01484nas a2200217   4500000000100000000000100001000000100002008004100003260000800044653002300052653004200075653001400117653003300131100002200164245010700186856006000293300001000353490000700363520088300370022001301253       2012                            d  cmar10aCities (ICH\_1358)10aInsufficient remuneration (ICH\_1245)10aMali (ML)10aTouristification (ICH\_1122)1 aCristiana Panella00aBamako s Woodcarvers as Pariahs of Cultural Heritage: Between Marginalization and State Representation  uhttp://www.jstor.org/stable/10.2979/africatoday.58.3.41  a41-560 v583 aIn this article, I propose to view the acts of production behind tourist art as indicators of adaptation strategies paramount to innovation and cultural reprocessing. From this perspective, I examine the principle of materiality associated with UNESCO selection criteria, including a spatial-temporal conception that rejects the contemporaneity between objects and their acts of production. The Malian state s “heritage foundation” excludes tourist art carvers on the basis of their economic survival strategies and marks of identity. In an opposite perspective, the principle of corporality includes a social perspective on cultural heritage in which the human body is viewed as a receptacle of the capital of “social relations of work,” conveying a social aesthetic in which iconographic innovation is the outcome of economic precariousness and hierarchical relations.  a00019887