Who is Sylvain Rivard?
I was alerted to this man's existence quite suddenly in the previous week, while on social media, by way of a post created by an Abenaki man, Jacques T. Watso, from and of Odanak, an Abenaki Community along the St. Francis River just before such waters enter the St. Lawrence River, a community that had been established in ca. 1678.
In his post, Jacques T. Watso had stated on Face Book (social media) that "This man (Sylvain Rivard, of Montréal, Qc.) has no Abenaki origin, he made a career on the back of our nation, taking advantage of the hospitality of me, my family and my community to advance his career. No to the cultural appropriation of my nation!"
Thus my interest was piqued and I then communicated with Jacques Watso via social media's instant messenger, asking of the dynamics of the situation regarding Sylvain Rivard. I inquired if the man who claimed to be "Abenaki" (Sylvain) had proven objectively that such was his ancestry through genealogical mapping. The answer was no. No one had seen his genealogical connection(s) objectively to the Abenaki. In contrast to Sylvain' claims that his Abenaki ancestors existed, and that his grandparents had taught him "Abenaki" cultural ways, my research and that of others proved he has no Abenaki ancestors.
In doing the research on varied particular persons (i.e. race-shifters) within Vermont, New Hampshire and throughout the Northeast, over the years, as attested in this blog's content, I've gained the uncanny ability to detect "bullshit" ... which hasn't garnered me many friends that pretended to be such, for simply asking: WHERE is the objective evidence of one's having Abenaki ancestry, that entitles someone such as Sylvain et al to seemingly self-identify as an Abenaki and subsequently profit in any way, shape or form from that created/appropriated identity?
The list of names is long:
Vermont Wannabiiak Race-Shifters. These are just some of the mapped race-shifting persons throughout the Northeastern United States, and Canada up into Mi'kmaq Territory. I realized this having stumbled upon Darryl Leroux, his research, along with that of Adam Gaudry:
I must admit that learning of this term "Race Shifting" was quite interesting, in that since 2005-2006 throughout the subsequent years until the creation of this blog in May 2009, I had not really attempted to place a descriptive 'label' (with a word) to describe the phenomena of which I had been witnessing here in Vermont of numerous people's whose "Abenaki" persona's seemed to be "dressed up" "put on" and appropriated.
With Google Search, any one can "get a PHD"
"dress the part"
become whomever they want to 'self-identify' as.
I have not been alone in "witnessing" and studying this dynamic of, what Darryl Leroux wrote about in his ©2019 book, Distorted Descent:White Claims to Indigenous Identity.
Sylvain Rivard is often called upon to present Native culture in schools
September 15, 2019
Here is Sylvain Rivard (medicine bag to authenticate the look)
(QUOTE) Sylvain Rivard happens to have
"a STRONG ABENAKI HERITAGE on his mother's side of the family".
For the FULL article:
Last week, I quickly stopped what I had been doing and began to "pull at the strings" of this person Sylvain Rivard's documented "social history" by evaluating retrospective newspapers and his internet social media posts etc, my being curious as to who Sylvain was, and who he claims to be/ is today, and how he began to evolve and identify himself as "of Abenaki descent." etc. No one seemed to have secured who his parents were, or his ancestry. Apparently, most people in Odanak, "took-him-at-his-word," and believed in his narrative, that his grandparent was an "Abenaki."
That is, until one day in late July 2020 ... when Sylvain's 'created-persona' as an "Abenaki" was finally addressed and detected.
An person on social media, referred to Sylvain as a "cousin" ... her mother referred to Sylvain as her "nephew" and her maiden name was RIVARD who had married a Schmouth. This aunt's brother MUST be or had been Sylvain's father.
Attracting the attention of Mr. Eric Thisdale, researcher (who is also of Montréal) he too was also interested in Sylvain Rivard's claims to being "Abenaki."
Sylvain' relative (aunt)'s February 27, 1960 Ste. Denis de Montréal, Île de Montréal, Québec, Canada marriage record was obtained, by her name Marie Lucienne Françoise (nee: Rivard), it was quickly determined that her father and mother were Joseph Armand Antonio Rivard and Marie Rosalie (nee: Côté). Both Françoise (Rivard) Schmouth and her husband (Jean) were identifying on the record as FRENCH.
Marie Rosalie (nee: Côté) was the daughter of Ernest Côté and Rosalie Pineault/Pineau.
Then we found another of Sylvain's aunt's marriage record of February 27, 1964 in Ste. Denis de Montréal, Île de Montréal, Québec, Canada. Nicole (nee: Rivard) Chayer.. AGAIN, both bride and group were identifying on their marriage record that they both were FRENCH.
Once I had the parentage of these two aunt's of Sylvain, it was just a matter of genealogical process to determine their male sibling(s) ... of which ONE had to be Sylvain Rivard's father.
It was Sylvain' own 2018 Face Book posted image of his maternal grandmother, Flora (nee: Beaugrand dit Champagne) that 'connected' the genealogical dots. You can see her in the image posted below:
Flora (nee: Beaugrand dit Champagne) Legault
(photo taken at about 20 years of age)
Sylvain had stated on June 24, 2018, "My maternal Grandmother Flora Legault Champagne (1899-1975). She said "I was born in the year Buffalo Bill died!" What a beautiful meaningful reference.
Your spirit is still a pillar of my creative. A work in your memory is on its way. It was this reference and photographic image that led me to Sylvain' maternal ancestral connections.
Eric Thisdale share with me this maternal grandmother's obituary.
Translation: La Presse, January 29, 1975
Legault, née Flora Champagne. Besides her husband, she will be sadly missed by her daughter. Ms. Donat Rivard (Pierrette). The funeral will take place Friday the 31st instant. The funeral convoy will leave the salons.
The father of Sylvain Ricard was Donat Rivard, born May 31, 1930 in (Ste. Denis Parish) Montréal, Québec, Canada, son of Edgar Rivard and Marie Élsie (nee: Sylvain).
He had married to Marie Pierrette Legault on July 12, 1952 in Montréal, (Québec).
NOTICE
that both the groom (Donat) and bride (Pierrette)
BOTH IDENTIFY AS FRENCH
Marie Rosalie (nee: Côté) was the daughter of Ernest Côté and Rosalie Pineault/Pineau.
Following the genealogical footprints of Sylvain Rivard into the forest of his ancestry became easier and faster.
Marie Pierrette (nee: Legault) Ancestry
(partial genealogy)
Donat Rivard Genealogy
(partial genealogy)
11 to 13 steps (ancestors) away and Sylvain proclaimed he was an "Abeanki" ?!
And yet ... these ancestors were Huron and Algonquin !!
Sylvain Ricard Ancestral "Captive" Lines
Captive No. 1: Mary Swarton was baptized in Beverly, Essex County, Massachusetts Bay Colony, on 17 October 1675, recorded as the daughter of John and Hannah Swarton. (Fichier names the mother by maiden name, Hannah Hibbard)
In 1687 her father, John Swarton of Beverly, received a grant of land at North Yarmouth on the coast of what is now the state of Maine. The family removed there.
In May 1690 their fortified settlement on Casco Bay was attacked by a war party of as many as 400 to 500 French and Indians, consisting of some 50 Frenchmen from Canada, a similar number of Abenaki from the St. Francis Mission in Canada, and additional natives from Maine. The attack occurred on 16 May and the roughly 70 men in the settlement fought for several days before surrendering on 20 May. Many of the men, apparently including John Swarton, were killed, and the surviving settlers were taken captive and taken into "Canada". These captives included Mrs. Hannah Swarton and her children Samuel, Mary, John, and Jasper Swarton.
In 1695, Matthew Cary undertook a voyage to Canada under the auspices of the Province of Massachusetts Bay, with "Permission and Passport" from Count Frontenac, Governor of Canada, to fetch "English" persons held there as prisoners and return them to New England and New York. In exchange, some prisoners held by English authorities were being returned to Canada. The list of English captives redeemed from "Qubek" by Matthew Cary in October 1695 includes both Mary Swarton's brother Jesp'r Swarton, boy of "Cascow," and Mary's mother, Johana Swarton of York. Mary Swarton, "gerl" of "Cascow," is on the list of "thos remaining Still in the hands of the french at Canada." (Mary's brother Samuel had died and her brother John's fate is not recorded.)
Apparently Mary Swarton had chosen to remain in Canada, where she had already accepted the Roman Catholic faith. She was re-baptized in Cap-de-la-Madeleine on 20 February 1695, listed as 17 years old at the time, named Marie Souart, daughter of the late Jean Souart and Anne Souart, all English in nationality.
Captive No. 2: Katherine Stephens was the daughter of Mary and (nee: Caswell) Nathaniel Stevens of Salisbury, Essex, Massachusetts, United States of America. Mary is suggested to be from Dover, Stafford, New Hampshire, United States of America. Her surname might have been Murray. The pair also had a daughter, Mary, a son named Nathaniel. After the death of Mary, Nathaniel remarried to a woman named Mehitabel (nee: Colcord), and the pair had three more children.
The Stevens were residents of the Pemaquid settlement before it was attacked and fell along with Fort Charles. Nathaniel Stevens was killed only days before, on 2 Aug 1689 and his children Katherine (age 11-13) and her half sibling Samuel (age 9) became captives of the Abenaki in Pemaquid, Maine on August 05, 1689. According to familial genealogist Katherine remained at the Abenaki's Catholic Mission near Quebec City until 1695.
Katherine took on the name Marie Francoise and was raised by the family of Louise Douaire and Nicolas Pineau in Quebec, Canada. Due to the language barrier, her surname was recorded in a variety of different ways attempting to spell out the surname 'Stevens'. Katherine notes she was a native of New England, born in a place called Abscadois, the 'sc' crossed out on the original document, according to Emma Coleman's research on English Captives. Upon her marriage Katherine thinks she is 19 years of age, when she was closer to the age of 21 years. She was gifted a dowry of 200 Livres by Jean Fredain, secretary of Monseignore de Champigny.
On August 01, 1697 Katherine was married to Jacques Paquet where it was noted by the parish priest Father Francois Dupre that she was about 19 years of age, the daughter of Nestyus and Marie Meray. It has been suggested that the priest was attempting to document N. Stevens despite the language barrier, and that repeatedly through out Katherine's life the same attempts are made in different variations.
Katherine, or Marie Francois and Jacques Paquet would go on to have at least 13 children.
Sylvain Rivard had done the same dynamics as Judy A. (nee: Fortin) Dow of Vermont who also claimed and claims to be "Abenaki" (along with so many other race-shifter folks in their belief that their ancestors were Abenakis and therefore they, the descendants, are "Abenakis" too). These race shifter types, even though their genealogies and even, sometimes their genetics testing results have been ascertained through direct testing of them (and or their relatives), they will still persist in ailing from cognitive dissonance. Without the Abenaki connected ancestor, without objective documented genealogical connection to the Abenaki, how is Sylvain or anyone else, Abenakis? The answer is that they aren't; and never were.
Regarding Judy A. Fortin, simply do a google search and or
Genealogy of Judy Dow as
it is very easy to do the comparatives between how Sylvain Rivard has moved, as has Judy Dow et al here in Vermont and elsewhere in the Northeast; writing books, doing presentations, doing art, speaking on behalf of the Abenakis as if these representative speakers were also Abenaki, when in fact, they never were and aren't. But that doesn't matter to the State of Vermont, multiple museums etc etc
Judy Dow in IndianCountryToday March 2020 These people (race-shifters) delight in having a museum or a book publisher or any publication print or the like, identify them as Abenaki or Abenaki/Huron, or French/Abenaki or Metis/Abenaki etc.
AND what is interesting to my person is that ODANAK Elders seem to have 'associated' with this race-shifter Sylvain Rivard, without realizing the deception.
March 09, 2002
Translation:
Musical Archaeology at the T.A. Saint Germain Library
A rattle made from a snapping turtle shell, bells made with deer hooves, a flute made from a Virigina deer tibia ... Sylvain Rivard, of Abenaki origin and author of the book Archaelogie Soneur, comes to present to young people aged 8 to 12 about twenty musical instruments of Aboriginal origin. Young people will also have the opportunity to learn some traditional Native American songs, notions of Native language and to do a few dance steps. A very beautiful animation in perspective.
April 10, 2013
"Montreal-born festival author Sylvain Rivard is an expert of Northeastern American Indian culture. He is himself a descendant of the Abenaki people on his mother’s side, who are among the First Nations (Premières Nations) of Canada. The many-talented artist studied fine arts and performing arts in Montreal and Quebec. He collects fables and myths of his ancestors and performs as a story-teller, dancer, musician, singer and conveyor of Abenaki culture."
November 20, 2015
Philippe Charland and Sylvain Rivard
February 24, 2016
Philipp Charland (front left) , unk. person, Daniel Nolett (back middle),
Sylvain Rivard (back right)
Monique Nolett, Priscilla Watso
July 14, 2016
The Guild is proud to present Pulpe Fiction, the latest exhibition by artist Sylvain Rivard, in the context of the Montreal First Peoples Festival and in collaboration with Land InSights. The artworks by this multidisciplinary French Canadian and Abenaki artist depict a world nearer to First Nations' identity than to that of the Québécois. The main part of his work draws a portrait of contemporary ethnographic art which lies beyond cultural hybridity. Through a dozen creations, Pulpe fiction proposes a reinterpretation of the Abenaki nation's mythical and legendary culture.
The artist's works participate in the modernizing of techniques and gestures used in the fashioning of baskets; for example, in addition to the traditionally used ash splints in basket-making, he also uses different types of papers. These are handmade or recycled and come from as far as Nepal or Cuba. In keeping with his line of thought, this new exhibition is a continuation of his minute research on various fibers and pulps, as well as on tangible and intangible cultures.
The event will take place on Thursday, July 14, 2016, from 6 to 8 P.M. in presence of the artist and organizers of Land InSights and the Montreal First Peoples Festival, who will be available to meet the public and the media.
Biography:
The author and multidisciplinary artist of French Canadian and Abenaki origins Sylvain Rivard, alias Vainvard, was born in Montreal. Most of his work depicts a mixed ethnographic art, which has been presented in many places of dissemination (Grande Bibliothèque de Montréal, Huron-Wendat Museum, Maison de la culture Ahuntsic-Cartierville, Musée des Abénakis, Guilde des métiers d ' art, etc.). His illustrations have punctuated more than half a dozen publications, including Splendeurs amérindiennes by Michel Noël.
In children's literature, he is the author and illustrator of three storybooks on mythical animals at Cornac (Moz in five times , Skok in seven times and Pmola in four times). He has also published, with Hannenorak, a series of trilingual publications on the anthropology of costume (The Arrow Belt , The Toque , The Ribbon Shirt and The Blanket).
Co-author of various ethnographic works, he has also signed a biography (Joseph Laurent), a collection of oral histories ( Contes du trou d'cul ) and a collection of poetry (The dolls).
Sylvain Rivard directed and hosted, in 2010, the series Indiens dans la villeto the APTN network and regularly gives interviews on Indigenous arts, in addition to playing his voice occasionally as a backing vocalist or narrator for various documentaries. He also works as an artistic consultant for museums and educational institutions, as well as for publishing houses and television and film productions. A man of many talents, he also works as a host, storyteller, singer and performer.
January 13, 2017
Jacques T. Watso, (back left) and Sylvain Rivard (back right)
Nicole Obomsawin (front right)
June 21, 2017
Nicole Obomsawin (front) with Sylvain Rivard (behind Nicole's right shoulder,
and Tahatie Montour (far right)
January 08, 2018
by Gabrielle Béland
Meet La Guilde: An Inuit and First Nations Museum Run by Women
Last September, Montreal’s Inuit and First Nations Museum La Guilde became neighbours with the Montreal Museum of Fine Arts.
“To not create, I would die,” are the wise words of Sylvain Rivard. The artist and ethnologist has been partnering with La Guilde for a little over three years. Last year, his exposition Pulpe Fiction featured works created with handmade paper and fabric. The technique he used is called basket weaving. He’s also known for his contemporary approach to the Abenaki art. “I like mixing up genres. I never want to put myself in a niche,” Rivard said. His work ethic is simple: He likes to create with whatever he can get his hands on.
Sylvain Rivard, an artist and ethnologist, has worked with La Guilde for over three years.
Rivard’s interest in the Abenaki culture first came from his grandparents, who have Abenaki origins. His second inspiration comes from Joseph Laurent, a Chief of the Abenaki village of Odanak, Quebec in the late 19th century. Laurent founded the first Abenaki museum and wrote the first Abenaki-English dictionary. As a way of remembering his impact on the culture, Rivard likes to incorporate this character into his art.
The best way Rivard learned to create art was through other artists. Rivard said that he never wants to feel restricted to a specific type of craft, and would rather practice multidisciplinary art. “I like playing with taboos,” Rivard said.
Rivard felt that often people are quick to judge, and there remains an incomprehension for the profession of an artist. This is one of the reasons why he enjoys collaborating with La Guilde. “They have an incredible open mind and they really respect the artistic approach,” he said.
January 10, 2018
Sylvain Rivard with a Chief's Coat
Musée des Abénakis de Odanak
June 15, 2018
July 14, 2018
Margaret "Marge" (nee: Bruchac) Kennick
Sylvain Rivard
Odanak Museum
By September of 2018, Sylvain Rivard (a.k.a. Vainvard) created a Serigraph of his maternal grandmother Flora (nee:Beaugrand dit Champagne) Legault (1899-1975) in which he "Indigen-ized" her appearance artistically, of the sepia-toned photograph (see above image).
IF he could turn her into an "Abenaki" ... then by process, he could also 'self-identify' as an "Abenaki" too. As many race-shifter' in Vermont and New Hampshire have been claiming to be "Abenaki" have done since 1975, they tend to all do the same, and sound the same ...
"Abenaki" Flora (Beaugrand dite Champagne) Legault
maternal grandmother of Sylvain Rivard
December 15, 2018
https://ici.radio-canada.ca/espaces-autochtones/1142046/a-propos-de-kanata-episode-1-la-controverse
Indigenous signatories:
Kim O'Bomsawin, Abénakise, director and screenwriter
Sylvain Rivard (alias Vainvard), Métis Abénakis, artist and specialist in First Nations arts and cultures.
March 14, 2019
Sylvain Rivard
May 18, 2019
By Jessica Deer
Montreal gallery strings beadwork from past to now in new exhibition
Sylvain Rivard is one of 11 artists featured in Beading Now!, a new exhibition in Montreal exploring Indigenous and non-Indigenous artists' contemporary beadwork.
Beading on paper can be a difficult task, making sure the paper doesn't tear.
"You can't go fast," said Sylvain Rivard. "You just have to work very slowly."
But the process is something the French-Canadian and Abenaki artist enjoys, taking him back to when he learned beading techniques as a child from his grandparents.
"My grandparents are the roots of what I'm doing, so every time I try to incorporate my grandpa or my grandma in my work," said Rivard.
"I use a lot of techniques together, a lot of old things I learned when I was a child with my grandpa, and now I'm just re-using all these techniques and am trying to give another flair to it. Something more contemporary."
The exhibitions runs from May 16 to July 21 at La Guilde, a gallery and museum in downtown Montreal. Recent work of Indigenous artists Judy Anderson, Catherine Blackburn, Hannah Claus, Ruth Cuthand, Dayna Danger, Audie Murray, Mike Patten, Sylvain Rivard and Nico Williams, non-Indigenous artists Teresa Burrows and Sarah Maloney and several historical beaded items in the gallery's collection are featured in the exhibition.
May 31, 2019
The Kahnawake Eastern Door Newspaper
by Mehanaz Yakub
Montreal Gallery Celebrates Indigenous Beading
La Guilde, an art gallery and museum in downtown Montreal, has a new exhibition showcasing contemporary beadwork by Indigenous and non-Indigenous artists from across Canada.
“Beading Now!” features artworks of 11 artists; Judy Anderson, Catherine Blackburn, Teresa Burrows, Hannah Claus, Ruth Cuthand, Dayna Danger, Sarah Maloney, Audie Murray, Mike Patten, Sylvain Rivard and Nico Williams, as well as several beaded pieces from the gallery’s own permanent collection.
Sylvain Rivard, a Montreal-based artist with French Canadian and Abenaki roots, has four items displayed at the exhibition.
One of his pieces is a beaded portrait of his grandmother, who, along with his grandfather, taught Rivard how to bead when he was young.
“My grandpa and my grandma are always with me. I always say that my left hand is my grandfather and my right hand is my grandmother,” said Rivard.
It is because of their influence that it was natural for him to mix old and contemporary art together, he said.
Sylvain Rivard’s definition of contemporary art is created when an artist can use the same techniques and materials from the past and intellectualize an idea or concept, in order to make the audience pause and think about what they are seeing.
“Contemporary art talks about today’s concerns and topics that are very modern now,” he added.
In two of his other works, Rivard took portrait photographs of himself with dolls from the 1920's-1940's and made collages out of them. He then beaded tears coming from his eyes.
When creating the piece, Rivard said he was thinking about the question, “What have you done with our children?” and the crying beads show his thoughts about it.
October 12, 2019
Presentation
Nicole Obosawin and Sylvain Rivard
October 12, 2019
Presentation
Nicole Obosawin and Sylvain Rivard
June 24, 2020
8tolhawoganal (Legends)
By Nicole Obomsawin
Illustrated by Sylvain Rivard
Now that you have read this blog post content regarding Sylvain Rivard, so that you can get an idea of the depth-times-thousands in Vermont of the four State Recognized created organizations/ 501(c)3 / "Tribes" whose members, have received membership cards, claiming to be "Abenakis" (Missisquoi, St. Francis-Sokoki or Maquam Band, Nulhegan, or Koasek, or Cowasuck, etc) out there playing the SAME RACE SHIFTING games.
July 31, 2020
This is NOT an alleged "Witch Hunt"
Witchcraft/Sorcery is not Genealogy
Genealogical research is an objective process
Witchcraft is merely a subjective experience
