Today we’d like to introduce you to Keri Garrett.
Thanks for sharing your story with us Keri. So, let’s start at the beginning and we can move on from there.
Growing up in Columbus, Ohio, my parents had my sisters and I immersed in the world of black arts and culture. We grew up learning how to African drum and attended jazz concerts and plays. My parents don’t identify themselves as artists, but they are heavy enthusiasts. Their love for the arts planted a seed within me. My parents enrolled my sister and me into dance at Theatre Street Dance Academy (TSDA) when I was three. As soon as I hit the stage for my first recital, it was obvious there was no other place I wanted to be. My dad has the home movie footage to prove it. My parents pulled my sisters and me out of dance after it became too expensive for us to afford. However, we never stopped performing. We participated in major dance productions around the city, like The Chocolate Nutcracker and The Adventures of Pan.
I began acting in 2008. I asked my mom to take me to the Sound of Music auditions at our local children’s theatre. She accidentally took me to the wrong theatre, and we ended up at the auditions for School House Rock Jr. I was cast in the show and haven’t stopped acting since. I fell in love with playing different characters. Creating new worlds and exploring the endless possibilities of my imagination gave me a natural high. Once I found out that acting was something I could get paid for, I was hooked. The theatre has always been my first home, but it was the world of TV & Film that intrigued me the most. I had to figure out how I could get on the screen. I researched how to become a TV actor. That led me to realize I needed an agent. I emailed some of my “headshots” and “resumes” out to a few Columbus agencies. A few were interested, so I rounded my parents up to drive me to my meetings… I was a very ambitious kid… In 2009, I signed with Heyman Talent Agency. From there I booked commercials and modeling gigs, for the most part, working for Ohio Tuition Trust, Nationwide Insurance, Florida Crystals, etc.
My freshman year of high school, I started my dance training back. I was facing frustrations with my acting because I hadn’t booked a big project that would whisk me out of Ohio. I’m a heavy dreamer and avid escapist. Nonetheless, I figured I needed another skill in my toolbox. So, I started dancing again. I returned to Theatre Street Dance Academy and trained under China White. I also attended a performing arts high school for half of my school day and trained with Mrs. China there as well. Mrs. China was a part of the original company at Dance Theatre of Harlem. Dance Theatre of Harlem is the first Black ballet company and was founded by Arthur Mitchell. Hearing Mrs. China’s stories about dancing in New York in the 70s and partying with Mick Jagger, Lena Horne, Cicely Tyson, and more, inspired me to take more action with my art. “She was apart of a pivotal time in history,” I thought. “Who’s to say I can’t do the same?” Dance and Mrs. China gave me a new space for expression and creativity.
I didn’t stop acting, of course. I was a part of a few independent films, like The Light of Freedom and Wings of the Wind. Although, at this point, I was done with acting in Ohio. The opportunities I wanted just weren’t in my city. My sophomore year of high school, I started acting in Atlanta. My family and I always went to the city to visit relatives. However, I knew that Atlanta had a better entertainment market than Columbus, Ohio. On one of our trips, I wanted to do an acting camp while I was there. I found a winter performing arts camp at Atlanta Workshop Players. After that, whenever I got a break from school, I would travel down to Atlanta to act and try to further my career. Shout out to my parents, because again, I was a very ambitious kid.
I moved to Atlanta in 2015 for three reasons: The entertainment industry, black people, and college. It felt like the entertainment industry, specifically Film & TV, was at the beginning of a renaissance when I first moved. Turner was already in Atlanta, Pinewood had just opened up, and every production was coming here to film. Atlanta felt like the perfect place for me to get into the industry and make my name as a black artist. I knew that would be possible with the successful black people that surrounded me. Another Atlanta perk. Growing up in Ohio, I was always a minority in a predominantly white area. I longed for a place that wouldn’t categorize me as a token black girl. A place where I could see black people consistently working towards their dreams. I just wanted to be with my people. I wanted to learn from my people. That is why I chose to go to my HBCU, Clark Atlanta University. CAU provided me with the stability, knowledge, connections, and confidence that fortifies me as the creative I am today.
I chose CAU for the simple fact that I was going to train under people who have experienced the path I’m headed down as a Black artist. It was refreshing to learn about my history and culture from teachers that looked like me. Other than Mrs. China, of course. This was something I hadn’t experienced growing up in Ohio. By studying the greats and the history of Black drama, I was able to find my purpose, my voice within my art. Being a student at Clark means that you are a part of the AUC (Atlanta University Center) and have access to the other schools that are there too. And not one to put my $36k tuition to waste, I became an AUC student.
I took my dance classes at Spelman College, furthering my studies with the Spelman Dance Theatre. There, I was able to train with dance artists like T Lang, Victor Rojas, and Kathleen Wessel. In the Summer of 2017, my work at Spelman led me to train and perform with the Staib Dance Company in Sorrento, Italy. It was a life-changing experience that showed me the fruits of my artistic efforts. At Morehouse College, I dabbled in some film work with the Morehouse Film Association (MFA). I wanted to learn every aspect of the business I was going to be a part of. Although my work with MFA did not lead to much, it did equip me with essential technical skills. My “AUC Career” led me to be apart of numerous productions. I worked with Eric J. Little on God’s Trombones, Aku Kadogo and Jessica Care Moore on Salt City: an Afro-futuristic Choreopoem, Keith Bolden on Hand’s Up, and Jonathan Kitt on For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.
My work on For Colored Girls changed my vision as an artist. I was asked to choreograph the production as well. For so long, my acting and dancing were kept in separate worlds. For Colored Girls provided me a space to connect my two loves. It was also my first time choreographing an entire production by myself. I was terrified when the opportunity was first placed in front of me. I didn’t think I had all that I needed to take on the job. However, I knew I would be denying my purpose if I didn’t face my doubts and create. To watch my work, evolve from a thought in my head to an idea being received by audiences was an enthralling experience for me. It showed me my power as an artist. Why I do what I do.
I dedicated all of 2018 to creating. No matter what I promised myself, I wouldn’t stop bringing my visions to life. I had gone so long with doing that for others. Being a part of other people’s productions and projects, which I still do, because that pays the bill. However, I wanted my voice to finally be heard. My visions to be seen. Whether it’s creative directing or choreographing, all of the ideas in my head were going to have a home. Being in Atlanta allowed me to build a network of artists and friends that are always down to create. That’s what I’ve been doing so far and what I’ll always be doing. Creating fye ass art with my friends.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
When you are a dark skin black woman, colorism comes with the skin color. I grew up facing it at school, in my extracurriculars, and of course, in my art. As a dark skin actress, it is very blatant to me that when casting needs a black girl, most of the time, they really only want someone who is light skin with curly hair. One can see it in the lack of representation of dark skin, 4c hair women in the media. This became apparent to me while I was auditioning growing up. Of course, I understood rejection. Rejection is something every performer has to become immune to in order to survive. However, when the same type of black girl books the job, something must be said. Especially, if you don’t fit casting’s type of “black girl”, like me.
At one point, my audition confidence had gotten so bad that I felt like I had lost the audition before I even stepped into the room. “Why audition if I don’t fit their depiction of black?” It became even worse to the point where their rejection was starting to take root in my own self-perception. “Maybe I’m not pretty enough. My skin should be lighter, lips smaller, hair curlier…” It got to a point where I had to stop auditioning for TV and Film altogether. It was messing with my inner peace too much. However, I knew I had to return. Because for one, this is my dream. No opinion was going to stop me from manifesting my dreams into reality. And two, dark-skinned girls need representation. I felt, and still feel, a calling to be there for all the little Black girls who are growing up feeling just like me. Looking for someone on TV or in the magazines that look like them, but can’t seem to find their reflection. This obstacle is the inspiration behind the purpose of my visual works: Creating visuals that represent Black culture in ways it is not normally depicted. Sharing the true Black experience and further showing that we are not monolithic people.
Please tell us about Keri Garrett.
I am an interdisciplinary artist. My main focuses are acting, dancing, and modeling. The connections I make through my various art forms allow me to create intimate, thought-provoking works. By tapping into my own vulnerability and authenticity, I am able to capture audiences and unlock their truth. Currently, I am working on my own content. That includes a mini-series, photoshoots, and a few performance pieces. I do offer a number of creative services (listed below). I work with clients to bring their visions to fruition. The passion I put into my work shows within the product, creating genuine, high quality works.
Pre- Production: Casting, Location Scouting, Producing
Production: Set Design, Styling, Choreography, Movement Coach
Post- Production: Promotions, Social Media Curation
If you had to go back in time and start over, would you have done anything differently?
Nothing. Every lesson I have learned has contributed to the being I am flourishing into today. However, a piece of advice I would give my younger self is to enjoy the journey and appreciate the process. Don’t put too much weight on an expectation or end result. What is for you will come. Actually, what is for you is already yours. Your job is to be present and prepared for when that moment arrives.
Contact Info:
- Website: www.keri-garrett.com
- Email: garrettkeri@gmail.com
- Instagram: @keri.meawayy
Image Credit:
Photographer: Shakes Hicks, Djenee Carswell, Rob, Elaysia J
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