1 10 9 https://hernando.upenn.domains/files/original/43fc2a2bfe003bba435fb57c55d2c44e.jpg e0d193dafd69dfee0efdfebb819c5157 https://hernando.upenn.domains/files/original/00d67b296c4c7696b6d8367e0cfe828f.jpg 24688a7ff3cca21813a63d38c99de230 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource Spanish, English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital News Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource AhoraEG News: "Culture and tourism acquires the ethnological collection of Felipe Osa Angüé" Subject The topic of the resource The Aftermath of the Museum Felipe Osa Angüé Description An account of the resource The fate of Felipe’s collection after his death in 2017 marked a significant shift from his original vision. The collection was transferred to the Ministry of Culture, Tourism, and Artisan Promotion of Equatorial Guinea, with plans to integrate it into a national ethnographic museum in Malabo. While this move was intended to preserve the collection and ensure its continued accessibility, it also meant that the objects would be subjected to the institutional practices of conventional museology. This transformation raises critical questions about the future of the collection and the potential loss of the dynamic, context-rich narrative that Felipe had cultivated. The terms "ethnographic" and "ethnologic" themselves are problematic within the context of Felipe’s vision. These terms, rooted in colonial frameworks, often imply a distancing and objectification of cultural artifacts, stripping them of their original context and reducing them to mere examples of "primitive" or "exotic" cultures. This is precisely what Felipe sought to avoid in his museum, where the objects were not just relics of a bygone era but were imbued with life and meaning through his storytelling and engagement with visitors. The transfer of the collection to a national ethnographic museum thus risks undermining the very principles that Felipe's museum stood for, transforming a space of cultural activation and resistance into one of institutional conformity and potentially decontextualized exhibition. This transition underscores the need for a continued conversation about how these objects will be conserved, presented, and interpreted, to ensure that Felipe’s legacy is not lost in the process. Creator An entity primarily responsible for making the resource Digital Newspaper AHORAEG Source A related resource from which the described resource is derived https://ahoraeg.com/cultura/2022/08/02/cultura-y-turismo-adquiere-la-coleccion-etnologica-de-felipe-osa-angue/ Publisher An entity responsible for making the resource available AHORAEG Date A point or period of time associated with an event in the lifecycle of the resource August 2nd, 2022 Rights Information about rights held in and over the resource AHORAEG Format The file format, physical medium, or dimensions of the resource Written text Language A language of the resource Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea AHORAEG Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/b01f3fe41124d5573202e0086dacedc4.jpg ee84f75342b5a2a05c0edcfbb148a16a https://hernando.upenn.domains/files/original/239e19173716de2a9252b56e099b4949.jpg afaf3d9594e41c6e753a1c2ea1e90425 https://hernando.upenn.domains/files/original/00bcd897b6d61afef30be549e3fcf670.jpg 72093b328797f2d2a68126265d72a6ea https://hernando.upenn.domains/files/original/f972ee809aaebe4f081213261a1ff3a5.jpg ed3719e98cceef72abaec02bd92162d5 https://hernando.upenn.domains/files/original/152f185e7cada1082ad514a7114b5fc0.jpg 1e5afc52d22caa2643f89d61fffc40c5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource Spanish, English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Video Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photographic archive of Felipe Osa Angüé Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource Images from the personal photographic archive of Felipe Osa Angüé during an interview by Ministerio de Cultura y Promoción Artesanal of Equatorial Guinea. Creator An entity primarily responsible for making the resource Ministerio de Cultura y Promoción Artesanal Source A related resource from which the described resource is derived https://www.youtube.com/watch?v=wKVEkHereBE Publisher An entity responsible for making the resource available GRUPO16NOVENOS Date A point or period of time associated with an event in the lifecycle of the resource 2018 Rights Information about rights held in and over the resource Ministerio de Cultura y Promoción Artesanal Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/24bf0512f28e657696a806a17bf27c44.jpg 870bfcf6cf2dfeab9f969f333fdf0a8e https://hernando.upenn.domains/files/original/d290644eab39db85232c222bf1a01a51.jpg e630c88fde704357475fdfe5882acf6d https://hernando.upenn.domains/files/original/69f31107df0d90f06582cdf0212753ad.jpg 44b7343a2f8254729db29e50be00efde https://hernando.upenn.domains/files/original/e89757eb7942facfd5ea1e6fc892c424.jpg bad86c7fba555e6bbc82bc2affedb7c7 https://hernando.upenn.domains/files/original/64b002c72353ff3c78afbad5555da0e4.jpg e517b7fcc4ef8156de409118e1f16150 https://hernando.upenn.domains/files/original/74fbb72645bd439ab93f63e158d981c1.jpg cbf62d5aad1f53f1953a73cfd0173218 https://hernando.upenn.domains/files/original/c6d6230004896518bfc7bcad5e49a232.jpg 7d046cb20b9d6448ff67aeb9bec661b4 https://hernando.upenn.domains/files/original/ae1bb44e65b666192e98a59ab55cda9b.jpg d8c7482390cff3a0627c9c04a7331dd7 https://hernando.upenn.domains/files/original/e378b1db3bbf534a5249db7b44a3b27e.jpg f62fbcacbb2e0a131c558e14d619d59d https://hernando.upenn.domains/files/original/70e247b1d22b3ef8008d5222fd85b2a6.jpg ba0f51dab238b13d1aeec8cee7a6e9f7 https://hernando.upenn.domains/files/original/c47d2548f62e1c4021c67ac464a16e60.jpg 332527b740af89b51817119950da3ae0 https://hernando.upenn.domains/files/original/85182438c8fab67edabd8f0436bbda83.jpg d97067eda66cdd25ece3c0c4ca30ecb3 https://hernando.upenn.domains/files/original/34bc7a22c1d86ffa4b6bfd177bcbc81d.jpg 8fdc331eda8302778c144f0bab474ed4 https://hernando.upenn.domains/files/original/0b699e5e788fb82ae799c4fd7d88f216.jpg 413835c8b06f8e0c5c21bf3da8904ea1 https://hernando.upenn.domains/files/original/45336a52d2c7c941e787c0b55b1e4b88.jpg bb1136e405f30cea000606e4478c5ecf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource Spanish, English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bieris of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource The Bieri figures at the Museum Felipe Osá Angue, associated with the Fang people of Central Africa, are significant artifacts that reflect both spiritual practices and the impact of colonialism on cultural heritage. Originally, these wooden sculptures were created to protect the relics of ancestors, encapsulating the spiritual essence of the departed and embodying the balance between life and death. Over time, however, their meaning has transformed. As Valenciano and Bayre explain, "the Bieri have lost the significance they once held before the arrival of Europeans. They are no longer representations tied to relationships with ancestors, but rather 'statues' of 'black African art'" (68). In Equatorial Guinea, the preservation of such cultural objects has been largely externalized, with most of the country's material culture now housed in European museums, such as the Museu Etnològic in Barcelona, the Museo Antropológico Nacional in Madrid, and the Musée du Quai Branly in Paris. This situation reflects the absence of a formal museological system in post-independence Equatorial Guinea, where the state has not integrated pre-European elements into the construction of a national identity. As a result, Equatorial Guinea remains "a country without museums" (69). Felipe Osá's approach to displaying these objects is particularly noteworthy. Unlike Western museums, which often emphasize the antiquity and monetary value of artifacts, Osá's museum focuses on the stories and symbolic meanings behind each object. The objects are not displayed in vitrines or on pedestals, but rather on altars, where the distinction between old and new items is blurred. This method challenges Western notions of "cultural authenticity" by emphasizing the social life and biography of the objects over their age or economic value. Felipe Osá's dedication to collecting and preserving these objects is also significant. He spent many years acquiring items like stools, Bieri figures, masks, plates, and pots from Fang villages, often salvaging them from abandoned settlements. Even when the objects were considered discarded or useless, Osá sought out their owners, asked for permission to collect the items, and negotiated compensation, ensuring that the stories and meanings of these objects were preserved along with the items themselves. This approach has allowed his museum to become a repository not just of objects, but of the rich narratives and symbolic meanings they carry. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived MUSEO FELIPE OSA ANGÜÉ. Ministerio de Cultura y Promoción Artesanal, GRUPO16NOVENOS. Consulted July 30th, 2024. Url: https://www.youtube.com/watch?v=wKVEkHereBE Valenciano Mañé, Alba and Llorenç Picornell Gelabert. "Un museo sin vitrinas en la selva ecuatorial. La exposición de una experiencia". Hermes, n.º 1, 2009, pp. 67-76. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English Type The nature or genre of the resource Written Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/4216e76447d189413341f871f524317f.jpg f779f8dbbba3592ebfbac58d339ac78b https://hernando.upenn.domains/files/original/cb5fdbffb38e378895da9e0a835387cb.png 5ab98582cb1deab72de25b3df42503d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource Spanish, English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felipe's collecting methods Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource Felipe's collection process was innovative and challenged standardized Western museology practices and colonial biases that often positioned African art in a lower stage or simply cataloged them as ethnographic objects, decontextualizing much of their cultural value and purpose. He focused on obtaining objects no longer manufactured today, such as stools, bieri (reliquary figures), masks, ceramic plates and pots, metal ornaments, and decorative elements. These items were often linked to practices that have since disappeared, like metallurgy and pottery. Felipe’s approach involved searching for the owners of the desired objects, asking for authorization to collect them, and negotiating a type of reward or compensation for the owners in exchange for the artifacts: "Felipe Osá has dedicated many years to collecting objects from various Fang villages that are no longer being made today: stools, Bieri figures, masks, plates, and pots. He usually acquired them when their owners no longer found them useful, and often they came from old, abandoned settlements. Even though these were discarded objects that no one used, Felipe Osá sought out their owners, asked for their permission to collect the items, and negotiated some form of compensation (money, other utilitarian objects that he made). In this way, the forest museum of Felipe Osá became filled with objects and their biographies, with the stories and symbolic meanings they contain.” (72) The museum is unique in that it is not advertised through any media nor does it have set opening hours. Visitors typically learn about it through word of mouth. Historians Alba Valenciano and Llorenç Picornell describe the museum experience as immersive and personal: “Using a wooden mask, Felipe Osá transforms himself into the narrator-character who guides the journey through the social life of the exhibited objects. After the welcoming and introduction, visitors make a donation to the museum. In exchange, Felipe (no longer wearing the mask), ‘gifts’ to the visitors three objects. It is not about physically owning them, but rather it offers the possibility of selecting three pieces among all those on display whose meaning you want to know. Then, he explains how they are manufactured, what they were used for and what properties they had, and clarifies any doubts we have about it” (p. 72). Valenciano and Picornell assert that Felipe’s method represents a form of patrimonial activation outside the dominant power structures and discourses. In this setting, the objects do not convey their stories independently; it is Felipe who brings them to life with his narratives (p. 74). This way, the objects in the museum are not placed in display cases or on pediestals as in colonial museums but are displayed in a kind of altar. This creates proximity with the visitor and breaks the barrier between visitors and objects. Pieces can be touched and examined in depth. The exhibition does not differentiate between old pieces and those reproduced by Felipe throughout his life, challenging Western constructions and perceptions of ‘cultural authenticity.’ Source A related resource from which the described resource is derived MUSEO FELIPE OSA ANGÜÉ. Ministerio de Cultura y Promoción Artesanal, GRUPO16NOVENOS. Consulted July 30th, 2024. Url: https://www.youtube.com/watch?v=wKVEkHereBE Valenciano Mañé, Alba and Llorenç Picornell Gelabert. "Un museo sin vitrinas en la selva ecuatorial. La exposición de una experiencia". Hermes, n.º 1, 2009, pp. 67-76. Publisher An entity responsible for making the resource available GRUPO16NOVENOS Date A point or period of time associated with an event in the lifecycle of the resource 2018 Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Written text Language A language of the resource Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/b1c41c227ded96eac4ae180eca5466dc.jpg 4381b5f5ab0e9188942ce56b65669521 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2. Neocolonial Politics in the Museum and Conflicting Identities in Equatorial Guinea Subject The topic of the resource Neocolonial Politics in Equatorial Guinea Description An account of the resource The second section of the exhibit, "Neocolonial Politics of the Museum," aims to contextualize and critically examine the materials, texts, and policies that emanate from institutional artistic and educational spaces in Equatorial Guinea during the regime of Teodoro Obiang in the post-independence period. This section departs from a decolonial critique that, despite the end of formal colonial rule by Spain, politics of international collaboration have become an expression of neocolonial forms of cultural and economic influence in Equatorial Guinea. Within the fields of arts and education, intellectual and artistic expression in Equatorial Guinea remain heavily influenced by Western canons. This continues to shape the ways in which art is taught, evaluated, and displayed in museums and galleries, in addition to the cultural narratives that sustain the historical ties to the colonial past. While Western aesthetic standards and curatorial practices often result in the marginalization of black artists, their work is frequently framed through a Eurocentric lens, which can strip it of its cultural and historical context. Similarly, educational materials reflect this ongoing neocolonial influence. Textbooks and curricula often present history from a predominantly Western perspective, emphasizing European achievements while downplaying or distorting the rich histories and contributions of African societies. This not only skews students' understanding of their own heritage but also reinforces a Eurocentric worldview. The political rhetoric and policies of the Obiang regime further complicate the post-independence cultural landscape. The regime's promotion of a homogenized national identity, such as through the myth of Bantu Unity, mirrors colonial strategies of governance that sought to control and assimilate diverse populations. By promoting a unified identity that glosses over cultural diversity, the regime reinforces a simplified and controlled narrative of national identity that serves its own political ends. Igor Cusack’s insights into the regime's manipulation of colonial legacies provide a crucial perspective for this exhibition section. Cusack notes how the regime has "promoted the importance of Hispanic culture in the formation of the ‘nation’s’ cultural identity, while at the same time, it has unashamedly used Spain’s desire to perpetuate its own culture in Africa as a ploy in appealing for development aid." This dual strategy underscores how deeply embedded Western cultural influences remain, shaping both national identity and international relations in ways that benefit the regime. In summary, "Neocolonial Politics of the Museum" aims to uncover and critique these layers of influence, demonstrating how institutional spaces and policies continue to reflect and perpetuate colonial ideologies. By bringing these issues into context, the exhibition encourages viewers to question the narratives presented within these spaces and consider the ongoing impact of neocolonialism in shaping cultural and political life in Equatorial Guinea. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Cusack, Igor. "Hispanic and Bantu Inheritance, Trauma, Dispersal and Return: Some Contributions to a Sense of National Identity in Equatorial Guinea." Nations and Nationalism, vol. 5, no. 2, 1999, pp. 207-236. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Contributor An entity responsible for making contributions to the resource Price Lab for the Digital Humanities, University of Pennsylvania Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Digital Exhibit Language A language of the resource English, Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El laberinto guineano Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource Emiliano Buale Borikó, a prominent Bubi nationalist from Equatorial Guinea, critically challenges the notion of Bantu unity in his work "El laberinto guineano" (The Guinean Labyrinth). Borikó's argument, grounded in historical and cultural analysis, emphasizes the distinctiveness and incompatibility between the Bubi people of Bioko Island and the Fang people from the mainland. Borikó rejects the idea that the Bubi and Fang share common origins or a unified Bantu identity. He contends that such notions are mythologized and fail to reflect the true historical and cultural realities of these groups. Instead of accepting a romanticized view of a harmonious pre-colonial period where different ethnic groups coexisted peacefully, Borikó posits that the Bubi had a distinct and advanced civilization on Bioko Island, separate from the Fang and other mainland groups. According to Borikó, the Fang people originated from the savannah regions and migrated to their current locations. This migration narrative underscores the differences between the Fang and the indigenous Bubi of Bioko Island. To support his claims, Borikó draws on the writings of Spanish colonial figures, such as Luis Trujera Incera. These sources often contain ethnographic and administrative observations that highlight the distinctions and perceived incompatibilities between the Bubi and Fang. However, the reliance on colonial sources like those of Trujera Incera can be problematic. Colonial administrators and ethnographers, including Trujera Incera, often had biased views shaped by the colonial agenda. Their writings frequently depicted African societies in ways that justified colonial rule and presented the colonizers as superior. These sources relied on stereotypes and broad generalizations, leading to misrepresentations of ethnic groups. Utilizing these sources without critical analysis risks perpetuating these biases. While Borikó's challenge to the myth of Bantu unity offers a valuable critique, his conclusions require cautious consideration due to the reliance on potentially biased colonial sources. A more balanced perspective necessitates cross-verifying colonial accounts with other types of evidence, including oral traditions, archaeological findings, and contemporary ethnographic studies conducted by independent researchers. Incorporating the voices and narratives of the Bubi and Fang people themselves can provide insights that colonial sources might overlook or misrepresent. Creator An entity primarily responsible for making the resource Emiliano Buale Borikó Publisher An entity responsible for making the resource available IEPALA Date A point or period of time associated with an event in the lifecycle of the resource 1989 Rights Information about rights held in and over the resource Emiliano Buale Borikó, IEPALA Format The file format, physical medium, or dimensions of the resource Print Book Language A language of the resource Spanish Source A related resource from which the described resource is derived Buale Boriko, Emiliano. El laberinto Guineano. Madrid: Iepala, 1989. Relation A related resource Buale Boriko, Emiliano. Guinea Ecuatorial: Las aspiraciones bubis al autogobierno. Madrid: Iepala, 1988. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Bantu Unity Emiliano Buale Borikó Equatorial Guinea Conflicting Identities Obiang's Regime https://hernando.upenn.domains/files/original/6be27741bc63ee940ab0719ed3e966cf.jpg 00fa7fa14eb41770da8c1d94c1ea1564 https://hernando.upenn.domains/files/original/6ff27d3acd18e010a68bafdfb90b9689.jpg 01f15f58ec472f1210ec78326901b474 https://hernando.upenn.domains/files/original/4b2e4d97af7c5b98af78519d35a7477c.jpg 015667fcbd8cc7f76ecd6388dc01d20d https://hernando.upenn.domains/files/original/c8784f1c7bcba912408e1f739b2fb0a3.jpg dbd6fb14df623ab350c85bc880732654 https://hernando.upenn.domains/files/original/a4140234bdc5ce9f5abce607bed3d770.jpg 2b6da75a35e6c96fc8eac185f1d768dd https://hernando.upenn.domains/files/original/6a0268d63815d0d69a460aeaa935ac49.jpg 462916bb77c7ae6269fee2b86ef6aa8b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2. Neocolonial Politics in the Museum and Conflicting Identities in Equatorial Guinea Subject The topic of the resource Neocolonial Politics in Equatorial Guinea Description An account of the resource The second section of the exhibit, "Neocolonial Politics of the Museum," aims to contextualize and critically examine the materials, texts, and policies that emanate from institutional artistic and educational spaces in Equatorial Guinea during the regime of Teodoro Obiang in the post-independence period. This section departs from a decolonial critique that, despite the end of formal colonial rule by Spain, politics of international collaboration have become an expression of neocolonial forms of cultural and economic influence in Equatorial Guinea. Within the fields of arts and education, intellectual and artistic expression in Equatorial Guinea remain heavily influenced by Western canons. This continues to shape the ways in which art is taught, evaluated, and displayed in museums and galleries, in addition to the cultural narratives that sustain the historical ties to the colonial past. While Western aesthetic standards and curatorial practices often result in the marginalization of black artists, their work is frequently framed through a Eurocentric lens, which can strip it of its cultural and historical context. Similarly, educational materials reflect this ongoing neocolonial influence. Textbooks and curricula often present history from a predominantly Western perspective, emphasizing European achievements while downplaying or distorting the rich histories and contributions of African societies. This not only skews students' understanding of their own heritage but also reinforces a Eurocentric worldview. The political rhetoric and policies of the Obiang regime further complicate the post-independence cultural landscape. The regime's promotion of a homogenized national identity, such as through the myth of Bantu Unity, mirrors colonial strategies of governance that sought to control and assimilate diverse populations. By promoting a unified identity that glosses over cultural diversity, the regime reinforces a simplified and controlled narrative of national identity that serves its own political ends. Igor Cusack’s insights into the regime's manipulation of colonial legacies provide a crucial perspective for this exhibition section. Cusack notes how the regime has "promoted the importance of Hispanic culture in the formation of the ‘nation’s’ cultural identity, while at the same time, it has unashamedly used Spain’s desire to perpetuate its own culture in Africa as a ploy in appealing for development aid." This dual strategy underscores how deeply embedded Western cultural influences remain, shaping both national identity and international relations in ways that benefit the regime. In summary, "Neocolonial Politics of the Museum" aims to uncover and critique these layers of influence, demonstrating how institutional spaces and policies continue to reflect and perpetuate colonial ideologies. By bringing these issues into context, the exhibition encourages viewers to question the narratives presented within these spaces and consider the ongoing impact of neocolonialism in shaping cultural and political life in Equatorial Guinea. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Cusack, Igor. "Hispanic and Bantu Inheritance, Trauma, Dispersal and Return: Some Contributions to a Sense of National Identity in Equatorial Guinea." Nations and Nationalism, vol. 5, no. 2, 1999, pp. 207-236. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Contributor An entity responsible for making contributions to the resource Price Lab for the Digital Humanities, University of Pennsylvania Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Digital Exhibit Language A language of the resource English, Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Leandro Mbomio Nsue: Bantu Heritage in Equatoguinean Contemporary Sculpture Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource Leandro Mbomio Nsue, an eminent Equatoguinean sculptor, is celebrated for his profound contributions to Bantu art. Born on January 5, 1938, in Evinayong, Equatorial Guinea, and passing away on November 12, 2012, in Malabo, Mbomio's artistic legacy is deeply intertwined with the cultural heritage of the Bantu-speaking peoples of Africa. His sculptures, such as "Integración tribal," "Pareja antropoide," and "Escenas de África," are characterized by their cultural representation, material diversity, rich symbolism, and depiction of human figures. He skillfully worked with wood, bronze, and stone, combining traditional sculpting methods with modern techniques to create pieces that are both aesthetically captivating and culturally significant. His works are known for their symbolic depth, often exploring themes of ancestry, nature, and the interconnectedness of life. Mbomio's work has been widely praised for its authenticity and depth, bridging traditional African art forms and contemporary artistic expression. His sculptures are instrumental in revitalizing Bantu art forms, preserving cultural heritage while infusing it with modern elements. His thematic richness adds layers of meaning, encouraging deep engagement with cultural and spiritual narratives. Mbomio's contributions earned him international recognition, including honors from UNESCO, and his role as a cultural ambassador for Equatorial Guinea. He played a pivotal role in the cultural and artistic revival of Equatorial Guinea, inspiring young artists like Regina Nsué Angüe and Silvano Ndumu to explore their cultural roots and innovate in their artistic expressions. His legacy continues to influence and enrich the national artistic landscape, making him a revered figure in both Equatorial Guinea and the broader art community. Despite his significant contributions to Equatoguinean culture, most of Mbomio’s art pieces are outside the country. His works have become part of the repertoire of international galleries, particularly in Spain, and private collections, making access to them difficult for many Guineans. This global dispersion underscores the international appeal of his work but also highlights the challenges faced by his compatriots in accessing and experiencing his art. The appropriation of African art by Europeans and the speculation in the market with African art are complex issues that raise significant ethical, cultural, and economic questions. While the Obiang regime in Equatorial Guinea has instrumentalized the myth of Bantu unity, often to the detriment of other ethnicities, it is remarkable how different artists have engaged in a dialogue within this heritage. Artists like Leandro Mbomio Nsue have embraced and celebrated Bantu culture, fostering a sense of unity and shared identity that transcends political manipulation. This engagement is seen in the way artists explore and create within the Bantu cultural framework, bringing forward a rich tapestry of artistic expressions that speak to a collective heritage while acknowledging individual and ethnic diversity. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Cusack, Igor. "Hispanic and Bantu Inheritance, Trauma, Dispersal and Return: Some Contributions to a Sense of National Identity in Equatorial Guinea." Nations and Nationalism, vol. 5, no. 2, 1999, pp. 207-236. AA. VV.: Africa: Objetos y sujetos. Gijón, Cajastur, 2010, nº cat. 159, p. 285 Chevalier, D.: Leandro Mbomio. Catálogo Exposición. Gal. Dau al Set, Barcelona. Mayo-junio, 1977 Catálogo de Exposición: Arte Actual y Primitivo de Guinea. Barcelona, Palacio de la Virreina, 1971. Catálogo de Exposición.: Leandro Mbomio. Madrid, Galería Kreisler, octubre, 1978. Areán, C.: Leandro Mbomio en la integración de la negritud. Madrid, 1975, nº 7. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Digital Text Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Bantu Unity Equatorial Guinea Conflicting Identities Leandro Mbomio Nsue Obiang's Regime https://hernando.upenn.domains/files/original/928b03fccd3a9e8d51747ecd28e5e594.jpg d4af16a8d26bbd7ff852391ab2823e6e https://hernando.upenn.domains/files/original/549322e2a7c4a1078e213f6e4221b068.jpg cc0994a745ee66aeb849e1dc85b51e51 https://hernando.upenn.domains/files/original/a4ffe5b33482f92f1d4e51cb3c074794.jpg 7fdc417c75a721bd3c3e404f1f745dcb https://hernando.upenn.domains/files/original/e1e827a6d0d99b257e01311a37395e38.jpg 0aefd4e18f61549f392ffe89a477ebe0 https://hernando.upenn.domains/files/original/8a0bc94d24044bcc58c15ae6d715dfcb.jpg edcfe55286d3dae7f5669a323d3dd402 https://hernando.upenn.domains/files/original/66b98605dd8c7cd07906b8a87a9def72.jpg 0e33b3e5c4c92edbaf2dc7c0a6cad93c https://hernando.upenn.domains/files/original/b56da2e18ac523f1353f0ade2f87d8e8.jpg b40f91392a7160eb7de9d982dc49c28b https://hernando.upenn.domains/files/original/fbd552dbbccf2a81fac01667e11e5fd4.jpg f3a1c31ebbade45b32b68a2ff161e027 https://hernando.upenn.domains/files/original/9974a6f780e691d10fd29465b8e4d350.jpg 2852951cba97b4a3d309207ddeb09243 https://hernando.upenn.domains/files/original/c0ba96029bdf5e8f376dc5dff6ad7ddb.jpg 4a595b8e2733496430921ba72531047e https://hernando.upenn.domains/files/original/39cc66a788524fcbbc9091d8eb59f1d5.jpg 9b2f7395d3acbb01bb8be5e016a68a7f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource Archives are not merely sources for extracting knowledge but generators of colonial knowledge. Anthropologist Ann Laura Stoler argues that archives are “cultural artifacts of fact production, of taxonomies in the making, and of absurd notions of what made up colonial authority. Reading along the archival grain opens up enriching readings of them as sites of contested knowledges.” The first section, "The Temptation of Empire,” shows how written records, pavilions, and audiovisual products about Equatorial Guineans during the 19th and 20th centuries served as propaganda to legitimize the imperial project after the loss of Spain's colonies of the Philippines, Cuba, and Puerto Rico. Inspired by the contributions of the issue of Bulletin of Spanish Visual Studies “El archivo colonial bajo el foco: representaciones audiovisuales de Guinea Ecuatorial” [The colonial archive in the spotlight: audiovisual representations of Equatorial Guinea], this part of the exhibition addresses how visual production along the 19th and 20th century not only deal with obvious propaganda messages, but also reveal contradictions and ambiguities within the colonial rule. Most of these resources are relatively still unknown within Hispanic studies and in cultural visual studies on European imperialism. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Relation A related resource González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174. Colmenero, Sara Santamaría. “El Paraíso Perdido: Nostalgias Coloniales En El Archivo Audiovisual de Guinea Ecuatorial (2000–2020).” Bulletin of Spanish visual studies. 6.2 (2022): 303–324. Web. Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. López Sanz, Hasan G. "'Guinea. Negocio y Misión': La Fotografía En La Representación Del Poder y La Construcción De Sujetos Coloniales En Las Ferias Muestrario De Valencia De 1942 y 1946." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 197-215. Language A language of the resource English and Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Spain, Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Stamp Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ideological Uses of Colonial Stamps Subject The topic of the resource Colonial Stamps of the Spanish Guinea during Francoism Description An account of the resource Colonial stamps of Equatorial Guinea, particularly those produced during the Franco dictatorship in Spain (1939-1975), are a significant part of the country’s philatelic history. These stamps, created by the Fábrica Nacional de Moneda y Timbre (National Mint and Stamp Factory) of Spain, offer a visual narrative that reflects the colonial and ethnocentric perspectives of the era, which included representations of the mainland region (Río Muni) and the island region (Fernando Pó). The designs of these stamps often carried an ethnocentric and colonial message. According to David Moriente and Guillermo Navarro, these stamps portrayed a landscape discourse that depicted Equatorial Guinea as a "vacant paradise" rich in natural resources, ripe for Spanish exploitation and settlement. The stamps featured several recurring themes, which can be summarized as follows: Natural Landscapes and Riches: These stamps often depicted the lush, wild nature of Equatorial Guinea, highlighting its natural resources and portraying it as an unspoiled land of plenty. Indigenous Peoples: The activities and physical characteristics of the Bubi and Fang peoples were commonly illustrated. These depictions were framed from a colonial perspective, emphasizing the 'civilizing' influence of Spanish colonizers. Colonial and Evangelizing Activities: Stamps frequently showcased the various ways in which Guineans engaged in work under colonial rule, often highlighting the impact of Spanish 'civilizing' and evangelizing missions. This included scenes of agricultural work, construction, and religious activities, presenting a narrative of colonial dominance and acculturation. Binary Opposition: The designs clearly displayed a binary opposition between the Spanish dominators (portrayed as superior and enlightened) and the Guinean dominated (portrayed as inferior and in need of civilization). Artist include: Teodoro Miciano, Germán Calvo, Emilio Marín, Emiliano Salamanca, Vicente Vila, Vicente D'Urosa. Creator An entity primarily responsible for making the resource Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Date A point or period of time associated with an event in the lifecycle of the resource 1951-1961 Type The nature or genre of the resource Stamp Source A related resource from which the described resource is derived Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237 F. Núñez de Celis, Paisajes y efigie del General Franco. Bahía de Santa Isabel (1951). Sello postal. Guinea Española. Vicente D’Urosa, Día del sello. Porteadores (1961). Sello postal. Fernando Poo. Teodoro Miciano, Conferencia Internacional de Africanistas Occidentales (1951). Sello postal. Guinea Española. Teodoro Miciano, V Centenario de Isabel la Católica. Espíritu Santo e indígena (1951). Sello postal. Guinea Española. Teodoro Miciano, Mujer con paloma (1953). Sello postal. Guinea Española Germán Calvo, Tipos indígenas. Hombre con tam-tam (1953). Sello postal. Guinea Española. Emilio Marín, Centenario de la Prefectura Apostólica de Fernando Poo, Annobón y Corisco. Bautismo (1955). Sello postal. Guinea Española. Mariano Salamanca, Pro-infancia. Hombre indígena ante crucifijo (1961). Sello postal. Fernando Poo. Vicente Vila, Proinfancia. Mujer indígena y bendición (1961). Sello postal. Fernando Poo. Juan José de Castro, Niño indígena y misionero (1960). Sello postal. Río Muni. Vicente D’Urosa, Pro-indígenas. Misionero (1958). Sello postal. Guinea Española. Publisher An entity responsible for making the resource available Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Museo Casa de la Moneda, Madrid (España) Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237 Rights Information about rights held in and over the resource Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Format The file format, physical medium, or dimensions of the resource Physical Medium Language A language of the resource Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Colonial Stamps Fábrica Nacional de Moneda y Timbre https://hernando.upenn.domains/files/original/3ff0cc170aa177c1a1609a418125c9ad.jpg 7a5c832d80a85f8ad5dbaa011960ced5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource Archives are not merely sources for extracting knowledge but generators of colonial knowledge. Anthropologist Ann Laura Stoler argues that archives are “cultural artifacts of fact production, of taxonomies in the making, and of absurd notions of what made up colonial authority. Reading along the archival grain opens up enriching readings of them as sites of contested knowledges.” The first section, "The Temptation of Empire,” shows how written records, pavilions, and audiovisual products about Equatorial Guineans during the 19th and 20th centuries served as propaganda to legitimize the imperial project after the loss of Spain's colonies of the Philippines, Cuba, and Puerto Rico. Inspired by the contributions of the issue of Bulletin of Spanish Visual Studies “El archivo colonial bajo el foco: representaciones audiovisuales de Guinea Ecuatorial” [The colonial archive in the spotlight: audiovisual representations of Equatorial Guinea], this part of the exhibition addresses how visual production along the 19th and 20th century not only deal with obvious propaganda messages, but also reveal contradictions and ambiguities within the colonial rule. Most of these resources are relatively still unknown within Hispanic studies and in cultural visual studies on European imperialism. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Relation A related resource González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174. Colmenero, Sara Santamaría. “El Paraíso Perdido: Nostalgias Coloniales En El Archivo Audiovisual de Guinea Ecuatorial (2000–2020).” Bulletin of Spanish visual studies. 6.2 (2022): 303–324. Web. Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. López Sanz, Hasan G. "'Guinea. Negocio y Misión': La Fotografía En La Representación Del Poder y La Construcción De Sujetos Coloniales En Las Ferias Muestrario De Valencia De 1942 y 1946." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 197-215. Language A language of the resource English and Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Spain, Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Visual Archive Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Colonial Documentary during Francoism: the case of Hermic Films Subject The topic of the resource Colonial Film and Photographic Culture during Francoism Description An account of the resource Hermic Films, founded in 1940 by Manuel Hernández Sanjuán, played a crucial role as an ideological tool of imperial propaganda during Franco's regime, similar to the colonial science promoted by the Instituto de Estudios Africanos. Known for its extensive production of over 200 short films, predominantly documentaries, Hermic Films contributed significantly to the regime's narrative of empire and colonialism. In 1944, under the direction of General José Díaz de Villegas, the company embarked on a major project to document Spanish Guinea. This mission, carried out between 1944 and 1946, resulted in over 5,000 photographs and thirty-one documentary films. According to Alba Valenciano Mañé and Francesca Bayre, these films were more than mere recordings; they were designed to present an idealized vision of Spanish colonial efforts, showcasing the supposed benefits of Spanish rule and the exoticism of African territories. Exhibited in 1946 at Madrid's Palacio de la Música, the documentaries aimed to foster domestic support for colonial policies and to portray a stable, prosperous empire. Hermic Films, like the Instituto de Estudios Africanos, played a vital role in justifying and maintaining Spain's colonial presence through controlled representations of colonial life. By shaping public perception and reinforcing the narrative of a civilizing mission, Hermic Films helped fortify the cultural and ideological underpinnings of the regime. Their work was instrumental in crafting a sanitized image of colonialism that aligned with the imperialist and nationalist ethos of the time, making Hermic Films a key player in the cultural perpetuation of colonial ideology. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Rights Information about rights held in and over the resource Colección Filmoteca Española Format The file format, physical medium, or dimensions of the resource Visual Archive Language A language of the resource Spanish Type The nature or genre of the resource Film and photography Source A related resource from which the described resource is derived Elena, Alberto. "Spanish Colonial Cinema: Contours and Singularities". Joumal of Film Preservation 63 (2001): 29-35. Landau, Paul S. Introducción. "An amazing distance: pictures and Empires: Visuality in Colonial and Postcolonial Africa . Ed. Kaspin, Berkeley: U of California Mañé, Alba Valenciano, and Francesca Bayre. “Cuerpos Naturales, Mentes Coloniales: Las Imágenes de Hermic Films En La Guinea Española.” Afro-Hispanic Review, vol. 28, no. 2, 2009, pp. 245–68. JSTOR, http://www.jstor.org/stable/41349287. Accessed 22 July 2024. Ortín, Pere y Pereira, Vic. M bini: Cazadores de imágenes en la Guinea colonial. Barcelona: Altair, 2006. Nerín, Gustau. Guinea Ecuatorial: Historia en blanco y negro. Barcelona: Península, 1997. Nerín, Gustau, y Alfred Bosch. El imperio que nunca existió. Barcelona: Plaza, 2001. Publisher An entity responsible for making the resource available Archivo Hermic Films. Colección Filmoteca Española. Date A point or period of time associated with an event in the lifecycle of the resource 1940-1977 Relation A related resource Hernández-Sanjuán, Manuel. Bajo la lámpara de bosque. 1946 (serie La Guinea Española 71) M bini: Cazadores de imágenes en la Guinea colonial Ed. Pere Ortín, Vic Pereiro. Barcelona: Altair, 2006. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Spain, Equatorial Guinea Colonial Documentary Francoism Hermic Films https://hernando.upenn.domains/files/original/33c80439788b2d5bbb67fd0c791f61cc.jpg 90d73f194c4f4770030c3eb1f8d9844a https://hernando.upenn.domains/files/original/b156e58c18adc5e5aaf2b1f18695e8b8.jpg 57b8b8c67b6dfc5f0127a140248ce971 https://hernando.upenn.domains/files/original/fe76c044dba641d76ef1e113c0922ecf.jpg a5a3b5cab7eead9bc862a09f2e7aed77 https://hernando.upenn.domains/files/original/675d97512e4b5d19acf3a8a14b66e3a1.jpg beb011c4841032ae9c384851bf89edb0 https://hernando.upenn.domains/files/original/82b53ea4c98660f98e12982d8f25df0d.jpg cba9f6e1d8f136ea0f8c85f410fe172f https://hernando.upenn.domains/files/original/e17ceba2eedc9cc0a0e05b18c1511e1c.jpg f7c8cf610681d758e487bec5bb283eee https://hernando.upenn.domains/files/original/de09461a31390babb56b8874cd7175d6.jpg 2e395ef2cd7ebd9fbc1e1288821c7e58 https://hernando.upenn.domains/files/original/a96d10ee06b0b6b59f409e2568de2368.jpg 936bbeaa308efd984e3b5364aeca7d3d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource Archives are not merely sources for extracting knowledge but generators of colonial knowledge. Anthropologist Ann Laura Stoler argues that archives are “cultural artifacts of fact production, of taxonomies in the making, and of absurd notions of what made up colonial authority. Reading along the archival grain opens up enriching readings of them as sites of contested knowledges.” The first section, "The Temptation of Empire,” shows how written records, pavilions, and audiovisual products about Equatorial Guineans during the 19th and 20th centuries served as propaganda to legitimize the imperial project after the loss of Spain's colonies of the Philippines, Cuba, and Puerto Rico. Inspired by the contributions of the issue of Bulletin of Spanish Visual Studies “El archivo colonial bajo el foco: representaciones audiovisuales de Guinea Ecuatorial” [The colonial archive in the spotlight: audiovisual representations of Equatorial Guinea], this part of the exhibition addresses how visual production along the 19th and 20th century not only deal with obvious propaganda messages, but also reveal contradictions and ambiguities within the colonial rule. Most of these resources are relatively still unknown within Hispanic studies and in cultural visual studies on European imperialism. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Relation A related resource González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174. Colmenero, Sara Santamaría. “El Paraíso Perdido: Nostalgias Coloniales En El Archivo Audiovisual de Guinea Ecuatorial (2000–2020).” Bulletin of Spanish visual studies. 6.2 (2022): 303–324. Web. Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. López Sanz, Hasan G. "'Guinea. Negocio y Misión': La Fotografía En La Representación Del Poder y La Construcción De Sujetos Coloniales En Las Ferias Muestrario De Valencia De 1942 y 1946." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 197-215. Language A language of the resource English and Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Spain, Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Periodical Journal Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource África: revista de tropas coloniales Subject The topic of the resource Colonial Science in Equatorial Guinea during Francoism and the Instituto de Estudios Africanos Description An account of the resource The journal "África", published by the Instituto de Estudios Africanos (IDEA), was a pivotal platform for disseminating research and knowledge about Spanish colonial territories in Africa, particularly during Franco's dictatorship. Launched in 1946, the journal aimed to legitimize and support Spain's colonial endeavors through scientific and scholarly articles. "África" featured contributions from various disciplines such as anthropology, ethnology, geography, history, and medicine, reflecting the institute’s objective to create a comprehensive understanding of the colonies from multiple angles. By including works from prominent scholars, colonial officials, missionaries, and generals, the journal sought to produce a 'total knowledge' framework that presented Spanish colonialism as a benevolent and civilizing mission. The visual elements in "África" were crucial for engaging both intellectual and emotional responses from its readers. Photographs, maps, and illustrations were used extensively to depict the natural landscapes, cultural practices, and economic activities in the colonies, thereby reinforcing the narrative of Spanish progress and benevolence. The journal also served as a tool for the metropolitan audience, persuading them of the importance and benefits of the colonial project, and fostering a sense of national pride and support for Spain's imperial ambitions. Through its scholarly rigor and strategic use of visual aids, "África" played an essential role in shaping public perceptions and sustaining ideological support for Spanish colonial policies. It exemplified how scientific and academic publications were harnessed to serve the broader imperial objectives of the Francoist regime, contributing to the systematic governance and exploitation of colonial populations and resources in Equatorial Guinea and other African territories under Spanish control. The Digital Archive with full access to the numbers of the journal Africa published by Instituto de Estudios Africanos (IDEA) is available through the repository of the Biblioteca Tomás Navarro: http://simurg.csic.es/view/990001022570204201/africa-revista-de-tropas-coloniales Creator An entity primarily responsible for making the resource Consejo Superior de Investigaciones Científicas, Instituto de Estudios Africanos (IDEA) Publisher An entity responsible for making the resource available Consejo Superior de Investigaciones Científicas, Instituto de Estudios Africanos (IDEA) Source A related resource from which the described resource is derived Biblioteca Tomás Navarro: http://simurg.csic.es/view/990001022570204201/africa-revista-de-tropas-coloniales Date A point or period of time associated with an event in the lifecycle of the resource 1926-1968 Rights Information about rights held in and over the resource Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional de Creative Commons. Format The file format, physical medium, or dimensions of the resource Digitalized Archive Language A language of the resource Spanish Type The nature or genre of the resource Periodical Journal Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Colonial Science Francoism Instituto de Estudios Africanos (IDEA) Revista Africa