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
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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.

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.