Hispanic-Guano Cultural Center – Wikipedia, free encyclopedia

He Hispano-Guinean Cultural Center It was a public law entity created under the Cultural Cooperation Agreement ^{[ first ]} Between equatorial guinea and Spain, ^{[ 2 ]} According to which «it undertakes to promote and grant facilities to the citizens of both parties for the creation in the territory of the other of cultural centers or establishments aimed at strengthening human, spiritual and cultural relations between the two peoples (.. .) And as a first phase of its application, the Spanish government expresses its purpose of establishing a Spanish -Guinean cultural center ». Founded ^{[ 3 ]} In 1982, its main headquarters was in the city of Malabo, in the building of the missing Secondary Education Board (Cardinal Cisneros Institute of Santa Isabel, former General Mola Street). In October 2003, after two decades of operation, the Binational Board of Trustees that the institution governed and took over the Cultural Center of Spain in Malabo and the Cultural Center of Spain in Bata of the Spanish Agency for International Cooperation, integrating both centers the centers Network of cultural centers of Spanish cooperation in Africa. ^{[ 4 ]} ​
It was directed among others by Germán de Granda (1981-1983), Julián Donado Vara (1983-1985), Carlos Guerrero Carranza ^{[ 5 ]} (1985-1987), Jesus Christ Riquelme Pomares, Esteban Díaz-Maroto Martínez, Ignacio Sánchez (1992-1996), José Luis Márquez Ocaña ^{[ 6 ]} (1998) And Enrique León Chacón, so as donato Nongo-Ingygo (1985-1992) and Ciriaco Bokesa nap as a deputy principal.

Both (Deputy Director and Director “for Ibero -American Affairs”) were appointed by a Binational Board of Trustees, whose constitution ^{[ 7 ]} On October 12, 1981, it was the first mixed management exercise of the Network of Cultural Centers of Spanish Cooperation.

Activities [ To edit ]

Are internal regulations established (art.2º) as its purposes:

to. The development of the cultural life of Ecuatrial Guinea with special attention to the study, research and dissemination of their own cultural values.

b. The development in equatorial guinea of ​​the values ​​of the Hispanic culture, as an essential part of the personality of the Páis.

c. The dissemination of universal cultural values.

During its existence it was one of the main Ecuatoguinean cultural entities and determined promoter of «the organization of conferences or cycles of dissemination and study of the respective cultures, of manifestations or artistic or literary activities, of libraries, discos or collections of audiovisual material, of trips, projection of cinematographic tapes, theatrical performances, musical auditions or folkloric exhibitions of art and popular dances, of sports competitions, as well as any other similar activity and purpose ». ^{[ 8 ]} ​

For its beginnings a cultural agenda whose general lines responded to the recommendations ^{[ 9 ]} Of the Hispanic-African Culture Congress held in Bata in 1984. ^{[ ten ]} ​

From the beginning it was endowed with training and creation classrooms in different disciplines, including theater and performing arts with Marcelo Ndong, Eva Alcaide painting, audiovisuals with “Pepe Spilber” (José Hernández Moralejo), size with Fernando Nguema, Ceramás, Radio, Radio, writing…

The Cultural Center also organized various activities such as recitals, literary competitions, exhibitions and courses of Fang, Bubi and Spanish languages ​​among other events.

He had its own radio station Radio Africa 2000, with Rafi de la Torreo as a driver, and a dynamic radio education program, called Centro Africa of Permanent Education of Adults with Central Headquarters in Bata and Subcentral in Malabo, ^{[ 11 ]} Quarterly called Africa 2000 And the monthly magazine The backyard . Its editorial, editions of the Hispanic-Guinean Cultural Center is dedicated to Ecuadoguinean writers, both consecrated and young promises.

His Hispanic music festival allowed local musicians to identify and consolidate, which, like the duo of the daughters of the sun, could transcend borders. Thus proposals arise that manage to internationalize as “Malabo Strit Band” ^{[ twelfth ]} mb, con David owono (guitarras), Pepe Dougan (Tetclados), Alex Ikot (Batería) y La Cantante Minepi.

The center also had a sports pavilion, headquarters among others from the cultural CD football team in which Camilo Nvo began under the direction of Rocky Marciano Bueriberi and housed until the creation of the UNGE to the associated center of the UNED in Malabo.

Its ability to radiate culture throughout the country multiplied through a dense network of community and teleclub spaces in rural areas, as well as the associated center of the UNED in Bata and the University’s support centers in the island and continental zone : «It was organized, from the modest average of the cultural center, an important cultural extension work throughout the country, both on the island of Bioko and in the continental part, creating libraries and film clubs in several locations such as Rebola, Lubbá, Lubbá, Lubbá, Basakato, Baneyu, all on the island of Bioko. In the continental part, with the invaluable collaboration of the UNED, which already had a center in Bata, libraries were opened in Niefang, Mbini, Kogo and Ebebiyín ». ^{[ 13 ]} In the continental zone in addition to the UNED (in 1991 he had 7 sub -currencies), he relied on the General Consulate, Spanish College, Manuel Iradier Association in Kogo and some of the religious entities in the area.

Publications [ To edit ]

«The AECI and its CCH-G They became the editorial of both literary and rehearsal books; These were printed well in Spain (with ISBN ), Good in equatorial Guinea (offset and without ISBN). Among the former we find Dreams in my jungle (poetic anthology) by Juan Balboa Boneke (1987, and with ISBN) or with ISBN) The reunion: the return of the exile by the same author (1985, printed in Spain and without ISBN), etc. Among the seconds stand out NIFANG’s pastor ^{[ 14 ]} (1996) and Footprints underground ^{[ 15 ]} (1998), both by Joaquín Mbomío Bacheng; You foam you (1987), de Ciaco Bokesa Napo; Poetic album (1996), by Jerónimo Rope Bomabá; Delusions (1991), by María Nsué Angüe; Adjá-Adjá and other stories (1994), by Maximilian Nkogo Esono, etc ». ^{[ 16 ]} ​

Among the published titles are, in narrative “The faithful friend” (1987) by Ana Lourdes Sohora, “AFÉN, La Cabrita Reina” (1989) and “The last lesson of the venerable Emaga Ela” (1991) of Antimo Esono Nogo, “Boot-Chiba” (1990) by Pedro Cristino Bueríberi; in poetry he can point out “Shouts of freedom and hope” (1987) of Anacleto Oló Mibuy, “Delus” (1991) and “Tales of the old Noa” (1999) by María Nsué Angüe. In the field of essay he has also published various works, such as the “The Bub language course” (1991, Isbn 84-7232608-X) by Justo Bolekia.

Other recognized authors of “Editions of the Hispanic Cultural Center” They are Maximiliano Nkogo ( “Adjá-Adjá and other stories” ), rightly féné. “Kalabó and Termes” ashes ” ), Juan Tomás Ávila Laurel and Jerónimo Rope.

At the close of the Guinean Hispanic Cultural Center, its library ^{[ 17 ]} Composed of 12,000 volumes was reallocated to the National Equatorial Guinea Library.

Coinciding with the 40 years of Spanish-Guinean cooperation programs, the AECID library, together with the libraries of the current cultural centers of Spain in Bata and Malabo generated the Equatorial Guinea Digital Fund Portal , with books, exhibition catalogs, newspapers, magazines, maps, sound records and photographs of the agency’s institutional publications (especially those of the missing Hispanic-Guinean cultural center) as well as the old background of the Hispanic library.

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