2025
CORRESPONDANCE:
REBEL SONG
HILLIARD ART MUSEUM
OCTOBER 9 - NOVEMBER 9, 2025
Sponsored by :



EXHIBITION STATEMENT BY BROOKE BROUSSARD
The Rice Bird Remembers
“a bubbling delirium of ecstatic music that flows from the gifted throat of the bird like sparkling champagne.”
20th-century ornithologist Arthur Cleveland Dent
The bobolink, sometimes called the rice bird, visits the prairies of both Acadie and the Gulf coast along its migration flight.
These aren’t the only two stops it makes, but still we can call this bird a shared creature with our cousins in the North.
This bird’s population is waning more each year that passes, mostly because of habitat loss and degradation;
it stands as a symbol of ecological erosion for everyone who watches it, noticing it diminish all the way up and down its arc of existence.
This bird also sings a song you wouldn’t believe – when I first listened to a recording I laughed, astounded.
The birds are losing their homes, and they are singing beautiful songs.
​
“a mad, reckless song-fantasia, and outbreak of pent-up, irrepressible glee”
20th- century ornithologist Ferdinand Schuyler Mathews
People or populations of any kind that are oppressed, or that experience an inordinate amount of trauma but who still manage
to maintain optimism or “bounce back,” we call resilient. Their joy is broken, or stolen, but they still sing and dance despite
(or maybe because of) the pain. If it’s a person that still sings, we say it’s a choice.
If it’s a bird, we ascribe the still-proud chanson to its nature. But how unlike the bird are we, really, if we also are animals?
I have seen a fiddler wail and stomp her way through “Mon coeur fait mal..” I have felt the wooden dance floor tremble and quake with the two-step of Theriots and Thibodeauxs and other children of children of exiles. I have heard the unforeseen tragic killing of Amédé Ardoin in his earliest recordings.
It’s true we are a resilient people, but maybe it isn’t so special to be resilient.
What is the alternative to being resilient but Death?
​
“a tinkle of fairy music, like the strains of an old Greek harp”
source unknown
I once met an Acadian girl who spoke Chiac, and told me that her family always referred to the Cajuns –
the ones who’d come, or been taken, here to Southwest Louisiana – as their future.
Tears sprung to my eyes as I told her hurriedly that I’d always thought of them, the Acadians, back there, as our past.
We’ve been thinking of each other this whole time, as corresponding parts of the same story in time;
we’ve just been occupying different parts of space.
Like many birds, the bobolink uses cosmic bodies and earthbound landmarks to help guide them on their migration route;
small quantities of a magnetic mineral called magnetite are held inside the tissues of their nasal cavity
to enhance their navigation ability.
The very tissue of its body holds the secret to remembering its home. And not just home, but all of its homes.

our rebel song theme
was inspired by the
flag that the
Zachary Richard band
raised on stage in 1975
at festival acadiens
loaned to the exhibit
by the
center for Louisiana studies
Pat Mould / Rachel Doherty / Roz LeCompte / Barry Ancelet / Molly Rowe
1975 Archive Photo by Elmore Morgan Jr.

Recently returned to Louisiana from Québec in 1975, after having gained an in-depth understanding of the Acadian deportation
for the first time, a young and radicalized Zachary Richard raised this flag on the stage
of the “Hommage à la Musique Acadienne” Festival in Lafayette, Louisiana.
Zachary Richard et Bayou des Mystères stayed on the stage longer than their allotted time,
raised two identical flags, and broke into a performance of the song “Réveille” –
a protest song calling Acadians to revolt against their oppressors.
Richard designed the flag, choosing Louisianan and Acadian symbols, and claiming “solidarité, fierté” (solidarity, pride).
He hoped that French-speaking Louisianans’ pride would move them toward a transnational Francophone consciousness
and a solidarity with French-speaking minorities across North America.

franco fae facilitated the
2025 poster art collaboration
between fae artist françois gaudet
and festival acadiens et créole


Aux oiseaux de Zach et à toutes les grands-mères acadiennes
by Erin Segura
Si j'avais les ailes des hirondelles,
Je volerai do haut ciel
Au fin fond de la vallée,
Cruiser avec le vent,
Trouver un moment de joie.
Si j'avais la clef
de la porte de ma prison,
Je connais pas si j'oserai
Ou bien si je resterai de dans.
Les yeux fermés en priant,
Pour ma grande délivrance.
T'aurais jamais dû revenir,
T'aurais jamais dû oser.
Mais, là, que t'as fait
ce que t'as fait.
Est-ce que t'oses regretter,
Oses tu regretter?
Si j'avais la chance
pour te faire comprendre,
Est-ce que tu prendras mon amour,
Comme t'as porté mes souffrances,
Les deux coeurs liés ensembles,
Dans notre bonne jouissance
​
- Les Ailes des Hirondelles by Zachary Richard
over 15 acadian artists
from Acadiana, Canada,
and across the united states
were represented
at Hilliard art museum
during festival acadiens et créoles


​Bobolink
(Dolichonyx oryzivorus)
by Nicholas Curran
K’jipuktuk, Unceded Mi’kma’ki
Vulnerable in Mi’kma’ki
Grassland habitat loss due to agricultural practices​​​​​​​​
Altar frame by Roz LeCompte
Calligraphy cards by Kathryn Dugas
Birdsong phone by Aaron Thomas









by Roz LeCompte


by Kristie Cornell


by Gaven LeCompte
by Le Blank

by Le Blank


by Le Blank

by Pat McFarlane

Abigail Guillory / Erin Segura / Kristie Cornell / Lacey Dupré / Brooke Broussard / Roz LeCompte / Melissa Bonin / Andy Perrin

Lisa Leblanc’s Lafayette Practice
by Andrew Perrin


Miniature Porcelain Evangeline Portrait, circa 1848 by Jules Dupré
Nantes, France 1811-1889
This is certified as the first known artist rendering of “Evangeline”, painted shortly after Longfellow wrote his poem in 1847.
It was originally owned by Urban Johnson,
Prominent 19th century Kent County,
New Brunswick Acadian.
On loan from the Acadian Museum, Erath, Louisiana

Portrait of Evangeline, 1856
by Jean-Baptiste-Adolphe Lafosse (1810-1879)
Hand-tinted steel engraving
In 1847, the publishing of Longfellow’s epic poem “Evangeline” inspired a worldwide surge of interest in the deportation
by the British of the Acadian people of North America.
In 1856, Jean-Baptiste-Adolphe Lafosse, a Parisian artist, used Scottish artist Thomas Faed’s painting of “The Silk Dress”
as a model for his artistic depiction of “Evangeline”.
Delaroue, a world-renowned Paris printer, was commissioned to produce prints of Lafosse’s painting.
It is estimated that Lafosse personally hand-tinted only 25 black and white steel engravings.
This is one of the few remaining in existence today.
On loan from the Acadian Museum, Erath, Louisiana


The Rose of Evangeline
by Lacey Dupré
Fabric ink, sugilite, bloodstone, community coffee, tears on vintage handkerchief
A textile reliquary of grief and devotion, an artifact of love, loss, and transmutation. (Alchemy of Exile Series)
Evangeline and the Basin of Stars
by Lacey Dupré
​​​
Gouache, Cotton Paper, Amethyst,
Fuschite on canvas
A Cosmic Egg tracing the origins, exodus,
and rebirth of Acadiana.
(Alchemy of Exile Series)









