<\/p>\n
As Canada updates its rules for how streaming platforms support local culture, a key opportunity is emerging to strengthen the visibility of Indigenous music at home and abroad.<\/p>\n
Pathways to International Markets: A Strategy to Increase Export Capacity for Indigenous Music<\/em> is the music organization\u2019s first major research project. The study establishes four key strategic directions that identify the roles that funders, music industry organizations and partners play in increasing financing, professional development and discoverability for Indigenous artists and industry professionals.<\/p>\n In the study, the IMO highlights that export activities generate significant career development opportunities for Indigenous music artists. However, most funds available to the Canadian music industry lack a strategic focus on assisting the development and export of Indigenous music.<\/p>\n \u201cA strategy to increase the export capacity of the Indigenous music sector is timely as demand for Indigenous music is growing in Canada and around the world,\u201d the report reads.<\/p>\n The study calls for promoting “discoverability of Indigenous music on streaming and broadcasting platforms\u201d as the most specific pathway for Indigenous artists and organizations to reach larger audiences.<\/p>\n Ontario Creates, Creative BC and the Province of British Columbia are all funding partners of IMO’s study.<\/p>\n \u201cThe recent adoption of the Online Streaming Act in Canada presents an unprecedented opportunity to promote Indigenous music to Canadians and the world. It is anticipated that the implementation of the Act will ensure the discoverability of Indigenous music aired by Canadian radio broadcasters and streamed online by dedicated services,\u201d IMO reports. <\/p>\n In its revised Commercial Radio Policy, the CRTC has laid out an expectation that commercial radio broadcasters include Indigenous music in their playlists, without setting quotas. Two years ago, Indigenous leaders called on the CRTC<\/a> to impose a minimum commercial radio airplay quota of 5% for Indigenous music content. This has yet to be implemented, but could be a part of the CRTC\u2019s in-development Indigenous Broadcasting Policy.<\/p>\n \u201cIn my eyes, the real benefit of our Pathways to International Markets<\/em><\/em> study is its ability to show the artists and music entrepreneurs who are following in our footsteps where we\u2019ve gone and what we\u2019ve learned,\u201d says Alan Greyeyes, IMO board chair. \u201cIt encourages them to break trail on the routes and ideas that still need to be explored. It\u2019s a wonderful starting point and I\u2019m excited to expand on it.\u201d<\/p>\n The study was developed amidst the implementation of the Online Streaming Act, a once-in-a-generation update to CanCon regulations<\/u><\/a>, and ongoing Canadian Radio-television and Telecommunications Commission (CRTC) hearings. In September, various Canadian music orgs voiced their opinions<\/u><\/a> on the changes, one of which highlights the importance of artist discoverability for Indigenous musicians. <\/p>\n An important part of the hearings was last year’s CRTC decision to enforce major foreign-owned streaming services with Canadian revenues over $25 million to pay a now-paused 5% of revenues<\/a> into Canadian content funds, like the Indigenous Music Office and FACTOR. <\/p>\n While it has been an ongoing battle between platforms, earlier this year, Leela Gilday, musician and former board chair of the Indigenous Music Office, told Billboard Canada <\/em>that the IMO has plans to launch a new Indigenous Music Fund in Canada, with 0.15% of the audio payments earmarked for its launch. This fund would distribute finances directly to Indigenous creators. Another 0.35% of the funds would be designated for \u201cdirect expenditures targeting the development of Canadian and Indigenous content.\u201d<\/p>\n