Just to echo what Anita and Janice were saying, I think any kind of funding that comes through has to first and foremost support the development of content, the development of product. You can't market something that doesn't exist, so supporting the ability to commission new works or to expand on existing programs is really primary, and then additional support for the marketing of it is really crucial.
When it comes to commissions to be able to tour works, certainly that is a vital part of what it takes to develop new works and then to make the investment worthwhile enough so that it grows across the country. But that's not something that has to be borne as a burden by any individual organization. For instance, our festival doesn't necessarily have to carry that act throughout the country. We can work with our networks.
Jazz Festivals Canada is the national network of jazz festivals across Canada. Collectively, we could all commission a piece of work that is then showcased at all of our festivals, for instance, or we could even work with non-jazz festivals. Also, Luminato has a significant music component to its activities, as do a number of other multidisciplinary arts festivals. When we're talking about touring, just think about that kind of capacity that is built into it as well.
But first and foremost, the funding has to go toward the actual production of content.