Kerri Edge (she/her) is an artivist who uses dance and film as vehicles to shed light on issues of social injustice and commemorate the achievements of African American people. She is Artistic Director of the Edge School of the Arts (ESOTA), which was founded in the image of the Bernice Johnson Cultural Arts Center (BJCAC). ESOTA is dedicated to bringing the art and discipline of African American dance to young aspiring artists and audiences, from local to international. Kerri began her dance training at the age of three at BJCAC in Jamaica, Queens where she met her mentor Michael Peters, who sparked her interest in dance for film. She continued her studies at The Eglevsky Ballet School, LaGuardia High School, Alvin Ailey American Dance Theater, The Martha Graham School, and SUNY Purchase. She earned her Masters in Arts Administration from New York University and is currently a Professor of Dance at Medgar Evers College. Her commitment to the Jamaica arts community is evidenced by her volunteer work with the Jamaica Is . . . Arts Alliance, the Afrikan Poetry Theatre, the Greater Jamaica Development Corporation and the Queens Sickle Cell Advocacy Network.

Fellowship Statement

I am an artist making sense of the world that I am a part of; I would like to leave a trace in forms that are felt and experienced for all people, now and for future generations. I am an artivist grappling with notions of memory and time, along with the role of African American-based dance rituals and body memory, through all of the senses, finding locations for where they intersect and create sensations of depth and wonder.



My 4 Little Girls film uses the universal languages of photography, song and dance to depict stories from the American Civil Rights Movement. An extensive education component helps children and adults explore history together through the use of objects from a vast collection of expressive poster samples from the Civil Rights Movement, lessons on two important social issues, and engaging hands-on activities. REFORM: Racial Disparities in the American Justice uses tap dance as a vehicle to shed light on the racial disparities in the American criminal justice system encouraging others to advocate for legislation. The collection of tap dance monologues set to music, poetry and film tell stories that highlight the African American male experience with the criminal justice system and the lasting effects on both the African American family and the community at large. The short stories are compiled into a unified work that stands with victims threatened by the increased discrimination and encourages audience members to realize the promise of equality America makes to us all.

Photo by Saiku Branch.