1 10 29 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 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 The Production of Colonial Science during Francoism Subject The topic of the resource Colonial Science in Equatorial Guinea during Francoism Description An account of the resource Modern science played a central role in the consolidation and maintenance of Spanish colonial rule, particularly under Francisco Franco's dictatorship. According to Cécile Stephanie Stehrenberger, In the early twentieth century, scientific and technological advancements, such as geographical and biomedical knowledge, became crucial tools for establishing Spanish authority in Equatorial Guinea (239). This trend intensified during Franco's regime, which systematically mobilized scientific knowledge to govern and exploit colonial populations and resources. Knowledge production and dissemination were closely intertwined, involving a dynamic interaction between scientists and various 'publics,' including colonial officials, business owners, and settlers in Equatorial Guinea. This engagement was not limited to the colonies; metropolitan audiences in Spain were also targeted to garner support for the colonial project. Institutions such as the Instituto de Estudios Africanos (Institute of African Studies) played a pivotal role in this endeavor. Founded in 1945, the institute was instrumental in generating and disseminating knowledge about Africa, thereby legitimizing and promoting Spain's colonial ambitions. It conducted extensive research in anthropology, geography, and history, producing studies that reinforced the narrative of Spanish benevolence and civilizing mission in Africa. Similarly, Hermic Films, a production company, created documentaries that showcased the supposed progress and benefits of Spanish colonialism. These efforts were aimed at both informing and persuading various audiences of the legitimacy and necessity of the colonial enterprise. By presenting a scientifically grounded and visually appealing narrative, these institutions helped to sustain metropolitan support for colonial policies and justify the exploitation of African populations and resources. Stehrenberger's work highlights how science and technology were not merely tools of colonial rule but integral to the ideological apparatus that sustained Franco's dictatorship and its imperial ambitions. Consequently, the following items included in the second half of the first collection explore in depth the scientific and technological sources adopted by this later stage of the imperial enterprise in Equatorial Guinea, whose institutions operated until the very ending of the colonial regime in the country. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities Date A point or period of time associated with an event in the lifecycle of the resource 2024 Rights Information about rights held in and over the resource Creative Commons Relation A related resource Aranzadi, Juan, and Gonzalo Alvarez Chillida. Guinea Ecuatorial (des)conocida: Lo Que Sabemos, Ignoramos, Inventamos Y Deformamos Acerca De Su Pasado Y Su Presente. Madrid: Universidad Nacional de Educación a Distancia, 2020. Branche, Jerome. Post/colonialism and the Pursuit of Freedom In the Black Atlantic. Abingdon, Oxon: Routledge, 2018. Camprubi, Lino. Engineers and the Making of the Francoist Regime. MIT Press, Cambridge, 2014, doi:10.7551/mitpress/9780262027175.001.0001. Medina-Doménech, Rosa. "Scientific Technologies of National Identity as Colonial Legacies: Extracting the Spanish Nation from Equatorial Guinea." Social Studies of Science, vol. 39, no. 1, 2009, pp. 81-112. 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 Spain, Equatorial Guinea Colonial Science Francoism Hermic Films Instituto de Estudios Africanos (IDEA) Revista Africa https://hernando.upenn.domains/files/original/20bdd2e07aa8725882dbc624cf3d4d07.jpg dfe3a0fa4d9ed76c71e0c3bbdc640123 https://hernando.upenn.domains/files/original/8f631fffbe7de88932eb49bc56b3f330.jpg 0531af0097b670a111354a832078ab27 https://hernando.upenn.domains/files/original/172d41f13ecc2630613d8247b9dfd824.jpg 4beaeccbeac383a392317634e6fe5b52 https://hernando.upenn.domains/files/original/9388fece8b947cec4b1ed9d9588fbc57.jpg 5dde89c0338d42868f208302856db474 https://hernando.upenn.domains/files/original/2c64bd724b0076e5e0f505ee947619c8.jpg 15621bb2f2f5a2cf7f92adb6039b1f74 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 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 The Pavilion of La Guinea Española in the Exposición Iberoamericana of Seville, 1929 Subject The topic of the resource Colonial Pavilions in the Exposición Iberoamericana Description An account of the resource “Spain assumes a new commitment and a new spiritual challenge in its territories of equatorial Africa: the very Christian enterprise of converting the “helpless” and “backward” native population of Guinea. The conjunction of both colonization designs results in the articulation of an enormous project of a Spanish-African spiritual community, very close, at least in theory, to what had been projected on American lands in the past. These are the ideological and spiritual bases that make it possible for the Sevillian exhibition to structure its contents in a Trinitarian model supported by the presence of the Spanish provinces, the American republics and the Hispanic colonies in Africa, with the unavoidable complement of the presence of several pavilions. institutional and the participation of some Spanish and foreign companies” (Sánchez Gomez 1049) The role of colonial pavilions in 19th and 20th century international expositions merits critical evaluation. These pavilions served as showcases for colonial powers to project cultural superiority, economic prowess, and political authority over their colonies. They often presented a curated image of colonial territories, highlighting indigenous crafts, natural resources, and aspects of daily life, but frequently through a lens shaped by colonial stereotypes and Eurocentric perspectives. The Guinea Pavilion exemplifies this approach, presenting Equatorial Guinea as a cultural and economic asset under Spanish governance, yet through a filtered and sometimes patronizing portrayal. The Guinea Pavilion at the Seville exposition, spanning 2,832 square meters on a 3,400 square meter plot, stood significantly larger than its Moroccan counterpart, illustrating Spain's expansive colonial ambitions. Designed by architect José Granados de la Vega and funded by the General Directorate of Morocco and Colonies, its construction aimed to assert Spain's presence in Equatorial Guinea. According to the official guide, the pavilion's overall concept was orchestrated by agricultural engineer Emilio Gómez Flores, with artistic oversight by Vicente Zubillaga. However, scholar Luis Ángel Sánchez Gómez critiques the design as a neo-colonial portrayal of "exotic-primitive" architectures, lacking genuine ethnographic inspiration (1069). Moreover, these pavilions were instruments of diplomatic strategy, asserting colonial claims and justifying imperial rule amidst growing international scrutiny and anti-colonial movements. They functioned as tools of soft power, influencing global perceptions of colonial administrations and reinforcing colonial hierarchies. The Guinea Pavilion, with its elaborate design and substantial size, aimed to impress visitors with Spain's commitment to modernizing and civilizing its African territories, while simultaneously perpetuating colonial narratives that justified European dominance over non-Western societies. 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 Alexis Hernando Cubas 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. Sánchez Gómez, Luis Á. "África en Sevilla: la exhibición colonial de la Exposición Iberoamericana de 1929." Hispania (Madrid), vol. 66, no. 224, 2006, pp. 1045-1082 Postcard Colonial Pavilion of the Spanish Guinea: https://sevilla.abc.es/sevilla/sevi-pabellones-29-sevilla-exoticos-memoriales-africa-201907060812_noticia.html Manuel, "Fotos y postales antiguas de Sevilla": https://postalesyfotosantiguasdesevilla.blogspot.com/ Rights Information about rights held in and over the resource Territorios españoles del Golfo de Guinea. / Pabellón Colonial, Exposición Iberoamericana: Public Domain Mark 1.0 Relation A related resource Montalbán, Ramón. "La Guinea Española en la Exposición Ibero-Americana de Sevilla" Africa. Revista de Tropas Coloniales (Ceuta) 54 (junio de 1929) pp. 142-143 Rodríguez Bernal, Eduardo. Historia de la Exposición Ibero- Americana de Sevilla de 1929, Sevilla, Servicio de Publicaciones del Ayuntamiento de Sevilla, 1994. Exposición Iberoamericana, 1929. Territorios españoles del Golfo de Guinea. / Pabellón Colonial, Exposición Iberoamericana, Sevilla 1929. Madrid: Imprenta de Gráficas Reunidas, 1929. Online Access, Biblioteca de la Universidad de Sevilla. https://archive.org/details/HCSFCa03042/page/n1/mode/2up Format The file format, physical medium, or dimensions of the resource Physical Medium Language A language of the resource Spanish and 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 Spain Exposición Iberoamericana 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 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 The Myth of Bantu Unity and Equatorial Guinea Conflicting Identities during Obiangs’ Regime Subject The topic of the resource Neocolonial Politics in the aftermath of the Imperial Enterprise Description An account of the resource At this point, my curation aims to illustrate how the conflict regarding the Bantu myth has added an extra layer of complexity to the operation of neocolonial politics, with local elites acting as their conduits in the aftermath of Francoism and the Spanish imperial project. The materials included in this curation—textbooks, poems, intellectual research, and material culture—provide a comprehensive overview of the varied reactions, both critical and supportive, to Obiang’s cultural and ethnic enterprise. The Guinean-Ecuadorian state itself is a product of colonial engineering aimed at homogenizing a diverse society. The colonial powers attempted to create a unified social organization, disregarding the unique histories and commitments of the different ethnic groups. This homogenizing effort has made it challenging for Equatorial Guinea to function as a unified state accepted by all its ethnic constituents (Muakuku Rondo, 19). Precisely, Teodoro Obiang Nguema Mbasogo’s regime has intricately woven the myth of Bantu unity and the influence of Hispanic culture into its political and cultural framework, creating a narrative that attempts to foster national cohesion while navigating the country's complex ethnic landscape. Equatorial Guinea, with its diverse array of ethnic groups, including the Fang, Bubi, Ndowe, and Annobonese, has been a fertile ground for such manipulation. The Fang, a Bantu-speaking people, form the majority and dominate the mainland region of Río Muni. The Bubi primarily inhabit Bioko Island, the Ndowe reside along the coastal areas, and the Annobonese live on the island of Annobón. The regime has leveraged the notion of Bantu unity to propose a shared cultural heritage among these groups, institutionalized through initiatives like the 'Centre International des Civilisations Bantu' (CICIBA) in Libreville, Gabon, with support from UNESCO, the UNDP, the EU, and other organizations (Cusack, 79). The international backing of Bantu cultural unity adds a veneer of legitimacy to the regime's narrative. However, this narrative of unity belies the deep-seated ethnic divisions within the country. The Fang ethnic group, to which Obiang belongs, has maintained political dominance since independence, leading to perceptions of favoritism and marginalization among other groups, particularly the Bubi. The Bubi have a distinct identity and have historically resisted assimilation into the broader Bantu identity promoted by the Fang. This resistance has often been met with repression and violence, especially following the discovery of oil on Bioko Island, which heightened the island’s economic importance. The regime’s exploitation of ethnic divisions extends to other groups as well. The Ndowe, primarily coastal dwellers, frequently feel excluded from the political and economic developments that favor the mainland and Bioko Island. Similarly, the Annobonese, isolated on a distant island, have limited political influence and access to national resources. The discovery and exploitation of oil have further exacerbated these tensions, as the wealth generated has not been evenly distributed. This uneven distribution of resources fuels grievances among marginalized groups who see the benefits accruing predominantly to the Fang elite and their associates. In parallel, Obiang’s regime has actively promoted the importance of Hispanic culture in shaping the nation’s identity. This strategy serves a dual purpose: it reinforces a sense of shared cultural heritage with Spain and appeals to Spain’s interest in perpetuating its cultural legacy in Africa, often as a means of soliciting development aid. This linkage between Hispanic and African cultures can be traced back to Francoist ideologies such as "hispanotropicalismo" (Cusack, 214). In summary, the following section of the collection offers a comprehensive overview of the varied reactions to Obiang’s cultural and ethnic enterprise. These materials illustrate the complex ways in which neocolonial politics operate in Equatorial Guinea, with local elites acting as the conduits of these policies. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Muakuku Rondo Igambo, Fernando. Conflictos étnicos y Gobernabilidad: Guinea Ecuatorial. Ediciones Carena, Barcelona, 2006. Cusack, Igor. "Nation-Builders at Work: The Equatoguinean 'Myth' of Bantu Unity." Nationalism & Ethnic Politics, vol. 7, no. 3, 2001, pp. 77-97. Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities 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 Bantu Unity Equatorial Guinea Conflicting Identities Obiang's Regime https://hernando.upenn.domains/files/original/0fb223e79f7c0763b927ac7d17ac2ef3.jpg ea21403c904a307638029195c935c5d5 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 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 The Instituto de Estudios Africanos (IDEA) in the Spanish Guinea Subject The topic of the resource Colonial Science in Equatorial Guinea during Francoism Description An account of the resource The Instituto de Estudios Africanos (IDEA), founded in 1945, was a Spanish institution dedicated to the study and promotion of African cultures, histories, and geographies, primarily to support and legitimize Spain's colonial ambitions in Africa, particularly in Equatorial Guinea. Active until the end of the colonial regime, IDEA conducted and published extensive research portraying Spanish colonialism as a civilizing mission. The IDEA brought together scientists from different disciplines and fields—such as geology, ethnology, archaeology, medicine, history, and law—and other colonial ‘experts’ such as missionaries or generals, seasonally commissioned for specific scientific expeditions. The institute was run by a combination of academics, colonial administrators, and policymakers who were aligned with Francoist ideologies. Notable figures included scholars such as historian and Africanist Julio Caro Baroja, who contributed to the ethnographic and cultural studies promoted by IDEA. The institution played a significant role in creating and disseminating knowledge that supported the colonial narrative, influencing both colonial policy and public perception in Spain regarding its African territories. In summary, the institute’s aim was to create ‘total knowledge’ about the colonies from a ‘plurality of angles.’ Visual elements were crucial for audiences’ intellectual and emotional activation regarding their 'expository science'. This institute served as a hub for scholars and officials who produced extensive studies on African societies, resources, and environments, framing them within a narrative of Spanish benevolence and developmentalism. The institute's publications and activities were crucial in maintaining the ideological support for colonial rule within Spain, portraying the colonial project as a scientific and civilizing endeavor. Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Source A related resource from which the described resource is derived Díaz de Villegas, José. ‘Labor del Instituto de Estudios Africanos’, África, 3a época, 85, 1949, pp. 2–6. Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258. Publisher An entity responsible for making the resource available Price Lab for the Digital Humanities Date A point or period of time associated with an event in the lifecycle of the resource 2024 Rights Information about rights held in and over the resource Creative Commons Relation A related resource Aixelà Cabré, Yolanda. Spain's African Colonial Legacies : Morocco and Equatorial Guinea Compared. Leiden: Brill, 2022. Martin-Márquez, Susan. Disorientations : Spanish Colonialism In Africa and the Performance of Identity. New Haven: Yale University Press, 2008. 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 Spain, Equatorial Guinea Colonial Science Francoism Instituto de Estudios Africanos (IDEA) https://hernando.upenn.domains/files/original/93ec0267c4e786421228ddabec1b4839.jpg e616f166a567894a9fa8008efd76da19 https://hernando.upenn.domains/files/original/c8a5a9bb05ac6fab4a858f514aa82ad4.jpg 43f8ab766f04520e91f8096c0c8eecd1 https://hernando.upenn.domains/files/original/e3cd22c5b6df001c4aec3fee7832e3fe.jpg fb91eed0c4e5c0ab2af0e252602d748c https://hernando.upenn.domains/files/original/70fb19bbb00477d53caaa197e0949e26.jpg 915c177ef73c8d35f46afd82d77904fe https://hernando.upenn.domains/files/original/a96b49a04e91a82054cef59b94284778.jpg 43f8ab766f04520e91f8096c0c8eecd1 https://hernando.upenn.domains/files/original/e5831c7242a0f16aee6942f3a68c6db0.jpg ffe2363f24bacea8aa2058c7de7cfbae 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 Hyperlink A link, or reference, to another resource on the Internet. URL https://www.youtube.com/watch?v=_Jt-3Df2gTE 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 Technology and neocolonial Imperialism: the arrival of the Spanish TV to Equatorial Guinea, Fernando Poo (1968) Subject The topic of the resource Spanish Postcolonial Imperialism Description An account of the resource In 1968, just after Equatorial Guinea gained independence from Spain, the introduction of Spanish television marked a significant moment in the nation's media landscape. Despite the newfound political autonomy, Spain's cultural and ideological influence persisted, manifesting through various institutions and visual media. This continued presence highlighted Spain's neocolonial intentions, thinly veiled under the rhetoric of collaboration and progress. The arrival of Spanish television services in Equatorial Guinea was framed by Spain as a gesture of goodwill, aimed at fostering development and modernization. The Spanish Minister of Communications, in his inaugural speech, likely emphasized this collaboration, presenting the new television services as a symbol of shared progress. This narrative, however, subtly reinforced Spain's cultural and technological dominance, suggesting that Equatorial Guinea's advancement depended on Spanish contributions. Local elites in Equatorial Guinea played a crucial role in sustaining this neocolonial enterprise. Their cooperation with Spanish authorities helped legitimize Spain's ongoing influence, portraying it as beneficial for the country's growth. This collaboration underscored the complex power dynamics between the former colonizer and the newly independent state. The Head of State of Equatorial Guinea, in his address during the inauguration, probably expressed gratitude for the new television services, framing them as a positive contribution from Spain. This expression of appreciation, while diplomatically necessary, also reflected the lingering influence of Spain in the post-independence era. The speech likely echoed the modernization narrative, suggesting that Spanish technology and media would propel the country into a new era of progress. This perspective often marginalized indigenous forms of knowledge and communication, privileging Western media and content. The integration of Spanish television services into Equatorial Guinea's media landscape symbolized the country's incorporation into the global (Western-dominated) media sphere. While presented as a step towards development, this move reinforced Spain's cultural hegemony, maintaining control over the narratives and identities within Equatorial Guinea. The original clip announcing the arrival of the Spanish TV is available of Youtube through the following link: https://www.youtube.com/watch?v=_Jt-3Df2gTE&t=10s You can find attached the written versions of the speeches by both the Minister of Communications of Spain and the Head of State of Equatorial Guinea, as part of the diplomatic, media, and political activities related to the arrival of Spanish TV. Source A related resource from which the described resource is derived 1968 La Televisión llega a Guinea Ecuatorial - Spain TV arrives to Equatorial Guinea Fernando Poo. Published by Retroclips. Consulted July 22th, 2024. https://www.youtube.com/watch?v=_Jt-3Df2gTE Date A point or period of time associated with an event in the lifecycle of the resource 1968 Language A language of the resource Spanish Creator An entity primarily responsible for making the resource Alexis Hernando Cubas Publisher An entity responsible for making the resource available RTVE (Radiotelevisión Española) Rights Information about rights held in and over the resource RTVE (Radiotelevisión Española) Format The file format, physical medium, or dimensions of the resource Video 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 Spain, Equatorial Guinea Francoism Neocolonialism and Technology Spanish TV in Equatorial Guinea 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/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/4084250e1a3ee750293d9ab147f9d5ac.jpg a59dd0b743e132acafba0e544639893e https://hernando.upenn.domains/files/original/d21ea273ec1a13615748268a49aad657.jpg 3f598de22a42be5273bc41c0048416e6 https://hernando.upenn.domains/files/original/3162819598cc0f96b514c60a9408fcab.jpg fee0672b16a632323049535eca44cdde 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 Museum Catalog and Dictionary 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 Museum Artists and Brief Dictionary of Current Art - Catalog of the Museo Internacional de Arte Contemporáneo. Guinea Ecuatorial Subject The topic of the resource Neocolonial Politics in the Museum Description An account of the resource “The International Museum of Contemporary Art of Equatorial Guinea also has a special significance, to the extent that it constitutes the first high-level artistic contact between Spain and the African continent on a permanent basis”. (7) Hilario Hernández Marqués Secretario General Técnico del Ministerio de Cultura de España The artist catalog and art terminology dictionary provided by the Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) highlight significant issues related to representation and the perpetuation of neocolonial dynamics. These materials reveal biases that contribute to the marginalization of Equatorial Guinean artists and underscore the continued dominance of Western artistic frameworks. The catalog highlights an "exceptional section of drawing and graphic work" featuring renowned Spanish artists such as Picasso, Millares, Saura, Sempere, Tapies, Serrano, Tharrats, Canogar, Chirinos, and Chillida. It also mentions contributions from Ibero-American artists like Plank, Kreps, Oscar Serra, Patricia Delmar, Farnese de Andrade, Da Rocha, Portales, Lile Spataro, Wilfredo Lam, Guayasamin, Sabillon, Torralba, Zachrisson, Jirnénez, Larios, and Mauro Mejiaz. However, despite these claims, there is a glaring underrepresentation of Equatorial Guinean and African artists. Only two Black African artists from Equatorial Guinea are listed among a total of 228 artists, with the vast majority being from Spain. This disparity underscores a colonial mindset that prioritizes Western and Spanish art over local expressions. The museum's emphasis on Spanish and Ibero-American contributions, while marginalizing African artists, perpetuates the secondary position of Equatorial Guinean art within the broader Hispanic world. This suggests that local art is valued primarily when framed within a Western context, reinforcing colonial hierarchies and diminishing the significance of indigenous artistic traditions. The language used in the catalog compounds this issue. While the museum claims to have a "notable representation of Africans," this representation is skewed towards artists who have left the continent or whose work is internationally recognized, often through Western validation. Mentioning Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam as notable African artists, while important, does not compensate for the overwhelming underrepresentation of local talent. This selective inclusion reinforces the notion that African art gains legitimacy primarily through international, particularly Western, recognition. The art terminology dictionary provided by the museum further illustrates these neocolonial dynamics. Designed to educate readers on basic art categories, the dictionary focuses primarily on European concepts and how these trends have been adopted by Spanish and Latino artists. There is a notable absence of terms and categories specific to Equatorial Guinean or African art traditions. This Eurocentric focus alienates local artists and audiences and perpetuates the dominance of Western art historical frameworks. Rather than reshaping art categories to reflect the diversity of Guinean art, the dictionary reinforces existing Western paradigms. This approach fails to illuminate the unique contributions of Equatorial Guinean artists and does not challenge the prevailing narratives that have historically marginalized non-Western art forms. By neglecting to include terms and concepts intrinsic to Guinean and African art, the dictionary perpetuates a limited and exclusionary understanding of art history. In summary, the artist catalog and art terminology dictionary of the MIACGE exemplify the neocolonial power structures embedded within contemporary cultural institutions. The emphasis on Spanish and Ibero-American artists, coupled with the marginalization of Equatorial Guinean and African artists, reflects a continuation of colonial hierarchies. The Eurocentric focus of the art terminology dictionary further entrenches these dynamics, failing to provide an inclusive and representative framework for understanding art. These materials highlight the need for a critical examination of institutional practices that continue to prioritize Western artistic paradigms over local cultural expressions. Creator An entity primarily responsible for making the resource Hernández Marqués, Hilario. Martínez de Lahidalga, Rosa. España. Ministerio de Cultura Publisher An entity responsible for making the resource available Ministerio de Cultura. España Date A point or period of time associated with an event in the lifecycle of the resource 1983 Rights Information about rights held in and over the resource Creative Commons - Attribution, Non-Commercial, ShareAlike (BY-NC-SA): http://creativecommons.org/licenses/by-nc-sa/4.0/ ISBN: 8474832942 Depósito legal: 12.8211983 Format The file format, physical medium, or dimensions of the resource Print Book Language A language of the resource Spanish Type The nature or genre of the resource Art Catalog 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 Source A related resource from which the described resource is derived Ministerio de Asuntos Exteriores, Unión Europea y Cooperación. Biblioteca Aecid, Madrid. https://bibliotecadigital.aecid.es/bibliodig/es/consulta/registro.do?id=8500 Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial Neocolonial Politics in the Museum https://hernando.upenn.domains/files/original/6b14be6b576fa3133df15014a90c4189.jpg c094f4fc98d381f7a1b1c17af10d6109 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 Museum Catalog and Dictionary 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 Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial / [fotografía, Rosa Martínez de Lahidalga; prólogo por Hilario Hernández Marqués] Subject The topic of the resource Neocolonial Politics in the Museum Description An account of the resource “The International Museum of Contemporary Art of Equatorial Guinea, with content of exceptional category, must serve as a ferment for new concerns and approaches on an aesthetic and human level. It also constitutes the first high-level contact that Spain establishes permanently with the African continent.” (7) Hilario Hernández Marqués Secretario General Técnico del Ministerio de Cultura de España The Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) is emblematic of new articulations of neocolonial power, particularly through the deceptive language of institutional collaboration. A critical examination reveals how the institution perpetuates neocolonial dynamics under the guise of cultural exchange and development. The Spanish Ministry of Culture’s catalog release highlights the museum's role in fostering new aesthetic and human concerns, describing it as "the first high-level contact that Spain establishes permanently with the African continent." This framing suggests a unilateral initiative, where Spain positions itself as the primary agent of cultural influence, reinforcing a hierarchical relationship reminiscent of colonial times. The museum's establishment is portrayed as a benevolent act of cultural enrichment, ignoring the historical context of colonial exploitation and the complex power dynamics at play. Hilario Hernández Marqués, Secretario General Técnico del Ministerio de Cultura de España, underscores the significance of the museum as a high-level artistic contact with Africa. This statement emphasizes Spain’s self-assumed role as a cultural benefactor, subtly insinuating that Africa’s cultural value is validated through Spanish recognition and support. The narrative reflects a continuation of colonial attitudes, where the former colonizer claims a central role in defining and legitimizing African cultural expressions. The museum's permanent exhibit features an "exceptional section of drawing and graphic work" from renowned Spanish artists like Picasso, Millares, Saura, and Tapies, among others. The inclusion of these prominent names suggests a cultural hierarchy, positioning Western art as the benchmark for quality and significance. The catalog also notes contributions from Ibero-American artists, further emphasizing the Western-centric curation of the collection. While these works are undoubtedly valuable, their prominence within the museum space can overshadow and marginalize local African artists, perpetuating a narrative that places Western art at the forefront of cultural discourse. The museum's representation of African artists is described as notable, with some artists developing their work within Africa and others achieving synthesis while residing in Europe or America. The catalog mentions Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam, highlighting their international recognition. However, the emphasis on their international acclaim and residence outside Africa subtly suggests that African art gains legitimacy primarily through Western validation and exposure. The museum's concept and execution reflect a neocolonial framework, where cultural exchange is mediated by the former colonizer, reinforcing existing power structures. The language of institutional collaboration masks the underlying dynamics of control and influence, presenting a façade of mutual benefit while maintaining asymmetrical relationships. The MIACGE, rather than serving as a space for genuine cultural dialogue and equitable exchange, risks becoming a site where colonial legacies are reasserted under the pretext of cultural development. Creator An entity primarily responsible for making the resource Hernández Marqués, Hilario. Martínez de Lahidalga, Rosa. España. Ministerio de Cultura Publisher An entity responsible for making the resource available Ministerio de Cultura. España Date A point or period of time associated with an event in the lifecycle of the resource 1983 Rights Information about rights held in and over the resource Creative Commons - Attribution, Non-Commercial, ShareAlike (BY-NC-SA): http://creativecommons.org/licenses/by-nc-sa/4.0/ ISBN: 8474832942 Depósito legal: 12.8211983 Format The file format, physical medium, or dimensions of the resource Print Book Language A language of the resource Spanish Type The nature or genre of the resource Art Catalog 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 Source A related resource from which the described resource is derived Ministerio de Asuntos Exteriores, Unión Europea y Cooperación. Biblioteca Aecid, Madrid. https://bibliotecadigital.aecid.es/bibliodig/es/consulta/registro.do?id=8500 Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial Neocolonial Politics in the Museum 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