Tul-an sang aton kamal-aman (Bones of our elders) 2024 honours the history and indigenous culture of Panay Island in the Philippines through a tribute to local figures, community traditions, ancient cultivation practices and spiritual beliefs. The mural’s central figure is Teresa Magbanua – veteran of the Philippine Revolution (1896–98), Philippine–American War (1899–1902) and Japanese occupation of the Philippines (1942–45) – who symbolises colonial resistance. Magbanua is portrayed steadfast in protecting the mangunguma (farmers) behind her, who tend to the bounty of the land, as well as the Aeta, its original inhabitants.

The concept of bayanihan (communal unity) and indigenous spiritual beliefs are foregrounded through the activities of the people and the presence of a babaylan (shaman) carrying out rituals near a lunok tree, said to house supernatural beings. Weaving through and around these symbols is the Bakunawa, the Visayan serpent deity whose movements determined the ancient Panayanon calendar. Serpents are revered creatures in Philippine folklore and are considered a physical manifestation of anito (ancestors) in the broader Visayan region, including in Iloilo. The coiled figure of the Bakunawa symbolically connects the people, the land and the spirit world. Through their mural, Kikik Kollektive invoke knowledge and values of the past, while acting as instigators in the dialogue for decolonisation.