ANDREW SKEELS is the artistic director of Skeels Danse Montréal. His work has been presented at the Paris Opera, Grand Théâtre de Genève, TanzTheater International Festival Hannover, Palais des Festivals Cannes, Théâtre de Suresnes Jean-Villar, Les Ballets Jazz de Montréal, Kansas City Ballet, Festival Quartiers Danses Montréal, Festival des Arts de Saint-Sauveur, WestWave Dance Festival San Francisco, Colorado Ballet, and Festival Ballet Providence. He is the winner of the 2015 Hannover Think Big Choreographic Competition and received the 2013 Prix Coup de Cœur du Public from the Festival Quartiers Danses Montréal.

He is a former dancer with Les Grands Ballets Canadiens de Montréal and has performed works by Jiri Kyliàn, Mats Ek, Ohad Naharin, Stijn Celis, Didy Veldman, Marco Goecke, Stephan Thoss, Christopher Wheeldon, George Balanchine, and numerous other choreographers.

His choreographic language reflects his ever-expanding curiosity and love for the art of dance. He draws influence from his training as a film editor and applies a cinematic approach to his choreography.  He challenges dancers, asking that they move with daring speed, breathtaking fluidity, and bold release. His work is detail-oriented, and he works patiently to perfect movement quality, musicality, and nuance inside his work. He provides a supportive, collaborative work environment, which enables dancers to take bold chances.

He offers multiple points of entry into my work in order to connect with his public – story, dynamic performance, innovative movement, and powerful music.

“The audience is the final element that gives life to a dance.” Andrew Skeels

ALISIA POBEGA completed her dance training in Montréal at L’École Supérieure de Ballet du Québec. In 2000, Alisia joined Les Grands Ballets Canadiens and would dance there for over 12 years, rising to a soloist ranking and performing in pieces by a wide range of international choreographers. She has also appeared in several dance films, Vivaldi: Le Violon Magique, Puccini: La Fin de la Voix , Liberamæ and BERTH. She is currently dancing as an independent artist performing principal roles with Ballet Ouest (Nutcracker), Skeels Danse Montréal (Remembering Giovanni, On the Path Toward Home and Rose of Jericho), and in Daniel Ezralow’s touring production, PEARL. She works with Montréal-based choreographer, Jane Mappin, and is also a member of The Legacy Project, directed by Margie Gillis.

Along with LouisMartin Charest, she now shares the artistic directorship of the dance/film company, LIBERAMÆ performance & films. Their latest projects include a short dance film, To Build A Home and the development of two future works, Port Hope and La Perte. Together, they have also developed and teach a series of workshops: Presence and Interpretation Method For Dancers. Alisia also teaches contemporary and classical ballet, notably for Danse à la Carte, Les Ballets Jazz de Montréal, l’École supérieure de ballet du Québec, and Les Studios (Les Grands Ballets Canadiens).

Hailing from Saskatchewan, BRETT ANDREW TAYLOR began dancing at the age of seven.  Upon graduation from high school, Taylor was accepted into the Royal Winnipeg Ballet School, where he graduated from the Professional Division. After completing a year of the Aspirant program, Taylor joined Canada’s Royal Winnipeg Ballet as an apprentice, performing works by Mauricio Wainrot, Mark Godden, Itzik Galili, Rudi van Dantzig, and Jorden Morris, to name a few. Taylor then joined BJM Danse Montreal, where he had the opportunity to work with choreographers such as; Wen Wei Wang, Aszure Barton, Mauro Bigonzetti, Cayetano Soto, Barak Marshal and Annabelle Lopez Ochoa. Taylor has also performed as a guest with companies such as Ballet British Columbia, Les Grands Ballets Canadiens, Skeels Danse and Wen Wei Dance, as well as independent works by choreographers James Gregg and Penny Saunders. Equally drawn to theatre, Taylor has also appeared in “Evita”(Vancouver Opera), ”Billy Elliot”, “Cabaret”(RMTC), “Dance Legends,” (Grand Theatre), ”The Addams Family”(Neptune Theatre), “West Side Story”, “Sister Act”, “Legends of Rock and Roll”(Drayton Entertainment), “Guys and Dolls,” ”New York, New York,”(DDP) “The Producers”, “The Little Mermaid”, “Mary Poppins”, “Beauty and the Beast.” and “Good News”(Rainbow Stage).  Television and film credits include “Make it Happen”, and music videos “Love Again”(Kreesha Turner), “The Road” and “Afterglow”(Lydia Ainsworth).

LILA MAE-TABLOT received her classical training at l’École Supérieure de Ballet du Québec.  In 2003, she joined Les Grands Ballets Canadiens where she danced a mixture of classical and contemporary repertory, performing in the works of George Balanchine, Kim Brandstrup, Stijn Celis, Jean-Christophe Maillot, Ohad Naharin, and Helgi Thomasson.  In 2006, Lila-Mae joined Rubberbanddance Group, where she danced for six years.  During that time she developed an interest and curiosity for improvisation, break dance technique, and floor work.  Lila-Mae worked with Robert Lepage and Crystal Pite in the creation of the opera “The Tempest.”  Since 2013, she has collaborated with Andrew Skeels on the creation of “A Matter of When,” “Lies That Hold Us,” “Path Towards Home,” and “Rose of Jericho.” She dances in the choreographic projects of Geneviève Duong, Karine Ledoyen and Harold Rhéaume.  Recently, she has worked as a choreographer for the company Illusion Théâtre de Marionnettes.

ALEXANDRE CARLOS trained in a variety of styles with a focus on contemporary and hip-hop since 1996. In 2010, he graduated from l’École de Danse Contemporaine de Montréal. He continued his development by taking different workshops, like Springboard Danse in 2010 and the BJM Danse workshop at Domaine Forget in 2009. In 2009 and 2010, Alexandre also received an award from the Fondation de soutien aux arts de Laval.

 From 2010 to 2016, Alexandre has worked as a dancer with the company Cas Public. In addition, he has taken the time to develop his versatility by working with different choreographers such as Isabelle Boulanger, Kyra Jean Green, Emmanuel Jouthe, Pierre Lecours, Anne Plamondon, David Rancourt, Tedd Robinson, Pierre-Paul Savoie, Andrew Skeels et Georges-Nicolas Tremblay.

 Since 2006, Alexandre has been choreographing, teaching and giving workshops in many different dance schools in Québec.  He created many short works on different dance schools in Québec that were presented as the opening acts for some of Cas Public’s presentations. He is co-choreographer of the piece Morphose, a creation made on the Ballet Contemporain du Nord from Chicoutimi. He is also choreographer and co-founder of La Compagnie d’Été, a semi-professional company from St-Eustache that presented Kaléïdoscope in 2015 and Emprise in 2017.  Alexandre completed his first solo creation in September 2015 called Bourrasques presented at Festival Quartiers Danses in Montréal. 

ODILE-AMELIE PETERS was born in Montreal and grew up in Quebec City. Having started her career in urban dance, she then decided to undertake her studies in contemporary dance. She received her diploma from L’École de danse de Québec in 2012. Throughout her career, Odile has worked with the Québec companies Le Fils d’Adrien danse (L’ÉVEIL), Danse K par K (Danse de nuit and Danse de salon), Geneviève Duong (Corps gravitaires), Compagnie WXWS,  with Company 605 from Vancouver (Vital Few), Anne Plamondon in Montreal (Research and creation) and she is now working for Skeels Danse (Rose of Jericho), as well as for Alan Lake Factori(e) (Le cri des méduses). She has a strong desire to pursue her learning and her artistic development by participating in numerous workshops/intensives such as ImPulsTanz in Vienna, The Domaine Forget, Springboard Danse Montréal (for two consecutive years), Company 605 winter intensive and TransFormation Danse. Odile-Amélie Peters has been a grant recipient for the Domaine Forget by RUBBERBANDance Group in 2012, for the TranFormation grant in 2015 as well as many received by The Conseil des arts et des lettres du Québec and Première Ovation.

Passionate about movement since his earliest years, JOSSUA COLLIN DUFOUR has trained in various dance styles, most notably in urban dance, which he has been practicing since 2007 with the Rockwell Family. He was invited to participate in the program Ils Dansent with Nico Archambault (Radio-Canada).

Jossua completed his training at the École de danse contemporaine de Montréal in 2014. Since graduating, Jossua has worked with the company Destins Croisés as an interpreter in three different pieces. He also had the chance to work in duet with Anne Plamondon in Corps Amour Anarchie of Pierre-Paul Savoie. Jossua is particularly interested in the search for the immense physical potential of the body.

Originally from Montpellier, France, JESSIE LHOTE trained at the School of Dance Ottawa with Peter Boneham and Sylvie Desrosiers.  Jessie has worked with Mélanie Demers, Lawless Dance (directed by Jocelyn Todd), Dorsale Danse (directed by Sylvie Desrosiers) and ODD (directed by Yvonne Coutts).  Since 2016 she has danced for Skeels Danse.  Jessie continues to study various styles of dance and recently participated in the professional workshops of Transformation Danse and Momentum.  She enjoys teaching and has taught in several festivals and workshops.

SUSSAN DEYHIM is an Iranian American composer, vocalist, performance artist and activist. She is internationally known for creating a unique sonic and vocal language imbued with a sense of ritual and the unknown. She was part of the national ballet company in Iran from the age of thirteen and she traveled all across Iran studying with master folk musicians and dancers. In 1976 she joined The Bejart Ballet in Europe after receiving a scholarship to attend Bejarts’ performance art school Mudra where she was trained in many of the great world, dance, music and theatre traditions as well as in classical ballet. Her music remains true to the spirit of her ancient heritage while pointing to the future with a very personal and poetic dramatic sensibility. In 1980, she moved to New York embarking on a multifaceted career encompassing music, theatre, dance, media and film. She created/starred in ground breakingmedia operas at La Mama in the ’80s including Azax/ Attra and The Ghost of Ibn Sabah.

Sussan’s wide-ranging collaborations with leading artistsfrom across the spectrum of contemporary art have included, Ornette Coleman, Bobby McFerrin, Peter Gabriel, Bill Laswell, Richard Horowitz, Rufus Wainwright, Marius De Vries, Hal Winer, Micky Hart, Branford Marsalis, Jerry Garcia, Will Calhoun, Karsh Kale, Doug Wimbish, Keith LeBlanc, Skip McDonald, Jah Wobble, Talvin Singh, Adrian Sherwood, and The Blue Man Group and with prominent female visual artists Shirin Neshat, Sophie Calle and Lita Albuquerque.

Composer and multi-instrumentalist RICHARD HOROWITZ specializes in music from the Middle East. From 1968 to 1979, Horowitz lived in Paris and Morocco, where he studied music, Arabic, French, and Oriental philosophy while performing throughout Europe and Morocco. Horowitz has musical roots in classical, jazz, and electronic/computer music, and he has studied trance, tribal, classical, and sacred music from North Africa to Indonesia. He plays keyboards, percussion, and various wind instruments, including the ney, an obliquely blown reed flute.

Horowitz has scored many feature films and received a Golden Globe and the Los Angeles Film Critics Association award for his work on The Sheltering Sky, directed by Bernardo Bertolucci.

In 1981, Horowitz began to work with Sussan Deyhim. They have performed together internationally since 1984 and have collaborated on media theatre pieces, ballets, and feature and short film music projects. Their 1997 Sony Classical album Majoun featured a stellar array of guest artists from world music, rock, and jazz.  Jaron Lanier, the father of virtual reality, is a frequent collaborator; in 1997, the two presented a visual performance duet (“virtual motion to music”) at MIDEM in Cannes, Japan, and Brazil.