Pachakuti etymologically originates from Quechua, where "pacha" signifies time or space, and "kuti" means return or change. This concept, rooted in the Bolivian culture of the dancer, encapsulates the idea of cyclicality, implies a balance between opposing forces, and suggests movement between two extremes. The performance aims to explore the dynamics inherent in this term, functioning as an irregular periodic motion that connects these polarities.

Pachakuti is a work designed for a body and a stick. The latter transforms into an extension of the body, an unstable partner that guides and resists, a boundary, and a landscape that defies the laws of gravity and logic. The body moves between balance and imbalance, creating spaces and geometries while establishing synchronies or disruptions. This oscillatory movement transitions from the specific to the holistic, expanding from the corporeal to the spatial. Each gesture becomes an act of creation and destruction, as the body, suspended between action and inactivity, enters a trance-like state, embodying both a battlefield and a sacred temple. In this context, the boundary between the controlled and the unpredictable becomes increasingly tenuous, within a dimension where space contorts and time appears to disregard its natural sequence and rhythm.