The Holding Tank concerts are held at St Mark's-in-the-Bowery, a light-filled performance space that allows every player, every artist, freedom of movement and location. New and classical repertoire, dance, and voice, including the spoken word, bring fresh perspective and harmony to this new conversation between performer and audience.
STRIKE! performances combine boxing matches and contemporary chamber music. The idea of explosive engagement unites the artistic aesthetics of both boxing and chamber music in this series that flows from the Cannibals' goals to disrupt convention, to renew the artistic text, and to renew rituals that may unite performer and audience.
The International Street Cannibals are virtuoso talent from all over the world, and from the Orchestra of St. Luke's, the STX Ensemble, the London Symphony, the American Ballet Theater, the New York City Opera, and Absolute Ensemble. We showcase the best in new music from our composers Dan Barrett, Charles Coleman, Dan Cooper, Greg Evans, Joe Gallant, Arthur Kampela, Dary John Mizelle, Dan Palkowski, Joseph Pehrson, and Gene Pritsker.
Cannibal players range in age from 9 years, in the case of Julian Kampela, our djembe player, to 70, which, by accident and not design, reflects our mission to draw every age and a multitude of world instruments into this concert experience.
Holding Tank concert themes startle, amuse, and bring something unexpected to the old and familiar. Iambic Mishegas! Desperately Seeking Igor! Telemarketing Telemann! There are few limits to our audacity.
Part II to come - check back
STRIKE! is a unique blend of boxing match and contemporary chamber music that draws an audience diverse both in age and interest, neither accustomed to thinking of boxing as an artistic genre. Dan Barrett introduces the sets with Cannibal commentary that subvert conventional expectations about concert-going.
The International Street Cannibals Present
“STRIKE!”, A Boxing and Chamber Music Concert Event,
at the legendary Gleason’s Gym (Dumbo, Brooklyn), Saturday, March 16, 2013
New York, NY – The International Street Cannibals (ISC), hailed by The New York Times as a “brash new-music ensemble,” join forces with young boxers from the legendary Gleason’s Gym for STRIKE! will take place on Saturday, March 16 at 8 p.m., at the historic Gleason’s Gym – training home of 132 world champions, among them Mohammed Ali, George Foreman, Larry Holmes, and Roberto Duran – located at 77 Front Street in Dumbo, Brooklyn. Tickets are $20 ($15 for Gleason’s Gym members and students) and are available by calling 718-797-2872.
Part of an ongoing series, STRIKE! brings together boxing, dance and chamber music, allowing each discipline to combine in surprising partnerships while engendering new artistic forms. New music compositions from some of today’s most dexterous composers as well as modern masters will be heard in the unfamiliar, yet highly disciplined environment of the boxing ring. Short 10 to 12-minute sets of 3-minute chamber music works will alternate with 9-minute boxing bouts of 3 2-minute rounds.
The music program will include:
* A Dixieland version of the well-beloved German folk tune, “Die Gedanken sind Frei,” which introduces and closes the concert with its call for freedom of thought.
* Dan “Wotan” Barrett’s impressionistic villanelle, "Philomela”(premiere); his “Technical Knock Out” (Premiere) (French horn, bass trombone, violin, electric guitar, percussion); as well as his schizoid “March of the Balonie Sandwiches” (bass trombone, violin, viola, and military snare drum), which exploits various species and layers of Canon.
* John Clark’s French horn solo “Full Count” (Premiere): an inside-out Cubist view of “horn call,” inspired by Wagner’s Siegfried (Act 2); and his cryptic “Going Coastal” (trumpet, French horn, and bass trombone).
* Dan Cooper’s jumpy “Hoof & Mouth” (Premiere) (violin, bass trombone, percussion tap dance); his frenetic, breakneck duo “Ephemeral Blues” (Premiere) (trumpet and electric guitar); as well as his “Soca” (flute, French horn, bass trombone, violin, cello and double bass), an homage to Caribbean Soca music.
* Paul Hindemith’s “Marsch,” “Lied,” and “Musikstück” from Wir Bauern Eine Stadt (We’re Building a City), a children’s song cycle about an imaginary and metaphoric city built and ruled by children alone.
* Daniel Palkowski's "Bela's Musette" (Premiere) (French horn, bass trombone, violin, viola, electric guitar, percussion), an embroidered study of pitch relations and tonal color with quotes by Bartok; and his pensive miniature, “Duet for a Wet Space” (Premiere) (French horn and violin).
* Gene Pritsker’s “Aeon II” (Premiere) (flute, trumpet, violin, electric guitar, cello, contrabass), a romp in the hybrid vein of Satie, Zappa, and Stravinsky; and his jagged “Dust and Mirages of the Communal Mind” (Premiere) (French horn, bass trombone, contrabass).
* Dave Taylor's "Brother" (Premiere) (bass trombone, flugelhorn, violin, viola, percussion), part dirge, part anthem; and his “Dance” (Premiere) (piccolo and bass trombone), characterized by an incongruous superimposition of contours, gaping voice positioning, and extreme registration.
Musicians include Dan Barrett (conductor), John Clark (French Horn), Tish Edens (cello), Rachel Golub (violin), Franz Hackl (trumpet), Gregor Kitzis (violin), Cesare Papetti (percussion), Gene Pritsker (electric guitar), Troy Rinker (bass), Dave Taylor (bass trombone), Linda Wetherill (flute), Chala Yancy (viola).
Dancers include Andrew Broaddus, Adrienne Misko, Amanda Mottur (belly dancer), Cat Murcek, Max Pollak (tap dancer), and Megan Sipe (choreographer).
Boxers for this event will be Paul Anthony (17 yrs) and Kevin Barker (17 yrs), Jennifer Guzman (17 yrs) and Eryan Rodriguez (16 yrs), Matt Nicelli (11 yrs) and Kevin Anderson (12 yrs), Antonio Arca (13 yrs), Isabella Arca (14 yrs), and Nicole D'Alessio (17 yrs).
ISC’s Dance Director is Megan Sipe, Stage Director is Tyler Learned, Video Director is Daniel Palkowski, and Technical Director for this performance will be Charles Moses (Viper Studios).
This event will serve as a fundraiser for the Gleason’s Gym’s “Give a Kid a Dream” program. For the past sixteen years, the program has provided children from disadvantage backgrounds a place to come and develop themselves both physically and mentally through the sport of boxing. It is currently supported by Gleason’s itself and the efforts of individual personal trainers, who volunteer their time or substantially discount their rates in order to help the children.
About Gleason’s Gym:
The oldest active boxing gym in the United States, Gleason’s Gym has produced 132 World Champions, 2 Olympic Gold Medalists and hundreds of Amateur champions. It was founded in 1937 by Peter Gagliardi, a former bantamweight who changed his name to Bobby Gleason to appeal to the predominantly Irish New York fight crowd of the era. Located in the South Bronx, it thrived during the boxing’s “Golden Age” of the 40’s and 50’s. In 1974, it moved to 30th street, the first level gym in New York, and in 1981 it was sold to New York businessman Ira Becker, a longtime friend of boxing and a staunch supporter of boxing safety and uniform rule regulations. When the building went co-op in 1984, Gleason’s found its new and present home in Dumbo, Brooklyn. It is currently owned by Bruce Silverglade, who became business partner with Ira Becker in 1983. Fighters who trained at the gym include Muhammad Ali, Jack LaMotta, Roberto Duran, Benny “kid” Paret, Gerry Cooney, and Mike Tyson, among many others. Over the years, the reputation of the champion boxers Gleason’s produced earned the gym world-renowned appeal as the pinnacle of excellence in boxing.
Most of the STRIKE! performances occurs in the boxing ring where music is experienced in an unfamiliar, yet highly disciplined environment. Energy abounds in the physicality of performance, the mastery of the various artistic mediums, the excitement of the improvisation, and in the outrageous question "What do the International Street Cannibals aim to teach us?"
A theatre-in-the-round becomes something more as mind, ear, and body prepare to follow alternating performances of music and boxing. Boxers and instrumentalists allow their learned choreographies of movement, technique, and repertoire, to emerge in unexpected partnership. The Cannibals ask the audience to consider these new possibilities of Art.