The hallmark of Zollar's technical style is the melding of Africanist, modern, jazz, and street movement forms with the more pedestrian body attitudes and gestures that emerge out of the fabric of African-American life. She insists that the basic training of her company members be varied and multifaceted. They must master the typical features of Africanist movement, such as polyrhythms and polycentricity, where different rhythms and tempi mark the movement emanating from different centers of the body--the head, the chest, the pelvis. Such isolation of body parts must be complemented by a strong conception of the "center" of modern dance and ballet, so that difficult balances inspired by these aesthetics can be performed with confidence. While features of Africanist rhythmicity--such as call-and-response, preserving and suspending the beat, and sensing and marking the "break" with the percussionist--must be perfected in movement and vocalization, Zollar will sometimes introduce her dancers to unmarked breath rhythms inspired by tai chi chuan or yoga. And because a cappella singing is so much part of the work, company class might on one day focus on training the voice, with the dancers making up lyrics on the spur of the moment and creating new songs under the direction of the vocal trainer. On another day it might involve working with a dramaturge to search for internal motivation for gesture and dialogue.