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Only a dozen artists could aspire to sales of albums equal or superior to copies in France, between and It is difficult to give statistics concerning live gigs, as there are no specific observation tools in this sector. However, if we consider the strong professional dynamic on French stages, we understand that the market share of world music of live gigs is superior than of the disc.

The contribution of the state, on a local as well as regional level, is extremely important, as the latter participates to the development of live music gigs of the world genre. Although both live and record sectors are fragile, a real network supports them. Independent companies, who introduced this network dynamic, play a major role for the finding of artists and the development of their careers.

The media coverage of world music is very poor.

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The indifference of the important national media, television and radio, is an enigma, seeing as France is a country which advocates its cultural exception and which is often considered from the outside as a pillar of world music.

European operators, who try to develop their productions and artists in France however, often have the impression of being confronted to a brick wall. For the latter, the various systems of government aid, from which French companies may benefit, seem to create an obstacle difficult to by-pass.

Although the competition can be rough in a sector grouping numerous professionals, some implanted for many years, it is clear however that these same French professionals contribute actively to the development of a network, with their European homologues.

Trade fairs such as the Womex and Strictly Mundial were hosted France in and inwhich confirms the European opening of the French market. This only takes into account the productions of its members. Not forgetting the fact that important producers in the field of world music are not all members of the SNEP, these results can seem slightly underestimated.

France Export Handbook —World Music expression. Several reasons initiated this: This element favors the broadcasting of creations, answering to stylistic forms associated to tastes and cultural references of social groups, which are the ones demanding. Others have established a contact with producers, who accompany them in the development of their career on stage or on record, or both.

This differs from the Anglo-Saxon approach, which privileges a community, grouping together populations of same cultural background, in defined urban spaces. The effect of these policies on the interest carried by the French public in world music must not be underestimated.

However, the impact of the cultural community as an identifier preserves all its pertinence to the development of artists' career, in particular for populations with a significant demographic importance, such as the French Antilles, the Maghreb, western Africa or the Indian Ocean, to name a few.

The consideration of these combined elements allows to establish a base of activities for the artist. Then it is thanks to the efficiency of the team working around the artist, if the public widens beyond this initial restricted circle.

Professional structures in the live or record sector allow the artist to assert himself or herself on national, European and international networks.

Thi sc ons t a n t international entity is also confirmed in France. The fact remains that a demand on behalf of the French public concerns the important European stylistic currents: Celtic music, flamenco, fado, gypsy music, e t c ….

It is interesting to notice however, that Europe has initiated a sort of decentralization, including in the field of world music.

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Because French regions have revalorized their own cultures, some of them feel closer to other regions of European countries, in terms of language, singing, musical France Export Handbook —World Music instruments or rhythms for dancing: This evidently favors the development of relations between artists of various European countries, for whom opportunities to be produced in France could surface as a resident or simply cross creations with French artists.

These interregional cultural relations could introduce and start various partnerships with French professional operators. The commercial logics of territories followed by majors, privilege the competition between national subsidiaries. It is symptomatic to notice that most of the important German, Scandinavian, Italian or Spanish celebrities are almost unknown to the French general public.

In the field of world music, it is by taking the opposite method that independent producers have succeeded in establishing an autonomous and dynamic market. The notion of territory applies only at the level of license agreements or distribution.

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