Côte d’Ivoire targets 2026 to unlock digital content monetization 🇨🇮

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The Ivorian government wants to turn digital content monetization into a concrete reality by 2026. That ambition was reaffirmed during a working session held on February 2, 2026, between the Ministry of Culture and Francophonie, led by Françoise Remarck, and the country’s audiovisual regulator, the High Authority for Audiovisual Communication (HACA), chaired by René Bourgoin.

The meeting aimed to lay the groundwork for a structured framework that would allow Ivorian creators to earn sustainable revenue from their work in the age of streaming platforms and digital distribution.

A major push for the creative economy 🎶

This initiative follows repeated calls from executives at Universal Music Africa, Warner Music Africa Francophone, Sony Music Africa Francophone, and other key players in the music industry. Despite strong audience traction and widespread popularity, many Ivorian artists continue to struggle to generate meaningful income from the digital exploitation of their content.

Minister Françoise Remarck is looking to draw on her experience and best practices observed in other industries to build a more efficient system. The scope of the project extends far beyond music. The goal is to structure the entire digital content value chain—from production and distribution to rights management and revenue transparency.

An interinstitutional working group 🤝

At the end of the discussions, an interinstitutional working group was established. It brings together the ministries in charge of Culture, Communication, Digital Transition, and Technological Innovation, alongside representatives from across the creative sector.

The group’s mandate is to design an inclusive and fair framework that strengthens creators’ rights while ensuring a more equitable redistribution of revenues generated through digital platforms. Ultimately, the objective is clear: enabling artists to make a decent living from their work.

Addressing a structural imbalance ⚖️

According to public authorities, the contradiction is hard to ignore. Many Ivorian artists rack up millions of streams and enjoy strong international visibility, yet see little financial return commensurate with their reach. Regulatory gaps and outdated collection mechanisms, still poorly adapted to the realities of the digital economy, continue to cap potential earnings.

By setting 2026 as a target, the government is sending a clear signal to the creative ecosystem and digital platforms alike. Content monetization is no longer a niche industry issue—it is now a national priority at the intersection of culture, technology, and economic development.

Do you think this reform will genuinely help Ivorian artists earn a better living from their digital content by 2026?