Insular Self-Sustaining Oligarchic Circle of Acadian Heritage Patrimonial Industry
Acadian patrimonial industry, deeply embedded, operates in a good celebratory way but, behind the scenes, a self-sustaining oligarchic hierarchy.
The Acadian patrimonial industry, deeply embedded in traditional cultural narratives, operates in an outwardly celebratory way but, behind the scenes, functions as a self-sustaining oligarchic hierarchy. A carefully curated group of bureaucrats, entrenched in the past, perpetuates an echo chamber that ensures lucrative careers for themselves while often leaving little room for contemporary voices.
This oligarchy thrives on a circular flow of funding, recognition, and prestige passed around within an exclusive circle that rewards loyalty to the status quo. The structure is well-oiled, driven by government funding and a reliance on promoting a static view of Acadian culture—one rooted firmly in the 18th-century deportation, survival, and re-establishment of Acadian communities.
As a result, the same traditional themes are rehashed in annual festivals, museums, and media. This self-referential loop leaves little room for innovation or the introduction of modern perspectives. Instead of embracing change, the hierarchy solidifies its grip by celebrating "heritage" in ways that often overlook the struggles and realities faced by contemporary Acadian society. The narrative is almost exclusively focused on the "Let the good times roll" philosophy, where Acadian pride is paraded in the form of music, food, and folklore—far removed from the modern issues that Acadians face today.
The industry protects its power structure by offering positions in government agencies, cultural institutions, and heritage organizations to those willing to perpetuate this traditionalist vision. Meanwhile, modern voices are ghosted, dismissed, or ignored, leading to a profound disconnect between the culture's past and present realities.
The "Agree to Disagree" Culture: Marginalizing Contemporary Voices
Modern Acadian voices and artists addressing pressing societal issues are often sidelined in this environment. When contemporary narratives—such as homelessness, PTSD, grief, mourning, and mental health—are raised by artists outside the oligarchic system, the reaction is often one of polite indifference or dismissal.
There’s an unspoken agreement to disagree, where mainstream Acadian culture allows these voices to exist but keeps them at arm's length. This attitude is evident in how the cultural establishment treats many contemporary artists—acknowledged but never given a true platform or support.
Claude Edwin Theriault
For instance, take the work of Cajun Dead et Le Talkin' Stick, an art and music project that explores themes like societal collapse in Acadian communities. The project highlights the harsh realities of modern life, from the ongoing struggle with mental health to the fallout from economic instability. However, rather than engaging with these issues, the Acadian establishment tends to sweep them under the rug, focusing instead on maintaining a celebratory, nostalgic narrative.
Traditional Acadian musicians, for example, often distance themselves from these topics, giving a turned-up-nose attitude toward any art form that doesn’t fit within the established framework of folk songs and jovial celebrations. They prefer to stick to familiar ground, singing joy and resilience, while the darker underbelly of Acadian Socio economic and Socio cultural ghetto life remains unspoken.
This marginalization is not just artistic—it’s cultural. It’s as if the more contemporary the narrative, the less “Acadian” it’s considered to be. The oligarchy within the Acadian heritage industry is quick to brush aside anything that deviates from their comfortable, established narrative, ensuring that the challenges of today are left unaddressed in favour of glorifying the past.
3D Motion Graphics and Song Lyrics: A New Narrative for Modern Acadians
While the traditional Acadian song lyric narrative remains locked in the past, modern artists like Claude Edwin Theriault push boundaries, using new technologies and contemporary art forms to tell today's stories.
Theriault’s Cajun Dead et Le Talkin' Stick project blends Acadian song lyrics with 3D motion graphic monoliths to create a narrative that speaks to the present-day struggles of Acadian communities. Through minimalist acapella renditions and visual storytelling, the project tackles difficult subjects—homelessness, PTSD, mourning, and mental health—head-on, offering a raw and unfiltered view of life in Acadian society as it is now, not as it was hundreds of years ago.
Using 3D motion graphics adds depth to the project, turning each song into an immersive experience. These monoliths serve as a stark visual reminder of the issues facing modern Acadians, towering over the narrative as a symbol of the societal collapse that’s happening beneath the surface of the joyful, celebratory façade promoted by the mainstream. These digital monuments are not just art—they are statements calling out the neglect and indifference of the heritage oligarchy toward the real struggles of their marginalised people who are not on the same page.
In contrast to the "Let the good times roll" mentality that dominates Acadian cultural festivals and media, projects like Cajun Dead et Le Talkin' Stick demand that we face the here and now. They speak to a younger generation of Acadians who feel disconnected from the traditional narrative and search for stories that reflect their reality; like boats in tyhe Bay who are not one of owr own to runaways and homelessness. Theriault's work does just that, offering a voice to the voiceless and shedding light on the very issues that the cultural oligarchy prefers to ignore.
Embracing the Enemy: A Call for Unity and Understanding
Claude Edwin Theriault’s lyrics often explore themes of unity and empathy, urging his listeners to "embrace the enemy, for they too have family." This message speaks to a broader societal issue—the division within Acadian communities between those who cling to the past and those who are fighting for a future. In many ways, the oligarchic circle that controls the Acadian patrimonial industry has become an "enemy" of change & progress.
But Theriault’s message is not one of anger or division—it’s one of understanding. By ignoring the struggles of contemporary Acadians, the oligarchy is only hurting itself. When they silence modern voices, they are not just sidelining artists—they are sidelining their own people.
Theriault's message becomes even more relevant as the cultural landscape shifts and new technologies like WEB3 emerge. His self-made artwork, now represented on decentralized platforms, challenges the traditional gatekeepers of Acadian culture. It offers a glimpse into a future where artists no longer depend on the bureaucratic system for recognition or success. Through Web3, artists like Theriault create their own spaces, free from the oligarchy's control, where modern Acadian stories can be told without fear of censorship or marginalization.
The MBF-Lifestyle design that Theriault continues to develop is a testament to the power of self-made artistry. It represents a new wave of Acadian culture—one that is not beholden to the past but rather looks forward, embracing the challenges of today and the possibilities of tomorrow. Through this new lens, Acadian culture is no longer about simply "letting the good times roll"—confronting the hard truths of modern life and finding a way to move forward together.
