Mark Broomfield's Biography

Mark Broomfield is a scholar/artist who has danced with the repertory company Cleo Parker Robinson Dance, performing in leading works by some of the most diverse and recognized African American choreographers in the American modern dance tradition that include: Talley Beatty, Katherine Dunham, Eleo Pomare, Donald McKayle, David Rousseve, and Ronald K. Brown. He also danced with Houlihan and Dancers, Snappy Dance Theater and apprenticed with Forces of Nature Dance Theatre.

Professor Broomfield’s research interests include: Critical Dance Studies; Performance Studies; Gender and Sexuality; Feminist Theory; Queer Theory; Masculinity Studies; African American Studies; Black Diasporas; Critical Race Theory; Oral History; Ethnography; Western Theatre Dance History and Theory; Dance in Non-Western Cultures; Dance Education and Pedagogy; Dance Technique (Modern, Jazz, Contemporary, Musical Theatre, and Afro-Caribbean); Choreography; and Composition.

Dr. Broomfield is currently working on his book manuscript and documentary film titled Passing for Almost Straight, which explores the fascinating world of professional black male dancers and their insights on masculinity. Filmed in New York City, the documentary features the acclaimed dancer-choreographers Desmond Richardson and Dwight Rhoden of Complexions Contemporary Ballet, Ronald K. Brown of Evidence, and present and former members of the Alvin Ailey American Dance Theatre. Prior to SUNY Geneseo, Dr. Broomfield was a Dissertation Fellow at the University of Richmond and Postdoctoral Fellow at the University of Texas at Austin.

Dr. Broomfield is the recipient of numerous awards and recognitions that include: The Ford Foundation Predoctoral Fellowship, National Black Programming Consortium, Florida Dance Festival, and featured in the 2001 Emmy Award winning Ailey Camp "Chowdah" Production. As well his 2011 article "Policing Masculinity and Dance Reality Television: What Gender Nonconformity Can Teach Us in the Classroom" has been published in the Journal of Dance Education, 11:4, 124-128.

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