That is an excellent question. We have another kind of approach. The reason is that the Canada Council is not producing or commissioning the work. We get proposals from the artists and from the artistic community, and we are evaluating and ranking them in terms of their capacity to succeed. When we support something that goes on the international stage, it has already been created. It has been workshopped and presented in Edmonton or somewhere; it already has some kind of potential for success, so that we can see whether it can go up on the international stage. Someone doesn't come to us and say, I will create that work.
One way we are trying to work right now is not only to respond to the demand—and the demand for international...is very high now, especially from the young generation. Young Canadians create and do their work and now want it to go as soon as possible onto the international stage. It's very different from when I was young, when you were an artist and practised and showed your work over 20 years, and only then wanted to go international. It's a different world.
But the danger here is that you need to make sure that the work is mature enough and that there is a demand for it on the international stage. For example, we see right now that in terms of artistic content, Canadian literature is very strong. We also see huge interest in indigenous art, and that is very truly, profoundly Canadian.
We try to make sure, then, that we support the work when there is real potential. We also try to have a stronger partnership with Canadian Heritage and Global Affairs to see when an artistic presence could also coalesce with interests around cultural exports or the geopolitical interests of Canada, to make sure that we get as much mileage as we can from what we support.
We have doubled what we do. It will still remain only at around $20 million of grants out of $310 million in year five, so it's not the biggest program, but it's really important, and we think we can do a lot with it.