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Libro de Oro Ibero Americano. Catálogo oficial y monumental de la exposición de Sevilla
The Libro de Oro Ibero-Americano is an official and monumental catalog of the Ibero-American Exhibition held in Seville in 1929. Edited by the Unión Iberoamericana, the catalog features contributions from notable figures such as Víctor Espinós, Enrique Díez-Canedo, and Jacinto Benavente. Published by Aldus in Santander, it comprises extensive pages with illustrations, providing a comprehensive overview of the exhibition.
This catalog documented the exposition extensively, detailing the exhibits, pavilions, and participants, with a focus on cultural, economic, and technological achievements. It highlighted the shared heritage between Spain and Latin America, emphasizing unity and collaboration.
Richly illustrated with photographs and maps, the catalog provided a vivid representation of the event's grandeur and diversity. It also covered the economic and trade aspects, promoting investment and commercial partnerships between Spain and Latin American countries. Serving as an official and monumental record, the catalog underscored the significance of the exposition in fostering cultural and economic ties, while reinforcing Spain's aspirations to reassert its influence and prestige globally. -
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. -
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. -
Interview to Felipe Osa Angüé
Felipe Osá Angue was a significant cultural figure in Equatorial Guinea, known primarily for his extensive work in preserving the Fang cultural heritage. He meticulously curated a vast collection of ethnological artifacts and exhibited them in the Museum Felipe Osá Angue. The museum bearing his name serves not only as a repository of traditional artifacts but also as a testament to his dedication to maintaining and promoting the cultural legacy of his people.
The story of Felipe Osá Angue's dedication to cultural preservation begins two generations ago with his grandfather. During Spanish control, his grandfather endeavored to pass down as much knowledge as possible about the objects that were part of daily life in the Fang community. He taught his children the names and meanings of each object, ensuring that this knowledge was preserved. This practice of documenting the biography of objects served to give meaning to their social life. When Felipe Osá Angue could not find an heir to continue this tradition, he decided to create a museum in Bidjabidjan to house the collection he had spent years assembling.
An interview by Ministerio de Cultura y Promoción Artesanal can be found through the following link: https://www.youtube.com/watch?v=wKVEkHereBE -
Ideological Uses of Colonial Stamps
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. -
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.’ -
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. -
Equatorian Guinean literary expression: Juan Balboa Boneke's Unidad Bantú
Juan Balboa Boneke's poetry is recognized for its profound exploration of cultural identity, nationalism, and social justice. Born on October 27, 1938, in Rebola, Bioko Island, Balboa Boneke was a significant literary figure in Equatorial Guinea. His works, written in both Spanish and Bubi, often reflect the sociopolitical struggles and the complex cultural identity of his people. Through his poetry, he delves into the themes of African identity, colonialism, and the post-colonial experience, demonstrating a deep commitment to his cultural heritage and the broader African identity.
"Unidad Bantu," one of Balboa Boneke's most celebrated poems, underscores the importance of unity among Bantu-speaking peoples and, more broadly, among all African peoples. Despite his Bubi heritage, Balboa Boneke embraced the myth of Bantu unity as part of his Guinean identity. The poem emphasizes cultural and ethnic solidarity in the face of colonial and post-colonial challenges, aligning with Pan-African ideologies that advocate for the self-determination and solidarity of African nations and peoples. This perspective is particularly significant given the ethnic divisions within Equatorial Guinea, where the dominant Fang group's narrative often marginalizes other ethnicities like the Bubis.
Balboa Boneke's embrace of Bantu unity in "Unidad Bantu" is not merely a reflection of state ideology or a tool for the Obiang regime's homogenizing policies. Instead, it articulates a vision of unity that transcends ethnic and linguistic boundaries, advocating for solidarity among all ethnic groups within Equatorial Guinea. His poetry seeks to reclaim a unified cultural heritage fragmented by colonialism, promoting a cohesive national and continental identity. -
El laberinto guineano
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. -
Documentary Series "Spanish Guinea"
The "Spanish Guinea" documentary series, created by Hermic Films and directed by Manuel Hernández Sanjuán between 1944 and 1946, explores the history and impact of Spanish colonial rule in Equatorial Guinea. The series, comprising ten films, aims to provide a comprehensive view of the region's culture, geography, and daily life under Spanish rule. Each film focuses on different aspects of life in Equatorial Guinea, from traditional ceremonies to hunting practices, offering a detailed visual and narrative account of various facets of the local culture and environment. The titles include "El Lago de los Reyes," "La Boda de Eucatrifé," "Entre bubi y fang," "Ebéyaba," "Aventuras de Fang y los bubis," "El pescador pescao," "Cazadores de elefantes," "Crónicas del país de los bubis," "La misión de Efulan," and "Los poblados lejanos."
However, these films must be critically analyzed within the context of colonialism, imperialism, and orientalism. Produced during the colonial period, the series inherently reflects the biases and objectives of Spanish colonial rule. The narratives and visuals are filtered through the colonial gaze, emphasizing Spanish influence and control and often portraying the colonized as passive subjects. The films likely serve to justify and legitimize colonial rule by depicting it as a civilizing mission, portraying local cultures as exotic and backward, thereby rationalizing the need for Spanish governance and intervention. This element of propaganda aims to present a positive image of Spanish colonial efforts to both domestic and international audiences.
The "Spanish Guinea" series also exemplifies orientalism by exoticizing and simplifying local cultures. By focusing on rituals, traditional dress, and "primitive" lifestyles, the films reduce complex societies to mere curiosities for the Western viewer, reinforcing the idea of the non-Western "Other." The portrayal of indigenous people often lacks depth and agency, depicting them as static and timeless, dependent on Western intervention. The series is narrated from a Western perspective, with little input from the indigenous people themselves, perpetuating the orientalist practice of speaking for and about the "Other" without granting them their own narrative agency. This approach implicitly conveys a sense of Western cultural superiority.
While the series provides valuable historical records of life in Equatorial Guinea during the colonial period, it must be critically evaluated for its cultural sensitivity and accuracy. Modern viewers and scholars need to recognize the context in which these films were made and approach them with an understanding of the power dynamics and prejudices inherent in colonial documentation. The portrayal of the colonized people and their cultures should be scrutinized for biases and misrepresentations to gain a more balanced and accurate understanding of the history and culture of Equatorial Guinea.