>>> 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 "BROAD & HIGH", WE MEET AN ARTIST AND PHOTOGRAPHER WHO IS BRIDGING HISTORIC PHOTOGRAPHIC PROCESSES WITH 21st CENTURY TECHNOLOGY.

TAKE A LISTEN TO HIGH SCHOOL STUDENTS WHO ARE OPENING EYES AND CHANGING VIEWS WITHIN A UNIQUE TRAINING PROGRAM.

WATCH TIBETAN MONKS MAKE, AND THEN, DESTROY AN INTRICATE WORK OF ART MADE FROM SAND.

AND, WE VISIT AN UNUSUAL STAGE TO EXPERIENCE A BALLET.

THIS AND MORE, RIGHT NOW, ON "BROAD & HIGH" !

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>>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST, KATE QUICKEL.

WILL WILSON HAS USED PHOTOGRAPHY AS A LANGUAGE TO EXPRESS HIMSELF SINCE HE PICKED UP HIS FIRST 35 MILLIMETER CAMERA.

IN HIS RECENT WORK, HE'S EXPLORING WHAT IT MEANS TO SHARE THE PORTRAITURE PROCESS BY SLOWING DOWN.

REALLY ENGAGING WITH HIS SUBJECT AND ALLOWING THEM TO EXPERIENCE THE MAGIC OF FILM PHOTOGRAPHY.

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>> WELL, I'M AN ARTIST AND A PHOTOGRAPHER.

I'M THE PROGRAM HEAD OF PHOTOGRAPHY AT THE SANTA FE COMMUNITY COLLEGE.

I GREW UP BETWEEN SAN FRANCISCO, CALIFORNIA AND TUBA CITY, ARIZONA WHICH IS ON THE NAVAJO NATION.

AND, MY DAD WAS IRISH AND WELSH AND MY MOM WAS NAVAJO.

I THINK ONE OF THE REASONS I WAS SO DRAWN TO PHOTOGRAPHY BECAUSE WHEN I FOUND PHOTOGRAPHY IT WAS, LIKE, THIS LANGUAGE THAT ENABLED ME TO, KIND OF, EXPRESS MYSELF IN A WAY THAT I, YOU KNOW, COULDN'T LINGUISTICALLY.

SOME OF THE, KIND OF, EARLY FORMS OF PHOTOGRAPHY THAT I WAS INVOLVED IN, YOU KNOW, TRADITIONAL BLACK AND WHITE.

I WAS REALLY DRAWN TO THAT, KIND OF, DOCUMENTARY KIND OF STYLE.

YOU KNOW, 36 SHOTS TO A ROLL IT WAS A DIFFERENT TIME.

YOU KNOW, NOW I USE A DIGITAL CAMERA THE WHOLE TIME BUT I AM DRAWN THE HISTORIC PROCESS.

SO YOU KNOW, IN PARTICULAR, SOME OF THE IMAGES YOU'RE SEEING IN THIS SHOW WERE MADE WITH A PROCESS CALLED WET PLATE, OR WET PLATE COLLODIAN.

IT WAS DEVELOPED IN 1851 AND WAS, KIND OF, THE PHOTOGRAPHIC PROCESS UNTIL ABOUT 1880.

SO, FIRST UP OF THE PROCESS IS TO TAKE THIS PLASTIC OFF.

WITH THE WET PLATE PROCESS, UM, IT'S A BIT LABOR INTENSIVE.

YOU ARE, ESSENTIALLY, MAKING YOUR OWN FILM.

THEY CALL IT WET PLATE BECAUSE IT HAS TO STAY WET THROUGHOUT THE PROCESS, OTHERWISE, YOU DON'T GET AN IMAGE.

STEP ONE IS YOU GET A PLATE, EITHER GLASS OR BLACK METAL, AND YOU POUR THIS STUFF CALLED COLLODIUM ON THAT PLATE.

UM, COLLODIUM PRETTY MUCH STICKS TO ANYTHING AND IT ALSO HAS SOME CHEMISTRIES IN THAT WHEN IT'S COMBINED WITH SILVER NITRATE -- AND THIS HAPPENS IN A DARK ROOM, RIGHT.

SO, YOU POUR THE COLLODIUM ON THE PLATE, YOU TAKE THAT PLATE TO A BATH OF SILVER NITRATE AND YOU DROP IT IN THERE.

THREE MINUTES LATER, A EMULSION HAS FORMED -- A LIGHT SENSITIVE EMULSION.

AND SO, AT THAT POINT YOU HAVE TO USE A SAFE LIGHT OR DO THIS IN THE DARK, RIGHT.

AND SO, YOU LOAD THAT PLATE INTO A FILM HOLDER.

CARRY THAT FILM HOLDER TO THE CAMERA AND, YOU KNOW, YOU'VE ALREADY KIND OF SET UP YOUR SUBJECT AND THEY'RE KIND OF WAITING.

UH, YOU MAKE THE THE EXPOSURE AND THEN, WITH THIS PROCESS, YOU KNOW ONE OF THE GREAT THINGS IS YOU CAN TAKE THE SUBJECT WITH YOU BACK TO THE DARK ROOM AND THEY GET TO, LIKE, EXPERIENCE THE ACTUAL KIND OF MAGIC OF ANALYTIC PHOTOGRAPHY, RIGHT.

AND SO, YOU HAVE THAT EXPOSED NEGATIVE, YOU TAKE IT OUT OF THE FILM HOLDER, YOU POUR DEVELOPER ON THERE, AND A NEGATIVE IMAGE STARTS TO FORM.

AND SO YOU, KIND OF, JUDGE THAT AND THEN YOU STOP IT WITH WATER.

AND THEN WHEN YOU PUT IT IN THE FIXTURE, THIS AMAZING THING HAPPENS.

AND AT THAT POINT, YOU CAN ACTUALLY TURN THE LIGHT ON.

SO IT, KIND OF, DOES THIS TRANSITION -- THIS MAGIC TRANSITION -- FROM A NEGATIVE IMAGE TO A POSITIVE IMAGE.

SO IT, KIND OF, BECOMES THIS FOGGY, KIND OF -- YOU KNOW, IT'S NOT SOMETHING THAT YOU CAN READ AND OUT OF THAT EMERGES THIS, LIKE, BEAUTIFUL POSITIVE IMAGE.

AND, YOU KNOW, PEOPLE ARE, I THINK, REALLY MOVED AND FASCINATED.

AND EVERY TIME I SEE IT I'M JUST, LIKE, RE-ENERGIZED.

I'M LIKE, "YEAH, LET'S GO MAKE SOME MORE."

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SO WITH, UM, THE CIPX PROJECT OR THE CRITICAL INDIGENOUS PHOTOGRAPHIC EXCHANGE, WHICH IS WHAT IT STANDS FOR.

I'M USING A HISTORIC PHOTOGRAPHIC PROCESS TO KIND OF INVESTIGATE PORTRAITURE.

KIND OF, THINKING ABOUT WHAT PHOTOGRAPHY WOULD BE IF INDIGENOUS PEOPLE INVENTED IT, YOU KNOW.

WOULD THERE BE A DIFFERENT, KIND OF, SET OF IDEAS?

KIND OF, PROTOCOLS IN RELATION TO MAKING SOMEONE'S IMAGE.

IT'S A FAIRLY, KIND OF, INTIMATE PROCESS, YOU KNOW.

I THINK THERE'S A CERTAIN LEVEL OF VULNERABILITY THAT YOU, KIND OF, EXTEND OR OFFER.

WHEN I USE WET PLATE, IT ENABLES ME TO, KIND OF, SLOW THINGS DOWN.

IT TAKES ABOUT 30 MINUTES TO MAKE ONE PORTRAIT.

SO I CAN HAVE, KIND OF -- YOU KNOW A SLOWER ENGAGEMENT WITH THE INDIVIDUAL.

AND, KIND OF, DECIDING HOW THEY WANT TO BE REPRESENTED.

>> OK, YEARS AGO YOU SERVED THE PEOPLE IN THE PUEBLO REVOLT IN 1680.

>> I WAS ALSO INCORPORATING ANOTHER TECHNOLOGY, A 21st CENTURY TECHNOLOGY CALLED AUGMENTED REALITY WITH THIS HISTORIC PHOTOGRAPHIC PROCESS.

THROUGH THE AUGMENTED REALITY TECHNOLOGY, I HAVE BEEN ABLE TO BRIDGE, LIKE, THIS HISTORIC PHOTOGRAPHIC IMAGE OF HER WITH HER PERFORMANCE AS A DANCER.

AND I'VE CALLED THESE TALKING TINTYPES.

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SWIL KANIM IS A VIOLINIST.

UM, AND HE DID A RENDITION OF "TEN LITTLE INDIANS" AND HE TALKS ABOUT LIKE THAT SONG, THAT NURSERY RHYME'S RELATIONSHIP TO, KIND OF, THE HISTORY OF GENOCIDE.

SO, YOU KNOW, YOU'RE KIND OF -- I GUESS MOVED BY THIS NURSERY RHYME ALMOST BUT THEN, KIND OF, HIT OVER THE BACK OF THE HEAD WITH, LIKE, WHAT IT'S REALLY ABOUT YOU KNOW.

AND HIS, KIND OF, REFRAMING OF IT I THINK IS -- IT'S A PRETTY POWERFUL, KIND OF, EXPRESSION OF INDIGENEITY TODAY.

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I HOPE THAT PEOPLE ARE REALLY DRAWN IN TO, YOU KNOW, A KIND OF DIFFERENT WAY OF LOOKING AT PORTRAITURE.

IT'S KIND OF UNUSUAL.

THERE'S A CERTAIN LEVEL OF UNCERTAINTY WITH THIS PORTAITURE, YOU KNOW, THERE'S THESE STRANGE CHEMICAL-LIKE ABERRATIONS THAT OCCURS.

IN TERMS OF THE INDIGENOUS FOLKS, HOPEFULLY PEOPLE, LIKE, ARE MOVED BY, LIKE, THE DIVERSITY, THE AGENCY OF THE PEOPLE.

YEAH AND -- I THINK ON A BROADER LEVEL I HOPE THAT IT MAKES PEOPLE THINK ABOUT WHAT IT MEANS TO SHARE THE PORTRAITURE PROCESS WITH SOMEONE.

SLOWING THINGS DOWN AND, YOU KNOW, THINKING ABOUT WHAT IT MEANS TO MAKE YOURSELF VULNERABLE, TO MAKE YOURSELF, LIKE, AVAILABLE TO THIS KIND OF ENGAGEMENT.

I MEAN, EVERY TIME I HAVE ONE OF THESE, KIND OF, ENGAGEMENTS OR WORK WITH PEOPLE IN THIS WAY, I THINK IT -- YOU KNOW, EXCITES ME TO MAKE MORE.

AND IT JUST, KIND OF, PROPELS THE PROJECT FORWARD.

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>> WILL RECENTLY HAD A SHOW OF HIS CRITICAL INDIGENOUS PHOTOGRAPHIC EXCHANGE PROJECT AND DENISON UNIVERSITY.

TO SEE WHAT'S CURRENTLY ON EXHIBIT THERE, VISIT THE DENISON MUSEUM WEBSITE AT DENISON.EDU/PLACES/MUSEUM.

TO SEE MORE OF WILL'S TALKING TINTYPES, DOWNLOAD THE APP AND VISIT HIS WEBSITE AT WILLWILSON.PHOTOSHELTER.COM.

>>> NEXT, WE LEARN ABOUT A RADIO STATION IN DAYTON THAT IS PROVIDING A SAFE PLACE FOR YOUNG PEOPLE TO TELL THEIR STORIES.

AT WYSO, LOCAL STUDENTS EXPECTED TO LEARN ABOUT HOW TO USE A MICROPHONE BUT HAVE COME AWAY WITH SO MUCH MORE.

LET'S TAKE A LISTEN.

>> I'M NOT SURE WHY I DECIDED TO PUT ON MY SUPERMAN COSTUME.

>> MY MOM WOULD ALWAYS PUT ME AND MY BROTHER BEFORE HER, EVEN FOR THE SMALL THINGS.

>> I LOVE MY SKIN.

I LOVE BEING BEAUTIFUL.

I LOVE BEING BLACK.

BUT NOT EVERYBODY ELSE LOVES IT.

>> I HEARD ABOUT DAYTON YOUTH RADIO THROUGH MY CREATIVE WRITING TEACHER.

IT WAS SORT OF NOTHING LIKE I EXPECTED.

I MEAN, NOT I WENT IN THERE WITH NEGATIVE EXPECTATIONS, BUT, I WAS A LITTLE NERVOUS TOWARDS THE BEGINNING.

I THOUGHT MY VOICE WAS GOING TO SHAKE.

BUT I GOT COMFORTABLE PRETTY QUICK.

AT DAYTON YOUTH RADIO, I LEARNED THAT I'M ACTUALLY REALLY COURAGEOUS.

I DIDN'T KNOW THAT I HAD ALL OF THIS AMBITION IN ME UNTIL I WENT WITH IT.

UNTIL I FLOWED WITH IT, HONESTLY.

AND WHEN I DID, I FELT LIKE IT WAS BEAUTIFUL.

IT KIND OF MADE ME FEEL EMPOWERED.

>> DAYTON YOUTH IS A SAFE PLACE FOR TEENAGERS TO TELL STORIES ABOUT THEIR LVES.

AND TO TALK ABOUT ANYTHING THEY WANT.

AND TO LEARN HOW TO USE RADIO EQUIPMENT.

I PUT TOGETHER AN EIGHT WEEK PROGRAM AND BECAME THE FOUNDING PRODUCER OF THIS SERIES IN 2013.

PUBLIC SCHOOL AND PRIVATE SCHOOL TEACHERS REACH OUT AND INVITE ME INTO THEIR CLASSROOM.

OVER 175 TEENAGERS HAVE COME THROUGH THIS PROGRAM TEN AT A TIME.

THAT FIRST DAY IS SO IMPORTANT TO BUILD TRUST AND SO WE CAN TALK ABOUT ANYTHING.

ONCE YOU GET PAST THAT FIRST HOUR OF BEING WITH A NEW GROUP OF TEENAGERS, WE FORM A TRIBE.

IT'S AN EIGHT WEEK COURSE.

BY WEEK THREE, THEY START TELLING ME ABOUT WHAT THEY WOULD LIKE TO DO WITH THIS MICROPHONE.

LIKE, YOU HAVE THE MICROPHONE NOW.

GOT IT FOR THREE MINUTES.

WHAT DO YOU WANT TO TALK ABOUT?

THEY'RE WRITING SCRIPTS AND YOU HAVE TO TELL THE TRUTH.

IT HAS TO BE ABOUT TRUTH.

TOWARDS THE END OF THE COURSE, WE COME TO WYSO AND THEY DO THEIR NARRATIVES.

>> WE TALKED ABOUT HOW WRITING FOR RADIO IS DIFFERENT THAN WRITING FOR SOMEONE TO READ AND THE IMPORTANCE OF STILL CAPTURING YOUR AUDIENCE AND BUILDING A SCENE FOR THEM.

AND MAKING SURE THERE IS ENOUGH DETAIL THAT THEY CAN IMAGINE THE SCENE BUT NOT TOO MUCH THAT THEY'RE LOST IN IT.

MY DAYTON YOUTH RADIO STORY WAS ABOUT MY TRANSITION FROM MALE TO FEMALE.

AND, ABOUT HOW I ENCOUNTERED THE WORLD DIFFERENTLY THAN A LOT OF OTHER PEOPLE BECAUSE I HAPPENED TO BE A TEENAGER WHO'S TRANS.

THROUGH DAYTON YOUTH RADIO, I LEARNED THAT MY PERSONAL STORY CAN HAVE AN IMPACT ON THE PEOPLE AND ENVIRONMENT THAT SURROUNDS ME.

AND, EVEN SOMETHING AS SMALL AS A RADIO STORY CAN REALLY OPEN SOMEONE'S EYES AND, MAYBE, EVEN CHANGE THEIR VIEWS.

>> WHAT WERE YOU WEARING?

WHAT WERE YOU DRINKING?

WHAT DID YOU THINK WAS GOING TO HAPPEN WALKING HOME ALONE?.

>> I GUESS WHAT I'M TRYING TO SAY IS LOVE IS THE BEST BAND-AID YOU CAN USE.

>> IT BOTHERS ME THAT HE NEVER GOT TO SEE ME PERFORM IN COLOR GUARD.

HE HASN'T BEEN ABLE TO WATCH ME GROW UP.

>> THE FIRST YEAR WERE PRETTY GENERIC STORIES.

BUT THEN I NOTICED THE SECOND YEAR THE STUDENTS WANTED TO TALK ABOUT DEEPER AND DEEPER TOPICS.

AND SOMETIMES, STUDENTS WOULD CRY IN CLASSES THEY TALKED ABOUT.

A SUBJECT THEY WANTED TO DO.

AND I HAD TO LOOK AT MY SYLLABUS AND SAID YOU KNOW WHAT, I NEED MORE TRAINING.

BECAUSE IF A STUDENT'S TALKING ABOUT LOOSING A LOVED ONE AND I'M LIKE, "WELL THIS IS HOW A MICROPHONE WORKS."

I WASN'T BEING EFFECTIVE.

SO AFTER THE SECOND YEAR, I WENT BACK AND GOT CERTIFIED IN MENTAL HEALTH TRAINING FOR WORKING WITH ADOLESCENTS.

I KNOW HOW TO MAKE THIS PLACE EVEN SAFER NOW WITH MY TRAINING.

AND THEN WE CAN GO DEEPER IF YOU LOOK AT OUR SERIES, THE STORIES HAVE GOTTEN MORE INTENSE, MORE PERSONAL.

>> IT WAS ALMOST LIKE I WAS LIVING IN TWO DIFFERENT WORLDS.

AT SCHOOL, I ALWAYS HAD A LUNCH.

YET AT HOME, WHEN WE COULDN'T AFFORD MILK, MY DAD TOLD ME TO POUR WATER IN MY CEREAL.

>> ONE OF THE THINGS I DISLIKE ABOUT MY CULTURE IS YOUNG MARRIAGE.

MY GREAT GRANDMA GOT MARRIED WHEN SHE WAS ONLY 13 YEARS OLD.

>> MY DAD, WHO HAD ALWAYS HAD A JOB, HAD BEEN LAID OFF.

BEING LAID OFF AFFECTED THE WAY HE SAW OUR COUNTRY, OUR COMMUNITY.

NOW, HE SEEMED TO BE TALKING ABOUT RACE ALL THE TIME.

I WASN'T TRYING TO TEAR ANYBODY DOWN, I WAS TRYING TO BRING LIGHT TO AN ISSUE -- WHICH IS IMPORTANT TO ME -- THAT I DON'T AGREE WITH.

I WAS ACTUALLY IN DAYTON YOUTH RADIO LAST YEAR AND IT KIND OF INSPIRED ME TO BECOME INTERESTED IN RADIO MORE, AND ALSO JUST MEDIA AT LARGE.

I GOT BOWLING GREEN AND I MAJOR IN BROADCAST JOURNALISM.

>> GO AND HIT PAUSE.

WHAT WE CAN DO IS -- LET'S HOLD OFF ON GETTING THE BIKE SOUNDS, LET'S JUST FINISH IT.

BECAUSE THE BIKE SOUNDS CAN ALWAYS JUST BE THROWN BACK IN.

LIKE IT'S NOT VITAL.

>> I GOT TO OHIO STATE UNIVERSITY AND I'M STUDYING JOURNALISM.

>> AND THEN WHAT WE'LL DO -- IF WE GET EVERYTHING DONE BEFORE 2:30, WE'LL JUST GO OUT, HAVE YOU SIT WITH THE RECORDING EQUIPMENT.

LIKE, IN YOUR LAP AND THEN JUST, LIKE, PEDAL OR LIKE A MINUTE OF JUST LIKE SOLID BIKE SOUNDS.

MY STORY WAS ABOUT A FATHER THAT I DID NOT KNOW.

WELL, I KNEW THROUGH OTHER PEOPLE -- ALL BAD THINGS OF COURSE.

BUT IT WAS MORE OF JUST TRYING TO FIND OUT WHO HE WAS.

I WANT TO FORGET MY FATHER.

BUT MY GRANDMA DOESN'T WANT ME TO SEE HIM.

MY GRANDMA HAS NOT FORGIVEN MY FATHER FOR WHAT HE DID TO MY MOM AND ME.

YOU KNOW, I WAS ACTUALLY THINKING ABOUT THIS.

LIKE, IS THIS A FORM OF THERAPY?

AND I THINK WHAT'S INTERESTING ABOUT DAYTON YOUTH RADIO, AT LEAST FOR THE STORIES THAT WE'VE DONE WHEN THEY'RE REALLY PERSONAL.

THEY ALWAYS START WHERE IT'S OPENING UP THIS WOUND AND IT KIND OF JUST LETS THAT BE.

AND SO IT DOESN'T EVER SOLVE IT, IT'S NOT TRYING TO SOLVE IT IT'S TRYING TO GET YOU AND KIND OF KICK YOU TO GO AND DEAL WITH YOUR PROBLEMS.

AT LEAST IT MOTIVATES YOU TO ASK THOSE QUESTIONS THAT YOU MIGHT NOT HAVE ASKED.

RADIO IS A VERY EMOTIVE THING.

AND IT'S STILL SOMETHING THAT CAN MOVE PEOPLE TO TEARS, MAKE PEOPLE LAUGH, MAKE PEOPLE GET ANGRY.

THAT'S WHY PEOPLE TUNE IN.

>> THAT'S WHAT THE LISTENER HEARS WHEN THEY HEAR THESE STORIES.

IT'S A LOVE AND PASSION AND AN EXCELLENCE.

ONCE THE CLASS IS OVER, I'M OFF TO THE NEXT SCHOOL.

AND SOMETIMES I'LL SEE THE FAMILY LIKE AT THE MALL AND THEY SAY "THANK YOU FOR HELPING MY KID TELL THAT STORY.

THERE'S A LOT OF HAPPY ENDINGS I'VE HEARD FROM SOME OF THESE STORIES GOING ON THE AIR.

I'M ALWAYS IN AWE AND JUST FEELING BLESSED TO DO THIS PROJECT WITH THE TEENAGERS.

>> I UNDERSTAND THE VALUE OF EDUCATION AND WHAT NOT HAVING ONE CAN DO TO YOUR LIFE.

>> I'M AN ASPIRING METEOROLOGIST WHO DREAMS OF BEING ON TV ONE DAY.

YEAH, I JUST SAID METEOROLOGIST.

>> WHEN YOU HAVE A DREAM YOU SHOULDN'T LET ANYONE MAKE YOU FEEL LIKE YOU'RE NOT GOOD ENOUGH.

YOU HAVE THE POWER TO MAKE A DIFFERENCE.

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FOR DAYTON YOUTH RADIO, THIS IS JADON.

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>> TO FIND MORE ABOUT THIS PROGRAM, VISIT THEIR WEBSITE.

>>> A GROUP OF TIBETAN MONKS VISITED DUBLIN TO CREATE A UNIQUE, BUT TEMPORARY, WORK OF ART.

THEY SPENT FIVE DAYS AND USED MILLIONS OF GRAINS OF SAND TO CREATE A SAND PAINTING CALLED "THE MANDALA".

IN A CEREMONY AFTER COMPLETION, THEY THEN DESTROYED IT.

THIS ARTISTIC PROCESS IS A SPIRITUAL ONE MEANT TO SYMBOLIZE THE IMPERMANENCE OF ALL LIVING THINGS.

[ TIBETAN MONK CHANTS ] >> WELL, WE'RE IN COFFMAN PARK IN DUBLIN.

UM, WHAT'S HAPPENING BEHIND US IS THE MONKS FORM DREPUNG LOSELING MONASTERY ARE CREATING A SAND MANDALA.

[ TIBETAN MONK CHANTS ] AND IT'S JUST AN OPEN PROCESS WHERE YOU CAN VIEW THE CREATION OF ART BEFORE YOUR EYES.

[ TIBETAN MONK CHANTS ] >> OUR MONASTERY PLAYS A MENTOR ROLE IN TERMS OF PRESERVING CULTURE, PRESERVING TIBETAN LANGUAGE.

YOU KNOW, BUDDHISM AND SO FOURTH.

AND SO THIS MANDALA IS CALLED "AVALOKITESHVARA", THE BUDDHA OF COMPASSION.

[ TIBETAN MONK CHANTS ] >> BEFORE THE MANDALA STARTS TO TAKE SHAPE, THEY NEED TO BLESS THE ENVIRONMENT AND SORT OF BRING IN THE GOOD ENERGY.

SO THEY BROUGHT OUT HORNS AND CYMBALS AND IT WAS JUST A FULL CELEBRATION OF LIFE.

>> AT THE BEGINNING OF, YOU KNOW, CONSRUCTING THE MANDALA WE DO SOME CHANTS AND MEDITATIONS AND THE RECITATIONS.

AT THE SAME TIME, WE OFFER THE SOUNDS TO THE DIFFERENT BUDDHA'S AND ESPECIALLY IN THIS CASE, THE BUDDHA OF COMPASSION.

[ TIBETAN MONK CHANTS ] >> THIS TAKES A COUPLE OF DAYS, ACTUALLY FOUR DAYS TO REALIZE SO IT'S A REAL PAINSTAKING PROCESS AND IT JUST TAKES A LOT CARE AND PRECISION.

>> THIS TOOL WE CALL IT CHAK-PUR.

WE FILL THE -- THIS CHAK-PUR WITH SAND FIRST AND THEN WE BEGIN RELEASED -- UH, SAND -- MAKING VIBRATION.

[ TIBETAN MONK CHANTS ] >> WELL, I THINK THIS IS THE, SORT OF, THE STRANGE CONCEPT THAT LIFE IS IN PERMANENCE IN CHANGE AND SO THE SAND IS SWEPT AWAY AND THE DESIGN IS DESTROYED.

[ TIBETAN MONK CHANTS ] >> SO WE HOPE PEOPLE COME HERE AND SEE THE MANDALA.

AND WE HOPE IT -- MANDALA CAN INSPIRE THEM TO LEARN THERE'S END OF LIFE.

YOU KNOW WE FORGET THAT, RIGHT.

SO EVERYTHING, YOU KNOW, WE PLAN -- IN OUR, LIKE WE'RE PLANNING, WE LIVE FOREVER.

BUT IT'S KIND OF REMINDING OF THAT THERE IS END OF LIFE.

[ TIBETAN MONK CHANTS ] [ HORN BLOWING ] >> LEARN ABOUT ALL OF THE EVENT'S SPONSORED BY THE DUBLIN ARTS COUNCIL BY VISITING DUBLINARTS.ORG >>> IMAGINE YOU ARE IN A PARK WHEN CLASSICAL MUSIC BEGINS TO PLAY.

THEN YOU NOTICE A COUPLE BEGIN TO MOVE TO THE MUSIC.

RECENTLY, THE MIAMI CITY BALLET PRESENTED A SERIES OF OUTDOOR POP-UP PERFORMANCES THROUGHOUT THE CITY CALLED "TO MIAMI WITH LOVE".

EACH OF THESE NEW WORKS WERE INSPIRED BY A DIFFERENT MIAMI NEIGHBORHOOD.

LET'S TAKE A LOOK.

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[ APPLAUSE ] >>> WELL, THAT'S OUR SHOW.

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

FOR ALL OF USE HERE AT WOSU, I'M KATE QUICKEL, THANKS FOR WATCHING.

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ARE YOU WAITING FOR A SOMEONE SAY EVERYTHING THAT YOU LONG TO HEAR !

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EVEN IF YOU CRY LONG ENOUGH SUMMER WILL WASH AWAY ALL YOUR TEARS !

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MAYBE EVER ONCE LET YOU DOWN !

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SO TELL ME WHY DO YA COMIN' ROUND COME OVER !

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COME HOME DO ANYTHING JUST PLEASE COME HOME COME HOME COME HOME !

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>>> 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