Publications and Scholarship
Dr. Mark B. DeGarmo’s scholarship derives from his long-term sustained transcultural transdisciplinary artistic practice, performance, production, and dissemination. His dissertation explores the relationship between movement improvisation and nonverbal learning. His doctoral research culminated in a learning theory: “Accessing Embodied Imagination.”
(2021-in press). Road kill, American style: A performative reflexive autoethnography through embodied imagination, photography, and poetry during covid-19, March 17–June 30, 2020. In D. Harris (Ed.), Massive and microscopic sense-making in the time of COVID. Springer.
(2021). Book launch and panel of La Enseñanza de Composiciόn Coreográfica desde un Enfoque Transdisciplinario [Teaching choreographic composition from a transdisciplinary approach] with Mark DeGarmo, Margarita Tortajada, Patricia Ayala García, Adriana Leon, Alejandro Vera, Rogelio Álvarez, and Raúl Valdovinos. “Las Fridas: A movement installation and offering” excerpt: choreographed by Mark DeGarmo; performed by Adriana León and Alejandro Vera, Director and Professor, University of Colima Dance Dept. Facebook Live. COMEXUS – Comisión México-Estados Unidos para el Intercambio Educativo y Cultural with University of Colima. Click here to watch the live recording on FB.
(2020b). Global disaster (and i showed up): A video and installation. M. B. DeGarmo (Created, written, performed, and recorded); H. DeGarmo (Video editing).
(2019a). Modelos transculturales transdisciplinarios para apoyar el campo de la danza [Transcultural transdisciplinary models to support the field of dance]. Foro Internacional de la Danza [International Dance Forum], New York.
(2019b). Reaching beyond to embodied transcultural transdisciplinary spaces. National Dance Education Organization 2019 Conference: The creative process: Choreography, choice-making, and communication, Miami.
(2018a). Desarrollando mercados alternativos para sostener organizaciones de danza [Developing alternative markets to sustain dance organizations]. Foro Internacional de la Danza [International Dance Forum], New York.
(2018b). Embodied Imagination as emancipatory educational inquiry. [Performance presentation]. American Educational Research Association Annual Meeting: The dreams, possibilities, and necessities of public education. Arts and Inquiry in the Visual and Performing Arts in Education Special Interest Group. Maxine Greene High School Plaza, New York.
(2017a). Accessing dance’s meanings through reflective embodied imagination. In Making the case: Transforming the lives of children through the arts. [Unpublished white paper.] Variety, the Children’s Charity of New York.
(2017b). A crash of miracles. (3 vols.). [Unpublished poetry collection].
(2017c). Embodied Imagination: Improvising “truth to power” to advance equal educational opportunity. [Performance with accompanying paper presentation]. American Educational Research Association Annual Meeting: Knowledge to action: Achieving the promise of equal educational opportunity, San Antonio.
(2015) Costume design at the turn of the century, 1990-2015. A.A. Bakhrushin State Central Theatre Museum. M.B. DeGarmo (Choreographer and dancer). B. Schiller (Photographer). I. Roussanoff (Costume designer and curator). A.A. Bakhrushin State Central Theatre Museum, Moscow, Russia.
(2014). Embodied imagination: Practicing dance to achieve educational equality. Facing Inequality. 2nd Annual imagination, inquiry, and innovation institute, The College of New Rochelle.
(2012a) Enchanted wanderers. A.A. Bakhrushin State Central Theatre Museum. M.B. DeGarmo (Choreographer and dancer). B. Schiller (Photographer). I. Roussanoff (Costume designer and curator). A.A. Bakhrushin State Central Theatre Museum, Moscow, Russia. (Catalog: ISBN 978-5-901977-39-2)
(2012b). Networking, community and sharing resources. New York Foundation for the Arts, MARK Bootcamp Program. Kleinert/James Center for the Arts, Woodstock, NY.
(2012c). Reflecting on improvising “under the radar.” [Manuscript].
(2010). Accessing embodied imagination: Broadening experiential learning through movement improvisation. TEDxDUMBO. NYC Regional Learning and Leadership Network. Galapagos Art Space, Brooklyn.
Reflecting on Improvising “Under the Radar.” Unpublished paper. 2010.
(2009a). Creative movement and dance process. Empire State Partnerships Summer Seminar 2009: Creativity as Catalyst. C.W. Post Campus, Long Island University.
(2009c). Joyce Theater k-12 and professional company outreach: It takes two–partnerships between professional dance companies and k-12 educators. Co-presented by The Joyce Theater with Alvin Ailey Dance Company, Carlota Santana Flamenco Vivo, and Mark DeGarmo and Dancers. Focus on dance education: Take a bite of the big apple; Exploring resources to promote best practices. National Dance Education Organization Conference, New York.
(2008a). Dear prospective teaching artist. In D. Davis (Ed.), Letters to a young artist. Association of Teaching Artists.
(2008b). Integrating dance into the prek-5 curriculum. 21st century arts in learning: Innovation, imagination and creativity in the age of testing. University of New York at Buffalo, Graduate School of Education, Western New York Regional Leadership and Learning Network, and The Coalition of Arts Providers for Children, Inc., Buffalo.
(2008c). Key ingredients to effective arts education partnerships between schools and arts organizations. Using the arts to energize core curriculum: An education conference in the Hudson Valley. New York State Alliance for Arts Education, Columbia County Council on the Arts, and Richard B. Fisher Center. Bard College.
(2007a). Accessing embodied imagination: A movement-learning theory and the Lincoln Center Institute approach to aesthetic education. [Paper presentation]. Aesthetic education: Expanding notions of excellence in k-18 learning communities conference. Equity Studies Research Center, Queens College, Queens.