The sand-covered performer holds a hook-shaped steel rod. On four blocks of cement, the body marks characteristic movements of Cuban folk dance, specifically those related to the Afro-Cuban traditions of the Orisha Ogun. The body is a building material; it is part of a phenomenon that has not been created. The action is a prior, a state of introspection towards the phenomenon considered in its parts. Ideas about the origin are translated into ideas about displacement, resistance and monumentality.