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            <name>Title</name>
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                <text>1. The Temptation of Empire</text>
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            <name>Subject</name>
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                <text>Equatorial Guinea during the 19th and 20th century</text>
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                <text>Archives are not merely sources for extracting knowledge but generators of colonial knowledge. Anthropologist Ann Laura Stoler argues that archives are “cultural artifacts of fact production, of taxonomies in the making, and of absurd notions of what made up colonial authority. Reading along the archival grain opens up enriching readings of them as sites of contested knowledges.”&#13;
&#13;
The first section, "The Temptation of Empire,” shows how written records, pavilions, and audiovisual products about Equatorial Guineans during the 19th and 20th centuries served as propaganda to legitimize the imperial project after the loss of Spain's colonies of the Philippines, Cuba, and Puerto Rico. &#13;
&#13;
Inspired by the contributions of the issue of Bulletin of Spanish Visual Studies “El archivo colonial bajo el foco: representaciones audiovisuales de Guinea Ecuatorial” [The colonial archive in the spotlight: audiovisual representations of Equatorial Guinea], this part of the exhibition addresses how visual production along the 19th and 20th century not only deal with obvious propaganda messages, but also reveal contradictions and ambiguities within the colonial rule. Most of these resources are relatively still unknown within Hispanic studies and in cultural visual studies on European imperialism. &#13;
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            <name>Creator</name>
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                <text>Alexis Hernando Cubas</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>August, 2024</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Creative Commons</text>
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                <text>González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174.&#13;
&#13;
Colmenero, Sara Santamaría. “El Paraíso Perdido: Nostalgias Coloniales En El Archivo Audiovisual de Guinea Ecuatorial (2000–2020).” Bulletin of Spanish visual studies. 6.2 (2022): 303–324. Web.&#13;
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Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237.&#13;
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Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258.&#13;
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López Sanz, Hasan G. "'Guinea. Negocio y Misión': La Fotografía En La Representación Del Poder y La Construcción De Sujetos Coloniales En Las Ferias Muestrario De Valencia De 1942 y 1946." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 197-215.</text>
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            <name>Language</name>
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                <text>English and Spanish</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Spain, Equatorial Guinea</text>
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          <name>Title</name>
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              <text>Black Bodies at the Pavilion of the Spanish Guinea during the Exposición Iberoamericana of Seville </text>
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          <description>The topic of the resource</description>
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              <text>Exposición Iberomamericana </text>
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              <text>At the Exposición Iberoamericana of 1929 in Seville, the Pavilion of Spanish Guinea prominently featured displays of Black bodies as part of its exhibition. This practice was consistent with the colonial exhibitions of the era, where indigenous people from the colonies were often showcased to highlight the supposed civilizing missions of European powers. In the Spanish Guinea pavilion, Black individuals were presented in constructed "authentic" environments, performing daily activities and cultural practices. These displays aimed to emphasize the exoticism and otherness of African people while simultaneously justifying Spain's colonial endeavors as benevolent and progressive. The exhibition perpetuated colonial stereotypes and reinforced racial hierarchies, portraying African people as primitive and in need of Spanish oversight and development. Such displays were intended to demonstrate Spain's imperial reach and its role in bringing civilization to its African territories, aligning with broader European colonial narratives. This objectification and dehumanization of Black bodies as in the case of the Corisqueños dancers served to legitimize colonial rule and distract from the exploitative realities of colonialism. The pavilion’s portrayal of Spanish Guinea thus played a crucial role in the cultural and political propaganda of the time, reinforcing Spain's colonial identity and ambitions on the international stage. Evidence of these human exhibits can be found in the photographs, articles, and postcards of the time, which documented and promoted the exposition’s themes and displays.</text>
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              <text>Alexis Hernando Cubas</text>
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              <text>Sánchez Gómez, Luis Á. "África En Sevilla: La Exhibición Colonial De La Exposición Iberoamericana De 1929." Hispania (Madrid), vol. 66, no. 224, 2006, pp. 1045-1082.</text>
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              <text>Manuel, "Fotos y postales antiguas de Sevilla". https://postalesyfotosantiguasdesevilla.blogspot.com/2020/02/pabellon-de-guinea-en-la-exposicion.html</text>
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              <text>Archivo ABC. &lt;a href="https://www.abc.es/archivo/fotos/los-reyes-de-espana-visitan-el-pabellon-de-guinea-en-la-7756607.html?ref=https%3A%2F%2Fwww.abc.es%2Farchivo%2Ffotos%2Flos-reyes-de-espana-visitan-el-pabellon-de-guinea-en-la-7756607.html" title="Archivo ABC"&gt;https://www.abc.es/archivo/fotos/los-reyes-de-espana-visitan-el-pabellon-de-guinea-en-la-7756607.html?ref=https%3A%2F%2Fwww.abc.es%2Farchivo%2Ffotos%2Flos-reyes-de-espana-visitan-el-pabellon-de-guinea-en-la-7756607.html&lt;/a&gt;</text>
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              <text>1929</text>
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          <name>Rights</name>
          <description>Information about rights held in and over the resource</description>
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              <text>Archivo ABC: Los Reyes de España Visitan el pabellón de guinea en la exposición Iberoamericana de 1929 en Sevilla</text>
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              <text>«El pabellón de Guinea en la Exposición de Sevilla» en Revista Hispano-Africana 5 (mayo de 1929) p. 15.&#13;
&#13;
Blanchard, Pascal. Human Zoos: Science and Spectacle In the Age of Colonial Empires. Liverpool: Liverpool University Press, 2008.&#13;
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González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174.&#13;
&#13;
Plasencia Camps, Inés. "Embodying the Colonial Memory. White Colonists and “implicated Subjects” in Photographs from Equatorial Guinea." Culture &amp; History Digital Journal, vol. 12, no. 1, 2023, pp. e004.&#13;
&#13;
Sánchez Gómez, Luis Á. "África En Sevilla: La Exhibición Colonial De La Exposición Iberoamericana De 1929." Hispania (Madrid), vol. 66, no. 224, 2006, pp. 1045-1082.&#13;
&#13;
Stoler, Ann Laura. Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense. Princeton: Princeton University Press, 2009.&#13;
&#13;
Maxwell, Anne. Colonial Photography and Exhibitions: Representations of the Native and the Making of European Identities, 1901.&#13;
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              <text>Spain</text>
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