Well, usually dance complains. In the western culture they complain about the lack of male dancers. Of course, it's pretty common, it's pretty general.
I probably suffer from that, but maybe less than others. I have a technique that uses the drum, which I've brought into the technique of dance. This, of course, attracts people: it attracts the musicians and also attracts males because of the presence of drums. It's interesting, because if I have to compare myself to those two big institutions, we're dealing here with a company of contemporary dance that is part of, I would say, the alternative, the avant-garde of contemporary art, in the sense that I really have to literally create a living laboratory of people who would be ready to train in the technique that people don't know about here in this country because people here.... They're born here, so they're learning a technique that's also helping them understand a culture that is coming from elsewhere. But it's also here, because it's African-based, and we're living in North America and anything that is African-based, of course, is all over the place in the modern art world, basically.
This is what we have helped reveal, and because of that, I'm able to attract a certain crowd of people and, yes, males. At this moment I have two men in my production. I have a production where I have two men with five women. Two men and five women is pretty good.