2 10 29 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/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 https://hernando.upenn.domains/files/original/66d5e1252f98d6e64d1dd77b61982c95.jpg 792e4e9a0deb24fc49d2e4470f59e277 https://hernando.upenn.domains/files/original/0fb55b3f2cf6725bd2b9db6f4bbc2774.jpg b9b02f123890d5943a89f4250aa0f6f0 https://hernando.upenn.domains/files/original/bfbc9a5064a5f313d5cd48f1e5e93183.jpg d18178e92ed1f9b6b76f23b2b76130a4 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. 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 Fang Intellectual Perspectives on Bantu Unity: "El proceso democrático de Guinea Ecuatorial" and "Tradiciones del pueblo Fang" Subject The topic of the resource Equatorial Guinea Conflicting Identities during Obiangs’ Regime Description An account of the resource The concept of Bantu unity in Equatorial Guinea has served as a tool for shaping national identity, deeply intertwined with the country's political landscape and historical narratives. The political and ideological implications of this myth regarding nation-building policies under Obiang's regime have been evaluated by Igor Cusack, who contrasts the different positions of Equatoguinean intellectuals. Rooted in the idea that all native peoples of Equatorial Guinea are Bantu, this concept is part of a broader tale of migration and cultural heritage. According to this myth, Bantu peoples undertook a great migration from Northeast Africa, traversing regions like the Nile and Congo valleys before settling in the dense jungles of Equatorial Africa. Their culture is often portrayed as having significant parallels with that of the Hebrews in the Bible, establishing a link with antiquity and a revered historical lineage. This narrative is more than just a cultural story; it intertwines with the ideologies of Pan-Africanism and African unity. The Pan-African movement, which emphasizes solidarity and self-determination among African peoples, finds specific expression in the promotion of Bantu culture. Institutions such as the Centre International des Civilisations Bantu (CICIBA) in Gabon, supported by UNESCO, the United Nations Development Programme (UNDP), and the European Union, exemplify the international community's endorsement and valorization of Bantu heritage. These efforts highlight a recognition of Bantu cultural unity as a significant component of African identity. Prominent figures like Alejandro Evuna Owono Asangono and Constantino Ocha'a Mve Ben have played crucial roles in propagating this myth within national and international contexts. In his book "El Proceso Democrático de Guinea Ecuatorial," Evuna Owono underscores the notion that Equatorial Guinea's population is entirely part of the Bantu family, reinforcing a unified national identity grounded in Bantu roots. He writes: "...existen costumbres, prácticas y creencias determinantes de la cultura del pueblo africano de Guinea Ecuatorial, en particular, y de toda la familia Bantú, en general, que a través de milenios se han venido tranmitiendo de familia en familia y de generación a generación hasta nuestra días, las cuales coinciden exactamente con las prácticas del pueblo hebreo ... que revelan cierto casamiento o paratesco entre las razas judía y bantú." (27). Additionally, his diplomatic role as the ambassador to Spain amplified this narrative on an international stage, aligning national identity with broader themes of Bantu and African unity. Similarly, Constantino Ocha'a Mve Ben, in his work "Tradiciones del Pueblo Fang," argues that African and Bantu traditions merged during the period of Spanish colonization, creating a unique Guinean identity. He posits that this fusion of traditions has given rise to a national community whose identity is inherently Guinean. This idea persists in his later publication "Guinea Ecuatorial, polémica e identidad": "...se aprecia una tendencia cosmopolita en la evolución del substrato poblacional espontáneo, lo que constituye una conquista para la guineidad." (38) Once again, this perspective supports the idea of a homogeneous national culture emerging from a shared Bantu heritage, further solidifying the myth of Bantu unity. Ultimately, the instrumentalization of the Bantu unity myth by the regime has significant political implications. The dominant Fang ethnic group uses this narrative to assimilate other ethnicities, such as the Bubis, who do not share the same Bantu roots. The emphasis on a unified Bantu identity marginalizes these groups, undermining their unique cultural and historical narratives, and reinforcing the Fang-dominated government's political and cultural hegemony. The international community's support for Bantu cultural initiatives, although well-intentioned, inadvertently bolsters this homogenizing agenda, further entrenching the regime's position. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas 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 Spanish Source A related resource from which the described resource is derived Cusack, Igor. "Nation-Builders at Work: The Equatoguinean 'Myth' of Bantu Unity." Nationalism & Ethnic Politics, vol. 7, no. 3, 2001, pp. 77-97. Evuna Owono Asangono, Alejandro. El Proceso Democrático de Guinea Ecuatorial. Ediciones CEIBA (Lucas Nfuema), 1993. Ocha’a Mve Bengobesama, Constantino. Tradiciones del pueblo Fang. Madrid: Ediciones Rialp, 1981. Ocha’a Mve Bengobesama, Constantino. Ocha’a Mve Bengobesama, Constantino. Guinea Ecuatorial: polémica y realidad. Madrid: Ediciones Guinea, 1985. 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 Fang Nation Obiang's Regime 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/928b03fccd3a9e8d51747ecd28e5e594.jpg d4af16a8d26bbd7ff852391ab2823e6e https://hernando.upenn.domains/files/original/549322e2a7c4a1078e213f6e4221b068.jpg cc0994a745ee66aeb849e1dc85b51e51 https://hernando.upenn.domains/files/original/a4ffe5b33482f92f1d4e51cb3c074794.jpg 7fdc417c75a721bd3c3e404f1f745dcb https://hernando.upenn.domains/files/original/e1e827a6d0d99b257e01311a37395e38.jpg 0aefd4e18f61549f392ffe89a477ebe0 https://hernando.upenn.domains/files/original/8a0bc94d24044bcc58c15ae6d715dfcb.jpg edcfe55286d3dae7f5669a323d3dd402 https://hernando.upenn.domains/files/original/66b98605dd8c7cd07906b8a87a9def72.jpg 0e33b3e5c4c92edbaf2dc7c0a6cad93c https://hernando.upenn.domains/files/original/b56da2e18ac523f1353f0ade2f87d8e8.jpg b40f91392a7160eb7de9d982dc49c28b https://hernando.upenn.domains/files/original/fbd552dbbccf2a81fac01667e11e5fd4.jpg f3a1c31ebbade45b32b68a2ff161e027 https://hernando.upenn.domains/files/original/9974a6f780e691d10fd29465b8e4d350.jpg 2852951cba97b4a3d309207ddeb09243 https://hernando.upenn.domains/files/original/c0ba96029bdf5e8f376dc5dff6ad7ddb.jpg 4a595b8e2733496430921ba72531047e https://hernando.upenn.domains/files/original/39cc66a788524fcbbc9091d8eb59f1d5.jpg 9b2f7395d3acbb01bb8be5e016a68a7f 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 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource 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.” 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. 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. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas 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 Relation A related resource 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. 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. 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. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. 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. Language A language of the resource English and 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 Spain, 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 Stamp 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 Ideological Uses of Colonial Stamps Subject The topic of the resource Colonial Stamps of the Spanish Guinea during Francoism Description An account of the resource 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. Creator An entity primarily responsible for making the resource Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Date A point or period of time associated with an event in the lifecycle of the resource 1951-1961 Type The nature or genre of the resource Stamp Source A related resource from which the described resource is derived 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 F. Núñez de Celis, Paisajes y efigie del General Franco. Bahía de Santa Isabel (1951). Sello postal. Guinea Española. Vicente D’Urosa, Día del sello. Porteadores (1961). Sello postal. Fernando Poo. Teodoro Miciano, Conferencia Internacional de Africanistas Occidentales (1951). Sello postal. Guinea Española. Teodoro Miciano, V Centenario de Isabel la Católica. Espíritu Santo e indígena (1951). Sello postal. Guinea Española. Teodoro Miciano, Mujer con paloma (1953). Sello postal. Guinea Española Germán Calvo, Tipos indígenas. Hombre con tam-tam (1953). Sello postal. Guinea Española. Emilio Marín, Centenario de la Prefectura Apostólica de Fernando Poo, Annobón y Corisco. Bautismo (1955). Sello postal. Guinea Española. Mariano Salamanca, Pro-infancia. Hombre indígena ante crucifijo (1961). Sello postal. Fernando Poo. Vicente Vila, Proinfancia. Mujer indígena y bendición (1961). Sello postal. Fernando Poo. Juan José de Castro, Niño indígena y misionero (1960). Sello postal. Río Muni. Vicente D’Urosa, Pro-indígenas. Misionero (1958). Sello postal. Guinea Española. Publisher An entity responsible for making the resource available Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Museo Casa de la Moneda, Madrid (España) 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 Rights Information about rights held in and over the resource Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] Format The file format, physical medium, or dimensions of the resource Physical Medium 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 Colonial Stamps Fábrica Nacional de Moneda y Timbre 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/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/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/6cec0817e2876d9f6b61e65552f7eca2.jpg 6ae7838db554df8d821ad7e3fc3355f7 https://hernando.upenn.domains/files/original/474a02149dd16693b532961505925071.jpg 8bdc29b334549ff2ea1306be8a9e7313 https://hernando.upenn.domains/files/original/8e6ccac0accc763439d8107a075fc073.jpg 966bd67f676123df6f0e12ecc7e58072 https://hernando.upenn.domains/files/original/a422c837cbd96f12f500f54644273282.jpg 14c064a2f3bbf6e0e23212bd390e005c 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 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource 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.” 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. 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. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas 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 Relation A related resource 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. 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. 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. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. 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. Language A language of the resource English and 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 Spain, Equatorial Guinea Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Libro de Oro Ibero Americano. Catálogo oficial y monumental de la exposición de Sevilla Subject The topic of the resource Exposición Iberoamericana Description An account of the resource The Libro de Oro Ibero-Americano is an official and monumental catalog of the Ibero-American Exhibition held in Seville in 1929. Edited by the Unión Iberoamericana, the catalog features contributions from notable figures such as Víctor Espinós, Enrique Díez-Canedo, and Jacinto Benavente. Published by Aldus in Santander, it comprises extensive pages with illustrations, providing a comprehensive overview of the exhibition. This catalog documented the exposition extensively, detailing the exhibits, pavilions, and participants, with a focus on cultural, economic, and technological achievements. It highlighted the shared heritage between Spain and Latin America, emphasizing unity and collaboration. Richly illustrated with photographs and maps, the catalog provided a vivid representation of the event's grandeur and diversity. It also covered the economic and trade aspects, promoting investment and commercial partnerships between Spain and Latin American countries. Serving as an official and monumental record, the catalog underscored the significance of the exposition in fostering cultural and economic ties, while reinforcing Spain's aspirations to reassert its influence and prestige globally. Publisher An entity responsible for making the resource available Unión Iberoamericana Date A point or period of time associated with an event in the lifecycle of the resource 1929 Creator An entity primarily responsible for making the resource Unión Iberoamericana Source A related resource from which the described resource is derived Carlos, Abelardo de. Libro De Oro Ibero Americano: Catálogo Oficial Y Monumental De La Exposición De Sevilla. [Santander]: [Aldus, s. a., de artes gráficas], 1929. Rights Information about rights held in and over the resource Unión Iberoamericana Format The file format, physical medium, or dimensions of the resource Book, 800 pp. 38x30. 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 Spain Exposición Iberoamericana https://hernando.upenn.domains/files/original/f44918cadc251a7df97cf28750e468e8.jpg 5865a5f33a772f40b2b075171e286b84 https://hernando.upenn.domains/files/original/f3b13dcd9134beaee0b75310d2a1c418.jpg d58c632414178f9af263452dcbbab23f 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 1. The Temptation of Empire Subject The topic of the resource Equatorial Guinea during the 19th and 20th century Description An account of the resource 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.” 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. 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. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas 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 Relation A related resource 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. 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. 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. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. 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. Language A language of the resource English and 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 Spain, Equatorial Guinea Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data DVD and Book Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:48:01 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 Mbini: Cazadores de Imágenes en la Guinea Ecuatorial Subject The topic of the resource The reception of Hermic Films visual materials in the Post-Franco Period Description An account of the resource Mbini: Cazadores de imágenes en la Guinea Ecuatorial is a documentary film spearheaded by Agueda Ortín and Samuel Pereiró, focusing on the historical and visual representation of Equatorial Guinea through the lens of contemporary Spanish filmmakers. The project utilizes archival footage from Hermic Films, a company that documented life in Equatorial Guinea during the colonial period. By revisiting this footage, the documentary aims to explore and critique the narratives and perspectives embedded within the colonial gaze. The primary objective of the documentary is to critically examine how Equatorial Guinea was portrayed by Spanish filmmakers during the colonial era, highlighting the colonial ideologies and perspectives that shaped these representations. In doing so, the project seeks to foster a dialogue about the enduring impacts of colonialism on both the colonizers and the colonized. The DVD include five films. Three are original shorts of the series la Guinea Española (Balele, Una cruz en la selva y Bajo la lámpara del bosque) and other two created and produced by We Are Here! Films (Le Mal d’Afrique y Cazadores de imágenes). At first glance, the films included in the project may appear to reproduce exotic and untamed representations of Guinea from a contemporary Spanish perspective. However, the inclusion of an interview with Guinean writer Donato Ndongo Bidyogo provides a crucial critical counterpoint. Ndongo Bidyogo offers a powerful critique of the colonial gaze evident in the archival footage, pointing out how Africans are often depicted in infantilized and subaltern roles. He argues that the concept of civilization associated with the colony underpins the colonizing discourse found in the visual material, diminishing the role of Africans and framing them within a paternalistic narrative that justifies colonial domination. The documentary also delves into the reactions of contemporary Guinean spectators to the archival footage, revealing a paradoxical alignment with the colonial perspective, especially in the positive perception of modernization and development. Some Guineans, reflecting on the conditions of their ancestors, express a perception of their grandparents as "poor" and "primitive," thereby inadvertently adopting the evolutionary and paternalistic logic of the colonial narrative. This paradoxical appropriation of colonial discourse by some Guineans highlights the need for deeper reflection on the audiovisual material from Hermic Films. Valenciano and Bayre point out that this phenomenon underscores the necessity to critically engage with and deconstruct the colonial ideologies embedded in historical representations. Mbini: Cazadores de imágenes en la Guinea Ecuatorial serves as an important work that resurrects historical footage and prompts critical discussions about the lasting impacts of colonialism on visual culture and collective memory. By juxtaposing archival footage with contemporary critique, the documentary encourages viewers to reflect on the complexities of historical narratives and their modern-day interpretations. Creator An entity primarily responsible for making the resource We are here! Films Rights Information about rights held in and over the resource Ortín, Pere y Pereira, Vic. Source A related resource from which the described resource is derived Ortín, Pere y Pereira, Vic. Mbini: Cazadores de imágenes. Barcelona: Altair, 2006. Open access to the documentary series Mbini-Cazadores de imágenes en la Guinea Ecuatorial through Youtube: https://www.youtube.com/watch?v=n2Lnn4vYfWw Mañé, Alba Valenciano, and Francesca Bayre. “Cuerpos Naturales, Mentes Coloniales: Las Imágenes de Hermic Films En La Guinea Española.” Afro-Hispanic Review, vol. 28, no. 2, 2009, pp. 245–68. JSTOR, http://www.jstor.org/stable/41349287. Accessed 22 July 2024. Publisher An entity responsible for making the resource available Altaïr Date A point or period of time associated with an event in the lifecycle of the resource 2006 Format The file format, physical medium, or dimensions of the resource Book/DVD 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 Hermic Films Mbini Cazadores de Imágenes