(...) Pahkinen’s choreography is primarily recognisable for its references to eastern movement techniques: not only the bodies, but also hands and feet move in directions contrary to normal movement. The poses created in this way seem to be unnatural and deforming anatomy. They make bodies look like remotely-controlled mechanisms. The entire company of dancers act in the same way – only isolated body parts move, and the dancers resemble puppets moved on the stage by an invisible hand. These micro-movements make an impression as if individual limbs were parts of a precision machine. There is, however, a counterpoint for this automated, dynamic movement. It is a lonely figure placed at an elevated platform. One extremely slow movement of this dancer is accompanied by a complete sequence of movements by the others. The contrast symbolises perfection and domination. This is the first idea of the night: Pahkinen shows a difference between the divine – typically static, immovable and eternal in Eastern cultures – and the human – quick, movable, active, transient and... unaware of being controlled. (...)

Anna Koczorowska, "Gazeta Malarzy I Poetów" No. 2 (48), May 2003.