Sining ng Kalsada

How Do We Preserve Jeepney Artistry?

Written by Erika Anne Sulat

During our interviews with design experts, contemporary artists, and jeepney artists, we asked them what preservation efforts they have seen or want to see in the future. Here are their answers:

During our interview with Sarao Motors, they were shocked at the amount of young people who want to keep jeepney artistry alive. Some have wandered into their warehouse just to tour the area voluntarily, with some even creating tangible efforts such as thesis projects and even a recreation of the Sarao Motors factory on the gaming platform, Roblox.

“Kasi, alam mo, kung wala nang pakialam yung kabataan ngayon, two generations from now, di na nila alam, saan ba nanggaling yung jeepney? Ba’t ba may ganyan? But, how did it originate? Ano ba yung mga nagawa niya?

So, at least to keep the history alive, I mean, to keep the story of the jeepney alive, that we really accept yung mga field trip, yung mga mag-tour dito na students, then yung mga mag-i-inquire.”

Michelle Co wants to see more focus on jeepney artistry in the educational sector, aiming for viable educational career paths that prioritize preserving Filipino culture and design.

“When I went into communications, I went into advertising first. I didn’t even know this industry existed. I didn’t feel like it was ever a viable option for me to get into a creative field and make money at the same time, but you can. However, you also know that no one supports you in making those choices.

I think a majority of well-educated Filipinos take the business route, you know, find ways to profit over people. No one ever thinks that, “Oh, communications or design or urban planning or architecture or whatnot are equally as beautiful.”

The fact that there is no popular course on Filipino culture right now. There is no course on it, but you can take courses like Chinese studies or business in China. Why is there none about the Philippines? Why can’t I take a course that is there, probably is, but the fact that I don’t know if it exists or not is part of the problem, right?

To preserve Filipino culture and the many things we stand for, you need to build Filipinos who are capable and have the tools to do so. When you go to museums abroad, you have these amazing people who would do archiving. Everything is so well documented, like to detail.”

Justin Uy wants to see jeepney art contests where a number of jeepneys could be on display and different artists could paint on the jeepneys on the spot. Computer rendering could also be an option, where artists could submit artwork, and they would turn it into a “live jeepney wrap”. He adds that he hopes brands could fund these events with cash prices or incentives for artists.

“—For example, make a Jollibee design jeepney. So everybody submits. Then the winner will actually make it into a jeepney. ‘Di ba? I think it’s a very nice exercise. And it challenges the creativity of the artist. So, yun yung naisip kong dream or goal for the jeepney community.”

Marcushiro wants to see more people follow up after their book, Biyaheng Langit: Jeepney Folk Art, and explore more photo archives and academic studies on visual art. He emphasizes the need for more jeepney-related literature, as their own book was released with a limited number of physical copies.

“Right now, most of the photos that we were able to include in the book, nakikita pa namin yung jeep, nare-recognize pa namin yung jeep, but then wala na siya. Because yung iba nagkakaroon na lang ng LTFRB, something dun sa gilid, napaklaster na siya. And some, parang, mahirap na rin yung budget, for decoration, di ba? Parang day-to-day na lang yung mga driver. So, parang, hindi na nila inaayos, natatanggal na. So, may mga nakikita kami, mga alam namin na yung jeepney pa rin na yun because meron pang mga, meron pang mga natitira but then sira-sira. So, yun. So, buti na lang na in a way, na-archive namin yung mga, yung art.”

“—Ang dami pa rin doon na parang hindi pa na-archive and hindi pa na pag-usapan. So, sana na ma-preserve pa rin siya through yun, proper archiving.”

Clang Garcia hopes for the preservation of jeepney artistry in the midst of modernization, wanting to keep the iconic look that makes the jeepney what it is. She also stresses the importance of taking care of the jeepney drivers, because without them there will be no jeepneys.

“Yung modernization, okay lang naman ako dyan. Okay lang naman ako. Basta, sana ma-preserve lang yung traditional look of the jeepney. Okay lang siya na air-conditioned. Okay lang siya na siyempre meron ka ng mga modern pass mag-swipe mo na lang dyan and all that, okay lang yan sa akin. But take care of the jeepney drivers, meron ba silang mga PhilHealth? Meron ba silang extra compensation? Kasi nung nakita ko, magkano ba yung, yung jeepney ride?”

Aaron Amar wishes that there were more artists who would follow his route and explore what we already have as Filipinos. He also mentions that no other vehicle has the same colorful expression of art as the jeepney does, further highlighting their different identities.

For Joemari Bandonillo, preservation includes the need to support local artists because, as Bando Arts, they aim to help build the confidence of local artists to show their art to the public. He also mentions that they’re willing to work on modern jeepneys if approached, because modernization will benefit us.

“—I hope na someday na ma-appreciate siya ng tao and I’m trying na ma-appreciate talaga siya. Kasi ang mural or art na hindi naman siya basta for decorative but storytelling kasi siya eh. Kung saan talaga tayo nagmula. Yun yung nagre-represent para sa akin. Yun yung art talaga para sa akin.”

Mang Rico of Buhay Signboard TV writes that he would prefer if jeepneys would retain their traditional style so that traditional signboards will still have support.

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