I would just say that the model in Europe, for instance, where dance is valued and a dancer could have tenure after five years with a company, is that a dancer gets paid for the rest of his or her life. The value of the art form is so high there. That is amazing, but you also see the state of those economies there, and the ability to maintain that over the long term is perhaps in jeopardy.
In the United States, there is less government support, but their organizations are struggling with many of the same things that we are. I think the issue that rings very true in the United States, when we talk to our colleagues, is that priority of demonstrating the relevance as broadly as we can as a way of building audiences for the future.
I find in Europe that they're not worried about that yet, but I don't believe they have a terrific secondary plan if complete government subsidy is not sustainable over the long term.
In other parts of the world, such as Japan and China, there are significant investments happening in dance, but their economies are quite different in terms of the scale.