>>> 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 COLUMBUSARTS.COM.

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>>> THIS TIME ON "BROAD & HIGH."

WE VISIT THE DAY OF THE DEAD COLUMBUS CELEBRATION.

AND EXPERIENCE THE MAKING OF A TRADITIONAL MEXICAN ARTIFACT.

WE LEARN ABOUT A DANCE SCHOOL THAT NOT ONLY EDUCATED, BUT ALSO BRINGS JOY AND CONFIDENCE TO ITS STUDENTS.

A NEW ORLEANS ARTIST TELLS US HOW HE HELPS CREATE CULTURE IN HIS WORK.

AND WE LISTEN TO A HIT SONG THAT IS A COLLABORATION BETWEEN A LOCAL BAND AND A COLUMBUS BASED SINGER/SONGWRITER.

THIS AND MORE AT "BROAD & HIGH."

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>> WELCOME TO "BROAD & HIGH"I AM YOUR HOST, KATE QUICKEL.

TODAY WE ARE HERE ARE AT GREEN LAWN CEMETERY.

THE LOCATION OF THE DAY OF THE DEAD COLUMBUS CELEBRATION.

CARTONERIA IS A TRADITIONAL MEXICAN ARTFORM.

WHERE PAPER MACHE LIKE TECHNIQUES ARE USED TO CREATE DECORATIVE ARTIFACTS FOR CULTURAL CELEBRATIONS.

LETICIA VAZQUEZ-SMITH IS A CULTURAL AMBASSADOR AND CRAFTSWOMAN.

COMMITTED TO STUDYING THE ART OF CARTONERIA.

SHE HOPES BY LEARNING AND SHARING HER KNOWLEDGE OF THE ART, SHE'LL SPREAD THE BEAUTY OF MEXICAN ARTS AND CULTURE TO COLUMBUS.

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>> HI, WE ARE HERE AT THE DAY OF THE DEAD COLUMBUS FESTIVAL.

DON'T YOU LIKE THESE?

LOOK AT THESE.

WE HAVE THE CARTONERIA THAT WE HAVE BEEN MAKING IN THE COMMUNITY.

IT'S SO COOL.

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>> THE MOST IMPORTANT THING IS TO REMEMBER THE PEOPLE THAT HAVE PASSED.

YOUR FRIENDS, YOUR FAMILY.

AND WE THINK THAT BY REMEMBERING WE KEEP THEM ALIVE.

IT'S NOTHING CREEPY.

I THINK IT'S A CELEBRATION OF LIFE.

AND YOU CAN CELEBRATE WITH FOOD, WITH FLOWERS, DANCING, MUSIC.

THAT'S WHY WE HAVE -- IT'S A PARTY.

IT'S A BIG PARTY.

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>> WHILE I WAS DOING DAY OF THE DEAD, PEOPLE WERE INTERESTED IN KNOWING MORE ABOUT DIFFERENT CRAFTS.

EVERYBODY THAT THINKS ABOUT DAY OF THE DEAD, THINKS ABOUT THE SKULL.

RIGHT?

AND THEN THE SKELETON.

THE BIGGEST SKULLS, THEY'RE MADE OF CERAMIC, SUGAR.

BUT CARTONERIA IS THE MAIN ONE.

CARTONERIA WHICH PEOPLE CALL PAPER MACHE.

THE PAPER MACHE TECHNIQUE IS LIKE YOU HAVE GLUE.

ACTUAL GLUE AND PAPER AND YOU BOIL THE PAPER AND YOU MIX IN THE BLENDER.

IT'S LIKE A DIFFERENT PROCESS.

CARTONERIA IS BY LAYER BY LAYER.

THE GLUE IS NATURAL GLUE, MADE WITH FLOUR.

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IN THE BEGINNING CARTONERIA WAS VERY EPHEMERAL.

LIKE IT WAS SOMETHING YOU WERE GOING TO BUY -- SAY A PIÑATA, TO BREAK.

IT'S SUPPOSE TO BE LIKE A SHORT TIME.

I THINK IT'S LIKE A LIFE.

RIGHT?

IT'S EPHEMERAL.

YOU DON'T KEEP THIS PIECE FOREVER.

SO YOU USE IT AND KIDS PLAY WITH DIFFERENT PIECES AND THAT'S THE BEAUTY.

I JUST THINK THAT'S THE BEAUTY.

THE ONE ARTIST THAT I REALLY LIKE IS CARMEN CABALLERO.

SHE WAS THE ONE THAT SOLD MANY, MANY PIECES TO DIEGO RIVERA HE ACTUALLY FOUND HER AT THE STREETS.

BY THE MARKETS.

I USE TO THINK THAT'S THE KIND OF ARTS AND CRAFTS THAT I ADMIRE THE MOST.

ANY LITTLE PIECE THAT YOU FIND, REALLY WHEN YOU PICK IT UP AND TOUCH IT -- YOU WILL FEEL THE HANDS OF THE PARTICULAR PERSON THAT MADE THAT PARTICULAR PIECE.

NOTHING IS PERFECT, RIGHT?

WE HAVE ONE EYE BIGGER THAN THE OTHER ONE AND EVERYTHING IS LIKE IMPERFECT.

AND I THINK THAT'S WHAT I AM IN LOVE WITH.

SO YOU HAVE YOUR PAPER.

YOU HAVE YOUR ENGRUDO.

ENGRUDO IS MADE WITH FLOUR, WATER AND LITTLE BIT OF VINEGAR.

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YOU GO AND RIP YOUR PAPER AND YOU WILL TRY TO DO IT IN SMALL PIECES.

NEVER USE THE SCISSORS, BECAUSE YOU WILL HAVE ALL THESE FIBERS.

THAT WHEN DOING YOUR PIECE ARE GOING TO BE CONNECTED.

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BECAUSE I LIKE COOKING SO MUCH AND -- FOR CARTONERIA I HAVE TO COOK, BUT I HAVE TO MIX AND IT'S LIKE I AM DANCING AND COOKING AND EVERYTHING TOGETHER.

SO IT'S JUST LIKE A PERFECT ACTIVITY FOR ME.

TO BE AN ARTESANO IN MEXICO CITY, BEFORE IT WAS VERY HARD.

YOU HAVE TO BE IN THE FAMILY OF THE ARTISAN.

OTHERWISE YOU COULDN'T LIKE CERTIFIED AS AN ARTISAN.

SO THESE DAYS YOU CAN TAKE SO MANY CLASSES AND PROVE YOU KNOW HOW TO MAKE IT.

I WENT TO MEXICO CITY AND I TOOK A LOT OF CLASSES THERE AND THEN I CAME BACK AND I GOT A GRANT ACTUALLY FROM THE GCAC.

AND I WAS ABLE TO TAKE ANOTHER ROLL OF A CLASSES WITH PEOPLE THAT ARE -- I LEARNED THE PAPER HAS THESE FIBERS.

IT'S NOT LIKE, OH I PUT THIS OVER THE TOP AND YOU KNOW -- NO, IT HAS A WAY.

IT'S ALMOST LIKE A PUZZLE.

BEING PART OF THOSE GROUPS IT MEANS A LOT.

LIKE ME AS A MEXICAN, IT'S ALMOST LIKE I'M PART OF THE FAMILY OF CARMEN.

>> I THINK IT'S LIKE HONORING THESE PEOPLE.

TAKE THEIR LEGACY AND TRY TO PASS IT ON.

THAT'S DEFINITELY IS MY FINAL DESTINATION.

THAT'S MY PURPOSE.

I WOULD LIKE TO GET CERTIFICATION AND I AM GOING TO WORK THROUGH THAT.

BUT I REALLY THINK THAT I AM DOING IT MORE TO ENJOY THE PROCESS.

AND TO PASS IT ON.

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>> WHEN I HEAR NEW ORLEANS I THINK OF A VIVACIOUS CITY FULL OF COLOR AND ENERGY.

ARTIST TERRANCE OSBORNE WAS BORN AND RAISED THERE AND LOVES TO DEPICT HIS CITY AND ITS RICH CULTURE IN HIS WORK.

HIS ARTWORK IS FULL OF FEELING AND EXPRESSION.

YOU CAN'T HELP BUT FALL IN LOVE WITH THIS CULTURE THROUGH HIS EYES.

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>> I AM ONE OF FIVE.

WE USE TO PLAY UNDER OUR HOUSE.

THESE SHOTGUN HOUSES, THEY'RE RAISED.

SO WE USED TO PLAY ARCHEOLOGISTS.

DIGGING UP BOTTLES AND THINGS LIKE THAT.

I DEVELOPED A LOVE FOR ANTIQUES AND RUSTIC THINGS AND ALL THINGS NEW ORLEANS.

MY MOM COLLECTED A LOT OF ANTIQUES.

THAT WAS SOMETHING THAT SHE DID.

A LOT OF RUSTIC STUFF SHE LIKED.

WHAT I TRY TO DO IS PAINT ABOUT THOSE THINGS.

PLAYING UNDER THE HOUSE, GAVE ME AN IDEA OF HOW THE STRUCTURE OF A HOUSE WAS FORM.

CAUSE I COULD SEE UNDERNEATH.

SO WHEN I STARTED PAINTING THEM AS AN ADULT, I JUST PAINTED FROM MEMORY.

IT WAS EASY TO UNDERSTAND THEM.

THERE'S THE ARTIST WHO SEES THE CULTURE AND WHO MIMICS THE CULTURE.

I AM GOING TO PAINT THE GUY PLAYING THE TRUMPET OR GOING TO PAINT SOME CRAWFISH OR SOMETHING LIKE THAT.

AND THAT'S FINE BECAUSE THAT INTRODUCES PEOPLE TO THE CULTURE AND GIVES THEM SOMETHING TO TAKE BACK.

BUT THEN THERE'S ANOTHER ARTIST, THAT I AM PARTIAL TO.

THIS ARTIST IS BORN OF THE CULTURE AND WHEN HE PRODUCES SOMETHING HE PRODUCES IT FROM A PLACE WHERE HE'S NOT TRYING TO MIMIC.

HE'S CREATING THE CULTURE.

AND THAT'S WHAT I DO.

MY JOB IS TO TAKE THE CULUTRE AND SHOW WHAT IT IS.

I AM NOT MIMICKING.

I AM GIVING BIRTH TO CULTURE.

SO WHEN PEOPLE SEE MY WORK THEY RECOGNIZE THAT.

PEOPLE WHO ARE NOT ARTIST, THEY EXPERIENCE THE SAME THING THAT I EXPEIRENCE WHEN THEY LOOK AT THE CITY.

LOCALS, RIGHT?

THE DIFFERENCE IS THAT I HAVE THE MOTOR SKILLS TO INTERPRET MY PERCEPTIONS.

EVEN SOMEONE MIGHT THINK WHAT MARDI GRAS IS, I CAN PAINT THEY EXPRESSION OF IT.

THERE'S THIS PIECE CALLED "THROW ME SOMETHING MISTA" WHERE THIS LADY HAS HER ARMS STRETCHED OUT AND SHE HAS BEADS AND YOU CAN SEE THE ENTHUSIASM IN HER FACE.

SHE IS MARDI GRA PERSONIFIED, RIGHT?

NOW THAT'S HOW EVERYBODY FEELS, BUT I CAN PAINT ABOUT IT.

MOST OF MY PIECES ORIGINALLY WERE ABOUT THE HOUSES AND THE NEIGHBORHOODS.

THINGS LIKE THAT.

GRADUALLY STARTED TO MOVE INTO PAINTING PEOPLE MORE.

AND THEN PUTTING HOUSES ON THEIR HEADS OR UMBRELLAS ON THE THEIR HEADS OR ALLIGATORS.

ANYTHING THAT REPRESENTS THE CULTURE HERE.

I'VE BEEN PAINTING A LOT OF WOMEN IN SORT OF A REGAL LOOK.

CENTERED AROUND SOMETHING HAVING TO DO WITH MARDI GRAS OR NEW ORLEANS.

AND OFTEN TIMES I USE MY WIFE OR MY DAUGHTER AS MODELS.

I'LL TAKE A PICTURE OF THEM WITH THE RIGHT ANGLE AND PAINT THEM IN.

SOMETIMES ITS MY WIFE'S EYES AND MY DAUGHTER'S FACE OR VICE VERSA.

JUST TO CREATE THESE WOMEN, TYPICALLY CENTERED AROUND MARDI GRAS.

AND I ENJOY THAT.

I PUT MY FAMILY IN WORK, I'VE ALWAYS DONE THAT.

I DON'T KNOW WHAT ELSE I WOULD PAINT.

FOR ME THAT'S REAL LIFE.

LADY MARDI GRAS IS MY ABSOLUTE FAVORITE.

I USE THIS IMAGE ON ALL OF MY CARDS AND ADVERTISING.

YOU CAN EASILY FIND HER AT A BALL OR SOMETHING.

SHE WOULD BE THE LADY THAT STANDS OUT.

WHEN I PAINTED THIS PIECE, I NEEDED SOMETHING TO INTERTWINE HER HAIR THROUGH THE HOUSE TO LOCK THE HOUSE ON HER HEAD.

SO I ADDED THESE BIRDS, THEN I ADDED THE CAT, I TEND TO ADD SOMETHING THAT DOESN'T BELONG.

BECAUSE BIRDS AND CATS DON'T REALLY GET ALONG.

TO GIVE IT CONTRAST.

ALSO THE BLACK CAT IS MYSTERIOUS AS WELL.

IT GIVES HER THAT SORT OF MYSTERY ABOUT HER.

THE BAYOU ST. JOHN BRIDGE IT'S ACTUALLY CALLED THE MAGNOLIA BRIDGE, RIGHT?

AND ONE DAY THIS LADY CALLED ME AND SAID MY HUSBAND AND I ARE RETIRED AND ONE OF OUR FAVORITE THINGS TO DO IS SIT ON THE PORCH, SIP WINE, AND WATCH PEOPLE GET MARRIED ON THE BRIDGE.

IT'S MOSTLY A PEDESTRIAN BRIDGE.

SO SHE SAYS THAT HER HUSBAND MENTIONED ONE TIME -- HE SAID, "HONEY WHEN I DIE, I WOULD LOVE FOR A BAND TO MARCH ACORSS THAT BRIDGE TO CELEBRATE MY LIFE."

SO SHE SAID HIS BIRTHDAY IS COMING UP, I WANT TO GIVE HIM THE GIFT BEFORE HE DIES.

COULD YOU PAINT A SCENE OF A BAND CELEBRATING MY HUSBAND'S LIFE ON THE BRIDGE?

SO I DID.

AND ALSO I PUT THEM ON THE BOAT ON THE SEA.

ALSO MY WIFE IS IN THE CENTER OF THAT BRIDGE.

I THOUGHT THAT WAS A SWEET SENTIMENT FOR A HUSBAND.

THE HOUSE IS IN THE SCENE.

IT'S THE HOUSE THAT'S CLOSEST TO THE BRIDGE WITH A PICKET FENCE AROUND IT.

UPTOWN BOUND IS ONE OF MY FAVORITE ONES.

BECAUSE IT HAS ALL MY FAMILY'S NAMES IN IT.

SO ON THE LEFT IF YOU LOOK AT THE BUILDINGS, YOU'LL SEE STEPHANIE, MY WIFE.

THE SECOND ONE IS SETH.

HE'S MY 20 YEAR OLD.

HE'S THE CULINARY ARTIST OF THE FAMILY.

THEN L.T.

IS MY OLDEST.

L.T.

STANDS FOR LITTLE TERRANCE.

HE'S NOT SO LITTLE.

HE'S 26.

HE'S A GRAPHIC ARTIST.

AND THEN THERE'S A SIGN THAT SAYS SYDNI.

MY DAUGHT SHE'S 17 AND SHE'S A MOBILE ARTIST.

AND 524 ON THE STREET CAR IS MY WEDDING ANNIVERSARY DATE.

SO IT'S THE ONLY ONE THAT HAS MY ENTIRE FAMILY IN IT.

AND THE STREET CAR IS NICE.

THIS PANDEMIC WAS HAPPENING AND YOU SAW ALL OF THESE WOMEN.

80 PERCENT OF THE PEOPLE IN THE MEDICAL INDUSTRY -- ON THE FRONT LINES ARE WOMEN.

SO A FRIEND OF MINE SUGGESTED THAT I PAINT THE ROSIE THE RIVETER -- I THOUGHT IT WAS A FANTASTIC IDEA, HIS WIFE WAS A NURSE.

SO I PAINTED HER, AND WHAT I ENDED UP DOING WAS DONATING ABOUT 5,000 OF THE POSTERS TO THE HOSPITALS IN NEW ORLEANDS AND SOME HOSPITALS AROUND THE COUNTRY.

THE IMAGE WENT VIRAL.

I REALLY FELT LIKE I WAS CONTRIBUTING TO THE PANDEMIC.

THERE'S NO COMPETITION FOR THE JAZZ FEST POSTER.

THIS ONE GUY CALLED AND SAID I AM RESPONSIBLE FOR SELECTING THE ARTIST FOR JAZZ FESTIVAL AND I'D LIKE YOU TO DO THE JAZZ FEST POSTER.

SO THAT WAS IN '07.

JAZZ FESTIVAL IS THE HIGHEST GROSSING FESTIVAL IN THE WORLD.

THE JAZZ FEST POSTER IS THE HIGHEST GROSSING FESTIVAL POSTER IN WORLD.

SO IF YOU GET IT OF COURSE IT'S A HUGE HONOR.

YOUR WORK GOES ALL OVER THE WORLD.

IF YOUR POSTER DOES WELL THEY CALL YOU AGAIN TO DO ANOTHER POSTER.

SO I'VE DONE FIVE JAZZ FEST POSTERS SO FAR.

THAT REALLY PUT ME ON THE MAP EARLY ON.

MOST PEOPLE THINK THAT THE ARTIST CREATES IT ALL.

BUT IT'S NOT.

IT'S MORE OF A COLLABORATION BETWEEN THE PRODUCER OF IT AND THE ARTIST.

THE MOST EXCITEMENT I GOT WAS WHEN MY THIRD POSTER DID WELL.

THE THIRD ONE IS ONE OF JAZZ FEST'S BEST SELLERS.

THE TROMBONE SHORTY FROM 2012.

I LIKE HOW IT CAME OUT.

I LIKE THE ENTHUSIASM EVERYONE GOT FROM IT.

I ENJOYED WORKING ON IT.

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>>> DANCE IS A POWERFUL TOOL THAT CAN BRING GENERATIONS TOGETHER.

IN COLUMBUS, A MOTHER, DAUGHTER AND EDUCATOR USED TRADITIONAL FOLK LORE DANCE, BAILE FOLKLORICO, TO EXPLORE AND SHARE THEIR CULTURAL HERITAGE.

CHECK OUT SCENES FROM MI TIERRA BAILA.

AN ANNUAL PERFORMANCE PRESENTED BY THE OHIO STATE UNIVERISTY AND FOLKLORE HISPANO THAT EXPLORES TRADITIONAL DANCES FROM SPANISH SPEAKING COUNTRIES.

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>> MY MOM TOLD ME STORIES THAT SHE WANTED TO DANCE WHEN SHE WAS LITTLE AND THAT SHE DANCED TO A SONG.

SHE WAS HAPPY WHILE SHE DANCE.

>> WHEN I WAS YOUNGER, IT WAS VERY REWARDING TO BE ON THE STAGE AND TO IN FRONT OF THOUSANDS OF PEOPLE.

LIKE I USE TO GET SO MUCH CONFIDENCE AND ENERGY FROM THAT.

MOST RECENTLY I FIND IT REWARDING -- LIKE TRANSFERRING ALL THAT TO MY STUDENTS.

THE SPARKLE THEY HAVE IN THEIR EYES BEFORE THEY GO ON STAGE AND THE BUTTERFLIES THEY GET IN THEIR STOMACH, IS LIKE WHAT I USE TO HAVE AS A KID.

AND I AM JUST EXCITED THAT I AM ABLE TO PASS THAT ONTO THE NEXT GENERATION OF STUDENTS.

A SORT OF EXPERIENCE THAT'S VERY UNIQUE AND NOT VERY COMMON.

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>> THIS IS THE HAT WE HAVE TO WEAR.

IT'S CALLED A SOMBRERO AND THEN A REBAZO.

AND IF YOU WANTED YOU COULD WEAR BRACELETS AND GOLD EARRINGS.

THE SUIT IS CALLED WHAT?

AND THEN THE SKIRT.

AND THE SHOES.

WE'RE SUPPOSE TO BRING THE BRAIDS.

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>> AS A SECOND GENERATION MEXICAN AMERICAN, I THINK IT'S IMPORTANT TO CONNECT TO OUR CULTURE.

MAKE SURE IT DOESN'T GET LOST.

SO IT'S ONE OF THE GREATEST WAYS TO DO THAT AND TO REALLY EDUCATE THE GREATER COMMUNIY ABOUT HOW DIVERSE AND UNIQUE EACH PART OF LATIN AMERICA IS.

>> IT'S DISCOVERING.

WE'RE DISCOVERING IT.

MY MOM WANTS ME TO KEEP GOING AND GROW UP LIKE MS. PETINA.

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>>> WE END WITH MUSIC FROM THE SELF PROCLAIMED WRECKLESS UNDERGROUND ROCK AND ROLL BAND, EARWIG.

THEY SING THEIR HIT, "WASTED ON YOU."

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YOU COMING AROUND NOW SAYING SORRY SAYING MY NAME YOU STILL WANT ME I MIGHT BE ROUGH BUT I'LL BE SECOND TO NONE IT DOESN'T MATTER NOW EVEN IF YOU'RE SORRY YOU WALKED AWAY LIKE ALL THE LOVERS DO AND EVERY WORD I SAID IS JUST WASTED ON YOU IT'S MOSTLY IN THE MORNING WHEN I MISS YOU ALSO AT NIGHT I CAN'T SEEM TO GET YOU OUT OF MY MIND I AM ONLY SAYING THIS BECAUSE IT'S TRUE BUT I STILL WANT TO BE WITH YOU YOU MEAN THE WORLD TO ME BABY IM SORRY IT DOESN'T MATTER IF I STAY AWAY OR WAKE UP EVERYDAY STILL WASTED ON YOU I WANT YOU NOW I WAS WRONG I NEED YOU NOW LIKE I NEVER DID BEFORE LIKE I NEVER DID BEFORE HEARD YOUR DRAGGING CHAINS YOU CAN'T FORGET ME.

WHITE HOT AND WASTED WAS ALL YOU EVER WANTED TO BE NEVER HAD A LOVER QUITE LIKE YOU MAKE ME FEEL THE WAY THAT YOU DO BUT SOMETIMES THESE THINGS JUST DON'T WORK OUT THE WAY YOU WANTED TO I AM ONLY SAYING THIS BECAUSE IT'S TRUE I WILL ALWAYS BE WASTED ON YOU WASTED WASTED WASTED ON YOU.

WASTED WASTED ON YOU WASTED >> WANT TO KNOW MORE ABOUT EARWIG AND WHAT THEY'RE UP TO?

GIVE THEM A LIKE ON FACEBOOK.COM/EARWIGTHEBAND.

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 US HERE AT WOSU, I AM KATE QUICKEL.

THANKS FOR WATCHING.

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>> SUMMERJAM WEST HAS A COMMITMENT TO PLACING PERMANENT PUBLIC ART ON THE HILLTOP.

IN 2018 OUR THEME WAS HILLTOP RISING.

AND WE DECIDED WHAT WENT WITH HILLTOP RISING WAS LIKE A PHOENIX RISING FROM THE ASHES.

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>> SO IT'S ALL STEEL.

IT'S ALL MILD STEEL.

ALL IN ALL WEIGHT WILL PROBABLY BE A LITTLE OVER 800 POUNDS.

WE START WITH AN ARMATURE AND THAT'S ACTUALLY THE MOST IMPORTANT PART.

WE BEND AND CUT THE STEEL INTO A SHAPE, THAT'S LIKE BONES.

OR A FRAMEWORK FOR ARCHITECTURE.

AFTER THAT IT'S A LITTLE MORE DECORATIVE.

YOU'RE ABLE TO START PLACING THINGS WHERE YOU NEED THEM.

YOU CAN CUT EXACT SHAPES.

YOU CAN REALLY FIGURE OUT WHERE YOU WANT TO GO FROM THERE.

IT'S ALL ABOUT THE BONES OF IT.

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>> IT'S BECAUSE WE THINK IT ENRICHES PEOPLES LIVES.

THESE PAST FEW YEARS HAVE BEEN THE ONLY TIME NEW ART HAS BEEN INSTALLED ON THE HILLTOP.

SUMMERJAM HAS A PURPOSE AND A MISSION TO BRING THAT NEW ART UP HERE.

>> CATCH COLUMBUS AT ITS CREATIVE BEST ON "BROAD & HIGH" THURSDAY NIGHTS AT 8 O'CLOCK ON WOSU TV.

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>> 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, AND CLASSES AT COLUMBUSMAKESARTS.COM.

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