Maniquí translates to "mannequin". It's an interesting word choice that paints a vivid picture of the artist's emotional state.
In the song, Kendo Kaponi uses "maniquí" to describe feeling like a lifeless, empty body without his loved one. He sings, "Sin ti soy un cuerpo sin vida, Baby, ya parezco un maniquí" (Without you I'm a lifeless body, Baby, I already look like a mannequin), conveying a profound sense of emptiness and emotional paralysis.
The song runs on one image: the version of Kendo Kaponi the breakup left standing. "Sin ti soy un cuerpo sin vida / Baby, ya parezco un maniquí" (Without you I'm a lifeless body / Baby, I already look like a mannequin). He can't face the mirror any more — "Sin el reflejo tuyo no quiero mirar" (Without your reflection I don't want to look) — and the bedroom keeps playing her back to him: "Escucho tu voz en mi recámara / Pero tú no estás aquí" (I hear your voice in my bedroom / But you're not here). He won't even say the word out loud: "Si me preguntan, no digo que estoy soltero" (If they ask me, I don't say I'm single).
He never picks a side about her, either. "Yo te amo con cojones / Pero siento que te odio también" (I love you like hell / But I feel like I hate you too) sits two lines from "Comoquiera te deseo el bien" (I still wish you well). The long verse leaves the romance behind and lists everything else he's carrying — his father's killing ("Cómo mataron a Pa"), the drinking and the pills his friends keep bringing up ("Kendo, aún sigues bebiendo / Y no para' de medicarte'"), and the songs he wrote her instead of sleeping, down to the one he cut with Juan Luis Guerra: "Al título le puse 'Guerra'" (I called it 'War'). Jay Wheeler and iZaak close the track with the only advice anyone offers in it — "Empieza a vivir y deja de insistir / Suéltala" (Start living and stop pushing / Let her go).