Applause America

S1 E7 | FULL EPISODE

Texas Artist Joins Circus; Photographer Explore Africa

A Texas artist runs off with the circus, two photographers explore Africa, a chainsaw sculptor and the art of the forgery at the Canton Museum of Art.

AIRED: March 28, 2015 | 0:25:56
ABOUT THE PROGRAM
TRANSCRIPT

>> APPLAUSE AMERICA, SHARING CULTURE.

>> MAKING SOMETHING THAT CAN BECOME ART IS SOMETHING THAT CAN

BE APPRECIATED.

>> SAFEGUARDING THE TRADITIONS OF TRAVEL AFRICA.

>> HERE IS A COMMUNITY WHO FOR MANY CENTURIES ARE AWARE OF

INGREDIENTS FOR HUMAN HAPPINESS.

>> THE INSTRUMENT OF CHOICE.

>> IT'S JUST GOT A MOTOR STUCK TO THE END OF IT.

>> FINALLY, WE LEARN THE ART OF ART FORGERIES.

>> FORGERY CAREERS WERE A WAY TO GET BACK AT THE MARKETPLACE THAT

OVERLOOKED OR MAYBE EVEN DIDN'T APPRECIATE THEIR WORK.

>> IT IS ALL AHEAD ON THIS EDITION OF "APPLAUSE AMERICA."

>> SUPPORT IS MADE POSSIBLE BY THE JOHN P MURPHY FOUNDATION,

THE COOLEST FOUNDATION, THE OHIO ARTS COUNCIL, THE DOMINION

FOUNDATION, AND BY CUYAHOGA RESIDENCE THROUGH CUYAHOGA ARTS

AND CULTURE.

THIS IS "APPLAUSE AMERICA," SHARING ARTS AND CULTURE COAST

TO COAST.

WE MEET JIM SIEGLER.

WITH CHARCOAL IN HAND, HE LOOKS BACK AT A LONG MAGICAL CAREER

DESIGNED FOR THE BARNUM & BAILEY CIRCUS.

>> I AM JIM SIEGLER.

MANY YEARS AGO, I BECAME ASSOCIATED WITH THE BARNUM &

BAILEY CIRCUS.

THE CIRCUS INBRED IN ME THE APPRECIATION OF COLOR AND DRAMA

AND EXCITEMENT.

THE CIRCUS HAS BEEN AROUND FOR A THOUSAND YEARS OR MORE.

IT IS ONE OF THE EARLIEST FORMS OF ENTERTAINMENT FOR THE POPULAR

KIM -- POPULAR PEOPLE, COMMON PEOPLE.

THESE FORWARD THINKING GENIUSES KEEP THINKING OF MORE EXCITING

AND UNUSUAL THINGS THAT CAN'T HAPPEN.

WE WILL DO IT.

I STARTED DRAWING AND WANTING TO TAKE CORRESPONDENCE COURSES WHEN

I WAS EIGHT OR NINE YEARS OLD.

WHEN I GOT TO JUNIOR HIGH AND HIGH SCHOOL, I DREW MYSELF

THROUGH HISTORY.

I WOULD READ IT AND THEN I WOULD GO MAKE A PICTURE SHOWING WHERE

WE WERE GOING AND WHAT PEOPLE WERE WEARING AND I TOOK IT IN

AND I MADE ALL A'S.

[LAUGHTER] I'LL NEVER FORGET ONE OF MY

FIRST INSTRUCTOR SAID, RAMIN, A LANDSCAPE CLASS, YOU TAKE US TO

THESE DIRTY, UNDER THE BRIDGES WITH SKIP -- WITH FISH SCALES

AND SKELETONS AND THINGS WERE AND THAT WOULD BE OUR CLASS.

AND HE ALWAYS SAID THERE IS ALWAYS SOMETHING BEAUTIFUL.

THERE IS FULL-COLOR THERE OR A BEAUTIFUL MIX OF COLORS.

THERE IS SOMETHING THAT IS ART.

SO I THINK ANYWHERE YOU LOOK, YOU CAN SEE SOMETHING THAT CAN

BECOME ART I THINK THAT CAN BE APPRECIATED.

AND I THINK THE CREATIVE MIND JUST WORKS THAT WAY.

I DON'T KNOW HOW MY MIND WORKS VERSUS OTHER MINDS.

BUT ALL MY LIFE, I HAVE BEEN FASCINATED BY THINGS.

PRETTY THINGS.

ALL ARTISTS, I THINK, WHETHER THEY ARE DOING IT FOR THE CIRCUS

OR THE THEATER OR THE MOVIES, WHATEVER, ARE DOING A PAINTING.

RINGLING ALWAYS DID THREE OR FOUR OF WHAT I CALL SPECTACLES,

PARADES, DURING INTERVIEWS, THE NEXT HERO TO ANIMAL ASKED TO

CHECK THESE ACTS -- ANIMAL ACTS TO TRAPEZE ACTS, MYTHOLOGY GOAL,

MYTHOLOGY, YOU NAME IT.

AND THEN YOU GO WITH THE COSTUME TO MAKE THEM FIT.

SO THAT GIVES YOU THE CONCEPT IDEA OF WHAT IT SHOULD BE.

THEN WE WOULD COME UP WITH A PARADE AND I WOULD SHOW THE TOP

OF COSTUMES WE WANTED.

EVERYTHING THAT HAS HAPPENED IN MY LIFE, I DIDN'T PLAN.

THEY ALL WERE ACCIDENTAL.

MAY BEING MAY BE AT THE RIGHT PACE AT THE RIGHT TIME.

♪ >> IN OUR NEXT SEGMENT, TWO

INTEMPERATE -- TWO INTREPID EXPLORERS SHARE THEIR

EXPERIENCES.

♪ >> BECAUSE WE MET IN AFRICA AND

WE WERE WORKING INDEPENDENTLY AND HAD DONE THREE BOOKS BEFORE

WE STARTED OUR COLLABORATION.

WHEN CAROL WAS FINISHING HER FIRST LOOK ON THE MASAI, HER

FATHER CAME TO THE BORDER OF KENYA AND TANZANIA AND DECIDED

TO GIVE HER A BIRTHDAY PRESENT.

AND THE FOR THE PRESENT WAS A HOT AIR BALLOON FLIGHT AND THE

PILOT WAS MY BROTHER SIMON.

THEY WERE VERY YOUNG AND VERY ATTRACTIVE.

AT 1000 FEET HIGH, SIMON LOOKED VERY CLOSELY INTO HER EYES AND

SAID, YOU KNOW, THERE IS SOMETHING I WOULD REALLY LIKE TO

TELL YOU.

>> MY HEART WAS BEATING WILDLY.

>> AND THEN HE SAID, CONTINUING TO LOOK VERY CLOSE IN HER EYE,

I'D REALLY LIKE YOU TO MEET MY SISTER.

>> MY HEART SANK.

WE ACTUALLY MET A YEAR LATER IN NAIROBI.

WE REALIZE THAT SIMON WAS REALLY RIGHT.

WE WERE KIDDED SPIRITS WITH A SHARED LOVE OF THE TRADITIONAL

CULTURES OF AFRICA AND A PASSION FOR THE NOMADIC WAY OF LIFE.

AND IT WAS DURING THAT FIRST WEEK TOGETHER, PHOTOGRAPHING A

MASAI WARRIOR CEREMONY SHORTLY AFTER WE MET, WE SHARED A DREAM.

WE ENVISIONED THAT ONE DAY WE WOULD CREATE A COMPREHENSIVE

VISUAL RECORD OF THE MOST POWERFUL CEREMONIES OF AFRICAN

PEOPLE THROUGH LIFE, FROM BIRTH TO DEATH.

>> PEOPLE DON'T REALIZE THAT AFRICA IS 54 COUNTRIES.

IT IS A VERY BIG CONTINENTS.

THERE IS REALLY ONLY ONE THING WE TRY TO REMEMBER, ALTHOUGH

EACH COUNTRIES DIFFERENT WHEN YOU GO TO AFRICA, YOU HAVE TO

LEAVE ALL YOUR OWN VALUE SYSTEMS BEHIND AND YOU ALSO HAVE TO TAKE

ON AFRICAN TIME, WHICH IS VERY DIFFERENT TO OUR TIME.

AND WHAT WE DO WHEN WE ARE IN VERY REMOTE AREAS, WE FIRST

ENTER A VILLAGE, WE FIND THE VILLAGE CHIEF.

WE USUALLY SIT WITH HIM, MAYBE UNDER AN A KAISHA TREE, AND GET

TO KNOW HIM, GET INTRODUCED TO THE COMMUNITY.

THEN WE DON'T TAKE OUR CAMERAS OUT.

>> WHAT IS REALLY SPECIAL, WHEN YOU ARE A WOMAN, YOU ARE

PROTECTED BY THE COMMUNITY.

YOU ARE NOT A THREAT.

HISTORICALLY, THE MEN WOULD BE KILLED AND THE WOMEN ABSORBED.

WE ALWAYS FELT THAT WE WERE ALWAYS SURROUNDED AND ENVELOPED

AND HAD AN ADVANTAGE BEING WOMEN.

WE COULD BE -- WE COULD SIT WITH WOMEN AND BECOME ONE OF THEM.

WE PUT LITTLE LINES OF SCARIFICATION ON THE FACE AND

DRESS YOUR HAIR AND GIVE YOU NEW NAMES.

AND THEY ABSORB YOU INTO THEIR COMMUNITY AND SHARE SECRETS THAT

NO MAN COULD ACCESS.

THE CHALLENGE WAS, WHEN YOU SUDDENLY WANTED TO JUMP UP AND

RECORD A MALE CEREMONY, YOU BECOME A WOMAN.

YOU ARE NOT ALLOWED -- IT IS NOT ACCEPTABLE TO RUN OFF WITH A

MAN.

ONE OF THE TRADITIONAL DEVICES WAS OUR CAMERA JACKETS IN OUR

TROUSERS.

THE MINUTE WE PUT ON OUR WESTERN CLOTHING, OUR PHOTOGRAPHY

CLOTHING, WE WERE IMMEDIATELY GENDERLESS AND WERE ALLOWED TO

PHOTOGRAPH WITH THE MEN.

>> AFTER YOU LIVE 40 YEARS IN AFRICA AND YOU SPENT SEVEN

MONTHS OF EACH YEAR TRAVELING IN AFRICA, OUR WORK HAS LED US TO

COVER 40 COUNTRIES AND PERHAPS 170 CULTURES.

EVERYTHING BECOMES POSSIBLE, FEASIBLE, UNDERSTANDABLE.

BUT THERE ARE STILL SOME THINGS THAT WE FIND VERY DIFFICULT.

MAYBE THE HARDEST TO WATCH IS SOMETHING THAT WE'VE ONLY JUST

GOT PERMISSION TO DO BECAUSE IT IS NOT A RITUAL THAT PEOPLE

USUALLY ALLOW YOU TO RECORD.

IT IS THE RITUAL OF SCARIFICATION.

THE REASON THIS IS DIFFICULT TO RECORD IS THAT PEOPLE ACTUALLY

DON'T WANT OUTSIDERS TO SEE THE PROCESS OF SCARIFICATION.

SCARIFICATION IS ONE OF THE OLDEST FORMS OF BEAUTIFYING THE

BODY, LIKE THE ART OF BODY PAINTING.

>> WHAT IS REMARKABLE IS THAT A GIRL MAY HAVE A HUNDRED TESTS

WITH A RAZOR BLADE TO MAKE THE PATTERN.

SHE HAS A PASSIVE, STILL AT REACTION TO PAIN.

WHAT HAPPENS IS VERY SMALL CUTS ARE MADE AND THEN A HERBAL

IRRITANT IS MADE IN AS THE CUT HEALS WITH A RAISED PATTERN AND

CREATES WHAT IS CONSIDERED A VERY BEAUTIFUL, SYMMETRICAL,

CURVILINEAR BUILD THINE -- DESIGN ON HER CHEST.

>> WHEN YOU SEE THINGS THAT ARE MAYBE HARD FOR US TO UNDERSTAND,

ONE ALSO REALIZES THAT HERE IS A COMMUNITY THAT ACTUALLY, FOR

MANY, MANY CENTURIES, ARE AWARE OF WHAT MAKES IT POSSIBLE TO

LIVE IN A REMOTE AREA, WHAT MAKES IT POSSIBLE TO SURVIVE.

WHAT ARE THE INGREDIENTS OF HUMAN HAPPINESS.

>> OUR LAST BOOK, WE TOOK IT BACK TO SHARE WITH ALL THE

AFRICANS WHO HELPED US MAKE IT AND GIVE THEM COPIES.

WE TOOK THE FIRST TO THE SAHARA DESERT TO SHOW TO THE NOMAD

CHIEF.

HE HAD ONLY TWO OR THREE BOOKS IN HIS ENTIRE LIFETIME.

HE "PAINTED BODIES," WENT PAGE TO PAGE STUDYING EACH IMAGE

METICULOUSLY.

AT THE END OF THE BOOK, HE LOOKED UP AT US AND SAID IN HIS

LANGUAGE "MEDICINE NOT TO FORGET."

>> FOR MORE, VISIT -- AND NOW, A LOOK AT WHAT HAPPENED

THIS WEEK IN ARTS HISTORY.

STAND BACK.

MARK RICE IS WIELDING A POWERED CHAINSAW.

BUT NOT TO WORRY.

IT IS ALL IN THE NAME OF ART.

HE USES POWER TOOLS TO CREATE HIS DISTINCTIVE WOODEN STATUES.

WE HAD TO TAKE A CLOSER LOOK.

>> RUNNING 13,000 RPM.

TO ME, IT IS A PAINTBRUSH.

IT JUST HAS A MOTOR STUCK TO THE END OF IT.

I CREATE OUT OF RAW MATERIAL, ROB LONG'S, PEOPLE'S TREES,

GREAT ART WITH A CHAINSAW.

IT'S -- RAW LOGS, PEOPLE'S TREES, GREAT ART WITH A

CHAINSAW.

IT IS FAST.

I AM LOOKING AT SEEING HOW THE GRAIN IS RUNNING, WHERE THERE --

WHETHER THERE KNOTS.

I CAN DO SEVERAL DIFFERENT TEXTURES AND CUTS AND FEATHERS.

I CAN PUT THE VEINS ON A FEATHER WITH A SAW JUST THE WAY IT

ROTATES.

IT TOOK ME A WEEK WITH A BIGGER CARVING.

THIS GUY BOUGHT IT.

AND I WAS THINKING TO MYSELF, THAT IS A BEAR.

HE THOUGHT IT WAS THE BEST LOOKING PIG.

NOW IT IS A LOT BETTER.

WHEN I STARTED, IT WAS FULL-SIZED LOGS.

IT WOULD KICK BACK THAT.

YOU HAD TO WORRY ABOUT GIVING INJURED.

THE NEWER ONES, THEY MAKE THEM THE SIZE OF A DIME.

WHEN IT BARELY KICKS, YOU CAN DO DETAIL.

I DON'T WANT IT TO BE FORCED.

I WANTED TO FLOW.

IT TAKES A WHILE TO LEARN THAT.

ONCE YOU DO, IT IS CRAZY WHAT CAN COME OFF OF THAT SAW.

THIS IS THE CENTER OF THE BIG TREE PARK AFTER IT WAS BURNED.

IT FELL DOWN AND WE RECOVERED IT.

NOW WE CREATE PIECES OF ART WITH IT.

WHEN I WAS A KID IN SCHOOL, MY MOM WOULD TAKE US TO SEE THE

CENTER.

IT IS 3500 YEARS OLD.

THERE IS NOT ANOTHER ONE.

SO GETTING TO WORK ON IT IS PRETTY IMPORTANT.

THIS IS OVER 10 FEET TALL.

IT'S GOING TO HAVE TWO GIANT HORNED OWLS.

IT WILL BE PRETTY NEAT.

THE ART TRAINING I HAD WAS IN HIGH SCHOOL.

BUT I ALWAYS DREW.

I COULDN'T GET THAT 3-D LOOK.

IT JUST WASN'T EXCITING AND THE CHAINS ALWAYS EXCITING.

WITH A CHAINSAW MOVING THAT FAST THAT CLOSE TO YOU, THERE ARE

SITUATIONS WHEN YOU ARE RIGHT THERE WHERE YOU SHOULDN'T BE.

BUT YOU HAVE TO BE.

AND THE SAW IS RUNNING RIGHT BY YOUR FACE.

I'VE GOT A FEW BATTLE SCARS FROM THE CHAINSAW.

WITH ME, I GOT TO SEE IT IN THE WOOD.

MY BUDDY SAY THEY DON'T SEE NOTHING BUT A PIECE OF WOOD.

BUT I SEE SOMETHING, THE LOBBYIST SHAPED A CERTAIN WAY OR

SOMETHING ."

."

THE LOG IS -- THE LOG IS SHAPED IN A CERTAIN WAY OR

SOMETHING.

I FINALLY SHUT DOWN MY LOGGING COMPANY.

THEN IT BECAME A JOB.

I USED TO RUN AIR BOATS AND ALL OF THIS OTHER STUFF.

NOW IT SEEMS ALL I WANT TO DO IS CREATE.

I LOVE WHAT I DO.

>> FOR MORE, CHECK OUT CHAINSAWCULTURES.COM.

ON THE NEXT EDITION OF "APPLAUSE AMERICA" --

>> BAKING IS AN ART IN ITSELF HERE IT IS SIGNS.

>> WHY AM I OUT HERE?

>> SOMEHOW, I ALWAYS ENVISION SOMETHING AND MAKE IT.

>> IT'S COMING UP ON THE NEXT EDITION OF UP WOULD APPLAUSE

AMERICA."

-- ADDITION OF "APPLAUSE AMERICA."

IN OUR FINAL SEGMENT, WE SIT DOWN WITH THE OHIO MUSEUM OF

ART.

WE LEARN THAT THERE ARE'S -- THERE IS CERTAINLY AN ART TO

COUNTERFEITING ART.

♪ THE GOOD NEWS ABOUT THE

COUNTERFEIT ART IS THAT IT MAKES UP LESS THAN 1% OF ART SOLD IN

THE WORLD.

BUT THAT IS A $6 BILLION BUSINESS.

>> THE BANK IS A VICTIM AND THE PERSON DURING THE ROBBERY IS A

CRIMINAL.

IT'S THE SAME THING.

JUST BECAUSE IT IS SELLING A PAINTING THAT IS A TAKE, IT DOES

NOT MEAN IS NOT A VICTIMLESS CRIME.

>> FOR CENTURIES, COPYING THE WORK OF OTHER PAINTERS WAS A

TIME-HONORED PROFESSION.

IT WASN'T UNTIL THE LATE 20TH CENTURY WHEN PRICES BEGAN TO

SKYROCKET THAT SUCCESSFUL COPYING TOOK ON A WHOLE NEW

MEETING -- WHOLE NEW MEANING.

>> THE VALUE PROPOSITION REALLY CONNECTED THE ARTIST'S HAND TO

THE PIECE OF ART.

THAT IS REALLY WHERE THE CRIME OF FORGERY STARTED TO BECOME

MORE PROLIFIC.

>> IRONICALLY, MOST COUNTERFEITERS ARE SKILLED

ARTISTS.

THEY POSSESS A GREAT DEAL OF KNOWLEDGE ABOUT THE ARTIST AND

THE MATERIALS USED.

>> SOME OF THEM WERE GREAT ARTISTS.

BUT THEY WERE ALL GREAT CONMEN.

IN SEVERAL OF THE CASES, THESE ARTISTS HAVE BEEN REALLY IGNORED

OR PASSED OVER BY CRITICS IN THE ART MARKET.

SO THEIR FORGERY CAREERS WERE REALLY A LITTLE BIT OF A WAY TO

GET BACK AT THE MARKETPLACE THAT OVERLOOKED OR MAYBE EVEN DIDN'T

APPRECIATE THEIR WORK.

SO THERE IS A REVENGE FACTOR.

AND THAT IS PROBABLY THE MOST COMMON MOTIVE YOU WILL SEE.

>> SOPHISTICATED COUNTERFEITERS CREATE BACK STORIES ON HOW THE

WORK THEY ARE SELLING WERE DISCOVERED.

>> SOMEONE IN NEW YORK WAS MAKING JEAN MICHEL BASS CAP --

JEAN."

MICHEL -- JEAN-MICHEL BASQUIAT FAKES.

HE WAS ABLE TO COLLECT A COUPLE OF CERTIFICATES OF AUTHENTICITY.

HE BORROWED THEM FROM FRIENDS.

WHAT HE DID WITH THE CERTIFICATES IS HE RE-CREATED

THOSE AND STARTED USING THOSE TO GO WITH THE PAINTINGS AND WAS

SELLING BOTH TOGETHER.

>> IT IS THE LESSER KNOWN ARTIST , YOU MAY NOT BE AS FAMILIAR

WITH THAT COLLECTION.

BUT FORGERIES ARE REALLY WHERE THE MARKET KICKS IN.

EVERYBODY CAN CLAIM I FOUND THIS IN THE ATTIC.

I FOUND THIS IN THE BASEMENT.

IT MUST BE AN UNKNOWN WORK.

EVERYBODY HAS AN IDEA THAT WHAT THEY POSSESS IS THE FAMOUS

UNKNOWN WORK BY A GREAT MASTER.

EVERYONE THINK THEY HAVE THE TREASURE THAT NO ONE HAS SEEN

BEFORE AND THAT PATCH WHICH THE PROBLEM.

>> TO THE UNTRAINED EYE HAMAS SPOTTING A FAKE IS DIFFERENT --

TO THE UNTRAINED I, SPOTTING A FAKE IS DIFFICULT.

>> MANY TIMES, THE ARTIST AT THE TIME THEY WERE DOING THESE

THINGS, THE LEGITIMATE THINGS, THEY WERE EXPERIMENTING.

THEY WERE DOING THINGS A LITTLE BIT DIFFERENT WAY.

TODAY, WHEN WE DO A REPRODUCTION, IT IS A WELL-KNOWN

TECHNIQUE.

THEREFORE, THE TENTATIVENESS OF THE TRUE ARTIST ISN'T GOING TO

BE THERE.

FORGERS WILL DO A GREAT FACE WERE A GREAT FIGURE.

BUT WHEN IT COMES TO THE DETAILS THAT KIND OF FUDGE OVER, THEY

ARE NOT AS GOODE AS THE ARTIST WERE.

>> FOR MORE FACTUAL ANALYSIS COME OFF THE DECATUR'S USE

MODERN-DAY TOOLS TO ENSURE THAT A PAINTING IS AN ORIGINAL --

>> IT IS A FORENSIC TECH KNOWLEDGE HE.

-- FRIENDS AT TECHNOLOGY.

PAINTS ARE LOOK FOR THEIR CHEMICAL COMPOUNDS.

DIFFERENT RADIOLOGICAL TECHNOLOGY IS USED.

THAT IS HOW THE DISCOVERY OF THESE THINGS ARE NOT CORRECT.

>> IF YOU>> DO A PAINTING WRONG AND IT'S BOUND TO BE RIGHT,

THESE CAN BE REPUTATION-DAMAGING INCIDENTS.

SO SCHOLARS AND ART HISTORIANS ARE RELUCTANT TO GIVE

THEIR EXPERT OPINION.

IN OUR COUNTRY, YOU CAN BE SUED FOR YOUR EXPERT OPINION.

>> THE INFILTRATION OF COUNTERFEIT ART IN THE MARKET

HAS AN ENORMOUS IMPACT ON OUR CULTURE AND HISTORY.

>> WE INSERT AUTHENTIC WORKS INTO THE ARTIST OR A RECORD.

THAT HISTORICAL RECORD IS DAMAGED, CORRUPTED.

FOR PEOPLE TO UNDERSTAND THAT ART FORGERY AFFECTS OUR ART

HERITAGE AS WELL AS IT DOES PEOPLE INDIVIDUAL FROM AN

ECONOMICAL STANDPOINT.

IT HAS A PLACE IN THE HISTORICAL RECORD THAT IT DOES NOT DESERVE.

IN THE FUTURE, HISTORIANS AND EXPERTS WILL BE STUDYING AS AS

SOMETHING AUTHENTIC.

>> FOR MORE ON ARTS AND CULTURE, VISIT APPLAUSE. IDEASTREAM.ORG.

TUNE IN THURSDAY NIGHTS AT 7:30 FOR THE LATEST ON THE OHIO ARTS

SCENE.

EACH MONDAY THROUGH THURSDAY, LISTEN FOR THE LATEST ARTS AND

CULTURE STORIES FROM OUR AREA ON THE SOUND OF APPLAUSE ON 90.3 BC

P.M. IDEASTREAM.

THAT WRAPS IT UP FOR THIS EDITION OF "APPLAUSE AMERICA."

THANKS FOR WATCHING.

♪ >> SUPPORT FOR "APPLAUSE

AMERICA" IS MADE POSSIBLE BY GRANTS FROM THE JOHN P MURPHY

FOUNDATION, THE KULIS FOUNDATION,

THE DOMINION FOUNDATION, AND THE CUYAHOGA RESIDENCE

THROUGH CUYAHOGA ARTS AND CULTURE.

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