JEEP JEEP, a video game art experience where a Diasporic space traveler returns to their home planet to summon ancestors for the ultimate cosmic ride in a decked-out jeep. Travel across the outerspace archipelago offering coconuts that open hallucinatory portals, unveiling relatives that jubilantly display the traditional dances of this tropical neon planet. Conceived by artist Anna Luisa Petrisko as a ritual death of her musical alias and collaboration project “Jeepneys,” from which the game draws its imaginarium of sounds, colors, and movements. JEEP JEEP is as much a creation story as it is a death, collaboratively designed by a new Los Angeles-based collective who call themselves “Free Nell,” that includes artists and game designers Petrisko, Tonia Beglari (Browntourage), Bela Messex (Buddy System), and David Lyons (Within).
Photo by Nicanor Evans of my performance at The Knowledges at Mount Wilson Observatory July 2017.
Profile written by Colleen Siviter in Fashion Studies Journal
"Otherworldly, futuristic, ancestrally familiar, avant-garde. It’s hard to find words that fully grasp the experience that is JEEPNEYS, a name once used interchangeably for multidisciplinary artist Anna Luisa Petrisko and more recently expanded to include research-based collaborative works.
Through music, movement, video, sculpture, and costume (often times all at once) JEEPNEYS creates immersive works that connect both the deep future and the deep past. Or as explained in an artist statement, JEEPNEYS “investigates the complexities of colonized identity and encompasses a multitude of experience of time, space, and self.” Central to these investigations is a focus on the body. While past video works and performances have experimented with various presentations of the body in space and time, JEEPNEYS’ most recent work exploring Body as Ship positions the dressed body as a vehicle for healing and a bridge between pre-colonial ancestry and alternative future(s). “I always spiritually think of the body as a spaceship,” she explains. “Through meditation or through whatever spiritual practice you do, you can communicate with your ancestors, you can travel to the future, you can travel to the past through dream work or through visioning or manifestation.”
Read the rest of the article here.
BODY SHIP performance (with White Boy Scream) at OUTsider Festival 2017.
THE SPACESHIP BODY: SUBVERTING THE COLONIAL IN SCI-FI, A LECTURE/PERFORMANCE AT UNIVERSITY OF TEXAS WITH WHITE BOY SCREAM. THANK YOU TO CURRANT NAULT AND SONA SHAH FOR HAVING US!
ORIGINAL HEADPIECE DESIGNED/CONSTRUCTED FOR CHARACTERS, A KATHERINE HELEN FISHER / SAFETY THIRD PRODUCTIONS DANCE & TECH PIECE PERFORMED AT FERST CENTER FOR THE ARTS AT GEORGIA TECH UNIVERSITY IN MARCH 2017. PHOTO BY FELICITY PALMA.
JEEPNEYS & FRIENDS
CAITLIN ADAMS, MICAELA TOBIN, AND JESSE MARIE DICARLO WAGNER
ARTOPIA x LA WEEKLY & DUBLAB
NOVEMBER 5 2016
OUE SKYSPACE LOS ANGELES
JEEPNEYS - LIVE SET
FABULOSA FEST 2016
BODY SHIP - TRAILER
BODY SHIP - NEW JEEPNEYS OPERA
Photos by Steve Gunther
BODY SHIP is a new experimental opera written by Jeepneys in collaboration with 2 Filipino LA-based artists: soprano/sound artist Micaela Tobin (White Boy Scream) and experimental video artist Miko Revereza.
In it, Two sisters turn their bodies into spaceships for a journey and healing rite that traces Ferdinand Magellan?s explorations to the Philippines, re-routed onto the cosmos.
These are their preparations.
Costumes by Angel Olivine
Sculptures by some times & Jeepneys
BODY SHIP premiered at REDCAT NEW ORIGINAL WORKS FESTIVAL July 21, 22, and 23, 2016 along with works by Emily Mast and Rebecca Bruno.
I am performing 2x per night at Monkeytown LA from June 28 - July 3 2016. For this, I created a new 20 minute multichannel video piece with musical and movement performance. Photos by David Park.
It's late February and I am an artist-in-residence at Yaddo in Saratoga Springs, New York.
In February 2016, Sharmi Basu (Beast Nest) and I co-presented a lecture and performance titled The Electronic Body: Y there are no Women of Color in Music Technology at the UC Irvine Women in Music Tech Symposium. In the performance/lecture/interruption, we unpacked and unloaded that nagging feeling Y THERE ARE NO WOMEN OF COLOR in music technology? We discussed and confronted issues around women/trans/gendervariant people of color in music technology in terms of archiving, visibility, resource allocation, white supremacy, and western patriarchy. As two WOC music technologists, we talked about our own experiences of exoticism, fetishism, misogyny and fear. Using our music and art as method for liberation, we talked about how our practices are healing. In fact there have BEEN women of color music technologists since the 1960's and even before, but these women have been erased from the archives.
How does PROCESS differ as a WOC/TWOC? How are our instruments extensions of our identities?
In celebration of this confluence of ideas, we published a wiki archive of WOC (including transwomen and gendervariant people) who work with music technology as a way to disrupt white supremacy, archive ourselves, honor ourselves, heal, and provide a list of resources to find each other for booking, touring, jamming etc. Through this process, we’ve connected with so many others and we see the importance for us to keep doing what we’re doing and how we can use music technology as magic and healing and creating new worlds of ourselves // extensions of our multiple identities.
Photos by Dan Fenstermacher
RECENT PRESS FOR Black Salt Collective and Let Me Be The One: A history of a decolonized service
For Visions Into Infinite Archives, a large exhibition curated by Black Salt Collective at SOMArts Gallery in San Francisco, Jeepneys and some times present “Let Me Be The One: A history of a decolonized service,” featuring components of a 2015 performance titled “a jeepneys video shoot // some times a set.” In the original performance, performers were invited to dance, play, bartend, and enact other forms of labor for and with an audience, resulting in a shift of the context and structure of service and labor in an attempt to decolonize service. We tried to undermine the language and gestures of service in relation to our shared filipino ancestry and our idea of hospitality both as self-identified and colonial. “Let Me Be The One: A history of a decolonized service,” is an archive (within an archive) that includes a multi channel video installation, a performance, and a re-installation of the jeepneys // some times set that also serves as a platform to engage with other artworks in the show.
“Let Me Be The One: A history of a decolonized service” was a way for us to archive and deconstruct a performance that was deemed unsuccessful. The decolonizing part actually took place AFTER the performance during the deconstruction. Our conversations about Filipino hospitality, service language, and labor were healing and insightful and through these conversations we continued to build our relationship not only as collaborators but as 2 filipina mestiza friends.
photo by Nastya Valentine
“a jeepneys video shoot // some times a set.”
20 August 2015 | 7-10pm
649 S Anderson St, Los Angeles, CA 90023
Performance at 7 | Screening at 7:30 | Barbeque and drinks to follow
In celebration of the final night of the Regional, International & Extraterrestrial screening series, organized by Lisa Jugert at MaRS, which will feature Jeepneys' OLINGLINGO THE MOVIE, please join us for “a jeepneys video shoot // some times a set.” Several brightly-patterned, spandex-skinned performers will casually shift roles: dancing, directing, emoting, merging through gesture, camera operating, communicating with pattern, role-playing, exploring the set, and of course, bartending. The some times bar is an open video set temporarily inhabited by the jeepneys mythological universe becoming a space to socialize, to collaborate and to incubate ideas for a forthcoming Jeepneys opera. Together some times, jeepneys, and their guests will decolonize hospitality by shifting the context and structure of service and labor. The performance will begin promptly at 7pm and will resume post-screening as a dance party alongside a MaRS barbeque. Drinks will, as per usual, be served by others for others in the company of all.
some times is a neon sign that can be plugged in anywhere; it is also a performative project space that takes the form of a bar. some times opened in 2014 as a response to artists’ needs at the California Institute of the Arts. It reappears frequently to present new artist projects focused on performance, exchange, and collaboration. some times recently occupied the office of ltd los angeles for a six month residency and is currently collaborating with Big City Forum on a new salon series called “After Hours.” some times is owned and operated by artist Meghan Gordon.
In Visions Into Infinite Archives the Black Salt Collective honors the non-linearity of time and creates an interactive and infinite archive of universal depths. Visions not only imagines a future that challenges dominant histories and present moments of cyclical and institutional oppression, it births a universe where ancestral dreams and the hopes of our descendents live and interact–– a universe with alternative futures and alternative pasts, where oracles become realities, where histories are honored and healing can take place. In addition to murals, light installation, textile and sculptural work by the collective, Black Salt curates performances, ritualistic expressions and film screenings by artists of color to ensure the collaborative Black Salt universe remains in constant dialog and flux.
Exhibition: January 14–February 10, 2016
Opening reception: Thursday, January 14, 6–9pm
Conceptual performance & roundtable: Thursday, January 21, 6–9pm
Film Screenings: Saturday, January 30, 12–4pm
Closing ceremony & reception: Thursday, February 4, 6–9pm
Curators: Black Salt Collective (Adee Roberson, Sarah Biscarra-Dilley, Anna Luisa Petrisko (JEEPNEYS), Grace Rosario Perkins)
JEEPNEYS + BLACK SALT COLLECTIVE will be showing short films at the first ever GLITCH FESTIVAL in Glasgow, Scotland, dedicated to showing films made by LGBTIQ People of Color.
BLACK SALT COLLECTIVE's "WE CAME FROM EARTH< WE CAME FROM SPACE"
A built environment to UN//build systems of UN//derstanding
Objects intermingle with soUN//d bodies and light
Creating UN//intentional encounters and correspondences
A collaborative performance/installation by Jeepneys, Tarren Aqualynne Johnson and Jessica Comis. Featuring performances by Lady Gaby and Ziur, dancers Jasminka Stenz, Oliver Connew, and Rachel Bo Clark, with Joey Hansom DJing. Premiered at Del Rex in Neukolln, Berlin, Germany on October 18, 2014. Photos by Johana PI.
Machine Project asked Jeepneys to create a performance for ALOUD, a cultural events series sponsored by the Los Angeles Public Library. My instructions were to create an artwork that responded to one of the Library's collections. I found the photo collection "Shades of LA: A Search for Visual and Ethnic History" to be the most compelling. In the collection, there are thousands of family photos and recorded oral histories of LA residents of various "minority" identities. These documents of daily life were collected in the 1990s to expand the representation of diverse populations within the library's archive. This led me to create a multimedia performance/installation called "Shades of the Jeepneys Planet," where Jeepneys and friends explored the many shades of realities that exist when the Jeepneys planet and Earth collide, creating a living archive celebrating our alienness. This was presented for one night only in the Teen'scape section of the Central Library on July 26, 2014 and included 4 Jeepneys dancers engaged in experimental site-specific improvisations, a multichannel video installation of images from the Jeepneys planet, and a live broadcast of the audience and performers interacting over Google Hangouts. Featuring Jeepneys, Ramzi Hibri, Tiara Jackson, and Liew Niyomkarn.
PHOTOS (COURTESY OF JOEL FOX)
GOOGLEHANGOUT BROADCAST STILLS
Jeepneys presents OLINGLINGO:::EXPERIMENTAL OPERA & VIDEO INSTALLATION at Human Resources LA on Saturday June 28, 2014. Doors open at 8pm and performances begin at 9pm. Special guest performance by The God Doll and COOLWORLD DJ’s throughout the night.
OLINGLINGO is a ceremony that invokes our ancestral memories from past and future, earth and outer-space. In a total submergence of song, movement, video and language, the OLINGLINGOANS move ecstatically through prismatic portals, conjuring ancestoric magic to heal and give thanks. In an embodied collective reminiscence, we remember we are all baby ancients ruled by ancient love. This is our decolonizing spaceship. We are all spaceships. We are all OLINGLINGO.
Video installations by Jeepneys + Lionel Williams
Refreshments by AMRA
COOL WORLD DJs Crasslos and Jeffzilla
Performance 9pm with
Special Guest: The God Doll
A Jeepneys Opera
Production & Curatorial Wizardry by Oscar Santos
Set Design & Ecstatic Visioning by Ramzi Hibri
Choreography by Caitlin Adams
Bob & Ligaya Petrisko
Videos by Chloe Miller
Costumes by Ani Bujko
On August 6, 2013, Jeepneys grew a bamboo forest inside of the Dublab studios in Los Angeles and played a live outer space mango sun kissed musical set! You can listen to it here.
Black Salt Collective is launching our first large-scale collaborative project: a part-narrative, part documentary, art film with original musical soundtrack. Thank you to all of you who supported us during our Indiegogo campaign!
Recent Press for Black Salt Collective : The Initiation
Jeepneys was commissioned by Machine Project to do a site-specific performance in/around/on an LA Modernist architectural structure as part of the Machine Project Field Guide to L.A. Architecture. This project is part of Pacific Standard Time Presents, an initiative by the Getty.
In the piece, “Bowling with Aliens,” Jeepneys is merely reflecting the obvious: that ‘aliens’ are among us, and that all earthlings are among each other. Jeepneys comes from a Filipino heritage and it is no coincidence that the performance happened in a neighborhood with a large Filipino population. The bowling alley used for the performance was "All Star Lanes" in Eagle Rock, one of the oldest bowling alleys in the area and a landmark example of LA 50’s kitsch architecture. Bowling is definitely one thing that Los Angeles, Manila, and the distant Jeepneys planet have in common!
The piece featured Jeepneys' friends and collaborators Big Bugs.
Check out some video highlights from the piece here, and stay tuned for news about the final exhibition for the Field Guide which will be held in Los Angeles in September!
Black Salt Collective is the work of artists Fanciulla Gentile, Grace Rosario Perkins, Adee Roberson, Sarah Sass Biscarra-Dilley and now JEEPNEYS!
Black Salt embodies cultural and contemporary narratives. The work is cultural, but not “cultural” in the anthropological sense of the word, as cultural art is often seen through a Western lens. Black Salt is about contemporary non-linear identity in which experience results in atmosphere.
Check out the interview with Jeepneys here.
Stay up-to-date with all of Black Salt Collective's many projects:
Jeepneys made this eclectic mix for BROWNTOURAGE's "Born to Rage" mixtape series. Download it from Soundcloud and bump bump bump it.
Jeepneys + Little Debbie toured Europe in May/June 2013 playing shows in Bologna, La Spezia, Rome, Zurich, Berlin, Halle, and Copenhagen. Kisses to all of our lovely hosts, let's do it again! Check out more photos here.
BUMBAYAYA is a work of experimental musical dance theater, a day-glo tropical sci-fi trip written by Los Angeles-based multidisciplinary artist Anna Luisa Petrisko, aka Jeepneys. Human/alien hybrid beings from the future time travel to Colonial Earth in order to decolonize and heal. Bumbayaya, a phrase that comes from Jeepneys’ made-up language, is the healing light that we call upon to perform these rituals and carry out this mission.
Because of the idiosyncratic nature of time travel, the text is jumbled into multiple layers of reality. Further,
the hybrids are able to shapeshift at any moment from colonizer to colonized, animal to plant, human to
alien, etc. These hypertextual elements form a post-colonial critique that is unique, complex and sometimes contradictory.
The costumes are neon bodysuits and large papiermache headpieces handmade by Jeepneys. There is live
music and video, which are both controlled from the stage. There are four performer/dancers including
Jeepneys. The work is approximately 30 minutes long.
Bumbayaya premiered on Wednesday February 6th in the Wild Beast theater at CalArts. Over 100 people
Jeepneys is currently seeking spaces to perform Bumbayaya in the U.S. and abroad. Please get in touch if this interests you.
Check out some video highlights here.