British Museum blog

Researching ‘old’ as well as ‘new’ kinds of money in West Africa

Documents from 1931-33Sophie Mew, Project Curator, Money in Africa

I’ve been working on the Money in Africa research project to understand how coin and note currencies were introduced to the coastal regions of Africa and how their usage had spread widely by the close of the nineteenth century.

With two former British West African colonies, the Gold Coast (what is now known as Ghana) and Sierra Leone (one of the earliest British settlements on the coast), most of my research so far has been carried out at the National Archives in London, in Accra (Ghana) and in Freetown (Sierra Leone). In each place, I’ve consulted documents relating to a wide range of accounts about currencies. These included, for example, colonial despatches written by the governors of Sierra Leone and the Gold Coast and sent to the Secretaries of State in London; records that were created by and filed in the Treasury department in London, as well as diaries from merchants trading to West Africa.

Documents from the 1930s

Documents from 1931-33, PRAAD records

One of my early finds was a series of detailed instructions for traders on an expedition to the west coast of Africa in 1796. The Governor of Freetown at the time requested that the traders gather as much information as possible to understand what it was that locals preferred to trade with, at each stage, and at what value. At the National Archives in Ghana in June 2012, I found a series of similar despatches that were distributed to District Officers in 1944. Questions related to coins and notes and what they were used for, as they sought to gather information on the preferences of “the man on the street”. Responses suggested, for example, that people who could read preferred notes while labourers preferred coins. The 1/10th shilling was used as a counter for gambling in Obuasi, and notes could be inconvenient: the “average cloth wearing African was used to carrying his money tied up in a corner of his cloth with the result that notes became crumpled and torn, got wet and became pulp.”

Inside the Sierra Leone National Archives at Fourah Bay College,

Inside the Sierra Leone National Archives at Fourah Bay College,

I took my first trip to Sierra Leone in January 2013 where I researched the holdings of the branch of the National Archives, located on the University Campus (Fourah Bay College, founded in 1827, is the oldest university in West Africa). At the top of a treacherously steep hill overlooking the city, I consulted lists of annual stipends that the British colonial government paid to local chiefs in exchange for leasing their land, and trawled through records of fines and fees paid to the colonial police to find out what currencies people were using and when.

In conjunction with my archival research for the Money in Africa project, I was also seeking information about the use of mobile money in Sierra Leone as part of a redisplay of an exhibition panel in the Citi Money Gallery. This display panel addresses the future of money and new technologies, and is updated every six months to showcase new studies.

As I questioned members of the public in Freetown, friends I had made, and staff members of mobile money companies, I understood the wariness that people have in trusting new kinds of money and the difficulties with trying out alternative systems. What I found fascinating here was that similar justifications for the practicality of using new coins and banknotes in the nineteenth century were being repeated to me within the contexts of mobile money in Sierra Leone today.

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Don’t forget to look up! ☝🏼 The triangular feature above the columns of the Museum’s main entrance is called a pediment. Originally it had a bright blue background and the statues were all painted white. 
The sculptures in the pediment show the development of ‘mankind’ in eight stages – a very old-fashioned idea now, but it was designed and built in the 1850s. The left side shows the creation of man as he emerges from a rock as an ignorant being. He meets the next character, the Angel of Enlightenment who is holding the Lamp of Knowledge. From the lamp, man learns basic skills such as cultivating land and taming animals.

The next step in the progress of civilisation is for man to expand his knowledge and understanding. The following eight figures represent the subjects he must learn to do this – architecture and sculpture, painting and science, geometry and drama, and music and poetry. The final human figure, on the right, represents ‘educated man’. Learn more about the Museum’s architecture and its fascinating history in our new blog – follow the link in our bio! We’d love to hear what you think. 258 years ago we opened our doors to the public for the first time! The British Museum is the world’s oldest national public museum, founded in 1753. It was created to be free to all ‘studious and curious persons’ and it’s still free today, but a few things have changed…

Did you know that the @natural_history_museum used to be part of the British Museum? The Museum’s founder Sir Hans Sloane had collected a vast number of natural history specimens, and these were part of the Museum’s collection for over a hundred years. In the 1880s, with space in Bloomsbury at a premium, it was agreed that these collections should move to a new site in South Kensington.

This photograph by Frederick York shows a mastodon skeleton on display here in Bloomsbury, before it moved to South Kensington in the 1880s.

Explore more of the Museum’s history on our new blog – follow the link in our bio and let us know what you think! The British Museum opened to the public #onthisday in 1759, the first national public museum in the world! 🎉

The Museum was founded on the death of Sir Hans Sloane, who bequeathed his collection of 71,000 objects to the nation. The British Museum Act gained royal assent in June 1753 (which makes us older than the USA!). The original collection featured 1,125 ‘things relating to the customs of ancient times’, 5,447 insects, a herbarium (a collection of dried plants), 23,000 coins and medals and 50,000 books, prints and manuscripts.

This photograph of the front of the Museum was taken in 1857 by Roger Fenton, the Museum’s first official photographer.

To mark this anniversary, the Museum is launching a blog where you can find all kinds of interesting articles – things you didn’t know about the Museum, curators’ insights, behind-the-scenes stories and more. Follow the link in our bio – we’d love to know what you think! In the early 1830s, following the success of ‘Thirty-six views of Mount Fuji’, #Hokusai worked to produce several follow-on print series. These featured waterfalls, bridges, and the flower series depicted in both large and small sizes. Hokusai probably composed this design without seeing the waterfall or referring to an existing image. He was free to use his imagination, and produced a strikingly idiosyncratic print that contrasts the marbled currents at the top with the perpendicular drop of the falls. Three travellers warm saké (rice wine) as they enjoy the view.
Our upcoming exhibition will explore Hokusai’s iconic work, and allow you to learn more about his enigmatic life. The exhibition opens on 25 May 2017 – learn more and buy tickets by following the link in our bio.
The exhibition is supported by Mitsubishi Corporation.
Katsushika Hokusai (1760–1849), Amida waterfall, deep beyond the Kiso highway. Colour woodblock, 1833. The Tōyō Bunko, Tokyo. On display 7 July – 13 August 2017.
#Hokusai #waterfall #Japan #JapaneseArt #print #nature #landscape Our #Hokusai exhibition will feature stunning works – from dramatic landscapes to exquisite depictions of birds and flowers, like this bullfinch. He worked tirelessly to capture what he called the ‘form of things’ and to show how they relate to one another. Hokusai has depicted a male bullfinch, distinguished by its pink marking from cheek to throat. The bird and flower stand out in relief against the background of deep Prussian blue (a colour that had only recently been invented, used to great effect by Hokusai).
The exhibition ‘Hokusai: beyond the Great Wave’ will open on 25 May 2017. With many of the works coming especially from Japan, it’s a rare opportunity to see the artist’s work on display in the UK. Follow the link in our bio for more information and to book tickets! 
Join us for a #FacebookLive broadcast later today at 17.30 GMT and ask your questions to our Hokusai curator Tim Clark! 
Katsushika Hokusai (1760–1849), Weeping cherry and bullfinch. Colour woodblock, 1834. On display 7 July – 13 August 2017.
#Hokusai #Japan #JapaneseArt #print #bird #nature #cherry 🌊 Hokusai’s most famous print, known as ‘The Great Wave’, will be one of the highlight works in our upcoming #Hokusai exhibition (25 May – 13 August) . It was created when the artist was in his early seventies and was one of a series – ‘Thirty-six Views of Mount Fuji’ – which celebrated the sacred mountain with views from different seasons and locations. Hokusai increasingly identified with Mount Fuji as a source of long life, even immortality.

The exhibition ‘Hokusai: beyond the Great Wave’ will feature sublime prints and paintings by one of Japan’s greatest artists. Follow the link in our bio for more information and to book tickets!

Katsushika Hokusai (1760–1849), Under the wave off Kanagawa (The Great Wave) from Thirty-six views of Mt Fuji. Colour woodblock, 1831. Acquired with the assistance of the @artfunduk 
#Hokusai #Japan #GreatWave #MountFuji #JapaneseArt #Japaneseprints #seascape #nature #wave #sea #mountain #🌊
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