Saving Jeepney Art: A Call to Protect Cultural Heritage from Corporate Takeover

During the Filipino people’s  daily commutes, we often encounter the bustling sounds of the road—crowds of people waiting under shelters, vehicles caught in traffic, and individuals trying to flag down an endless stream of passing mobiles. Yet, amidst all this, what truly captures the attention of every commuter in the Philippines are the vibrant and affordable Public Utility Jeepneys.

These vehicles have become a familiar part of our lives, and their unique structure is well-known, making them popular for their distinct appeal. Over time, we have come to recognize the burloloys (accessories) and their nuances: the gleaming horns, lights, mirrors, and antennae adorning the front hood, which have taken up a modern form with the various items placed inside a jeepney. From the embroidered curtains hanging on the driver’s windshield to the cross at the center and the pictures of the driver’s children stuck beside the rearview mirror, each Jeepney tells its own story. But before we delve into the character of the Jeepney by looking inside, we first notice its exterior—the eye-catching art covering its body, from sign boards and stickers to quotes and other artistic expressions.

History of Jeepney

Remembered by many as a symbol of Philippine culture, jeepneys, often titled the “Hari ng Kalsada” or Undisputed King of the Road, stem from the creative and innovative minds of Filipinos. These iconic vehicles trace their origins back to World War II when they were used by American troops as military vehicles, capable of carrying four people. After the war, Filipinos extended and converted these jeeps to accommodate more passengers, transforming them into shareable vehicles known as auto calesa or AC, which served as an alternative to taxis. 

In photo: Early example of extended surplus military jeep, Credit: John Tewell

During World War II, American bombings devastated public transportation systems across the Philippines, leaving the people in urgent need of reliable transportation. After the war, the United States left behind surplus jeeps, which were too small to meet the needs of the population. Seizing the opportunity, enterprising Filipinos such as the pioneering Sarao Motors, began transforming these jeeps. They extended the bodies to accommodate more passengers, added roofs for shade, and adorned them with vibrant colors and unique decorations. Through their ingenuity, what had been destroyed was creatively rebuilt, giving birth to the iconic jeepneys we know today.
 

Evolution of Jeepney Art

Jeepneys can be classified as art-on-wheels. The arts are painted the way they are since early designs of a jeepney were derived from two-wheeled public land transportation, such as calesas (horse-drawn carriages) and carts used by street sorbeteros (ice cream vendors). These early vehicles typically featured vibrant colors and were decorated with festive brush strokes and repetitive patterns. Post-war jeepney designs adapted these elements, with only minor touch-ups over time. As they evolve through time, jeepneys came from bare stainless steel to colorful to attention-grabbing art. Its bodywork of a steel slate became a vast canvas for images to be painted on. A jeepney now integrates a multitude of ideas, concepts, and histories.

Combination of sticker and airbrush art. In photo: A jeepney named “Tonylyn” with an image of a child. Credit: Andrew Breeden

Almost everything can be found in the artwork on Jeepneys, as the art often crams in a wide variety of characteristics and details. Common themes now include elements of pop culture, such as anime, celebrities, superhero comics, and cartoon characters. Filipino culture is also deeply embedded in these designs, featuring religious figures, animals, urban animism, and depictions of family members. As we enter a jeepney, we enter a house.

In addition to these images, certain sayings have become an iconic part of Jeepney art. Witty phrases like “God Bless Our Trip,” “God knows Hudas not pay,” “Barya lang po sa umaga (We only accept change in the morning),” “Basta driver, sweet lover,” “Bayad muna bago baba (pay first before you get off),” and “Hila mo, hinto ko… sa tamang babaan (Your pull is my stop at the right place)” are commonly seen. These sayings did not just appear out of nowhere; they have become a familiar and distinctive part of Filipino people’s daily commute serving as reminders.

In photo: God Knows Hudas Not Pay. Credit: Jake Verzosa

Crafting Identity with Jeepney Art

The typical Jeepney art is a true handiwork by skilled artists. Most Jeepney art features lining and is often created using reflectorized stickers or colored plastic stickers. These stickers are applied with just a few basic tools: a cutter, scissors, pencil, ruler, and transfer tape. The stickers are then carefully pressed onto the metal shell by hand, sometimes with the help of a large bone folder or a rag. However, stickers have their limitations, and as customizers and owners sought more intricate three-dimensional designs, they began exploring other techniques.

 

In photo: Front-hood area of a Jeepney with Sticker Art. Credit: Pinterest/ Koya

While hand-painting with brushes and paints is one option, it can be exhausting for the artist to rely solely on this method. This is where the airbrush comes into play. Airbrush techniques have been used since the 1950s and have gained popularity over the years. An airbrush is a small air-operated tool that sprays paint, ink, or dye in a fine mist, allowing Jeepney artists to create smooth effects, such as those seen in spray murals and vehicle designs. The ability to nebulize the medium into tiny droplets enables artists to create highlights, shadows, and values that stickers alone cannot achieve. Stickers and airbrushing are often combined to produce even more beautiful and complex designs.

A jeepney driver and his jeep. Credit: Grace Villamill

In photo: Jeepney Driver Brings His Whole Family to Work. Credit: Carlo Martinez

In photo: Jeepney Signages. Photo credits to Mr. Ariel Lumban

In photo: Process of Painting Signboards. Credit: John Michael Saavedra

The baseboards are typically made from white Sintra boards or sometimes from retasos (scraps) of billboards. These boards are cut to uniform sizes and thoroughly cleaned with water and soap. The base color, usually yellow, orange, or a gradient of the two, is then applied. Signboard artists skillfully lay out the design for each board by eye, ensuring clarity and readability.

Behind the Craftmanship

Those involved in creating Jeepney art are often individuals who grew up watching and learning from experienced painters, eventually turning their passion into a livelihood. These pioneers have witnessed the evolution of Jeepney art and have found their identity deeply intertwined with its creation. One such artist is Edwin Tayao, who began painting signages at the age of 20 and continues to create to this day. Many of these artists did not have the opportunity to pursue higher education, but over time, they have built a life by personalizing Jeepneys with their art. For them, formal education is not a prerequisite for success; the skills they’ve honed in this craft are enough to sustain themselves, support their families, and provide their relatives with the opportunity for a brighter future through education.

Livelihoods under the Jeepney Phase-out 

All livelihoods, including those of the artists, are being threatened by the Jeepney phaseout, which began with the Public Utility Vehicle Modernization Program (PUVMP) and the consolidation of driver and operator franchises in 2017. Under this program, franchises are being transferred to corporations, and traditional Jeepneys are being replaced with imported minibuses that cost around 2.8 million pesos each. This shift undermines the people’s right to decent and stable work, as well as their economic and democratic rights, as many lack the financial capacity to afford the modernization, leaving them in a vulnerable and disadvantaged position.

In both urban and rural areas, Jeepneys play a crucial role in transporting people and goods produced with the labor of individuals. They remain the quintessential example of proletariat transportation, serving a diverse range of passengers, from students and working-class individuals commuting daily to their workplaces, to informal workers like signboard painters who earn their living from sidewalks, and micro-industries that specialize in customizing these mobile artworks. The Jeepney continues to be a service created by the masses, for the masses as long as it is there.

As of current, jeepney artists rarely have opportunities to paint. With the rising cost of living, low wages, and high prices of products, the number of painters has steadily decreased. As demand for jeepney art has dwindled over time, many artists have been forced to abandon their craft in search of more stable sources of income.

If Jeepneys were phased out, artists would be separated from the products of their own labor, and the customization of Jeepneys would no longer be a personal expression for owners who wish to personalize their vehicles. This shift not only risks erasing the unique art and structure of the Jeepney—a cultural symbol that was reclaimed by Filipinos from the same colonizers—but also endangers the livelihoods of those who have relied on this craft for generations.

Art is a manifestation of creative thinking that transforms human experiences and ideas into expressions that help us understand the world. It is often regarded as a profound reflection of societal truths. If Jeepney art is indeed a symbol of Philippine culture, it is imperative that we work to preserve it and resist allowing giant corporations to profit from it. Jeepney art is, at its core, a genuine, self-taught, and passed-down tradition of the masses. We must support Jeepney drivers, operators, and other workers affected by the Jeepney phaseout in their efforts to advocate for a pro-people just transition that promotes national industrialization and genuine land reform, rather than focusing on importation.

NO TO JEEPNEY PHASEOUT! SERBISYO SA TAO, HUWAG GAWING NEGOSYO! SERVICE TO THE PEOPLE, NOT A BUSINESS!