When the lights dimmed and the crowd thinned at the close of Philbex Davao 2025, the echoes of architectural innovation and creative discourse lingered in the halls. But one exhibit, nestled amid the polished booths and grand design statements, struck a different chord—less about spectacle and more about soul. It was a curious blend of laughter, layered identity, and social commitment, wrapped in a title that made visitors do a double take: “Sub-Saharan Mindanaoans.”
In a landscape where Mindanao is often misrepresented—whether caricatured as a conflict zone or reduced to a monolithic cultural trope—this exhibit refused to conform. Instead, it poked fun at the absurdity of such stereotypes. But it did more than provoke a smirk. It invited viewers to reckon with the reality that humor, when rooted in self-awareness and cultural pride, can dismantle long-held misconceptions more effectively than any lecture or manifesto.
At the heart of the project were three distinct voices, each bringing their own artistic language into the conversation. EJ Pasia, architect and furniture designer, brought structure and form with a deep sensitivity to the cultural textures of Davao. Kublai Millan, sculptor, painter, and one of Mindanao’s most recognizable cultural icons, added his signature visual exuberance. Meanwhile, Helen S. Co, known for her work in styling and set design under The Curious H, provided the narrative flair that made the space feel immersive rather than merely presentational.
Together, they imagined an alternate version of Davao—one untethered from its politicized image, where local creativity leads the way in shaping a joyful, grounded identity. The name of the exhibit, “Sub-Saharan Mindanaoans,” was deliberately jarring: an inside joke, a playful dig at how little the rest of the world—and even many Filipinos—truly understand about Mindanao. The title became a tool of subversion, inviting curiosity while offering critique.
But beneath the satire was a sincere proposition: that identity doesn’t have to be defensive or didactic. It can be celebratory, colorful, and unapologetically humorous. And more importantly, it can serve a purpose beyond aesthetics.
This purpose was underscored by the exhibit’s philanthropic thrust. Four custom-designed furniture pieces featured in the installation were put up for auction, with all proceeds going toward the construction of Long Houses for the T’boli, one of Mindanao’s indigenous communities. These structures are not merely shelters—they are cultural anchors, spaces for gathering, storytelling, and generational continuity. In supporting their construction, the artists extended their advocacy from concept to concrete impact, turning their design statement into real-world support.
In many ways, “Sub-Saharan Mindanaoans” embodied the spirit of Davao: irreverent but sincere, proud but unpretentious, deeply rooted yet forward-looking. The exhibit stood as a testament to how art and architecture, when harnessed with humor and humility, can become tools for cultural renewal and social engagement.
Supported by partners like Boysen Paints, DNSS, The Curious H General Store, and The August Portfolio, and visualized by Khena Bato-on Magaway, Girleen Embuscado, and James Martin Alejandro, the project reminded audiences that design is not just about form—it’s about story, place, and responsibility.
As the buzz of Philbex settles into memory, “Sub-Saharan Mindanaoans” lingers not just as an exhibit, but as a proposition. It asks us to rethink how we frame regions like Mindanao—not as places needing explanation or justification, but as cultural powerhouses in their own right. It suggests that maybe, just maybe, a little humor, a lot of heart, and a commitment to community can redraw the map of how we understand ourselves—and each other.