The Manila based artist collective Sanggawa produce murals and paintings with strong political and social comment on contemporary Philippines' politicians, media stars and religious politics. The group was conceptualised and founded in December 1994. (Sanggawa is a contraction of the Filipino phrase isang gawa meaning one work). The work Palo-sebo was created by initial Sanggawa group members Elmer Borlongan (b.1967), Karen Flores (b.1966), Mark Justiniani (b.1966), Joy Mallari (b.1966) and Federico Sievert (b.1961). Aside from Sanggawa, credit also goes to the artists Emmanuel Garibay, Anthony Palomo, and Mikel Aprial.

Sanggawa's works are about the dilemmas of Pinoy (Filipino) life without taking away the local colour and flavour and, more importantly, the humour. The murals hold up a mirror to Philippine society, challenging viewers to review their situation from a more powerful perspective - that of retrospect. Palo-sebo is a response to a social occurrence, a recently held election. (Palo-sebo is the name of a local fiesta game which involves climbing upright bamboo poles covered with oil). The scene is set in historic Edsa Avenue, where the masses marched for people power and freedom during the Ferdinand Marcos regime (1965-86). In Palo-sebo, Edsa Avenue is empty of everyday people with only major players present. The two main characters, atop their swaying bamboo poles, are President Fidel Valdez Ramos (1992-98) and Cardinal Jaime Sin (former head of the Roman Catholic Church in the Philippines). President Ramos, who makes the 'thumbs up' sign (his political emblem) with a condom on his raised thumb, makes the Cardinal recoil from the prospect of contraception. In the painting, society, represented by a young man dressed in t-shirt and jeans, is being crushed between the poles which prop up this lofty debate.

Below Cardinal Sin is the alleged mistress of President Ramos, Rosemary Baby Arena who, known for her beauty, is depicted participating in a beauty pageant. Baby Arena is encircled by money as, even though she had no political standing, she allegedly enjoyed parliamentary benefits. Corazón Aquino (Marcos's successor), dressed in yellow and represented as a puppet, is a small figure in the lower right and makes the thumb and forefinger victory sign which was optimistically beamed across universal television when the Marcos regime ended. Also of note is the small female figure at the front of the painting. Dressed in maid's clothes, the woman hangs in a noose from a judge's hammer, representative of the Filipino maid hung in Singapore in 1995.

Two real-life scenarios which are depicted illustrate the absurdities and contradictions that occur in the Philippines. The former first lady Imelda Marcos is shown singing a duet with Col Gregorio 'Gringo' Honasan, the head army official who opposed President Marcos. Whilst pregnant Chris Aquino, daughter of Corazon Aquino, is televised kissing Ferdinand 'Bong Bong' Marcos, the son of former President Marcos.

Murals appeared in the Philippines during the political turmoil of the mid 1960s, a time of nationalism and anti-imperialist struggle, especially against the United States. These murals were painted on cloth so they could be quickly hung on buildings, before authorities were able to prevent their appearance. They were also used as banners in street marches and demonstrations. The vigorous style of Sanggawa's murals, as well as that of other Philippine muralists, is influenced by twentieth century Mexican muralists, including the work of Diego Rivera.