Connecting Cultural Heritage and Mass Atrocities

A new book examines the link between heritage destruction and vulnerable populations

Two women walk past the huge cavity where one of the ancient Buddhas of Bamiyan, known to locals as the "Father Buddha," used to stand, June 17, 2012

By Alexandria Sivak

Sep 19, 2022

Social Sharing

Body Content

In March 2001, just months before the September 11 attacks on the United States, the Taliban dynamited two enormous Buddhist statues in central Afghanistan that they viewed as harmful idols.

The Buddhas of Bamiyan were 6th-century figures carved into a sandstone cliffside along the Silk Road, with Bamiyan as a site of Buddhist monasteries and a hub for cultural exchange.

The destruction of the Buddhas was broadcast widely and shocked the international community, but the demolition of cultural heritage in service of oppression is not a new phenomenon. They virtually go hand-in-hand. The ease with which violence like this can be broadcast has increased interest in places like Bamiyan, as well as other, more recent sites of destruction such as the ancient city of Palmyra and heritage sites across the Balkans and Ukraine, the Middle East, and Africa.

The new book Cultural Heritage and Mass Atrocities, edited by James Cuno and Thomas G. Weiss, explores the connection, arguing that violent attacks on cultural heritage are inextricably and intentionally linked to attacks on vulnerable populations.

In its 32 essays by distinguished experts in their respective fields, the book emphasizes strategies and policy agendas to address the dual challenge of protecting culture and people. We asked Cuno and Weiss about the book and the difficulty in finding solutions to such a complex global problem.

Ali Sivak: Why is the preservation of world cultural heritage important?

Thomas G. Weiss: It’s always good to start with a deceptively tricky, simple question. I think the best answer is that many of us recognize the intrinsic value of cultural heritage. Humanity benefits from it and suffers from its disappearance. We treasure these inspirational objects or sites themselves and as sources of knowledge about the past, so we can learn about the future.

For communities where this heritage is located, this may be a widely known world heritage site or a simple as a local mud brick structure that serves as a church or a mosque. They’re essential links to identities.

Jim Cuno: We work to preserve such places as these because the people living there and around the world have deemed them to be important. Warring peoples have always exploited the vulnerability of cultural heritage. They are fixed in place and can’t be moved and so they are more vulnerable.

Cultural Heritage and Mass Atrocities book cover

AS: In the introduction to your book, you state that destruction of cultural heritage during conflict is not new but has increased as a violent tactic in recent years. Why do you think that is?

TGW: Time immemorial. Perhaps nothing is new anywhere, but this is certainly not either a new strategy or a new tactic in waging war, to either weaken the enemy’s resolve or undermine a community’s faith in their own military protectors. It also makes reconstruction more difficult. But in the contemporary era, performative destruction in real time with video is an important tool for the perpetrators.

We understand destruction as a cost, but they understand it as a benefit that helps propaganda and recruitment. Interestingly, it also cuts two ways—the increased exposure of war crimes or crimes against humanity also leads to more international outrage and sometimes action.

JC: Adding to that, this is also due to more proxy wars and the increased numbers of people involved in them. There are more sophisticated ways to exploit, to attack, and to do damage to these this kind of heritage: they are vulnerable because they’re available, and because the weaponry used against them now is more plentiful than before.

AS: This book, as well as statements by UNESCO, link ethnic cleansing and genocide to the destruction of cultural heritage. Why do you think these things are inextricably connected?

TGW: Humanitarians emphasize not just the intrinsic value but the extrinsic value of this heritage, because those who commit mass atrocities understand that the elimination of heritage is a prelude to—or accompanies—targeting individuals and people. For military tacticians and strategists, protecting people and culture are inseparable tasks. So, I think whether you’re emphasizing the intrinsic or the extrinsic value, it’s clear that heritage is an essential part of your job.

Also, the public, international observers, and journalists—they all connect images of both. They’re in the same screen, they’re side by side: mass murder, forced displacement, ethnic cleansing, human trafficking, slavery, and terrorism appear alongside the destruction and looting of objects and sites. There’s no need for hierarchy. One must address both.

JC: We’ve seen plenty of examples that convince us of the inextricable link. 19th-century German poet Heinrich Heine and others since have reminded us, “Those who burn books will, in the end, burn people.” And that continues to hold true. And Raphael Lemkin, who coined the term genocide and drafted the first principles of genocide, made the connection. It’s a persistent problem and one of increasing importance.

AS: The Responsibility to Protect (R2P) is agreed in a 2005 United Nations resolution adopted to permit international intervention against crimes of war or genocide. This book uses R2P as a framework to extend this framework to the protection of cultural heritage. Do you think there’s a strong appetite in the international community to potentially violate the sovereignty of a nation to protect not only human life but cultural heritage?

TGW: No, there is very little. But as an inveterate optimist, I think we’re at the beginning of a long and arduous path to hold states and non-states modestly more accountable for their actions. Normative change precedes policy change and eventually action. And the example of R2P is crucial because it gives additional meaning to the most sacrosanct principle of world politics. We believe addressing mass murder, mass ethnic cleansing, and cultural heritage destruction are part of protecting people. It’s no longer off the charts to speak about violating national sovereignty because there are some actions that are so egregious and so conscience-shocking, that something must be done that sets aside that sovereignty.

JC: There are three ways to extend R2P to encompass cultural heritage—encourage local peoples to react to the attacks on cultural heritage, then fund and provide material in support of it. If that’s not enough, states can put boots on the ground, which of course, is the most problematic. Do we as a global community have the appetite and means to do this?

AS: Outside of the UN, are there any other professional organizations or efforts that are currently underway that could possibly strengthen the protection of some of these global sites?

TGW: Obviously UNESCO—the UN Educational, Scientific and Cultural Organization—is the global voice on these issues. Their conventions govern international actions, but we should understand how modest a player the organization is. I heard recently that the entire budget for cultural protection at UNESCO is about the size of the cultural budget for the borough of Queens in New York City.

Right now, I’m trying to help the Smithsonian map a host of organizations within the US government and internationally, as well as private agencies, that are working on these issues. The next time there’s an Afghanistan or a Ukraine, as there is bound to be, we’ll be able to pull together a response much more quickly. We need a working and workable consortium.

Everyone seems to love the Monuments Men of World War II, which is a widely publicized example which suggests that governments can use technicians, soldiers, and others in a coordinated activity to help. That may not be the right model or image, but a whole lot more could be done.

AS: If many of the recommendations made by the contributors to this book are not heeded, where do you see the world headed in terms of cultural heritage preservation in the next 20 or so years?

JC: Of course, it’s best that we make every effort to protect these sites. Local peoples are seeking our help.

TGW: In the last 30 to 40 years, it is hard to count the number of times I’ve said, “Never again,” all over again. From the Balkans to Rwanda, Sudan, Myanmar, and Ukraine, mass atrocities continue. Social scientists are not paid to make projections, but my depressing prediction would be appalling repetitions of what we’ve seen, mainly the disappearance or destruction of treasures, as well as local structures that are the key to local identities.

But let’s not end on a somber note. You must be hopeful to be involved in international politics or the protection of cultural heritage. And it seems to me that much of this book is about the link between bricks and blood, between heritage and human beings.

We can make it possible to reach a better consensus so that robust international action occasionally could protect people whose heritage is under siege. So, while normative advances, UN resolutions, UNESCO reports, and our book do not guarantee action, they are essential building blocks. They are prerequisites for moving beyond ad hoc, inconsistent, local, and short-term responses toward more systematic, rules-based, predictable, and coordinated action. As I mentioned, I’m a professional optimist.

Cultural Heritage and Mass Atrocities

FREE

Learn more about this publication
Cultural Heritage and Mass Atrocities book cover
Back to Top

Stay Connected

  1. Get Inspired

    A young man and woman chat about a painting they are looking at in a gallery at the J. Paul Getty Museum.

    Enjoy stories about art, and news about Getty exhibitions and events, with our free e-newsletter

  2. For Journalists

    A scientist in a lab coat inspects several clear plastic samples arrayed in front of her on a table.

    Find press contacts, images, and information for the news media