I would follow up on the digital piece. I think that's usually significant. I see it as an opportunity for this sector. We know that people who visit a website to watch cultural content online are twice as likely to buy a ticket for it later. So in terms of that audience development piece, the digital thing is essential. For young people it's even more pronounced. We're immigrants in the digital world, but they are the natives. We need to make sure that we're investing and providing quality content and programming in that digital sphere, because that's where we will find the young people, and the scalability that comes with that is significant. It's one thing to get bums in seats of a certain sized house, but it's another thing to actually think about delivering programs to thousands or millions of people. You can do that with digital technology.
The public health element is something that wasn't well recognized or talked about five years ago either. We at the National Ballet School are getting a significant amount of interest from potential funders and partners who would never have thought of partnering with us, like Canadian Sport for Life and the Public Health Agency, all because of the really strong arguments we can make for dance as something that's good for emotional, mental, and physical health.
The last piece is accessibility. We need to look at dance as a physical art form, but there are ways we can create quality dance activities for anybody, regardless of their state of health or physical mobility. These issues are more significant now than they were five years ago.