1 10 29 https://hernando.upenn.domains/files/original/13f96a131948f0b97cb77b4d7afbf661.jpg 7b9bfb340961a23c556fbd6bf765911c https://hernando.upenn.domains/files/original/ce603bfdfb0adfb0d6849e23bdd5fe12.jpg 5600ff69669fb80581834cd45111172c https://hernando.upenn.domains/files/original/e532b6a5b630ec757d8b323a8efd3602.jpg a301c3a2d7d193e59a39bc785a948d61 https://hernando.upenn.domains/files/original/74e3d7663da16d510b9df39959019b08.jpg 55f8d13153df6784b729d292df9971fd 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo 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 La Casa Verde, Ethnographic Museum of Equatorial Guinea Subject The topic of the resource The Aftermath of the Museum Felipe Osa Angüé Description An account of the resource "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. 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 Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived RREG. Revista Real EquatorialGuinea "La Casa Verde y la Biblioteca Nacional de Malabo se podrían reabrir al público tras años cerradas" Feb 5th, 2023. https://realequatorialguinea.com/destacado/la-casa-verde-y-la-biblioteca-nacional-de-malabo-se-podrian-reabrir-al-publico-tras-anos-cerradas/ Benjamin Engonga Ngui Eyang, RREG. Revista Real EquatorialGuinea. "La eterna reforma de la Casa Verde de Malabo". June 21st, 2023. https://realequatorialguinea.com/turismo/la-eterna-reforma-de-la-casa-verde-de-malabo/ 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 Language A language of the resource English, Spanish Type The nature or genre of the resource Text Casa Verde Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/43fc2a2bfe003bba435fb57c55d2c44e.jpg e0d193dafd69dfee0efdfebb819c5157 https://hernando.upenn.domains/files/original/00d67b296c4c7696b6d8367e0cfe828f.jpg 24688a7ff3cca21813a63d38c99de230 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital News 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 AhoraEG News: "Culture and tourism acquires the ethnological collection of Felipe Osa Angüé" Subject The topic of the resource The Aftermath of the Museum Felipe Osa Angüé Description An account of the resource 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. Creator An entity primarily responsible for making the resource Digital Newspaper AHORAEG Source A related resource from which the described resource is derived https://ahoraeg.com/cultura/2022/08/02/cultura-y-turismo-adquiere-la-coleccion-etnologica-de-felipe-osa-angue/ Publisher An entity responsible for making the resource available AHORAEG Date A point or period of time associated with an event in the lifecycle of the resource August 2nd, 2022 Rights Information about rights held in and over the resource AHORAEG Format The file format, physical medium, or dimensions of the resource Written text Language A language of the resource 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 AHORAEG Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/b01f3fe41124d5573202e0086dacedc4.jpg ee84f75342b5a2a05c0edcfbb148a16a https://hernando.upenn.domains/files/original/239e19173716de2a9252b56e099b4949.jpg afaf3d9594e41c6e753a1c2ea1e90425 https://hernando.upenn.domains/files/original/00bcd897b6d61afef30be549e3fcf670.jpg 72093b328797f2d2a68126265d72a6ea https://hernando.upenn.domains/files/original/f972ee809aaebe4f081213261a1ff3a5.jpg ed3719e98cceef72abaec02bd92162d5 https://hernando.upenn.domains/files/original/152f185e7cada1082ad514a7114b5fc0.jpg 1e5afc52d22caa2643f89d61fffc40c5 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Video 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 Photographic archive of Felipe Osa Angüé Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource Images from the personal photographic archive of Felipe Osa Angüé during an interview by Ministerio de Cultura y Promoción Artesanal of Equatorial Guinea. Creator An entity primarily responsible for making the resource Ministerio de Cultura y Promoción Artesanal Source A related resource from which the described resource is derived https://www.youtube.com/watch?v=wKVEkHereBE Publisher An entity responsible for making the resource available GRUPO16NOVENOS Date A point or period of time associated with an event in the lifecycle of the resource 2018 Rights Information about rights held in and over the resource Ministerio de Cultura y Promoción Artesanal Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource 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 Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/24bf0512f28e657696a806a17bf27c44.jpg 870bfcf6cf2dfeab9f969f333fdf0a8e https://hernando.upenn.domains/files/original/d290644eab39db85232c222bf1a01a51.jpg e630c88fde704357475fdfe5882acf6d https://hernando.upenn.domains/files/original/69f31107df0d90f06582cdf0212753ad.jpg 44b7343a2f8254729db29e50be00efde https://hernando.upenn.domains/files/original/e89757eb7942facfd5ea1e6fc892c424.jpg bad86c7fba555e6bbc82bc2affedb7c7 https://hernando.upenn.domains/files/original/64b002c72353ff3c78afbad5555da0e4.jpg e517b7fcc4ef8156de409118e1f16150 https://hernando.upenn.domains/files/original/74fbb72645bd439ab93f63e158d981c1.jpg cbf62d5aad1f53f1953a73cfd0173218 https://hernando.upenn.domains/files/original/c6d6230004896518bfc7bcad5e49a232.jpg 7d046cb20b9d6448ff67aeb9bec661b4 https://hernando.upenn.domains/files/original/ae1bb44e65b666192e98a59ab55cda9b.jpg d8c7482390cff3a0627c9c04a7331dd7 https://hernando.upenn.domains/files/original/e378b1db3bbf534a5249db7b44a3b27e.jpg f62fbcacbb2e0a131c558e14d619d59d https://hernando.upenn.domains/files/original/70e247b1d22b3ef8008d5222fd85b2a6.jpg ba0f51dab238b13d1aeec8cee7a6e9f7 https://hernando.upenn.domains/files/original/c47d2548f62e1c4021c67ac464a16e60.jpg 332527b740af89b51817119950da3ae0 https://hernando.upenn.domains/files/original/85182438c8fab67edabd8f0436bbda83.jpg d97067eda66cdd25ece3c0c4ca30ecb3 https://hernando.upenn.domains/files/original/34bc7a22c1d86ffa4b6bfd177bcbc81d.jpg 8fdc331eda8302778c144f0bab474ed4 https://hernando.upenn.domains/files/original/0b699e5e788fb82ae799c4fd7d88f216.jpg 413835c8b06f8e0c5c21bf3da8904ea1 https://hernando.upenn.domains/files/original/45336a52d2c7c941e787c0b55b1e4b88.jpg bb1136e405f30cea000606e4478c5ecf 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Bieris of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource 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. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived MUSEO FELIPE OSA ANGÜÉ. Ministerio de Cultura y Promoción Artesanal, GRUPO16NOVENOS. Consulted July 30th, 2024. Url: https://www.youtube.com/watch?v=wKVEkHereBE Valenciano Mañé, Alba and Llorenç Picornell Gelabert. "Un museo sin vitrinas en la selva ecuatorial. La exposición de una experiencia". Hermes, n.º 1, 2009, pp. 67-76. 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 Language A language of the resource English Type The nature or genre of the resource Written Text 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 Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/4216e76447d189413341f871f524317f.jpg f779f8dbbba3592ebfbac58d339ac78b https://hernando.upenn.domains/files/original/cb5fdbffb38e378895da9e0a835387cb.png 5ab98582cb1deab72de25b3df42503d2 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 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 Felipe's collecting methods Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource 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.’ Source A related resource from which the described resource is derived MUSEO FELIPE OSA ANGÜÉ. Ministerio de Cultura y Promoción Artesanal, GRUPO16NOVENOS. Consulted July 30th, 2024. Url: https://www.youtube.com/watch?v=wKVEkHereBE Valenciano Mañé, Alba and Llorenç Picornell Gelabert. "Un museo sin vitrinas en la selva ecuatorial. La exposición de una experiencia". Hermes, n.º 1, 2009, pp. 67-76. Publisher An entity responsible for making the resource available GRUPO16NOVENOS Date A point or period of time associated with an event in the lifecycle of the resource 2018 Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource Written text Language A language of the resource 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 Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/623615739fbca32b8bfe1222719cd11c.jpg 6f61db6eca3ab119a178f8a2d0fb9072 https://hernando.upenn.domains/files/original/2e362ddbc3f1c5a0fcbd3690fe129e28.jpg b9910bc475662441ad83132aee4be527 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 3. Alternative Conservation and Heritage Practices in Equatorial Guinea. The Case of the Museum Felipe Osá Angüé Subject The topic of the resource Museum Felipe Osá Angüé Description An account of the resource This section of the exhibit offers a counterpoint to the imperial and colonizing practices in the museum by approaching the case of the Museum Felipe Osa Angüé. This museum illustrates alternative possibilities of narrating the histories of Equatorial Guinean people while taking distance of institutional practices of exhibiting and civilization discourses, all inherited by the current political regime. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities, University of Pennsylvania 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 Language A language of the resource Spanish, 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 Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Video Local URL The URL of the local directory containing all assets of the website https://www.youtube.com/watch?v=wKVEkHereBE 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 Interview to Felipe Osa Angüé Subject The topic of the resource Museum Felipe Osa Angüé Description An account of the resource 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 Creator An entity primarily responsible for making the resource Ministerio de Cultura y Promoción Artesanal Source A related resource from which the described resource is derived MUSEO FELIPE OSA ANGÜÉ. Ministerio de Cultura y Promoción Artesanal, GRUPO16NOVENOS. Consulted July 30th, 2024. Url: https://www.youtube.com/watch?v=wKVEkHereBE Valenciano Mañé, Alba and Llorenç Picornell Gelabert. "Un museo sin vitrinas en la selva ecuatorial. La exposición de una experiencia". Hermes, n.º 1, 2009, pp. 67-76. Publisher An entity responsible for making the resource available Ministerio de Cultura y Promoción Artesanal Date A point or period of time associated with an event in the lifecycle of the resource 2018 Rights Information about rights held in and over the resource Ministerio de Cultura y Promoción Artesanal Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource 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 Type The nature or genre of the resource Interview Heritage Practices in Equatorial Guinea Museum Felipe Osa Angüé https://hernando.upenn.domains/files/original/b1c41c227ded96eac4ae180eca5466dc.jpg 4381b5f5ab0e9188942ce56b65669521 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Book 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 El laberinto guineano Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource 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. Creator An entity primarily responsible for making the resource Emiliano Buale Borikó Publisher An entity responsible for making the resource available IEPALA Date A point or period of time associated with an event in the lifecycle of the resource 1989 Rights Information about rights held in and over the resource Emiliano Buale Borikó, IEPALA Format The file format, physical medium, or dimensions of the resource Print Book Language A language of the resource Spanish Source A related resource from which the described resource is derived Buale Boriko, Emiliano. El laberinto Guineano. Madrid: Iepala, 1989. Relation A related resource Buale Boriko, Emiliano. Guinea Ecuatorial: Las aspiraciones bubis al autogobierno. Madrid: Iepala, 1988. 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 Emiliano Buale Borikó Equatorial Guinea Conflicting Identities Obiang's Regime 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 https://hernando.upenn.domains/files/original/9aecae5739bf648f21f45c82a8d841b4.jpg ae648c1c76f077b3a5d8186b68921a47 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 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Written Text 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 Poem Gritos de libertad y esperanza Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource Poem Gritos de liberad y esperanza by Anacleto Mibuy Creator An entity primarily responsible for making the resource Anacleto Mibuy Language A language of the resource Spanish and English Anacleto Mibuy Bantu Unity Equatorial Guinea Conflicting Identities Obiang's Regime https://hernando.upenn.domains/files/original/2cb187591c9de9cfd96881c9a017f6c9.jpg f39d19ab8b19644316de2d2727a9fd6d https://hernando.upenn.domains/files/original/672d75d7e1587f80b3b6c2eac0aaa543.jpg f490e00d298b6c735783c0891c0f776f 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 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Written text 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 Equatorian Guinean literary expression: Juan Balboa Boneke's Unidad Bantú Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource 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. Creator An entity primarily responsible for making the resource Juan Balboa Boneke Language A language of the resource Spanish Source A related resource from which the described resource is derived Balboa Boneke, Juan, et al. Sueños en mi selva: Antología poética. Centro Cultural Hispano-Guineano, 1987. Lewis, Marvin A. Equatorial Guinean Literature in its National and Transnational Contexts. University of Missouri Press, Columbia, 2017. Relation A related resource Bolaños, Antonio B., and Nayra P. Hernández. "Rehabitando el espacio perdido: la desterritorialización en la obra de Juan Balboa Boneke." Hispanic Review, vol. 90, no. 4, 2022, pp. 617-635. García-Alvite, Dosinda. “Paisajes del exilio en la poesía de Juan Balboa Boneke: compromiso social con la patria guineoecuatoriana.” Revista Iberoamericana, vol. 80, no. 248–249, 2014, pp. 813–34, https://doi.org/10.5195/reviberoamer.2014.7198 Hendel, Mischa G. "Conversación con Juan Balboa Boneke." Afro-Hispanic Review, vol. 28, no. 2, 2009, pp. 431-438. Publisher An entity responsible for making the resource available Centro Cultural Hispano-Guineano Date A point or period of time associated with an event in the lifecycle of the resource 1987 Rights Information about rights held in and over the resource Juan Balboa Boneke Format The file format, physical medium, or dimensions of the resource Book Type The nature or genre of the resource Poetry 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 Juan Balboa Boneke Obiang's Regime