Browse Items (9 total)
Sort by:
-
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. -
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. -
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.’ -
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. -
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. -
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. -
Colonial Documentary during Francoism: the case of Hermic Films
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. -
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