It is important, however, that the company has no "uniform" look: Zollar insists that in this company of women of African descent (though there are some men), there be a variety of color, body type, and basic training. Historically, there have been performers from the United States, Africa, Britain, and the Caribbean. All of them bring to their performing their distinctive training backgrounds and cultural specificities, so that the company truly lives up to Zollar's description of her dances as emerging out of the traditions of the African diaspora. In training her dancers, Zollar is not looking to produce clones; rather, she seeks to draw out their individual talents. "I don't make judgments on my dancers. I work with who they are" (Shange, 1991), she often says. Further, a singular conception of a "dancerly" body, loaded with issues of weight and particularities of anatomical measurement, is anathema. For Zollar, judgments of right and wrong about the body and movement uphold arbitrary presuppositions and obscure the range and diversity of movement available to our different bodies.