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Given the sheer numbers, it is difficult to infer anything about the actors who portrayed these roles, but as some actors who specialized in onnagata roles chose to live as women off the stage, as well, 2, p. To the right, another lady sits on the lap of a man while facing him and with her legs spread apart in a manner that suggests that they are having sex in a seated position. In this scene, we have a troupe of pantsless acrobats. Though drawn subtly on most of the figures, the shaven forelocks are most evident on the wakashu on the far left of the middle row, and when used for comparison, becomes more obvious on his troupe-mates. For this reason, onnagata in this era were frequently artistically depicted as idealized versions of cisgender women, though the public would have understood that they were onnagata performers, 2, p. Without borrowing from Western culture, however, another reason to consider the erotic potential of this piece is that the Moche were extremely prolific in their erotic pottery, and a significant portion of it is devoted to anal sex indicating that they were well aware of the erotic potential of anal play.