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this weekend
The Iron Factory: POST

October 3rd and 4th12pm-6pm. FREE

Artistic director of allendance and The Iron Factory, Lora Allen and visual artist, Diane Litten share The Iron Factory to present their performance and costume work. Three informal performances at 2pm, 3pm, and 4pm, film screenings, and refreshments.
Come to the Iron Factory during POST to receive discounted tickets for upcoming shows and rehearsal space for $9/hr!

A love of fashion has artist Diane Litten passionately creating fine art accessories by creatively using unusual materials. She combines industrial supplies such as stainless steel, wire, and rubber with shimmering and delicate crystals. She allows the tactile qualities and sensuality of the materials to spontaneously direct her creative responses.

Project Trans(m)it, Phase One

For a glimpse of Project Trans(m)it:

Thursday, October 15 at 8pm and Friday, October 16th at 8pm
The Iron Factory, 118 Fontain St., 3rd Floor
Tickets: available via and at the door
- Thursday: $15 ($10 concessions)
- Friday: $20 (including post-show party), $15 (artists/students)

Hailing from across the East Coast and beyond the pond, three choreographers come together to present an evening of premieres featuring dance, music and celebration at Philadelphia's own Iron Factory. Choreographers Lora Allen (PHL), Megan Mizanty (NY) and Becca Weber (Coventry, England) are bringing a new and exciting weekend of art to Philadelphia, featuring their original works and dynamic ensembles exploring the boundaries between self and other, internal and external.

As part of a burgeoning collective, Allen, Mizanty and Weber join forces for Project Trans(m)it, which explores the transmission and transition of movement across space.
  • How do you transmit physical information over long distances?
  • How can technology transmit embodied information? Can we transmit across distance without technology?
  • How can the physical stay present as it transits across distance and mediums?
  • How does creating choreography, collaboratively, through technology, change live performance?
As we attempt to explore these questions in a series of solos, we discover the multiplicity of options available to artists operating long-distance with their performers.