The perplexity and inexorable smallness of Man in the face of the vastness of the Universe is the central theme of Onqotô, a ballet that, in 2005, marked the 30th anniversary of Grupo Corpo's activity. Composed by Caetano Veloso and José Miguel Wisnik, the soundtrack takes as its starting point a humorous discussion about the "paternity" of the Universe. On one side, there is the Big Bang theory, the great primordial explosion, whose expression, consecrated by the world scientific community, seems to attribute the creation of the Universe to the dominant Anglo-Saxon culture; and, on the other, a witty maxim formulated by the brilliant playwright (and sports commentator) Nelson Rodrigues about the greatest classic of Rio de Janeiro football, according to which one could infer that the Cosmos was "conceived" under the indelible sign of Brazilianness: "The Fla-Flu derby began forty minutes before nothing.".

Whether instrumental or with lyrics, the nine tracks that make up the 42-minute soundtrack establish a succession of rhythmic, melodic, and poetic dialogues around the "scenes of origin" chosen by their creators and the feeling of helplessness inherent in the human condition.

In the choreography created by Rodrigo Pederneiras, verticality and horizontality, chaos and order, abruptness and gentleness, volume and scarcity are juxtaposed and superimposed, in consonance (and, eventually, in dissonance) with the musical score, revealing meanings, melodies, and rhythms that underlie the sonic stimulus.

Woven from graphite-colored rubber strips, Paulo Pederneiras' set design creates a concave stage space that suggests both a section of the globe with its meridians and a hollow, a black hole, nothingness, or the anteriority of everything. With all the spotlights fixed to the metal structure that supports the row of strips, the light projected by Paulo Pederneiras imprints on the scene an illumination reminiscent of that of football stadiums.

Costume designer Freusa Zechmeister transforms the dancers into an anonymous mass that merges (and becomes confused) with the stage space, thus allowing the choreography and set design to fully exercise their three-dimensionality.