Let's not forget there is animation beyond Pixar, Disney, Blue Sky, and DreamWorks. There is also -- among other productions -- multi-nationl European feature animation:
[The Secret of Kells] was animated by a Polish artist working in a Hungarian studio, then cleaned up by a Mongolian who could only communicate with Irish director Tomm Moore via a translator from Transylvania.
[C]o-directed by Moore and Nora Twomey, [it] was made across five countries — Ireland, France, Belgium, Hungary and Brazil — and funded by a patchwork of co-production coin ...
One reason this is important? Because animation production goes to all corners of the globe. (Dirty non-secret: twenty-seven years ago, I penned a Mexican feature while at Disney ... that was animated in Spain. So this has been going on for awhile.)
Face it. If you work in animation you might one day pick up and move to New Zealand, China, India or Taiwan. You might rent an apartment in Berlin or Paris or Sydney and work on 'toons there.
We are a global workforce, and we work globally. Not necessarily because we want to, but because that is the way the business is, and has been for decades.