I
THINK THE OTHER WAY.
>> LETS DO PLIE AS WE CLOSE.
SO DON'T CLOSE.
FIRST PLIE.
>> WHEN HE'S WORKING, THOSE BOYS
AND GIRLS WILL HAVE GREAT
OPPORTUNITIES IN THEIR BODIES.
BUT THEY DON'T HAVE THE
OPPORTUNITIES ECONOMICALLY.
>> THAT'S TOTALLY TRUE WITH HIM.
IF IT WAS UP TO JUAN, EVERYONE
WOULD GO FREE.
SO HE --
YEAH, THAT REALLY WOULD BE HIS
GOAL.
>> IN FACT, 30 PERCENT OF THE
KANSAS SCHOOL OF CLASSICAL
BALLET STUDENTS ATTEND ON
SCHOLARSHIP.
JUAN CALLS IT GIVING BACK.
THAT ALSO DESCRIBES "LET'S
MOVE," A NEW PROJECT RECENTLY
UNDERTAKEN WITH KVC HOSPITALS.
IT BRINGS BASIC DANCE TRAINING
TO TROUBLED YOUTHS AT A
RESIDENTIAL TREATMENT FACILITY
IN KCK.
>> YOU KNOW, THEY'RE EXCITED FOR
SOMETHING NEW AND IT'S A PLACE
FOR THEM TO GET AWAY FROM THE
CHAOS THAT THEY'RE IN.
TO WALK IN THERE AND BE ABLE TO
NOT THINK ABOUT ANYTHING ELSE
FOR A LITTLE WHILE BUT HOW TO
MOVE MY BODY AND WHAT'S GOING
ON.
>> WHEN YOU'RE THERE, YOU SEE
THESE KIDS SMILING.
YOU SEE THESE KIDS PLAYING,
BEING CREATIVE.
FEELING COMFORTABLE IN THEIR OWN
SKIN.
TO BE ABLE, AS A PERSON TO
PROVIDE THAT, IT IS A PRIVILEGE.
>> COMMUNITY SUPPORT HAS
NURTURED THIS PROGRAM
SPECIFICALLY AND THE SCHOOL'S
QUEST FOR EXCELLENCE IN GENERAL.
BUT IT'S HARD TO PICTURE SO MUCH
GROWTH IN SUCH A SHORT TIME IF
IT WEREN'T FOR THE CREATIVE
COUPLE AT IT'S CORE.
>> AS MUCH AS I'M SAYING THAT
WE'VE BEEN FOR 20 YEARS
TOGETHER, I ACTUALLY THINK, IF
WE WERE AN AVERAGE COUPLE, WE'VE
BEEN TOGETHER FOR 40, RIGHT?
BECAUSE WE LIVE TOGETHER; WE
WORK TOGETHER.
EVERYTHING HAS BEEN TOGETHER.
BUT SHE'S AN INCREDIBLE PARTNER.
I THINK THAT SHE'S ONE OF THE
BEST TEACHERS I KNOW.
SHE'S A VERY SMART LADY; SHE
MARRIED RIGHT.
>> THAT'S OUR SHOW! YOU CAN FIND
ALL OF OUR STORIES AT WOSU.ORG
AND BE SURE TO CHECK US OUT ON
FACEBOOK, TWITTER AND INSTAGRAM.
WE'RE TAKING YOU OUT TODAY WITH
MORE SOUNDS FROM DRIFT MOUTH.
THANKS FOR WATCHING.
WE'LL SEE YOU NEXT WEEK ON BROAD
& HIGH.
!!musiC@!
!!musiC@!
!!musiC@!
>> PRODUCTION OF BROAD & HIGH IS
FUNDED IN PART BY THE GREATER
COLUMBUS ARTS COUNCIL,
SUPPORTING ARTS, ADVANCING AND
CONNECTING THE COMMUNITY TO
CULTURAL EVENTS, ARTISTS &
CLASSES AT COLUMBUSMAKESART.COM.
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