https://hernando.upenn.domains/files/original/6be27741bc63ee940ab0719ed3e966cf.jpg 00fa7fa14eb41770da8c1d94c1ea1564 https://hernando.upenn.domains/files/original/6ff27d3acd18e010a68bafdfb90b9689.jpg 01f15f58ec472f1210ec78326901b474 https://hernando.upenn.domains/files/original/4b2e4d97af7c5b98af78519d35a7477c.jpg 015667fcbd8cc7f76ecd6388dc01d20d https://hernando.upenn.domains/files/original/c8784f1c7bcba912408e1f739b2fb0a3.jpg dbd6fb14df623ab350c85bc880732654 https://hernando.upenn.domains/files/original/a4140234bdc5ce9f5abce607bed3d770.jpg 2b6da75a35e6c96fc8eac185f1d768dd https://hernando.upenn.domains/files/original/6a0268d63815d0d69a460aeaa935ac49.jpg 462916bb77c7ae6269fee2b86ef6aa8b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2. Neocolonial Politics in the Museum and Conflicting Identities in Equatorial Guinea Subject The topic of the resource Neocolonial Politics in Equatorial Guinea Description An account of the resource The second section of the exhibit, "Neocolonial Politics of the Museum," aims to contextualize and critically examine the materials, texts, and policies that emanate from institutional artistic and educational spaces in Equatorial Guinea during the regime of Teodoro Obiang in the post-independence period. This section departs from a decolonial critique that, despite the end of formal colonial rule by Spain, politics of international collaboration have become an expression of neocolonial forms of cultural and economic influence in Equatorial Guinea. Within the fields of arts and education, intellectual and artistic expression in Equatorial Guinea remain heavily influenced by Western canons. This continues to shape the ways in which art is taught, evaluated, and displayed in museums and galleries, in addition to the cultural narratives that sustain the historical ties to the colonial past. While Western aesthetic standards and curatorial practices often result in the marginalization of black artists, their work is frequently framed through a Eurocentric lens, which can strip it of its cultural and historical context. Similarly, educational materials reflect this ongoing neocolonial influence. Textbooks and curricula often present history from a predominantly Western perspective, emphasizing European achievements while downplaying or distorting the rich histories and contributions of African societies. This not only skews students' understanding of their own heritage but also reinforces a Eurocentric worldview. The political rhetoric and policies of the Obiang regime further complicate the post-independence cultural landscape. The regime's promotion of a homogenized national identity, such as through the myth of Bantu Unity, mirrors colonial strategies of governance that sought to control and assimilate diverse populations. By promoting a unified identity that glosses over cultural diversity, the regime reinforces a simplified and controlled narrative of national identity that serves its own political ends. Igor Cusack’s insights into the regime's manipulation of colonial legacies provide a crucial perspective for this exhibition section. Cusack notes how the regime has "promoted the importance of Hispanic culture in the formation of the ‘nation’s’ cultural identity, while at the same time, it has unashamedly used Spain’s desire to perpetuate its own culture in Africa as a ploy in appealing for development aid." This dual strategy underscores how deeply embedded Western cultural influences remain, shaping both national identity and international relations in ways that benefit the regime. In summary, "Neocolonial Politics of the Museum" aims to uncover and critique these layers of influence, demonstrating how institutional spaces and policies continue to reflect and perpetuate colonial ideologies. By bringing these issues into context, the exhibition encourages viewers to question the narratives presented within these spaces and consider the ongoing impact of neocolonialism in shaping cultural and political life in Equatorial Guinea. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Cusack, Igor. "Hispanic and Bantu Inheritance, Trauma, Dispersal and Return: Some Contributions to a Sense of National Identity in Equatorial Guinea." Nations and Nationalism, vol. 5, no. 2, 1999, pp. 207-236. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Contributor An entity responsible for making contributions to the resource Price Lab for the Digital Humanities, University of Pennsylvania Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Digital Exhibit Language A language of the resource English, Spanish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Leandro Mbomio Nsue: Bantu Heritage in Equatoguinean Contemporary Sculpture Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource 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. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Cusack, Igor. "Hispanic and Bantu Inheritance, Trauma, Dispersal and Return: Some Contributions to a Sense of National Identity in Equatorial Guinea." Nations and Nationalism, vol. 5, no. 2, 1999, pp. 207-236. AA. VV.: Africa: Objetos y sujetos. Gijón, Cajastur, 2010, nº cat. 159, p. 285 Chevalier, D.: Leandro Mbomio. Catálogo Exposición. Gal. Dau al Set, Barcelona. Mayo-junio, 1977 Catálogo de Exposición: Arte Actual y Primitivo de Guinea. Barcelona, Palacio de la Virreina, 1971. Catálogo de Exposición.: Leandro Mbomio. Madrid, Galería Kreisler, octubre, 1978. Areán, C.: Leandro Mbomio en la integración de la negritud. Madrid, 1975, nº 7. Date A point or period of time associated with an event in the lifecycle of the resource August, 2024 Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Digital Text Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Equatorial Guinea Bantu Unity Equatorial Guinea Conflicting Identities Leandro Mbomio Nsue Obiang's Regime