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UNESCO’s New Heritage Sites and the Complexities of Cultural Preservation

The latest additions to UNESCO’s World Heritage list reflect the precarious balance between recognizing cultural identity and confronting environmental and geopolitical threats.

By Sofia Bellandi··4 min read
Jan van Eyck — The Crucifixion; The Last Judgment
The Crucifixion; The Last Judgment, Jan van Eyck, ca. 1436–38 · Jan van Eyck (Public Domain (CC0))

In September 2023, UNESCO added 42 sites to its World Heritage list during the 45th session of its committee in Riyadh. Among these are the Zarafshan-Karakum Corridor in Turkmenistan, a vital part of the ancient Silk Road, and the Ḥimā Cultural Area in Saudi Arabia, home to thousands of petroglyphs over 7,000 years old. These inclusions acknowledge cultural significance and signal urgent calls for action. Many of this year’s additions face immediate threats from environmental degradation, urban encroachment, or political instability.

The Silk Road corridor, stretching over 850 kilometers, symbolizes transcontinental exchange. Yet, as Dr. Amélie Hirtzel, a cultural heritage specialist at ICCROM, points out, even this romanticized legacy cannot obscure its precarious present. “Climate change has exacerbated desertification in the region, threatening not only the physical integrity of the route but also the cultural practices tied to it,” she remarks. This vulnerability mirrors other additions, notably the Koh Ker archaeological site in Cambodia, where illegal logging and looting increasingly threaten its temples.

The 2023 list also expands the definition of heritage. The inclusion of the Modernist residential complex of Werkbundsiedlung Neubühl in Zurich, built in 1932, recognizes cultural narratives beyond ancient architecture. Neubühl embodies interwar social housing's ethos, prioritizing functionality and communal living. This shift reflects UNESCO’s evolving criteria: heritage now encompasses everyday life and modernity alongside antiquity.

However, the celebratory tone of these designations is tempered by questions of responsibility. Inscription on the World Heritage list raises expectations—financial and political. The case of the Ḥimā rock art region illustrates this tension. Its addition underscores the need to safeguard prehistoric artwork, yet its location in a contested region complicates conservation efforts. Saudi Arabia’s Ministry of Culture has invested in infrastructure, including visitor access routes, but the involvement of multiple stakeholders has delayed a cohesive preservation plan.

Francesco Bandarin, former Assistant Director-General of UNESCO for Culture, expresses concern over this dynamic. “The gap between inscription and actionable preservation plans is widening,” Bandarin observes. “Many states treat World Heritage status as a badge of prestige, overlooking the responsibilities that come with it.”

There is also the question of whose heritage is preserved—and for whom. This critique targets the inclusion of sites like the Viking-Age Ring Fortresses in Denmark, which some argue reassert a Eurocentric narrative while the list’s geographic diversity remains under scrutiny. While the Danish fortresses are significant, questions arise about the emphasis on European sites compared to those in regions facing immediate existential challenges.

UNESCO’s operational limitations exacerbate these tensions. With a biennial budget of approximately $5 million for the World Heritage Centre, the organization’s resources are thinly spread across over 1,150 sites. Much of the burden rests on national governments and local communities, some lacking the infrastructure or political will to implement effective conservation measures. The Sundarbans mangrove forests, added to the list in 1997 and located on the border of India and Bangladesh, illustrate the ongoing challenges of balancing ecological preservation with local economic needs.

One notable omission from the 2023 list was Ukraine’s ancient city of Chersonese, whose preservation has been jeopardized by ongoing conflict. UNESCO’s decision to defer its inclusion highlights the difficulty of addressing heritage in active war zones. This exclusion raises the question of whether the process should adapt to better protect sites in immediate danger, even if their conservation cannot be guaranteed.

The broader conversation is not simply about which sites are added, but how they are protected long-term. International funding mechanisms, such as the World Heritage Fund, provide some support, but their disbursement processes remain slow and bureaucratic. Moreover, private investment in heritage preservation—while potentially valuable—often comes with conditions and compromises.

The new inscriptions prompt reflection on heritage's evolving role in shaping communal identity. Particularly striking is the inclusion of the Sacred Ensembles of the Hoysalas in Karnataka, India, celebrated for intricate temple carvings. For local communities, these sites are not merely historical landmarks but living places of worship and cultural pride. The Hoysala temples illustrate the dual role heritage sites play: they are windows into the past and active components of contemporary life.

Yet, as Hirtzel argues, “Preservation efforts must tread carefully, ensuring that safeguarding a site’s materiality does not alienate the communities for whom it holds meaning.” This balance is elusive, especially as tourism—a frequent byproduct of World Heritage designation—introduces pressures on local infrastructure and cultural practices.

The 2023 World Heritage list reflects the complexities of global heritage preservation in the 21st century. It underscores the richness of human history and the fragility of the systems tasked with protecting it. As nations celebrate their new designations, the challenges of resources, responsibility, and representation remain pressing issues for the years ahead.

#unesco#world heritage#cultural preservation#museums#heritage sites
Sofia BellandiSofia Bellandi writes on Renaissance afterlives and contemporary Italian painting from Florence. Former gallery educator at the Uffizi.
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