By late June reports
described how the Islamist militants were wielding pickaxes to destroy the
mausoleums of Muslim saints. According
to the Ansar Dine spokesman, Sanda Ould Bamana, the Ansar Dine has completed
almost 90% of its objective to destroy all mausoleums that are not in
compliance with Islamic law.
Fatou Bensouda, the
chief prosecutor of the International Criminal Court (to which Mali is a
Signatory to the Rome Statute, stating that deliberate attacks against
undefended civilian buildings which are not military objectives are a war
crime), has condemnedthe destruction as a “war crime” and has threatened the Islamist fighters inMali with legal action if they do not cease their destruction of the city.
Timbuktu—the city
itself as well as the treasures housed within—embodies the prestige, religious
ideals, and national aspirations of Mali.
This is an example illustrating how art can suffer during wartime both
because of its significance and as a by-product of armed conflict. The rebel groups seek to occupy the city so
as to possess this symbol of power and prestige, and it is apparent that
destruction is occurring as a means for the combating groups to reinforce
political and social independence and power.
Here we see intentional destruction, political and religious assertion,
and the possibility of collateral damage, plunder, and ignorant destruction.
UNESCO has become
involved; the Mali government has become involved; the ICC has become
involved. Yet destruction
continues. How can we stop this
destruction? Cultural security must be ensured; our universal heritage must be
protected from war.
Originally posted by Sally Johnson on CulturalSecurity.net.
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