Browse Items (29 total)
Sort by:
-
Mbini: Cazadores de Imágenes en la Guinea Ecuatorial
Mbini: Cazadores de imágenes en la Guinea Ecuatorial is a documentary film spearheaded by Agueda Ortín and Samuel Pereiró, focusing on the historical and visual representation of Equatorial Guinea through the lens of contemporary Spanish filmmakers. The project utilizes archival footage from Hermic Films, a company that documented life in Equatorial Guinea during the colonial period. By revisiting this footage, the documentary aims to explore and critique the narratives and perspectives embedded within the colonial gaze.
The primary objective of the documentary is to critically examine how Equatorial Guinea was portrayed by Spanish filmmakers during the colonial era, highlighting the colonial ideologies and perspectives that shaped these representations. In doing so, the project seeks to foster a dialogue about the enduring impacts of colonialism on both the colonizers and the colonized.
The DVD include five films. Three are original shorts of the series la Guinea Española (Balele, Una cruz en la selva y Bajo la lámpara del bosque) and other two created and produced by We Are Here! Films (Le Mal d’Afrique y Cazadores de imágenes).
At first glance, the films included in the project may appear to reproduce exotic and untamed representations of Guinea from a contemporary Spanish perspective. However, the inclusion of an interview with Guinean writer Donato Ndongo Bidyogo provides a crucial critical counterpoint. Ndongo Bidyogo offers a powerful critique of the colonial gaze evident in the archival footage, pointing out how Africans are often depicted in infantilized and subaltern roles. He argues that the concept of civilization associated with the colony underpins the colonizing discourse found in the visual material, diminishing the role of Africans and framing them within a paternalistic narrative that justifies colonial domination.
The documentary also delves into the reactions of contemporary Guinean spectators to the archival footage, revealing a paradoxical alignment with the colonial perspective, especially in the positive perception of modernization and development. Some Guineans, reflecting on the conditions of their ancestors, express a perception of their grandparents as "poor" and "primitive," thereby inadvertently adopting the evolutionary and paternalistic logic of the colonial narrative.
This paradoxical appropriation of colonial discourse by some Guineans highlights the need for deeper reflection on the audiovisual material from Hermic Films. Valenciano and Bayre point out that this phenomenon underscores the necessity to critically engage with and deconstruct the colonial ideologies embedded in historical representations.
Mbini: Cazadores de imágenes en la Guinea Ecuatorial serves as an important work that resurrects historical footage and prompts critical discussions about the lasting impacts of colonialism on visual culture and collective memory. By juxtaposing archival footage with contemporary critique, the documentary encourages viewers to reflect on the complexities of historical narratives and their modern-day interpretations. -
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. -
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 -
Photographic archive of Felipe Osa Angüé
Images from the personal photographic archive of Felipe Osa Angüé during an interview by Ministerio de Cultura y Promoción Artesanal of Equatorial Guinea. -
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. -
TextMuseo Internacional de Arte Contemporáneo de Guinea EcuatorialNeocolonial Politics in the Museum
Museum Artists and Brief Dictionary of Current Art - Catalog of the Museo Internacional de Arte Contemporáneo. Guinea Ecuatorial
“The International Museum of Contemporary Art of Equatorial Guinea also has a special significance, to the extent that it constitutes the first high-level artistic contact between Spain and the African continent on a permanent basis”. (7)
Hilario Hernández Marqués
Secretario General Técnico del Ministerio de Cultura de España
The artist catalog and art terminology dictionary provided by the Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) highlight significant issues related to representation and the perpetuation of neocolonial dynamics. These materials reveal biases that contribute to the marginalization of Equatorial Guinean artists and underscore the continued dominance of Western artistic frameworks.
The catalog highlights an "exceptional section of drawing and graphic work" featuring renowned Spanish artists such as Picasso, Millares, Saura, Sempere, Tapies, Serrano, Tharrats, Canogar, Chirinos, and Chillida. It also mentions contributions from Ibero-American artists like Plank, Kreps, Oscar Serra, Patricia Delmar, Farnese de Andrade, Da Rocha, Portales, Lile Spataro, Wilfredo Lam, Guayasamin, Sabillon, Torralba, Zachrisson, Jirnénez, Larios, and Mauro Mejiaz. However, despite these claims, there is a glaring underrepresentation of Equatorial Guinean and African artists.
Only two Black African artists from Equatorial Guinea are listed among a total of 228 artists, with the vast majority being from Spain. This disparity underscores a colonial mindset that prioritizes Western and Spanish art over local expressions. The museum's emphasis on Spanish and Ibero-American contributions, while marginalizing African artists, perpetuates the secondary position of Equatorial Guinean art within the broader Hispanic world. This suggests that local art is valued primarily when framed within a Western context, reinforcing colonial hierarchies and diminishing the significance of indigenous artistic traditions.
The language used in the catalog compounds this issue. While the museum claims to have a "notable representation of Africans," this representation is skewed towards artists who have left the continent or whose work is internationally recognized, often through Western validation. Mentioning Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam as notable African artists, while important, does not compensate for the overwhelming underrepresentation of local talent. This selective inclusion reinforces the notion that African art gains legitimacy primarily through international, particularly Western, recognition.
The art terminology dictionary provided by the museum further illustrates these neocolonial dynamics. Designed to educate readers on basic art categories, the dictionary focuses primarily on European concepts and how these trends have been adopted by Spanish and Latino artists. There is a notable absence of terms and categories specific to Equatorial Guinean or African art traditions. This Eurocentric focus alienates local artists and audiences and perpetuates the dominance of Western art historical frameworks.
Rather than reshaping art categories to reflect the diversity of Guinean art, the dictionary reinforces existing Western paradigms. This approach fails to illuminate the unique contributions of Equatorial Guinean artists and does not challenge the prevailing narratives that have historically marginalized non-Western art forms. By neglecting to include terms and concepts intrinsic to Guinean and African art, the dictionary perpetuates a limited and exclusionary understanding of art history.
In summary, the artist catalog and art terminology dictionary of the MIACGE exemplify the neocolonial power structures embedded within contemporary cultural institutions. The emphasis on Spanish and Ibero-American artists, coupled with the marginalization of Equatorial Guinean and African artists, reflects a continuation of colonial hierarchies. The Eurocentric focus of the art terminology dictionary further entrenches these dynamics, failing to provide an inclusive and representative framework for understanding art. These materials highlight the need for a critical examination of institutional practices that continue to prioritize Western artistic paradigms over local cultural expressions. -
TextMuseo Internacional de Arte Contemporáneo de Guinea EcuatorialNeocolonial Politics in the Museum
Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial / [fotografía, Rosa Martínez de Lahidalga; prólogo por Hilario Hernández Marqués]
“The International Museum of Contemporary Art of Equatorial Guinea, with content of exceptional category, must serve as a ferment for new concerns and approaches on an aesthetic and human level. It also constitutes the first high-level contact that Spain establishes permanently with the African continent.” (7)
Hilario Hernández Marqués
Secretario General Técnico del Ministerio de Cultura de España
The Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) is emblematic of new articulations of neocolonial power, particularly through the deceptive language of institutional collaboration. A critical examination reveals how the institution perpetuates neocolonial dynamics under the guise of cultural exchange and development.
The Spanish Ministry of Culture’s catalog release highlights the museum's role in fostering new aesthetic and human concerns, describing it as "the first high-level contact that Spain establishes permanently with the African continent." This framing suggests a unilateral initiative, where Spain positions itself as the primary agent of cultural influence, reinforcing a hierarchical relationship reminiscent of colonial times. The museum's establishment is portrayed as a benevolent act of cultural enrichment, ignoring the historical context of colonial exploitation and the complex power dynamics at play. Hilario Hernández Marqués, Secretario General Técnico del Ministerio de Cultura de España, underscores the significance of the museum as a high-level artistic contact with Africa. This statement emphasizes Spain’s self-assumed role as a cultural benefactor, subtly insinuating that Africa’s cultural value is validated through Spanish recognition and support. The narrative reflects a continuation of colonial attitudes, where the former colonizer claims a central role in defining and legitimizing African cultural expressions.
The museum's permanent exhibit features an "exceptional section of drawing and graphic work" from renowned Spanish artists like Picasso, Millares, Saura, and Tapies, among others. The inclusion of these prominent names suggests a cultural hierarchy, positioning Western art as the benchmark for quality and significance. The catalog also notes contributions from Ibero-American artists, further emphasizing the Western-centric curation of the collection. While these works are undoubtedly valuable, their prominence within the museum space can overshadow and marginalize local African artists, perpetuating a narrative that places Western art at the forefront of cultural discourse.
The museum's representation of African artists is described as notable, with some artists developing their work within Africa and others achieving synthesis while residing in Europe or America. The catalog mentions Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam, highlighting their international recognition. However, the emphasis on their international acclaim and residence outside Africa subtly suggests that African art gains legitimacy primarily through Western validation and exposure.
The museum's concept and execution reflect a neocolonial framework, where cultural exchange is mediated by the former colonizer, reinforcing existing power structures. The language of institutional collaboration masks the underlying dynamics of control and influence, presenting a façade of mutual benefit while maintaining asymmetrical relationships. The MIACGE, rather than serving as a space for genuine cultural dialogue and equitable exchange, risks becoming a site where colonial legacies are reasserted under the pretext of cultural development. -
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. -
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. -
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.