British Museum blog

Navigating currency on the corner


Maxim Bolt, researcher, British Museum

What does researching money – on the ground – actually involve? Recently, in my ongoing fieldwork in Malawi, it has involved a lot of time in The Corner Salon (this is a pseudonym, in the sense that I made it up, as it is ethical research practice to keep subjects studied anonymous), a small, wooden structure painted in the bright colours of a mobile phone operator. This may be a little surprising. But, unlike practitioners of many other social sciences – with their broad coverage and formal methods like survey questionnaires – anthropologists attempt to get in deeper. This means getting to know, personally, the people whose lives we are learning about.

For the Money in Africa project, it means coming to understand the monetary priorities and concerns of Malawian businesspeople themselves. It means appreciating how The Corner’s owners – sisters Yami and Flora (also pseudonyms) – navigate their salon through Malawi’s current foreign exchange shortage.

The city of Blantyre, Malawi

The city of Blantyre, Malawi

The Corner is in a high-density residential area of Blantyre, Malawi’s economic hub, and the salon is facing hard times. The economy has been badly hit by recent foreign exchange shortages – the result partly of donor funding cuts – and people are more careful about spending their money. But for Yami and Flora, the difficulties run much deeper. The sisters used to buy their hair extensions, straightener, and conditioner in South Africa, but it has become much harder to acquire South African Rand. They have turned to buying from Dar es Salaam, in Tanzania, because it is easier to buy Tanzanian shillings.

But even this is no simple matter. Yami currently relies on her husband’s import-export business for transport. He cannot make another trip until he has sold his current stock, yet another challenge in Malawi’s climate of uncertainty. Yami worries that she will not have stock in time for her Christmas clientele. Flora, meanwhile, is considering returning to South Africa, to return to her earlier employment there as a domestic worker. At least that way, she reasons, she can remit her earnings in the form of hair products, keeping the salon in stock. This is, of course, a great way to sidestep the foreign exchange problem. But Yami is worried. The departure will break up the salon’s team, leaving her alone with the business, as well as her own and Flora’s children.

This is a story about two sisters’ business, and their attempts to import hair products. But, through it, we can begin to understand what monetary problems look like in reality, today, as small businesspeople navigate the region’s different currencies. Such a perspective is key to the British Museum’s Money in Africa project, which investigates money in action, beyond the glass cases of the Museum. The results of this research will be drawn together in a broad-ranging, comparative, collaborative and multidisciplinary study.

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To mark the birthday of Pre-Raphaelite artist Edward Burne-Jones (1833–1898) this week, we’re featuring paintings from his ‘Flower Book’ – a sketchbook full of watercolours and drawings that contained fantasy artworks inspired by the names of flowers. This painting is titled ‘Love in a tangle’ – a name sometimes used for the climbing plant clematis. The scene suggests the story of Ariadne, who gave Greek hero Theseus a ball of golden thread to unwind as he wandered through the labyrinth in search of the minotaur (a mythological creature – half-man and half-bull). Here she waits anxiously for her lover to follow the thread back out of the maze. The clematis and its maze of tangled foliage inspired Burne-Jones to represent this story from ancient Greek mythology in his Flower Book.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers #mythology Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum
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