CAPF is the Canada arts presentation fund, a program that incentivizes artistic risk-taking by non-profit organizations like festivals, municipal theatres, etc. It's an incredibly important program, and it has really brought forward all kinds of work that may not find its way into different parts of Canada from coast to coast to coast.
Think about contemporary dance, theatre and live music—absolutely—so it's a really important program. It has certainly incentivized an increase in artistic content, and it has enabled, as I say, presenters and promoters to bring certain types of content into certain types of markets. It's exclusively for non-profits. It's an important program, and it should continue to grow in terms of investment.
It is the same with the BCAH program, the Building Communities through Arts and Heritage program, which is also exclusively for non-profits.
Then there is the Canada music fund, for which Minister St-Onge announced an increase during the Junos in Halifax, which was wonderful news. The Canada music fund has only recently—as recently as October, in fact—been made accessible to the commercial live music industry. In October, FACTOR, the agency that delivers the Canada music fund on behalf of Canadian Heritage, announced a pilot program called the promoter program, which is the first of its kind. The deadline was Halloween. We don't know yet the outcomes of the program, but it was developed after 10 years of our conversations with Canadian Heritage around the opportunity that the commercial music sector represents.
I'll be very blunt. There is a lot of room for investment into the commercial side of the music industry, the live music industry, which, as I say, we've just taken a baby step toward. The Canada music fund is absolutely an important program, and if my colleagues from our adjacent sectors in the independent music industry and the recorded music industry were here, they would certainly agree. Live music is a newcomer to the table, and there are many mouths to feed.
However, one of the points I want to make in my remarks today is that I think we're not necessarily looking at the policy through the lens that we should—through something like music tourism and the opportunity that live music represents—in a really scalable way. These programs are essential, absolutely, and there's room to do more.