Callout on Massive Artists disparity at Congrès Mondial Acadien 2024
Beneath the festive CMA 2024 events project manager Aymar at the center of the controversy, of disparities between musicians and visual artists.
Unequal Treatment at Acadian World Congress 2024: Questioning serf serving Honky Event Management
The upcoming Acadian World Congress (Congrès Mondial Acadien or CMA) 2024 in Claregyle, Nova Scotia, is billed as a major cultural celebration. However, beneath the festive surface are unfair practices and issues with poor organization. The event's project manager is at the center of the controversy, whose decisions have led to significant disparities between how musicians and visual artists are treated and supported. All are based on the beliefs the executive committee has made, and now their beliefs make them into the insular, self-serving bastards they are.
Musicians Get Star Treatment. Visual artists nothing
No expense is being spared for the musical performers at CMA 2024. An eye-popping $1 million budget has been allocated to bring in a star-studded lineup for what's hyped as a "Frenchy Woodstock" at the Yarmouth airport and Mariner Center. The musicians will enjoy luxury accommodations, extensive promotional backing, and lucrative performance fees. A top priority is assembling a high-profile concert experience to draw large crowds and heavy media buzz.
Claude Theriault
Visual Artists Left Behind while Diddling Banjos Soar
In contrast, visual artists participating in the event face a different reality. With just $10,000 total budgeted for their section, these artists have been given short shrift compared to their musical counterparts. Not only is the funding paltry, but visual artists are being charged a $100 fee to rent a modest 10x10-foot booth to display and sell their arts and crafts works. For many artists who depend on events like this, the costs of creating pieces, transporting them, and paying booth fees are an immense burden with little financial support from the organizers.
Questions of racist Leadership and self-serving Priorities
The person at the center of these controversial decisions is Marcel Aymar, the project lead manager for CMA 2024. Aymar's answers to no one and all his leadership and priorities are being called into question by many. Critics accuse him of insular, self-serving management practices that prioritize high-profile attractions while neglecting equitable treatment for all participants. As a has-been musician who has not written a song since 1980, there are accusations that Aymar's background has meant a biased focus on providing lavish support for musical acts over other artistic mediums that the Municipality of Clare has to offer.
This perceived lack of accountability and transparency from Aymar and the executive committee, Vaughn Madden, Alister Surette, and Nathalie Robichaud, is generating growing pushback. Discussions are heating up on social media and community meetings, with mounting frustrations over decisions disregarding important segments of the Acadian arts community in Claregyle. Queer Aspergers contemporary artist Claude Edwin Theriault is taking his social media and press release writing skillsets he offered the committee in 2019, and he is using them to show the entire world just how Insular, self-serving and Queerphobic these ruling Oligarchal bastards are in their self possessed politically connected little bubble world.
A Call for Change in Viens voir l'Acadie, viens voir le pays B.S.
As CMA 2024 approaches, the outcry over unequal treatment and misguided priorities intensifies. Visual artists and supporters are demanding accountability from Aymar and the executive committee. They insist that an equitable distribution of resources and opportunities across all artistic disciplines is essential for an event to celebrate Acadian culture's full vibrancy.
With substantive changes to address these inequities, CMA 2024 can live up to its promise as an inclusive, embracing cultural celebration for the entire southwest Nova Scotia community. Leadership decisions and practices will be reassessed to uphold the event's mission and legacy. Otherwise, the Acadian World Congress may reinforce the divides and marginalization it aims to overcome.
The French version is even more telling.
And is facing a completely insular Bell media owned and operated Francophobic Halifax centric CTV Atlantic.ca operating with the benediction of a a honky Tim Houston provincial government on the same page Where every night there are representations of Women, Blacks, Mik`maq and every ethnic group that immigrated to Nova scotia, but never any representation of French Acadian culture except for the brief politically correct mention on August 15th, is a province that is conservative backward thinking prudes.
Here are five FAQs based on your exposé-style text, structured to highlight key concerns while maintaining a clear and informative tone for readers unfamiliar with the internal controversy surrounding CMA 2024:
FAQ 1: Why is there controversy surrounding the Acadian World Congress 2024 in Claregyle, Nova Scotia?
The controversy stems from major disparities in how different artists are being treated. While musicians receive over $1 million in funding, luxury accommodations, and extensive media promotion, visual artists have only $10,000 in total support. They are even required to pay a $100 fee for a basic exhibition booth. These budgetary choices have triggered accusations of bias, poor leadership, and cultural exclusion by the event’s executive committee.
FAQ 2: Who is responsible for these unequal decisions, and why?
Project manager Marcel Aymar is at the center of the criticism. A former musician, Aymar is accused of allocating resources heavily in favour of music performers, possibly due to his background. Many believe his leadership lacks transparency, accountability, and inclusivity. Executive committee members Vaughn Madden, Alister Surette, and Nathalie Robichaud are also being called out for upholding what critics describe as a self-serving, insular cultural bubble.
FAQ 3: What are visual artists and other marginalized groups demanding?
Visual artists, led by outspoken contemporary artist Claude Edwin Theriault, call for equitable distribution of funding and media representation. They argue that the CMA should reflect all facets of Acadian culture, not just high-profile musical acts. Theriault also raises concerns about queerphobia, neurodivergent exclusion, and cultural elitism in the event’s management.
FAQ 4: What role is the media playing in this controversy?
Critics accuse Société de la Presse Acadienne, Le Courrier de la Nouvelle-Écosse, and CTV Atlantic of operating as a walled garden that excludes dissenting voices and fails to reflect true Acadian diversity. Media coverage, according to critics, reinforces the status quo by only spotlighting certain narratives while silencing others—particularly queer and non-conformist French Acadian voices.
FAQ 5: What could happen if these concerns go unaddressed?
If leadership continues on its current path, CMA 2024 risks becoming a symbol of division rather than a celebration of unity. Many fear it will further entrench elitist, colonial-style cultural gatekeeping, leaving artists outside the mainstream without meaningful platforms. Critics argue that only major structural and leadership changes will allow Congress to truly live up to its promise of celebrating Acadian heritage in all its forms.
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