The central form of Parque was inspired by a visit to the Museu do Índio in Rio de Janeiro, Brazil, where Mariëlle Videler saw an installation built by people living along the Oiapoque River. There, decorated masts frame a space for the Turé ritual — a festival of dance and song honouring the spirits of the underworld, who reveal themselves to us as plants and animals.

Videler has been a vegetarian since her days at the art academy, and with Parque she creates her own ritual for animals killed in the hunt. The dance featured in the work is itself a hunting dance: the Dance of Diana, named after the goddess who punishes those who take too much from nature. The choreography derives from the expressive gymnastics of G.C. van den Bergh, recorded in a handful of photographs in the 1920s. It unfolds in three parts: 'the preparation', 'around the campfire', and 'the hunt'.

A further key element is the weiknoop, or game-bag knot, which Videler used to weave a golden net around the tall wooden poles. Also known as macramé, this knot was used centuries ago to tie the bags in which hunters carried home their game — its open weave letting air pass through, keeping the catch fresh.