Between 1961 and 1978, Muslim Fula immigrants from different West African countries became one of the most successful mercantile groups in Freetown, the capital city of Sierra Leone. African Entrepreneurship, published by Ohio University Press on December 31, 1999, examines the commercial activities of Fula immigrants and their offspring in Sierra Leone. Author Alusine Jalloh explores the role of Islam in Fula commercial organizations and social relationships, as well as the connection between Fula merchants and politics.

Departing from the prevailing scholarship, Jalloh characterizes the Fula businesses as independent, rather than appendages of Western expatriate commerce. In addition to establishing successful businesses, Fula merchants established Islamic educational institutions for propogating the Muslim faith and promoting Islamic scholarship.

This study also examines the evolution of Fula chieftaincy from the colonial era to the postcolonial period and documents the importance of mercantile wealth and networks in the election of Fula chiefs in Freetown. African Entrepreneurship makes an important contribution to the understudied role of African business in Sierra Leone.

Michael Jackson has spent much of his career elaborating his rich conception of lifeworlds, mining his ethnographic and personal experience for insights into how our subjective and social lives are mutually constituted.
 
In How Lifeworlds Work, Jackson draws on years of ethnographic fieldwork in West Africa to highlight the dynamic quality of human relationships and reinvigorate the study of kinship and ritual. How, he asks, do we manage the perpetual process of accommodation between social norms and personal emotions, impulses, and desires? How are these two dimensions of lived reality joined, and how are the dual imperatives of individual expression and collective viability managed? Drawing on the pragmatist tradition, psychology, and phenomenology, Jackson offers an unforgettable, beautifully written account of how we make, unmake, and remake, our lifeworlds. 

In 2002, as Sierra Leone prepared to announce the end of its brutal civil war, the distinguished anthropologist, poet, and novelist Michael Jackson returned to the country where he had intermittently lived and worked as an ethnographer since 1969. While his initial concern was to help his old friend Sewa Bockarie (S. B.) Marah—a prominent figure in Sierra Leonean politics—write his autobiography, Jackson’s experiences during his stay led him to create a more complex work: In Sierra Leone, a beautifully rendered mosaic integrating S. B.’s moving stories with personal reflections, ethnographic digressions, and meditations on history and violence.

Though the Revolutionary United Front (R.U.F.) ostensibly fought its war (1991–2002) against corrupt government, the people of Sierra Leone were its victims. By the time the war was over, more than fifty thousand were dead, thousands more had been maimed, and over one million were displaced. Jackson relates the stories of political leaders and ordinary people trying to salvage their lives and livelihoods in the aftermath of cataclysmic violence. Combining these with his own knowledge of African folklore, history, and politics and with S. B.’s bittersweet memories—of his family’s rich heritage, his imprisonment as a political detainee, and his position in several of Sierra Leone’s post-independence governments—Jackson has created a work of elegiac, literary, and philosophical power.

The sense that well-being remains elusive, transitory, and unevenly distributed is felt by the rich as well as the poor, and in all societies. To explore this condition of existential dissatisfaction, the anthropologist Michael Jackson traveled to Sierra Leone, described in a recent UN report as the “least livable” country in the world. There he revisited the village where he did his first ethnographic fieldwork in 1969–70 and lived in 1979. Jackson writes that Africans have always faced forces from without that imperil their lives and livelihoods. Though these forces have assumed different forms at different times—slave raiding, warfare, epidemic illness, colonial domination, state interference, economic exploitation, and corrupt government—they are subject to the same mix of magical and practical reactions that affluent Westerners deploy against terrorist threats, illegal immigration, market collapse, and economic recession. Both the problem of well-being and the question of what makes life worthwhile are grounded in the mystery of existential discontent—the question as to why human beings, regardless of their external circumstances, are haunted by a sense of insufficiency and loss. While philosophers have often asked the most searching questions regarding the human condition, Jackson suggests that ethnographic method offers one of the most edifying ways of actually exploring those questions.

Michael Jackson’s Lifeworlds is a masterful collection of essays, the culmination of a career aimed at understanding the relationship between anthropology and philosophy. Seeking the truths that are found in the interstices between examiner and examined, world and word, and body and mind, and taking inspiration from James, Dewey, Arendt, Husserl, Sartre, Camus, and, especially, Merleau-Ponty, Jackson creates in these chapters a distinctive anthropological pursuit of existential inquiry. More important, he buttresses this philosophical approach with committed empirical research.

 

Traveling from the Kuranko in Sierra Leone to the Maori in New Zealand to the Warlpiri in Australia, Jackson argues that anthropological subjects continually negotiate—imaginatively, practically, and politically—their relations with the forces surrounding them and the resources they find in themselves or in solidarity with significant others. At the same time that they mirror facets of the larger world, they also help shape it. Stitching the themes, peoples, and locales of these essays into a sustained argument for a philosophical anthropology that focuses on the places between, Jackson offers a pragmatic understanding of how people act to make their lives more viable, to grasp the elusive, to counteract external powers, and to turn abstract possibilities into embodied truths.

How is the slave trade remembered in West Africa? In a work that challenges recurring claims that Africans felt (and still feel) no sense of moral responsibility concerning the sale of slaves, Rosalind Shaw traces memories of the slave trade in Temne-speaking communities in Sierra Leone. While the slave-trading past is rarely remembered in explicit verbal accounts, it is often made vividly present in such forms as rogue spirits, ritual specialists' visions, and the imagery of divination techniques.

Drawing on extensive fieldwork and archival research, Shaw argues that memories of the slave trade have shaped (and been reshaped by) experiences of colonialism, postcolonialism, and the country's ten-year rebel war. Thus money and commodities, for instance, are often linked to an invisible city of witches whose affluence was built on the theft of human lives. These ritual and visionary memories make hitherto invisible realities manifest, forming a prism through which past and present mutually configure each other.

Staging the Amistad collects in print for the first time plays about the Amistad slave revolt by three of Sierra Leone’s most influential playwrights of the latter decades of the twentieth century: Charlie Haffner, Yulisa Amadu “Pat” Maddy, and Raymond E. D. de’Souza George. Until the late 1980s, when the first of these plays was performed, the 1839 shipboard slave rebellion and the return of its victors to their homes in what is modern-day Sierra Leone had been an unrecognized chapter in the country’s history.

The plays recast the tale of heroism, survival, and resistance to tyranny as a distinctly Sierra Leonean story, emphasizing the agency of its African protagonists. For this reason, Haffner, Maddy, and de’Souza George counterbalance the better-known American representations of the rebellion, which center on American characters and American political and cultural concerns.

The first public performances of these plays constituted a watershed moment. Written and staged immediately before and after the start of Sierra Leone’s decade-long conflict, they brought the Amistad rebellion to public consciousness. Furthermore, their turn to a uniquely Sierra Leonean history of heroic resistance to tyranny highlights the persistent faith in nation-state nationalism and the dreams of decolonization.

IBPA Benjamin Franklin Award™ gold winner, poetry category

Sierra Leone’s devastating civil war barely caught the attention of Western media, but it raged on for over a decade, bringing misery to millions of people in West Africa from 1991 to 2002. The atrocities committed in this war and the accounts of its survivors were duly recorded by international organizations, but they run the risk of being consigned to dusty historical archives. 
 
Derived from public testimonies at a UN-backed war crimes tribunal in Freetown, this remarkable poetry collection aims to breathe new life into the records of Sierra Leone’s civil war, delicately extracting heartbreaking human stories from the morass of legal jargon. By rendering selected trial transcripts in poetic form, Shanee Stepakoff finds a novel way to communicate not only the suffering of Sierra Leone’s people, but also their courage, dignity, and resilience. Her use of innovative literary techniques helps to ensure that the voices of survivors are not forgotten, but rather heard across the world. 
 
This volume also includes an introduction that explores how the genre of “found poetry” can serve as a uniquely powerful means through which writers may bear witness to atrocity. This book’s unforgettable excavation and shaping of survivor testimonies opens new possibilities for speaking about the unspeakable.

In The War Machines, Danny Hoffman considers how young men are made available for violent labor both on the battlefields and in the diamond mines, rubber plantations, and other unregulated industries of West Africa. Based on his ethnographic research with militia groups in Sierra Leone and Liberia during those countries’ recent civil wars, Hoffman traces the path of young fighters who moved from grassroots community-defense organizations in Sierra Leone during the mid-1990s into a large pool of mercenary labor.

Hoffman argues that in contemporary West Africa, space, sociality, and life itself are organized around making young men available for all manner of dangerous work. Drawing on his ethnographic research over the past nine years, as well as the anthropology of violence, interdisciplinary security studies, and contemporary critical theory, he maintains that the mobilization of West African men exemplifies a global trend in the outsourcing of warfare and security operations. A similar dynamic underlies the political economy of violence in Iraq, Afghanistan, and a growing number of postcolonial spaces. An experienced photojournalist, Hoffman integrates more than fifty of his photographs of young West Africans into The War Machines.