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#1 Failure of Nathalie Robichaud Congrès Mondial Acadien CMA 2024 film Trécarré

#1 Failure of Nathalie Robichaud Congrès Mondial Acadien CMA 2024 film Trécarré is the fact it promotes French Acadian Cultural Xenophobia

*How a Politically Connected Politician is About to Premier a Film at CMA 2024*

French Acadian Culture need for Innovative Contemporary Narratives instead of the old Patrimonial Heritage representations that keep it in the past of none change
French Acadian Culture needs Innovative Contemporary Artists’ Narratives instead of the old Patrimonial Heritage representations that keep it in the past with no change.

Dig, if you will, the picture of a once politically connected figure, Nathalie Robichaud, strays off the well-trodden path of French Acadian Heritage Patrimonial politics and dives headfirst into the ViVa Glam world of cinema. What’s the twist, you ask? Her debut film, “Trécarré,” is all set to premiere at the upcoming Congrès Mondial Acadien (CMA) in 2024 because she happens to be on the Executive Committee and its 7.3 Million Dollar budget up for grabs—a tale of unique characters, artists musicians only, not a visual artist in sight. Since the only artists on the scene of Sainte-Marie Bay, Nova Scotia, are musical ones, even they have been ones who have not created anything in years. It simply perpetuates the very insular “clic and clan” Culture that’s as stubborn and ingrained in the Clan ideology of the region.

**Nathalie Robichaud’s Transformation: From Politics to Art**

In a career twist that seems straight out of a Hollywood script, Nathalie Robichaud, a name once synonymous with political maneuvering, has decided to throw her hat into the world of cinema. Her debut film, “Trécarré,” promises to be a cinematic journey into the heart of Sainte-Marie Bay, Nova Scotia, highlighting the unique characters, artists, and musicians that make the region unique. Yet, it does nothing to be inclusive since the Heritage Patrimonial industry is not known for that

**Trécarré: A Step Back in Time**

French Acadian Culture need for Innovative Contemporary Artists Narratives instead of the old Patrimonial Heritage representations that keep it in the past of none change
French Acadian Culture needs Innovative Contemporary Artists’ Narratives instead of the old Patrimonial Heritage representations that keep it in the past of no change.

Now, you might be thinking, what’s the big deal about a politician-turned-cinéaste? Well, that’s where the plot thickens. “Trécarré,” despite all the buzz, appears to be a well-packaged ode to the past, a love letter to a heritage patrimonial culture that’s creatively bankrupt. The film focuses on the music scene of Sainte-Marie Bay, promising to bring the artists and musicians into the spotlight. But it’s a spotlight that seems stuck in the past and dramatically needs change. Hence, La Releve Vol 4 surprise of innovation from contemporary artists on the Ethereum Blockchain platform out on the Opensea, giving a here now form and voice to the pain and suffering of an Acadian Ghetto culture fractured and fragmented into little divides of left and right with no communication between

**A soon-to-be-extinct Culture Stuck in the Past**

While “Trécarré” is all about the unique character of Sainte-Marie Bay, it seems to have missed the memo on what makes a culture thrive – evolution. Instead of highlighting contemporary artists or offering a fresh take on the region’s vibrant art scene, it gets mired in the same old clic and clan Culture that has held it captive for centuries. The music scene, often dubbed “dull and uninspired,” receives a less illuminating spotlight and more blindingly nostalgic. Part of the reason mainstream Halifax-centric media like CTV Atlantic.ca as well as Saltwire do not ever cover Acadian Culture except on Aug 15th

**CMA 2024: Same Old, Same Old**

French Acadian Culture need for Innovative Contemporary Artists Narratives instead of the old Patrimonial Heritage representations that keep it in the past of none change
French Acadian Culture needs Innovative Contemporary Artists’ Narratives instead of the old Patrimonial Heritage representations that keep it in the past of no change.

As “Trécarré” prepares for its grand premiere at CMA 2024, with the benediction of  Roman Catholic benediction of La Société Radio‑Canada, one can’t help but wonder if this event is just another chapter in the same old book of toe-the-line and push the envelope by dull non-creative-Academic Burocrate Oligarchs there for the paycheck and perks. The executive council of the Congrès mondial acadien and the ten ruling Oligarchs of Acadian Culture seem content to perpetuate a culture that’s always looking backward and never moving forward. It’s like trying to set up a high-tech startup with an abacus – sure, it’s historical, but it won’t get you very far in today’s Web3 world of innovation and change.

Nathalie Robichaud’s transformation from a politically connected figure to a filmmaker may seem like a whimsical journey, but the narrative surrounding her film “Trécarré” leaves much to be desired. It’s a tale of an insular culture that clings to its past, seemingly afraid to embrace the contemporary artists and musicians who could breathe new life into the heritage patrimonial culture.

As CMA 2024 approaches, it’s a reminder that sometimes, the most exciting stories are left untold, buried beneath the weight of history and tradition. Perhaps, someday, Sainte-Marie Bay, Nova Scotia, will break free from its clic and clan culture and discover the beauty of innovation and the Contemporary artists who embody it and move it forward despite being marginalized by the Oligarchal Cultural powers.

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