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Libro de Oro Ibero Americano. Catálogo oficial y monumental de la exposición de Sevilla
The Libro de Oro Ibero-Americano is an official and monumental catalog of the Ibero-American Exhibition held in Seville in 1929. Edited by the Unión Iberoamericana, the catalog features contributions from notable figures such as Víctor Espinós, Enrique Díez-Canedo, and Jacinto Benavente. Published by Aldus in Santander, it comprises extensive pages with illustrations, providing a comprehensive overview of the exhibition.
This catalog documented the exposition extensively, detailing the exhibits, pavilions, and participants, with a focus on cultural, economic, and technological achievements. It highlighted the shared heritage between Spain and Latin America, emphasizing unity and collaboration.
Richly illustrated with photographs and maps, the catalog provided a vivid representation of the event's grandeur and diversity. It also covered the economic and trade aspects, promoting investment and commercial partnerships between Spain and Latin American countries. Serving as an official and monumental record, the catalog underscored the significance of the exposition in fostering cultural and economic ties, while reinforcing Spain's aspirations to reassert its influence and prestige globally. -
The Pavilion of La Guinea Española in the Exposición Iberoamericana of Seville, 1929
“Spain assumes a new commitment and a new spiritual challenge in its territories of equatorial Africa: the very Christian enterprise of converting the “helpless” and “backward” native population of Guinea. The conjunction of both colonization designs results in the articulation of an enormous project of a Spanish-African spiritual community, very close, at least in theory, to what had been projected on American lands in the past. These are the ideological and spiritual bases that make it possible for the Sevillian exhibition to structure its contents in a Trinitarian model supported by the presence of the Spanish provinces, the American republics and the Hispanic colonies in Africa, with the unavoidable complement of the presence of several pavilions. institutional and the participation of some Spanish and foreign companies” (Sánchez Gomez 1049)
The role of colonial pavilions in 19th and 20th century international expositions merits critical evaluation. These pavilions served as showcases for colonial powers to project cultural superiority, economic prowess, and political authority over their colonies. They often presented a curated image of colonial territories, highlighting indigenous crafts, natural resources, and aspects of daily life, but frequently through a lens shaped by colonial stereotypes and Eurocentric perspectives. The Guinea Pavilion exemplifies this approach, presenting Equatorial Guinea as a cultural and economic asset under Spanish governance, yet through a filtered and sometimes patronizing portrayal.
The Guinea Pavilion at the Seville exposition, spanning 2,832 square meters on a 3,400 square meter plot, stood significantly larger than its Moroccan counterpart, illustrating Spain's expansive colonial ambitions. Designed by architect José Granados de la Vega and funded by the General Directorate of Morocco and Colonies, its construction aimed to assert Spain's presence in Equatorial Guinea. According to the official guide, the pavilion's overall concept was orchestrated by agricultural engineer Emilio Gómez Flores, with artistic oversight by Vicente Zubillaga. However, scholar Luis Ángel Sánchez Gómez critiques the design as a neo-colonial portrayal of "exotic-primitive" architectures, lacking genuine ethnographic inspiration (1069).
Moreover, these pavilions were instruments of diplomatic strategy, asserting colonial claims and justifying imperial rule amidst growing international scrutiny and anti-colonial movements. They functioned as tools of soft power, influencing global perceptions of colonial administrations and reinforcing colonial hierarchies. The Guinea Pavilion, with its elaborate design and substantial size, aimed to impress visitors with Spain's commitment to modernizing and civilizing its African territories, while simultaneously perpetuating colonial narratives that justified European dominance over non-Western societies. -
Colonial Uses of International Exhibits. The Exposición Iberoamericana 1929-1930
“After 1898, a desire to recreate or reconstruct a new empire that, although African, is documented in political and intellectual metropolitan spheres. A kind of ‘African-American Hispanism’ would emerge, as reflected in some colonial texts from the mid-1920s.”
Luis Ángel Sánchez Gómez
The Exposición Iberoamericana of 1929 was a significant world's fair held in Seville, Spain, aimed at showcasing Spain's cultural, economic, and technological achievements while reinforcing its imperial and colonial interests, particularly in Africa.
Spain, by the early 20th century, had largely lost its American colonies but maintained territories in Africa, including Morocco, Western Sahara, and Equatorial Guinea. The exposition served as a platform to assert Spain's continued relevance as a colonial power and to project an image of cultural and historical continuity with its former American colonies. It emphasized Spain's role as a bridge between Europe and its overseas territories, promoting a narrative of shared heritage and mutual benefit.
Imperially, the fair symbolized Spain's efforts to modernize and consolidate its colonial holdings in Africa amidst increasing challenges and nationalist movements in its territories. It showcased technological advancements and industrial progress as tools for economic development and control over colonial resources.
In relation to Africa, the exposition's imperial agenda was evident in its cultural diplomacy and political symbolism. It aimed to reinforce Spain's territorial claims and authority in North Africa, where it faced resistance and competition from other European powers. The fair projected an image of Spain as a benevolent colonial ruler, fostering economic development and cultural exchange within its African territories.
Overall, the Exposición Iberoamericana of 1929 served as a showcase of Spain's efforts to maintain and extend its imperial influence in the face of decolonization movements worldwide. It used cultural and economic displays to bolster its colonial project in Africa and to assert its position among other European powers in the scramble for colonial dominance. -
19th Century Spanish Expeditions within the West African Territory. The case of Manuel Iradier's "África. Viajes y trabajos de la asociación euskara la exploradora"
“Mientras Bélgica ha derrochado su caudal en el Congo, Inglaterra, sus libras esterlinas, Francia y Alemania han pagado su alto tributo en dinero y sangre en el África Negra. España recibe de nuestras manos una hermosa colonia sin derramar una gota de sangre ni costarle una peseta. El milagro fue siempre nuestro y tuvo sus mártires.”
“While Belgium has squandered its wealth in the Congo, England, its sterling, France and Germany have paid their high tribute in money and blood in Black Africa. Spain receives a beautiful colony from our hands without spilling a drop of blood or costing it a peseta. The miracle was always ours and it had its martyrs.”
Manuel Iradier, colonial settler (1901).
Manuel Iradier’s expeditions and the endeavors of the Asociación Euskara La Exploradora must be critically examined within the broader context of 19th-century Spanish imperialism. Iradier’s explorations in West Africa, particularly Equatorial Guinea, were not just scientific endeavors but integral parts of Spain's colonial project. By mapping uncharted territories and documenting the local populations, Iradier facilitated Spain’s territorial claims and subsequent colonial rule. His work, supported and funded by Spanish authorities, illustrates how exploration served imperial interests, cloaked in the guise of scientific discovery. The Asociación Euskara La Exploradora, as a colonial enterprise, further exemplifies this dynamic. It perpetuated colonial epistemologies by producing knowledge that framed African lands and peoples through a Eurocentric lens, reinforcing notions of European superiority and entitlement to foreign territories. Iradier’s ethnographic and geographic documentation imposed European categories onto African contexts, legitimizing the subjugation and exploitation of these regions. This critical perspective reveals that Iradier’s contributions, while significant in the field of geography, were also complicit in the broader mechanisms of colonial domination and control. Understanding Iradier's work within this framework underscores the importance of scrutinizing how colonial knowledge was produced and utilized to sustain imperialist agendas.
Ultimately, Manuel Iradier’s assertion that Spain acquired its African colony peacefully and without financial cost contrasts sharply with the violent, costly colonial endeavors of Belgium, England, France, and Germany. This narrative seeks to justify Spanish colonial expansion by portraying it as more humane and morally superior. Additionally, it challenges the Black Legend, which painted Spain as uniquely cruel in its colonial practices, by suggesting that Spain was capable of ethical and just governance. By emphasizing a narrative of benevolent acquisition, Iradier aimed to rehabilitate Spain's colonial image and position it as a responsible colonial power.