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What We Do

Major Activities of the Organization


CAAMA represents the interests of Canada’s sound recording and live industry at a grassroots entry level. Its primary endeavor is to provide a unique showcase forum to enhance the visibility and profile of Canadian musical talent to top music industry representatives through a major signature event of “Canadian Music Week”, the largest musical event in Canada that has been held in Spring of each year in Toronto since 1983. These showcases are run on a not-for-profit basis and performers are compensated in the following ways:
• In lieu of cash compensation, new/ entry level artists receive a complimentary laminate pass which allows them full access to the MUSIC SUMMIT seminars and all festival showcases (see below) in recognition of their participation in this event

2) MUSICIAN @ MUSIC SUMMIT: entry level music business seminars

Since 1994, CAAMA has organized and conducted musician seminars educate entry level participants. These seminars are designed to help serious musicians hone their skills in both business and the artistic aspects of their burgeoning careers and are run on a break-even basis. Scheduled programming includes workshops, panel discussions, one-on-one critique sessions, clinics, mentor sessions and keynote presentations. Every performing artist receives an opportunity to exchange experiences, attend professional development seminars and network with their peers in different segments of the music industry.


In 1995, the CAAMA began promoting cultural equity, cross-cultural access, institutional change, and professional development for both artists and business people from increasingly significant but under-represented minority and aboriginal communities within the Canadian sound recording industry. In 1995, relevant seminars and panel discussions included “The Colour of Your Money” and “Tracking Tomorrow Today” which addressed the growing importance of racial minorities in domestic and international markets for sound recordings. Leading figures from Canada’s multinational (or major) recording companies were in fact confronted for their lack of response to Canada’s cultural diversity.

In 1996, the CAAMA continued to promote cross-cultural access and institutional change within the sound recording industry by successfully planning and executing panels, which focused on promoting new market opportunities for Canadian Dance music and the independent industry, which supports it. The project was directed by an industry committee, Cheer DJ Pool, Black Music Association of Canada, member of the JUNO Awards Board of Directors.

In 1997, the CAAMA expanded its cultural equity program by creating a program: In conjunction with the Urban Music Association ‚ a stand-alone urban music summit these programs continue today. In 1998, we featured Chuck D, pioneer of Rap Music as our urban keynote. In 1999, in conjunction with the Urban Music Association of Canada (U.M.A.C.), CAAMA presented the session “Gettin” Jiggy without airplay: Urban Music Marketing, which addressed the trials and tribulations of breaking an urban act in Canada today. CAAMA intends to remain committed to expanding its promotional efforts in showcasing Canada’s ethnic musical diversity and to draw it to the attention of national and international audiences. CAAMA brought keynote rapper “Ice T” to CMW 2000 and the “Jumping Jumping” session to CMW 2001, focusing on the urban radio in Canada.


CAAMA has spotlighted emerging music markets and provided the export ready artists with access to strategic market intelligence culled from the international front lines, combined with face to face networking opportunities with foreign buyers. CAAMA has focused in the past with special presentations on NAFTA, the Asian and Latin American markets. To increase foreign attendance at CMW 200 CAAMA presented the “By Our Guest” campaign to attract first time International Buyers with a complimentary delegate pass. In addition, CAAMA was able to present a series of International Educational seminars targeting artist and companies interested in exporting their products. More recently CAAMA has organized Incoming buyers missions from JAPAN, KOREA, CHINA, INDIA, SOUTHEAST ASIA, BRAZIL, ARGENTINA, MEXICO, USA, FRANCE, SPAIN, PORTUGAL and NORDIC REGIONS. Coming up for 2014 are GERMANY, AUSTRIA and SWITZERLAND. In 2015, AUSTRALIA, NEW ZEALAND and UK.


CAAMA contributed to SRDP 2000 plans by organizing the first Advisory Committee for Sound Recording Sector Strategy (CMW 1998) since the Music Industry Task Force met a few years earlier. In a First Ministers type meeting, this divergent interest group (DIG) worked an agenda run by a professional facilitator who addressed key issues, defined goals and initiatives, and produced a follow up report. Invited guests included the heads of all the major recording industry associations i.e.: ADISQ, CIRPA, FACTOR, SOCAN, CRIA, CARAS, CAAMA, CMRRA, ARIA, AVLA, CCMA, CMPA, ECMA, IMF, MARIA, MIANL, MIANS, MUSICACTION, PMIA, SRIA, SODRAC, SPACQ, SAC, etc. CAAMA is also interested in the rights of those music cultural workers i.e.: musicians, engineers, studio and live performance technicians etc. who are not represented by any of the above associations. In 1997 CAAMA was asked by the CRTC for input on the pending “Review of Radio” and existing CACON levels. On behalf of our members CAAMA undertook an extensive study of Canadian record sales and the resulting statistics to demonstrate factors that impacted negatively on Canada’s music culture workers. Results of this study are available on our website. Most recently The Music Policy and Programs Directorate of the Department of Canadian Heritage met with Canadian music industry representatives including CAAMA in Montréal November 12, 2012, to discuss the development of a strategy to frame Canada Music Fund support to projects related to the development of international markets.


With the changes introduced by the Internet to the dynamics and dimensions of the creative industry, technology has provided artists with boundless capabilities to produce new commodities and market their own cultural products. This trend created a new breed of artist-entrepreneurs who rely on CAAMA’s strong associations with the international market to provide them with essential market information. Our main international business objectives are to also provide Canadian companies and artists with access to as many industry leaders and buyers as possible, research new export markets, raise the profile for Canadian music worldwide and develop opportunities for export-ready Canadian artists.

CAAMA members can contact CAAMA for a copy of the  International Business Development Strategy  3-year vision and planned activities in support of its international strategic plan.

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