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A Display of Acadian Perseverance and Evolution

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15 août 2015 – Telegraph Journal (S4-S5) A display of Acadian perseverance and evolution Founded in 1886, the Acadian Museum in Moncton has flourished from a small space for pieces of the past into one of the largest collections in the world of Acadian artifacts – hosting more than 38,000 objects and photographs. While it grapples with more relics than it can showcase, the historical hub of Acadian culture helps New Brunswickers and those living beyond our borders to ‘see where we’ve come from, and it helps us to see where we’re goi g.’ By Linda Hersey Enter the hushed interior of the Pavillon Clément-Cormier on the campus of the Université de Moncton and step through a captivating time portal, reaching all the way back to 1604 when French settlers first stepped onto our shores. A wide-ranging and interesting collection presents this overview of Acadian history – including the heartbreaking chapter of their deportation in 1755. Depicted through chronological exhibits, bilingual signs and screening of historical documentary films, visitors can learn more about Acadian domestic life, religion, education, politics, folklore, culture, arts and business. Founded in 1886 by Father Camille Lefebvre, Holy Cross father and vicar general for the Acadians, it was Father Clément Cormier, one of the founders of the Université de Moncton, who guaranteed the survival of this little museum through his unwavering support. A true visionary, Cormier understood the importance of expanding this collection – and indeed during the 1940s, he personally began to gather artifacts for the Acadian Museum. First located at the Collège Saint-Joseph in Memramcook, the museum has been in its present location since 1981 (the pavilion also houses the La Galerie d’art Louise-et-Reuben-Cohen). Home to more than 38,000 objects and photographs, the Acadian Museum has one of the largest collections in the world of Acadian artifacts. The permanent exhibit is titled “Acadian Adventure”and follows the history of the Acadians in Atlantic Canada by way of their material culture. Artifacts, both historical and contemporary, continue to be donated to the Acadian Museum, affectionately called the“Attic of Acadia.” “People find artifacts in their attic either when they’re cleaning out the house or they’re selling the house or down-sizing for example, and they really hesitate to throw away these items. So they often end up at the museum,” said museum co- conservator Bernard Le-Blanc. “We’re like the collective attic of Acadia in that sense, and of course the museum is really a second memory bank of Acadian material culture. A museum – and by extension history – plays an important role in that it helps us to see where we’ve come from, and it helps us to see where we’re going.” When people have artifacts or pieces of furniture or documents that they value, before throwing them away or selling them, they will bring them to the museum, said LeBlanc. “We still have the original register of the museum (1886 – Father Camille Lefebvre was the first donor), so it’s interesting to see what artifacts people were giving to the museum in those days and now.” LeBlanc himself has a long history with the museum. It was during a visit there in 1970, while a Université de Moncton fine arts student, that he became aware of the need for artistic expertise in drawing artifacts on file cards for ease of reference in the storage area. LeBlanc offered his assistance and the two retired teachers on staff at the time were delighted that not only was there a student who was interested in the museum – but one who could draw. So he took on the job of those artistic renderings and also acted as a part-time tour guide. Following graduation in 1979, LeBlanc joined the museum full time as a designer for the permanent exhibit of the new building, going on to become the director in the mid-1980s, a position he held for many years. Following administrative changes at the Université de Moncton in 2003, he now shares duties with fellow co-conservator Jeanne Mance Cormier. Approximately 7,000 people tour the Acadian Museum every year, both Acadians and non-Acadians alike, but during the first Acadian Congress held in Moncton in 1994, that number swelled to a“spectacular”20,000 visitors from across the globe. Those who discover this little gem in the heart of Moncton are thrilled with their find, such as Monique Levesque and Michel Dupont-Hébert from Boucher-ville, Que. They are dedicating the summer of 2015 to travelling throughout Atlantic Canada, and a stop at the Acadian Museum was a must. “Two generations of my ancestors, both on my father’s side and my mother’s side, were living in Acadia and were deported,” said Dupont-Hébert.“Jean- Baptiste Hébert and Gatien Hébert, one of his sons – all of his family were deported. And Dupuis, the Dupuis (family) were deported to Massachusetts and to Connecticut.” Researching his Acadian roots, Dupont-Hébert’s first stop was the Centre for Acadian Studies (Centre d’Études Acadienne with genealogist Stephen A. White) just across the parking lot from the Acadian Museum. “I find it highly interesting, and it gives me more motivation to dig into those roots and find out a bit more. (The museum is) wonderful. Very important. So much information. It gives you a feel for what happened then and what their life was like.” His wife, Monique Levesque, agrees. “This museum is very interesting. I think it’s very touching. Through the trip I’ve learned a lot about Acadia. I’m of French descent, but not Acadian. I’m from Quebec City originally. I think the more you learn about the history (of the Acadians) the more you understand the need of peace and not going to war.” Closer to home, retired elementary school teacher Murielle Caissie of Moncton made regular visits to the Acadian Museum with her students. “I was a Grade 5 teacher, and for me as a French teacher, it was my way to let those kids be proud of who they are. The museum gives them part of their history and their culture. I was going there every year. It’s important for French people to learn more about French people, where they came from and why they want to keep their culture. We are richer when we speak different languages and learn about different cultures.” The museum is an ongoing project, with new artifacts always welcome. Co- conservator Bernard LeBlanc points out that there are items that are still being sought to add to their collection – such as early fishing implements. However, a reality for many museums is the issue of enough space. The Acadian Museum is just 4,600 square feet, with a limited storage area which is currently “critically short of space.” That means that really large items must regretfully be turned away. In addition to the permanent exhibition, there is also a gallery for temporary in- house and travelling exhibits. This fall, there will be a display dedicated to death and mourning in Acadia – mortuary-related pieces from the 1920s and 1930s from Acadian funeral homes in the area. In honour of the close relationship enjoyed by the Acadians and the Mi’kmaq throughout their history, there are also First Nations artifacts on exhibit. The oldest is an arrowhead dating back about 8,000 years. Evangeline, Longfellow’s tragic heroine, is also a prominent feature. Indeed the museum is home to the largest number of Evangeline artifacts to be found in any collection. The most historically important Acadian artifact at the museum, according to LeBlanc, is the original Acadian flag which dates from 1884. “Of course it is the national Acadian symbol,”he said.“And to have the original flag is quite remarkable.” The Acadian Museum collection is both priceless and thought-provoking, and includes the original cornerstone (in Latin) of Sainte-Anne’s church, Beaubassin, 1723; actual wooden chests used during the 1755 deportation; a powder horn belonging to deportee Jacques LeBlanc, inscribed with a prayer to his father, François, (nicknamed La Petitcotie), 1761; and a First World War trench helmet worn by Ray Gallant. There’s also the first cheque issued by Acadian Caisse Populaire, Caraquet, 1950; boxing gloves worn by boxing legend Yvon Durelle during his fight with Archie Moore, Montreal, 1958; and the only Oscar ever won by an Acadian, Paul LeBlanc of Dieppe. He was presented with this Acadamy Award in the makeup and hair category, for his work on the 1984 film Amadeus. Visitors can also see the original costume of Antonine Maillet’s La Sagouine, and the rhythmic gymnastics ribbon used by Lise Gautreau of Moncton at the 1988 Summer Olympics in Seoul, South Korea. Every effort is made to stay current, and the museum’s mandate “time-wise” really has no limits – from the founding of Acadia to its present day importance. From Francophone Summit and World Acadian Congress posters and memorabilia, to souvenir pieces from current historical events in Acadia – the story continues. National Acadian Day is celebrated throughout the province at such events as the two-week Festival acadien de Caraquet, one of the top Acadian cultural events of the year and one of the largest tourist attractions in Atlantic Canada. But here at the Acadian Museum of the Université de Moncton, everything Acadian is celebrated year-round. Jeanne d’Arc Gaudet, president of Société de l’Acadie du Nouveau-Brunswick (SANB), is enthusiastic in her praise of the Acadian Museum – especially in its capacity to help young people understand the eventful history of the Acadians.
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  • Proquest Dissertations

    Proquest Dissertations

    University of Alberta L'Acadie communautaire: The Inclusion and Exclusion of New Brunswick Francophones by Christina Lynn Keppie © A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Modern Languages and Cultural Studies Edmonton, Alberta Fall 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46343-7 Our file Notre reference ISBN: 978-0-494-46343-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.