Since 2020, you have been the president of the National Center for Music. How do you view its evolution after four years at the helm? 

The National Center for Music was anticipated for almost 40 years, as the first projects date back to the late 1970s, yet it was only established on January 1, 2020. Four and a half years later, I am pleased to see this shared music institution built, with dedicated teams, a very particular governance, and resources available to the state and the industry. The CNM also played a major role during the health crisis. The state utilized us as an operator to prevent disaster. The agility of a public institution is extremely valuable when helping businesses in an emergency. To put this into perspective, approximately 500 million euros were managed during this period with the same number of staff, instead of the 60 million per year for which we were calibrated. Fundamentally, I am inclined to believe that the CNM met a need: that of a very heterogeneous sector that was waiting for a common institution where collective intelligence could be mobilized to face the challenges of the times.

The Institut Français has partnered with the “What the France” platform, a project from the National Center for Music, to create the “Alors on chante” program, aimed at enhancing the appeal of teaching and learning the French language through contemporary Francophone songs. Could you tell us about this project? 

We signed a partnership agreement with the Institut Français because we share common missions. While the Institut Français supports the promotion of Francophone cultures in close collaboration with the cultural network abroad, at the CNM, we are responsible for supporting the international economic development of companies, ensembles, and artists. This needs to work harmoniously, and I believe we are on the right track. "What the France" is a brand that the Export Office created before the National Center for Music, and together with the "Alors on chante" program, it reaches out to diplomatic posts, French Alliances, and Instituts Français, as well as French teachers worldwide. We offer playlists curated by our teams, along with educational sheets on the songs. It is a tool that evolves based on themes and facilitates learning our language through music. 

What are the main tools available for the "Alors on chante" program? On what basis were the resources used for learning selected? 

At the National Center for Music, a team creates playlists throughout the year with French novelties that we anticipate will succeed abroad. We are in contact with the Institut Français and CAVILAM - Alliance Française de Vichy. The first ensures distribution to the agents of the French cultural network abroad, while the second promotes the learning of French as a foreign language by creating high-quality educational materials shared free of charge with teachers worldwide. There are no strict criteria for the selected songs; we aim to be as eclectic as possible, without passing aesthetic judgment. There's a mix of standards, thematic songs, big names, and contemporary songs that lean towards rap or hip-hop.  

Since June 19, 2024, the Cité Internationale de la Langue Française will present its first temporary exhibition, "C’est une chanson qui nous ressemble," in partnership with the National Center for Music. How did this collaboration unfold, and what are the challenges of the exhibition? 

The essence of the missions of the National Center for Music is linked to one word: diversity. We work to defend diversity, which means cultural exception and the uniqueness of musical creation across all genres in France. Promoting this diversity is also essential. It is necessary to encourage French artists to develop their creations worldwide, especially since the Francophonie is a powerful tool for influence. When the President of the Republic initiated the creation of the Cité Internationale de la Langue Française, inaugurated in 2023, we felt that culture should be present. So we approached the management of the Cité to create an exhibition that highlights the successes of our artists internationally. I saw the exhibition in July; it is fantastic, just like the permanent collection of the Cité, which I strongly encourage you to discover. At the National Center for Music, we certify international listens and sales equivalents, like gold and platinum records: the inauguration and the Francophonie Summit are excellent moments to highlight these actions and achievements. 

The year 2024 offers opportunities to promote the French language, particularly with France hosting the Francophonie Summit and the Olympic and Paralympic Games. In this context, are you developing initiatives to foster the international growth of the French music industry? 

International development is a major focus of our work. For example, we have tripled the budgets for international development support, increasing from 1.5 million to over 4 million today. These funds support prospecting, tours, music videos, and the translation of promotional materials. We also provide advisory services to support the strategy, development, and promotion of artists and labels. This includes market analyses, showcases, and residencies to ensure transnational promotion of our artists. With the Olympics, we have proposed playlists curated by top-level athletes. 

What are your next projects and challenges at the head of the National Center for Music? 

The challenges are endless because the music world is constantly evolving. Our roadmap is clear, as we have strategic orientations adopted by the board of directors, as well as a performance and objectives contract with the state, which I signed with the Minister of Culture, Rachida Dati, on June 21. Among the main challenges, I would mention the very tough international competition. Our numbers are increasing, but not as much as those in Asian or Anglo-Saxon countries. The ecological transition is also a major issue, and the industry needs to be even more aware of its carbon footprint. We are also here to stimulate innovation, particularly with Artificial Intelligence, which represents opportunities while respecting copyright. Finally, ensuring equal access for women to music professions and combating gender-based and sexual violence are priorities, for which the CNM develops and adopts solutions, always in close consultation with professionals.