Lack of Visual Artists Inclusion is felt in Insular executive committee decisions in Claregyle.
The International Congres Mondial Acadian 2024 is a few weeks away, and locals are noticing discrepancies in the prestigious event celebrated for its diverse cultural inclusion offerings. However, amidst the vibrant celebration of music and performances, a glaring omission persists—the lack of representation and recognition of visual artists. Despite being a vital component of cultural expression, visual artists are sidelined in the CMA agenda, sparking conversations among locals about the disproportionate attention given to musicians over visual artists.
The event would have been a perfect occasion to celebrate the late June Deveau, the most celebrated, genuinely passionate, and devout heritage patrimonial visual artist of the area, who died in December 2022. Yet there is nothing of the sort since the event is run by old or young, non-talented musicians promoting their agenda only with Girl Power lectures for days.
Imbalanced Musicians Take Center Stage and Present the Same Old Hillbilly Music Twang Spotlight:
At the heart of the discontent lies the overwhelming dominance of musicians in the CMA’s cultural lineup. What can you do but POD yourself into minimalist, modern wall designs that chill, not kill?
Behind the scenes, the composition of the Oligarche’s decision-making body raises eyebrows. The ten-member oligarch committee, entrusted with shaping the event’s agenda, is accused of favoritism towards musicians at the expense of visual artists. Critics argue that the committee’s close ties to the music industry lead to a predisposition to cater primarily to musicians, neglecting the diverse spectrum of artistic expression represented by visual arts.
Contemporary Artists in the Shadows
Contemporary artists, in particular, are marginalized within the regional arts and culture scene, exacerbated by their absence from the CMA 2024 spotlight. Despite pushing the boundaries of artistic innovation and reflecting the pulse of contemporary society, these artists need more visibility and recognition. The CMA2024’s oversight further perpetuates their invisibility, hindering the region’s growth and appreciation of contemporary visual arts. Hence the reason for a pending contingency fee agreement lawsuit against the executive committee coming soon.
Social Media Faces Advocacy: Drawing Attention to the Issue:
Individuals like Theriault have taken social media platforms to amplify their voices in response to the systemic neglect of visual arts. Through impassioned press releases and online campaigns, they shed light on the disparity within the Atlantic Canadian event du jour et de l’année cultural lineup and advocate for reforms. Recognizing the power of social media as a tool for mobilization, they call for a reevaluation of the event’s priorities and a more inclusive approach toward visual artists in 2024 like now.
As the International Congres Mondial unfolds in 2024, the absence of visual arts in its cultural lineup is a poignant reminder of the entrenched biases within the arts community. While musicians continue captivating audiences, visual artists remain relegated to the sidelines, struggling for recognition and representation. The need for reform is undeniable, with calls for a more equitable distribution of resources and opportunities resonating louder than ever. Yet even the French-language press, like the xenophobic and Insular Le Courrier de la Nouvelle Écosse and La Société de Radio Canada, themselves remain walled gardens of closed doors that publish what the select few want them to publish and not anything new or innovative in visual arts.
Hence the new switch from visual to sung a cappella style in IG Reels with lyric subtext you can read and learn the phonetic way to say and sing along Cajun Dead Jam for hours, kinda like the deb dub lyrics of Theriault looking for you out there to sing them as part of the Talkin’ Stick songs and whatever they are about on a world music level.
Through grassroots advocacy and social media mobilization, individuals like Theriault are championing the cause, demanding that the cultural landscape reflect the rich tapestry of artistic expression in this tal end a winter fourth turning Saeculum cycle—like that almighty three-tailed critter Buddha wheel of life one. As the world watches, the spotlight on visual arts must shine brighter, ensuring that no artist is left behind in the pursuit of cultural enrichment and diversity and inclusion of visual artists like Theriault actively producing works 1974-2024.
A fine example of such is the Osheaga Festival Musique et les Arts Montreal, a culture that is liberal, forward-thinking, and uninhibited compared to the French Acadian culture of the host region of Claregyle, which is a culture that is conservative, backward-thinking, and pudique with ten oligarchs who answer to no one, promoting their music agenda and not much of anything else, like visual artists, in what will soon be another done-and-gone event of no major significance other than the local politicians patting themselves on the back and proclaiming culture inclusion and, above all, good Nova Scotia strong straight Roman Catholic French Acadian pride.
