...como el musguito en la piedra, ay si si si... (Like moss on a stone) is a smorgasbord full of perfectly formed parcels of mouth-watering food. Created as part of Pina Bausch's World Cities series, it is inspired by the company's residency in Santiago, Chile. It was the last work choreographed by Bausch before her untimely death six years ago.

A series of deliciously-drawn solos punctuate the piece. The dancers turn themselves inside out, performing with an intense vulnerability. Expansive lyricism collides with filigree gestures and ferocious speed. Dominique Mercy's solo is a lynch pin in the first half of the piece. His pale hands and bare feet are exposed against the black backdrop and his dark clothes. Mercy moves with a fine calligraphy. Skating across the space, his glass-cut shapes melt into the floor. A dancer with Tanztheater Wuppertal since 1973, Mercy wears Bausch's legacy like a second skin. He is mesmerising to watch, imbuing the space with a mature confidence and an easy, generous manner.

Mercy is a performer with chameleon-like qualities. While his solo whispers of loneliness and isolation, in the second half he transforms himself into a debonair ladies' man. Sitting on a chair he woos and cajoles a procession of women with liquid charm.

Bausch maintained a career-long preoccupation - one could say obsession - with the power dynamics in male female relationships. In this respect, Como el musguito is no exception. Love tickles the air as exotic birds-like women in colourful floor-length dress flirt with men in sober greys and blues. Overall, it seems like Bausch gives her female performers the upper hand in these interactions. They are powerful and self-assured, lacing humour with sensuality. Their long silky hair intimates the fullness of their undulating skirts. In ensemble sequences, there are swirls of colour as the women spin and fall - like butterflies caught in a gust of wind.

Bausch exposes the underbelly of Chile's sun-kissed charms. Male dancers lie head to toe, pulling a discarded jacket over their bodies like a shroud. With Bausch's trademark use of repetition, it's an image that she indelibly etches into the piece, perhaps alluding to a darker side of Chile's history. Under Pinochet's regime spanning 17 years, 3,000 people died or disappeared without trace.

A deep sense of poignancy pervades Como el musguito. Pina Bausch's unexpected death from lung cancer just a few weeks after its première in June 2009 thrusts the weight of her artistic legacy onto its shoulders. Como el musguito has been described as an epitaph. I disagree. It oozes with life and vibrancy and fizzes with creativity. This is not an homage, rather something more akin to a first grandchild - a sign of the future, less a memorial to the past.