Art Exhibition “Biyaheng Langit, Impyerno sa Daan (Trip to Heaven, Hell on Wheels): 75 Years of Human Rights in the Philippines”

The exhibition “Biyaheng Langit, Impyerno sa Daan (Trip to Heaven, Hell on Wheels) displays 75 years of human rights in the Philippines. Organized and curated by SEA Junction from 5 to 17 December 2023 on the curved wall, 4^th floor of Bangkok Art and Culture Centre (BACC), the exhibition employs visual mockery, sarcasm, and humor infused with pop culture sensibilities, aiming to address the 75th milestone year of the United Nations Declaration of Human Rights (1948-2023) by showcasing key events in the Philippines’ post-war socio-political history.

In a 5-piece mural on canvas, artists Toym de Leon Imao and Kevin Raymundo (aka ‘TK’ or ‘Tarantadong Kalbo’) use the iconic vehicle of the Philippines, the jeepney, as the visual vessel to convey the plight and sensibilities of the Philippine masses, as they navigate events, personalities, and leaders that continue to shape their lives.

Evolving from retrofitted World War 2 era Willy ¼ ton field light trucks leftover by the American military after the liberation of the Philippines, into a civilian utility vehicle, the jeepney has become an iconic mainstay of Philippine roads, often as a public commute minibus that ferries thousands across locales. Its design and liveries are often customized by their drivers to reflect everything from contemporary events, their personal interests and favorite celebrities, autobiographical elements such as the names of their children, or nationalistic symbols from Philippine history or the various provinces.

Drawing heavily on this imaginary, the artists tell the long trip of the country as portrayed by the jeepney riding across revolutions, coups and scandals, dictators and presidents, human rights abuses and political maneuverings, and yet, with the ever-present hope that the Philippine people maintain to keep this “jeepney” running. The five pieces of the mural, as described in detail below, depict significant historical events exposing a constant contradiction as expressed also in the title of the exhibition composed of two phrases closely associated to the jeepney. As the mural shows, the history of the country has been shaped by the illusion of “heaven” as promised by the leaders and the contrasting realities of “hell” for citizens through oppression, neglect and abuses.

The exhibition will be launched with a dialogue with the two artists on 5 December 2023, 5.30-7.00 pm at SEA Junction.

Artists’ Bios

Toym Imao (https://toymimao.com/) is a well-known artist, lecturer, human rights advocate and multi-media artist in both classical and contemporary styles, storyteller, and set/production designer. He was mentored in both sculpture and painting by Napoleon Abueva and his father Abdulmari Asia Imao. Studied at the University of the Philippines (Architecture, MFA Fine Arts) and graduated with honors and distinction at the Maryland Institute College of Arts (MFA Sculpture) under a Fulbright Scholarship. Took up film making and apprenticed under director Marilou Diaz-Abaya. Credits Alejandro Roces for his grounding in Philippine history and culture, where he has also worked under him in the Manila Times as a features writer and illustrator. He is Assistant Professor at the UP College of Fine Arts and continues to create large scale historical public art for both public and private institutions. He is also known for his large-scale art installations that are political commentaries of the times.

Kevin Raymundo is a visual artist and animator. He is the creator of the comics Tarantadong Kalbo, which uses simple illustrations and pop culture references and personalities to feature commentaries and make necessary noise on current events and social issues. See https://www.instagram.com/tarantadongkalbo/

For more information, please email: info@seajunction.org or phone/wa: +66970024140

NB: The event is free, but donations are welcome to support SEA Junction activities.

Artwork description

Mural Piece 1: Banner Mural

The first mural utilizes the shape of the Philippine jeepney, and lettering styles predominantly seen in Jeepneys to depict the murals’ title: “Biyaheng Langit – Impyerno sa Daan” (Trip to Heaven – Hell on Wheels).

Mural Piece 2: 1948-1965

The Philippines was granted independence by the United States of America in 1948, following years as an occupied colony of Spain, Japan, and the USA. This period of post-war reconstruction saw the Philippines as part of the greater global community that would ratify the UN Declaration of Human Rights. Despite being granted independence, the Philippine government would retain close ties with the United States, which often influenced and intervened in state affairs. The US maintained and operated several military bases in the country, a long-standing tactic that galvanized their influence in the region. Entities such as the Department of State and the CIA (Central Intelligence Agency) would conduct anti-insurgency operations such as the infamous “Aswang” (Monster) campaign and would influence then Philippine President Manual Roxas to outlaw the World War 2 Guerilla Group “HukBaLaHap” as a rebel communist insurgency as part of the US’ stance against communism across the globe.

Amidst all of this, the fledgling nation took steps to unify and solidify its grasp of various islands across the archipelago. The southernmost group of islands, Mindanao, resisted foreign colonization throughout the decades. Through policies of resettlement and reeducation, the establishment of a national Filipino language, and religious missions, an influx of settlers would marginalize and displace the native indigenous tribes and Muslim communities. The large influence of the United States and the governments’ own policies towards marginalized communities in south of the country would set the stage for a dark period in Philippine history that would kick off with the election of Ferdinand Marcos Sr. as president of the Philippines.

Mural 3: 1966-1985

Starting in 1966, Marcos would hold almost 21 years in office as a dictator. Unrest in the countryside and the southern provinces of Mindanao would give rise to two revolutionary rebel groups: The Communist Party of the Philippines (CPP) and their New People’s Army (NPA), and the Moro Nationalist Liberation Front (MNLF). The Marcos government would push for disproportionate militarization of the rural areas, enabling and conducting several documented atrocities, massacres, forced displacements and disappearances, and unlawful arrests. While the country was embroiled in instability, the dictator and his family would enjoy the luxury of the world’s spotlight and the Philippine coffers, often spending millions on vanity projects and lavish lifestyles.

The 1970s are marked by three key events that would define the Marcos dictatorship. In 1970, several workers and sectoral groups would stage a series of protests, rallies, and demonstrations against the Marcos Administration in what would come to be known as the “First Quarter Storm.” In 1971, students of the public University of the Philippines Diliman would establish the “Diliman Commune,” barricading the entire campus from state police and the military. Marcos would take advantage of the growing unrest and through a series of staged bombings and failed assassination attempts, would justify placing the Philippines under Martial Law. The years 1972 to 1981 would see a period of unchecked government and presidential power, the suspension of the writ of habeas corpus, rampant human rights abuses, arbitrary arrests, the censure and closure of the free press, forced disappearances, summary executions, and an unprecedented exploitation and destruction of the natural environment through rampant mining and logging. All while Ferdinand and Imelda Marcos maintained appearances and relationships with powerful countries, justifying the dark period as necessary for the country’s progress.

In 1978, opposition to the Marcoses reached a tipping point and organized into a sustained effort to defeat Marcos through the national elections. It was a period of revolutionary sentiment, protests and creative works that would reflect the struggle of the Philippine people against corruption and the dictatorship. In 1983, key opposition Senator Benigno “Ninoy” Aquino was assassinated upon his arrival in Manila after a return from a 3-year exile in the United States. This would spur the public into an outrage, which would see the masses and the Philippine middle-class take to the streets in a series of sustained rallies and demonstrations. Brandishing the color yellow and their fingers taking the shapes of Ls for “Laban!” (Fight!), this “Yellow Movement” would culminate in the People Power Revolution of 1986 and the escape of the dictator Marcos to Hawaii, alongside his wife and family.

Mural 4: 1986-2005

At the end of the Marcos dictatorship, Ninoy Aquino’s wife Corazon “Cory” Aquino was voted and sworn into office. Inheriting a battered country, a struggling people, massive debt, and the resentment of Marcos sympathizers and opportunists that remained in government, Cory’s government was marred by several coup de etat attempts, a massacre that saw farmers gunned down in front of the presidential palace, and the continuation of policies that favored the Philippine elite.

1990 saw a devastating earthquake that would strike the northernmost island group, Luzon, and would cause unprecedented damage across several provinces. In 1991, Philippine public sentiment about the American bases would spur congress to reject the renewal of the lease agreement with the United States, resulting in the departure of American forces and the last physical vestiges of US colonial influence in the country. Shortly after the departure, Mount Pinatubo would erupt in what would be the second-largest volcanic eruption in the 20^th century, causing untold damage and changes in the environment for more than a decade. Despite this, the Filipino spirit remained strong and banded together to rebuild.

In 1998, the year of the Philippine Centennial, the former-actor Joseph “Erap” Estrada was elected as Philippine President. His administration was marred by several public womanizing scandals, a “midnight cabinet” that would hold under-the-table deals, several military operations that conducted war with rebel groups and displaced thousands, and the normalization of corruption across all levels of Philippine government. Taking once again to the historic EDSA highway that was a primary staging ground of the People Power Revolution, the Philippine People protested for Estrada’s resignation.

Estrada would resign after 4 days, and his vice-president Gloria Macapagal Arroyo took her oath as president. In 2004, Arroyo herself would run for the presidency, which she would win against popular action movie actor Fernando Poe Jr.

Mural Piece 5: 2006-2023

The final mural depicts the final years of the Arroyo administration, which saw coup attempts, mutinies, and a failed impeachment trial following a leaked scandal that implicated Arroyo in rigging the 2004 elections in her favor. Arroyo would then declare a state of national emergency. In the south, a political feud results in the Maguindanao Massacre, which involved the killings of 32 journalists and 58 civilians by paramilitary forces, the deadliest single-day attack on journalists.

Arroyo’s term was succeeded by Benigno “Noynoy” Aquino III, the son of Ninoy and Cory Aquino. Despite focusing on economic growth and transparency in the government as a response to the previous administrations, Aquino’s administration was marred by ineptitude and inefficiency maintained by traditional politicians that consolidated power in the provinces in a feudal-like manner. Scandals such as the Manila hostage crisis, the failed response to super typhoon Haiyan, the Dengvaxia vaccine scare, and a growing sentiment from the Filipino people to witness direct change and improvements in their lives would lead to not only his decline in popularity, but also of the liberal party that was closely tied to the spirit of Philippine democracy post-People Power Revolution.

This growing sentiment would set the stage for a populist presidential candidate in the form of Rodrigo Duterte. Duterte’s campaign promise hinged on the notion of “Change is coming” and a hardline and brutal war on drugs that would see police conduct extra-judicial killings and arrets of thousands of the marginalized Philippine masses. Duterte was openly foul-mouthed, made misogynistic remarks, and was generally undiplomatic in his remarks. He would curse out and malign critics and government opposition, going so far as to freeze and limit his own vice-president’s influence within government. Despite this, he enjoyed high approval ratings that was enabled by the proliferation of fake news on social media and several influencers who would reinforce support for the Duterte administration. Duterte also reinforced a greater relationship with the People’s Republic of China, enabling the Chinese reclamation and claim on disputed waters in the West Philippine Sea, and the proliferation of Overseas Gambling Operations on Philippine soil. The administration’s handling of the COVID-19 pandemic is considered to be one of the worst in the world, as the government failed to respond in a scientific and medically focused manner, instead relying on heavy police and military responses and a comprehensive long-term lockdown.

The final part of the mural depicts the 2022 presidential elections, which saw the candidacy of the son of the late dictator, Ferdinand “Bongbong” Marcos, for president. His running mate for vice president, Sara Duterte, is the daughter of the previous president. His campaign coincided with a coordinated effort and online narrative to return to the golden days of the Marcos dictatorship and Martial Law, and the proliferation of established networks of fake news and misinformation that enabled the previous Duterte administration. Despite this, the Philippine youth would find hope with an opposition candidate, former vice-president and opposition leader Leni Robredo. Thousands would take to the streets, and to various online platforms, in the spirit of the many protests throughout the decades, to stand for the hope that we never forget our history and the freedom that was paid for with blood and struggles. The opposition coalesced and came together to elect a party that would champion progressive policies that would help the country move forward. Songs were sung against tyranny. Crowds mobilized and elevated the concerns of marginalized groups. Young and old alike shouted in unison for a better future. Yet, Marcos won and was inaugurated as president of the Philippines on June 30, 2022.

Organizer

SEA Junction, established under the Thai non-profit organization Foundation for Southeast Asia Studies (ForSEA), aims to foster understanding and appreciation of Southeast Asia in all its socio-cultural dimensions, from arts and lifestyles to economy and development. Conveniently located at Room 408 of the Bangkok Arts and Culture Center or BACC (across MBK, BTS National Stadium), SEA Junction facilitates public access to knowledge resources and exchanges among students, practitioners and Southeast Asia lovers. For more information, see www.seajunction.org, join the Facebook group:  http://www.facebook.com/groups/1693058870976440/ and follow us on Twitter and Instagram @seajunction

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