Absolutely. I think one of the advantages we have at this moment in time is all of the work that's been going on around the revitalization of indigenous languages. As I mentioned, everything is really intertwined—social, political, economic, cultural, governance, legal—and that includes our art. When we talk about art, of course, that's all of the disciplines—song, dance, music, theatre and of course visual arts.
I think we're lucky that we have the work going on around language, because it actually serves as a really strong starting point for us to connect, or reconnect our arts disciplines and practices with the work that's going on with language. The two are the same. I think we already have some initial infrastructure there. I think there's a definite process of learning here. We can do what our language communities have done to establish and re-establish themselves. As well, many of the words that are used to describe our art, and in fact tell the ancient stories that we're telling, are in the language.
I think there are some partnership abilities there, but we've also had many instances over the past 30 years of many local and regional arts organizations starting up and then, because of that larger umbrella of support that we really need to keep these things going long term, lasting two or three or five years. I think it's about making that long-term commitment and making the departments responsible, giving them the ability to engage in these discussions with us and then calling on our brothers and sisters who are doing the good work in language.