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AhoraEG News: "Culture and tourism acquires the ethnological collection of Felipe Osa Angüé"
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. -
Documentary Film "Expedición a la Guinea Española"
"Expedición a la Guinea Española" (1930) directed by Diego Saavedra Magdalena (appointed as General Director of Morocco and the Colonies), is a documentary situated in the exploration and documentation of Spanish Guinea, now Equatorial Guinea, during its colonial period under Spanish rule. The film is a vivid portrayal of the region's landscapes, cultures, and daily life, crafted to educate Spanish audiences about the colony. Saavedra Magdalena, noted for his ethnographic and documentary work, aimed to provide an in-depth look at the richness and diversity of the region. The documentary's content includes footage of the natural environment, local customs, traditions, and interactions between the colonial administration and indigenous populations. While the documentary serves educational and propagandistic purposes, showcasing Spanish colonial endeavors, it must be critiqued within the context of Spain's imperial projects in the early twentieth century.
The documentary's imagery and narrative are imbued with the ideological underpinnings of colonialism, reflecting the prevailing attitudes of the time. The portrayal of indigenous people and their cultures often aligns with the paternalistic and ethnocentric views typical of imperial powers, framing the colonized as 'exotic' and 'primitive' while positioning the Spanish as civilizing forces. This perspective reinforces the colonial ideology of racial and cultural superiority, justifying the imperial mission. The film's emphasis on the natural resources and strategic value of the colony further underscores the economic motivations driving imperial expansion. Additionally, the documentary likely employs a cinematic style that romanticizes the colonial experience, utilizing staged scenes and selective framing to present an idealized view of Spanish colonialism.
"Expedición a la Guinea Española" is not merely a historical artifact but also a reflection of the broader imperialist agenda of early twentieth-century Spain. It offers invaluable insight into the period's colonial mentality but simultaneously demands critical examination of its ideological biases. The documentary is a testament to the complex interplay between cultural representation and imperial ambition, revealing how media was used to construct and perpetuate colonial narratives.
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África: revista de tropas coloniales
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 -
Poem Gritos de libertad y esperanza
Poem Gritos de liberad y esperanza by Anacleto Mibuy -
La Casa Verde, Ethnographic Museum of Equatorial Guinea
"La Casa Verde" in Malabo is a historic colonial building dating back to the mid-19th century, constructed from American pine and originally built in Belgium. This structure, one of the oldest in the city, has served various roles, including as the Portuguese Consulate and later as headquarters for Spanish companies.
"La Casa Verde" is currently in a state of disrepair. Restoration efforts, initiated over two years ago by the Ministry of Culture and Tourism, have been delayed and are now stalled, leaving the building in a precarious condition. Once a key tourist attraction, the building now stands largely abandoned, with locals expressing deep concern over its uncertain future. The incomplete renovations have turned what was once a symbol of Malabo's colonial heritage into a neglected site.
The situation with "La Casa Verde" in Malabo raises significant concerns about the future of Felipe Osá Angue's collection. Despite its historical and cultural importance, "La Casa Verde" has fallen into disrepair due to stalled restoration efforts, highlighting potential risks for other cultural assets under institutional care in Equatorial Guinea. The neglect and uncertain fate of "La Casa Verde" suggest that similar challenges could threaten the preservation, presentation, and integrity of Felipe's collection if it is not adequately maintained and respected within its new institutional context. -
Bieris of the Museum Felipe Osá Angüé
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. -
Felipe's collecting methods
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.’ -
Leandro Mbomio Nsue: Bantu Heritage in Equatoguinean Contemporary Sculpture
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. -
Fang Intellectual Perspectives on Bantu Unity: "El proceso democrático de Guinea Ecuatorial" and "Tradiciones del pueblo Fang"
The concept of Bantu unity in Equatorial Guinea has served as a tool for shaping national identity, deeply intertwined with the country's political landscape and historical narratives. The political and ideological implications of this myth regarding nation-building policies under Obiang's regime have been evaluated by Igor Cusack, who contrasts the different positions of Equatoguinean intellectuals. Rooted in the idea that all native peoples of Equatorial Guinea are Bantu, this concept is part of a broader tale of migration and cultural heritage. According to this myth, Bantu peoples undertook a great migration from Northeast Africa, traversing regions like the Nile and Congo valleys before settling in the dense jungles of Equatorial Africa. Their culture is often portrayed as having significant parallels with that of the Hebrews in the Bible, establishing a link with antiquity and a revered historical lineage.
This narrative is more than just a cultural story; it intertwines with the ideologies of Pan-Africanism and African unity. The Pan-African movement, which emphasizes solidarity and self-determination among African peoples, finds specific expression in the promotion of Bantu culture. Institutions such as the Centre International des Civilisations Bantu (CICIBA) in Gabon, supported by UNESCO, the United Nations Development Programme (UNDP), and the European Union, exemplify the international community's endorsement and valorization of Bantu heritage. These efforts highlight a recognition of Bantu cultural unity as a significant component of African identity.
Prominent figures like Alejandro Evuna Owono Asangono and Constantino Ocha'a Mve Ben have played crucial roles in propagating this myth within national and international contexts. In his book "El Proceso Democrático de Guinea Ecuatorial," Evuna Owono underscores the notion that Equatorial Guinea's population is entirely part of the Bantu family, reinforcing a unified national identity grounded in Bantu roots. He writes: "...existen costumbres, prácticas y creencias determinantes de la cultura del pueblo africano de Guinea Ecuatorial, en particular, y de toda la familia Bantú, en general, que a través de milenios se han venido tranmitiendo de familia en familia y de generación a generación hasta nuestra días, las cuales coinciden exactamente con las prácticas del pueblo hebreo ... que revelan cierto casamiento o paratesco entre las razas judía y bantú." (27). Additionally, his diplomatic role as the ambassador to Spain amplified this narrative on an international stage, aligning national identity with broader themes of Bantu and African unity.
Similarly, Constantino Ocha'a Mve Ben, in his work "Tradiciones del Pueblo Fang," argues that African and Bantu traditions merged during the period of Spanish colonization, creating a unique Guinean identity. He posits that this fusion of traditions has given rise to a national community whose identity is inherently Guinean. This idea persists in his later publication "Guinea Ecuatorial, polémica e identidad": "...se aprecia una tendencia cosmopolita en la evolución del substrato poblacional espontáneo, lo que constituye una conquista para la guineidad." (38) Once again, this perspective supports the idea of a homogeneous national culture emerging from a shared Bantu heritage, further solidifying the myth of Bantu unity.
Ultimately, the instrumentalization of the Bantu unity myth by the regime has significant political implications. The dominant Fang ethnic group uses this narrative to assimilate other ethnicities, such as the Bubis, who do not share the same Bantu roots. The emphasis on a unified Bantu identity marginalizes these groups, undermining their unique cultural and historical narratives, and reinforcing the Fang-dominated government's political and cultural hegemony. The international community's support for Bantu cultural initiatives, although well-intentioned, inadvertently bolsters this homogenizing agenda, further entrenching the regime's position. -
The Myth of Bantu Unity and Equatorial Guinea Conflicting Identities during Obiangs’ Regime
At this point, my curation aims to illustrate how the conflict regarding the Bantu myth has added an extra layer of complexity to the operation of neocolonial politics, with local elites acting as their conduits in the aftermath of Francoism and the Spanish imperial project. The materials included in this curation—textbooks, poems, intellectual research, and material culture—provide a comprehensive overview of the varied reactions, both critical and supportive, to Obiang’s cultural and ethnic enterprise.
The Guinean-Ecuadorian state itself is a product of colonial engineering aimed at homogenizing a diverse society. The colonial powers attempted to create a unified social organization, disregarding the unique histories and commitments of the different ethnic groups. This homogenizing effort has made it challenging for Equatorial Guinea to function as a unified state accepted by all its ethnic constituents (Muakuku Rondo, 19). Precisely, Teodoro Obiang Nguema Mbasogo’s regime has intricately woven the myth of Bantu unity and the influence of Hispanic culture into its political and cultural framework, creating a narrative that attempts to foster national cohesion while navigating the country's complex ethnic landscape.
Equatorial Guinea, with its diverse array of ethnic groups, including the Fang, Bubi, Ndowe, and Annobonese, has been a fertile ground for such manipulation. The Fang, a Bantu-speaking people, form the majority and dominate the mainland region of Río Muni. The Bubi primarily inhabit Bioko Island, the Ndowe reside along the coastal areas, and the Annobonese live on the island of Annobón. The regime has leveraged the notion of Bantu unity to propose a shared cultural heritage among these groups, institutionalized through initiatives like the 'Centre International des Civilisations Bantu' (CICIBA) in Libreville, Gabon, with support from UNESCO, the UNDP, the EU, and other organizations (Cusack, 79). The international backing of Bantu cultural unity adds a veneer of legitimacy to the regime's narrative.
However, this narrative of unity belies the deep-seated ethnic divisions within the country. The Fang ethnic group, to which Obiang belongs, has maintained political dominance since independence, leading to perceptions of favoritism and marginalization among other groups, particularly the Bubi. The Bubi have a distinct identity and have historically resisted assimilation into the broader Bantu identity promoted by the Fang. This resistance has often been met with repression and violence, especially following the discovery of oil on Bioko Island, which heightened the island’s economic importance.
The regime’s exploitation of ethnic divisions extends to other groups as well. The Ndowe, primarily coastal dwellers, frequently feel excluded from the political and economic developments that favor the mainland and Bioko Island. Similarly, the Annobonese, isolated on a distant island, have limited political influence and access to national resources. The discovery and exploitation of oil have further exacerbated these tensions, as the wealth generated has not been evenly distributed. This uneven distribution of resources fuels grievances among marginalized groups who see the benefits accruing predominantly to the Fang elite and their associates.
In parallel, Obiang’s regime has actively promoted the importance of Hispanic culture in shaping the nation’s identity. This strategy serves a dual purpose: it reinforces a sense of shared cultural heritage with Spain and appeals to Spain’s interest in perpetuating its cultural legacy in Africa, often as a means of soliciting development aid. This linkage between Hispanic and African cultures can be traced back to Francoist ideologies such as "hispanotropicalismo" (Cusack, 214).
In summary, the following section of the collection offers a comprehensive overview of the varied reactions to Obiang’s cultural and ethnic enterprise. These materials illustrate the complex ways in which neocolonial politics operate in Equatorial Guinea, with local elites acting as the conduits of these policies.