CHOREOGRAPHY
Tout s’effondre (In development)
Financial Partners: Canada Council for the Arts, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal
Residencies: Cas Public, Centre de Création O'Vertigo, École de danse contemporaine de Montréal
When Your Baby Dies (In development)
Financial Partners: Canada Council for the Arts, Conseil des arts et des lettres du Québec, Playwrights’ Workshop Montreal
Residencies: Playwrights’ Workshop Montreal, Agora de la danse, L’Annexe-A, Théâtre du Tandem, Musée d’art de Rouyn Noranda, Studio Flak, Diagramme gestion culturelle
Quand je ferme mes yeux (2024, forthcoming)
Financial Partners: Agora de la danse, Canada Council for the Arts, Cas Public, Conseil des arts et des lettres du Québec
Residencies: Agora de la danse, Cas Public, Diffusion Hector-Charland, Créations Estelle Clareton
Premiere: Agora de la danse, Montréal, QC
Because You Never Asked (2023, forthcoming)
Financial Partners: Canada Council for the Arts, Conseil des arts de Montréal, Conseil des arts et des lettres du Québec
Residencies: Segal Centre for Performing Arts, Montreal Arts Intercultural, Cas Public
Premiere: Montréal, arts interculturels, Montréal, QC
Papillon (2020)
Financial Partners: Canada Council for the Arts, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal, Danse-Cité, Diagramme gestion culturelle
Residencies: Centre de Création O'Vertigo, Carrefour culturel Notre-Dame-des-Prairies, Danse à la Carte, La Chapelle, Maison de la culture Notre-Dame-de-Grâce, Playwrights' Workshop Montreal, Théâtre Hector-Charland
Premiere: La Chapelle, in coproduction with Danse-Cité, Montréal, QC
REQUIEM POP (2019)
Financial Partners: Canada Council for the Arts, Conseil des arts et des lettres du Québec, Agora de la danse, Studio 303, Playwrights’ Workshop Montreal
Residencies: Agora de la danse, Studio 303, Université du Québec à Montréal, Mainline Theatre
Premiere: Agora de la danse, Montréal, QC
IDIOT (2017)
Residencies: La Chapelle, Université du Québec à Montréal, Mainline Theatre
Premiere: La Chapelle Scènes Contemporaines
NO FUN (2015)
Residencies: Université du Québec à Montréal, Mainline Theatre
Premiere: Tangente
BOOK CHAPTERS
Simard, H. (2022). Is She B-boying or B-girling? Understanding how B-girls Negotiate Gender and Belonging. In M. Fogarty & I. Johnson (Eds.), Oxford Handbook of Hip-Hop Dance, (pp. 326-344). New York: Oxford University Press.
Harbonnier-Topin, N., Simard, H. (2015). Towards a constructive interaction between somatic education and introspective verbalization. In S. Whatley, N. Garrett Brown, & K. Alexander (Eds.), Attending to Movement: Somatic Perspectives on Living in this World, (pp. 237-248). Axminster: Triarchy Press.
CONFERENCE PAPERS
Simard, H. (2016, May). B-girls Battling: Gender and Competition in Street Dance Culture. Paper presented at the 2016 Popular Studies Association of Canada Conference. Montreal, QC.
Simard, H. (2015, July). So Cute or So Nasty? Contrasting Discourses of Masculinity and Femininity Surrounding B-girls (Female Breakdancers). Paper presented at the 2015 KISMIF Conference. Porto, Portugal.
Simard, H. (2015, May). B-girl Terra: Renegotiating Gender Online and on the Dancefloor. Paper presented at the 2015 Popular Studies Association of Canada Conference. Niagara Falls, ON.
Harbonnier-Topin, N., Simard, H. (2013, July). Towards a Constructive Interaction Between Somatic Education and Introspective Verbalization. Workshop given at the 2013 Dance and Somatic Practices Conference. Coventry, UK.
Simard, H. (2013, April). Dance There Be Rock: A choreographic analysis of the AC/DC documentary "Let There be Rock". Paper presented at the 2013 Congress on Research in Dance Special Topics Conference. Los Angeles, USA.
Simard, H. (2012, November). What's in a Name? Bgirling, Bboying, and the construction of gender. Paper presented at the 2012 Congress on Research in Dance Conference. Albuquerque, USA.
Simard, H., Hodac, E., Martinez, B., & Martinez, L. (2012, June). The Inner Workings of Crew Politics: A discussion with the Mighty Zulu Kingz. Round table discussion animated at the 2012 Canadian Society for Dance Studies Conference. Montréal, QC.
MAGAZINE ARTICLES
Simard, H. (2020, February 13th). The Courage to be Kind. The Dance Current (online). Available online at https://www.thedancecurrent.com/review/courage-be-kind
Simard, H. (2019, November/December). Organic Mechanics: Emmanuelle LePhân and Elon Hoglund. The Dance Current, 22(6), 22-25.
Simard, H. (2019, November 12th). Repetition is a Form of Change. The Dance Current (online). Available online at https://www.thedancecurrent.com/review/repetition-form-change
Simard, H. (2019, March 1st). In the Cypher. The Dance Current (online). Available online at https://www.thedancecurrent.com/review/cypher
Simard (2018, January/February). Domesticating Dance: Magical encounters in everyday spaces. The Dance Current, 21(1), 36-42.
Simard, H. (2017, September/October). Complex Textures: how Simon Renaud perceives dance. The Dance Current, 20(5), 9-10.
Simard, H. (2017, July/August). Roots and Growth: Considerations for the future of street dance in Canada. The Dance Current, 20(4), 44-49.
Simard, H. (2017, April 19th). Slippery Identities. The Dance Current (online). Available online at http://thedancecurrent.com/review/slippery-identities
Simard, H. (2017, January/February). In the Shadows. The Dance Current, 20(1), 42-49.
Simard, H. (2016, July/August). Moving Bodies: How does the centrality of bodily experience affect interdisciplinarity in dance? The Dance Current, 19(4), 38-41.
Simard, H. (2016, May/June). Moving Beyond the Pas-de-Deux. The Dance Current, 19(3), 42-49.
Simard, H. (2015, November/December). The Inner Beat: Cai Glover of Cas Public. The Dance Current, 18(6), 20-23.
Simard, H. (2015, spring). Curating Difference? The Curator’s Role in Challenging Stereotypical Representations of the Body and Identity in Contemporary Dance. Canadian Theatre Review, 162, 88-89.
