The company's repertoire includes more directly resistant and celebratory pieces such as Anarchy, Wild Women, and Dinah, which like many UBW works is choreographed in sections. While researching African-American folk tales, in which male trickster figures abound and female tricksters are relatively absent, Zollar discovered the female trickster Dinah. In Anarchy, tales of Dinah's uncompromising recalcitrance combine with Zollar's imaginings about the mischief she brews. Conventions and acknowledged rules of performance are broken with vibrant energy. In fact, even as Zollar invokes Dinah--whom she says is "part of what I would call the wild women's tradition, women who did what they wanted to do, when they wanted to do, how they wanted to do, despite any Supreme Court rulings"--she exits the stage picking her teeth. More important, through the movement and structuring of the piece, Zollar links Dinah's irrepressible spirit with that of the Urban Bush Women and the many women who can identify with them.