<p dir="ltr">The Rumble (2016) was the first in a trilogy of works created by Martyn Coutts and Ian Pidd for the Unconformity Festival’s Opening Night event. This work was supported by Festivals Australia. The brief for these works is that they needed to be free, accessible, draw deeply from the culture of the West Coast of Tasmania and include a spectacle. The Rumble celebrated the mining legacy of Queenstown unabashedly, whilst adding a contemporary art edge to the world. The work brought together large vehicles and objects used in mining operations from across the West Coast and paraded them down Orr Street (the Main Street in Queenstown) as a bombastic opening to the first ever Unconformity Festival. Professional sound and lighting artists worked with local truck drivers to create floats similar to what you might see in a Mardi Gras or religious procession. The reorientation of the festival from the Queenstown Heritage and Arts Festival was a bold reinvention for the festival and brought about more contemporary arts programming, whilst also staying connected to the festival's local roots. Whilst controversial in the town, the festival was an artistic and financial success, beginning an extraordinary culture-led regeneration in the town.</p><p><br></p>
Funding
Festivals Australia;Festivals Australia ;October 2015 Round
performance, sound, installation, public art, social practice
Research Statement
The Rumble uses social practice, sound art, public art, community practice and installation to activate this small township. The Rumble is a work that aims to interrogate the role of memory and nostalgia. It also contributed to the enlivening of a post-industrial township like Queenstown through the arts.
This work extends community and social arts practices that are active in city locations across the country. By utilising these disciplines in service of culture-led regeneration for a regional town, this work creates not only powerful arts experiences but also aims to create local culture in Queenstown for future generations.
This work was reviewed positively by a number of local and national media organisations - The Guardian, Arts Hub, Tasmanian Times and University of Tasmania.