The mannequin on display in the city hall art gallery in Ilhabela captures a patrolling part of Brazilian history.  Slaves engaged to keep pirate marauders away from the imperialist settlers.  A jumble of distorted spiritual principles that wrench any scripture and any moral code into idolatry.  Whether worship of King, Country, Land or Wealth raised a golden calf may be a moot point.  The intergenerational pain at every border of existence cries for justice.  The border patrol squad has in true still-life returned to circling around to dance.  To play music.  To enjoy life.  To surround pain with the collective music of freedom in this life and the next.

Over the door, encased in lexan, the keystone waits to greet all who enter.  This is no longer the keystone of Greek architecture.  This altar angel bears a flaming sword as he opens the way.

Holy Moses shows up again with a staff and tablets.  Now this might be just some artist rendition!  Listen closely as the Mina Alhma lyrics resound in Portuguese, “My soul is armed and loaded.”  Moses stands ready to enter a promised land loaded with guiding principles and he proclaims in his historical time, “liberty for the captives.”  Announcing again and again: “Set my people free”.  The mannequin a prop, Moses a statue, music a pasttime.