Soon, the audience is offered a glimpse into Brito’s internal anguish as the ensemble enters to Osvaldo Golijov's rich vocal and orchestral score. To chants and swelling harmonies, the ensemble prays with Afro-Caribbean-inspired undulations and clasped hands. They strike poses with flamenco-inspired arm movements, then bounce on the floor on their knees, occasionally reaching up towards the heavens with lifted chests. 

Brito is met by an angelic figure, danced this afternoon by Cori Lewis, whose gaze rested eternally on the horizon. Brito lifted and carried Lewis, who offered a sense of hope in spite of the lingering presence of Cangiano.  

“Buscando a Juan”—or “Looking for Juan”—was inspired as much by mystery as it was by discovery. Vilaro said what intrigued him most was the lack of information about Juan de Pareja. Little has been written or documented of de Pareja, though scholars have been curious about his life for many years, in part due to a portrait of the artist that was painted by Velázquez, himself. (The portrait is on view at the Met). 

De Pareja, who appears slightly off-center in the portrait, is clad in a grayish-green coat and looks directly at the viewer. Vilaro ends his piece with a nod to this document which began his research: His dancers slow down until they form a tableau. At the end, they are still and silent, but behind them radiates a story that has only just begun.