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Mark Broomfield

Associate Professor of Dance Studies and Associate Director of the Geneseo Dance Ensemble
Schrader 152 C
(585) 245-6049
broomfield@geneseo.edu
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Portrait of Mark Broomfield

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.

Dr. Broomfield is currently working on his book manuscript Black Queer Masculinities in American Contemporary Dance: Passing for Almost Straight under contract with Routledge. The book examines the centrality of the black queer male dancing body to understanding strategic gender performances on and offstage. Dr. Broomfield is also producing and directing the documentary film Danced Out. Filmed in New York City, the documentary features the acclaimed dancer-choreographers Desmond Richardson and Dwight Rhoden of Complexions Contemporary Ballet, Marcelo Gomes, Principal Guest Artist and Choreographer, 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 Woodrow Wilson National Fellowship Foundation, The Ford Foundation Predoctoral Fellowship, National Black Programming Consortium Blog Competition, Florida Dance Festival, and featured in the 2001 Emmy Award winning Ailey Camp "Chowdah" Production.

Personal Website

Curriculum Vitae

Education

  • Ph.D. in Critical Dance Studies, University of California, Riverside

  • M.F.A. in Dance, University of Michigan, Ann Arbor

Publications

  • “Danced Out: When Passing for Almost Straight Is Not Enough.” The International Journal of Screendance. Eds. Melissa Blanco Borelli and Rachel Monroe. 9 (June): 172-181, 2018.

  • “Branding Ailey: The Embodied Resistance of the Queer Black Male Dancing Body,” Oxford Handbooks Online. Music and Dance (Aug): 1-25, 2017.

  • “Passing Out.” Conversations Across the Field of Dance Studies: Talking Black Dance Inside Out/Outside In. Society of Dance History Scholars. Eds. Thomas DeFrantz and Takiyah Nur Amin. Vol. 36 (Dec): 32-33, 2016.

  • Broomfield, Mark (2011): Policing Masculinity and Dance Reality Television: What Gender Nonconformity Can Teach Us in the Classroom, Journal of Dance Education, 11:4, 124-128.

Classes

  • FMST 369: Conn Film: Black Queer Cinema

    A critical study of a theme, era, movement, genre, cross-cultural study or special subject matter involving the moving image including cinema, television, and related visual texts. This is not a film authors course. Includes a separate lab for film screenings.

  • PASC 105: Perform as Social Change I-Lec

    Performance as Social Change is a course designed to expose underrepresented students and those that have unequal access and opportunity to performance-based knowledge, skills, critical pedagogies, and mentoring. The course will produce an experimental performance. Centering embodiment, the goal of this authentic task will be to increase awareness and enhancement of multicultural competency for audiences and community members through the communicative powers of the performing arts. Throughout the course, students will be required to engage in academic study, research, movement and reflective practices. Central to this work will be a focus on the critical factors that can help facilitate social change through the voices of underrepresented and marginalized groups in our society. (Guest artist collaborations)

  • PASC 105: Perform as Social Change I-Lab

    Performance as Social Change is a course designed to expose underrepresented students and those that have unequal access and opportunity to performance-based knowledge, skills, critical pedagogies, and mentoring. The course will produce an experimental performance. Centering embodiment, the goal of this authentic task will be to increase awareness and enhancement of multicultural competency for audiences and community members through the communicative powers of the performing arts. Throughout the course, students will be required to engage in academic study, research, movement and reflective practices. Central to this work will be a focus on the critical factors that can help facilitate social change through the voices of underrepresented and marginalized groups in our society. (Guest artist collaborations)

  • PASC 106: Perform as Social Change I-Lab

    A continuation of PASC 105, leading to a performance of a culminating project each spring semesters.

Research Interests

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
  • Composition