Climate change is one of the most urgent challenges of our time, capable of affecting all aspects of human life. In this context, cultural heritage and art should not only be considered sociocultural assets that require adequate protection from the new risks arising from the climate crisis, but they can also be valuable resources for enhancing the adaptive and resilience capacities of communities and territories. Here, we would like to share some reflections on how cultural heritage and art offer a range of alternatives and opportunities to be considered as part of the cultural dimensions of climate action.
Cultural Heritage: A Strategic Asset for Resilience
Cultural heritage can be defined as the set of tangible and intangible assets generated locally and often inherited over generations, which reinforce the sense of community of a given human group that usually shares a common memory. It is essential for several reasons. On one hand, it provides a sense of identity and belonging, fundamental for social cohesion, which is particularly important in times of crisis. On the other hand, it incorporates assets and knowledge from diverse origins, including Indigenous and local knowledge (ILK), which offer the opportunity to design more contextualized, comprehensive, creative, and innovative adaptive strategies. Additionally, cultural heritage is often a key element for tourism, an important economic sector for many territories and their inhabitants, particularly when carried out sustainably.
Cultural heritage constitutes an invaluable asset, capable of collaborating in the development of social systems’ capacities to face situations of change and stress. Indeed, both UNESCO¹ and the Intergovernmental Panel on Climate Change² (IPCC) suggest that the exchange of local, Indigenous, and scientific knowledge would facilitate social learning about the risks and opportunities of each territory, thereby facilitating more interactive and well-founded adaptive governance agreements in response to climate change.
The Role of Art in Climate Awareness
Art is not only a form of creative expression but also a tool that can be highly effective for communication, awareness-raising, and fostering citizen participation in issues related to the climate crisis. By using various types of languages that transcend the purely intellectual—through the use of images, metaphors, and other resources that appeal to our senses—art has the ability to communicate, influence, and mobilize people³, inviting us to reflect on our daily practices and the care of our environments, serve as a bridge to the scientific literature on the environmental crisis, or even familiarize us with other types of knowledge or perspectives regarding our relationship with nature.
There are many examples in this regard. Urban artists like Banksy or Pejac often draw attention to the severity of the environmental crisis and openly criticize the prevailing socio-political consumer model through their art interventions in the streets of various cities, mainly in Europe. One notable example is the graffiti “The World Goes Down the Drain” by Pejac. Similarly, various metal bands in Latin America, including Chile, warn in their lyrics about the profound state of ecological degradation of our territories due to the prevailing extractivist economic model⁴.
In almost all artistic manifestations, there are individuals who have incorporated issues related to the environmental crisis into their works, and all of them, whether deliberately or not, play a fundamental social role in the task of communicating, raising awareness, influencing, and committing audiences to climate action⁵.
Cultural Heritage and Climate Adaptation: Spain’s Proposal and Some Final Reflections for Action from Chile
Spain’s National Plan for Climate Change Adaptation (PNACC) 2021-2030⁶ is the fundamental planning instrument for coordinating actions against the adverse effects of climate change. This plan aims to avoid or reduce present and future damages derived from climate change, while building a more resilient economy and society. The PNACC is the result of a collective process of analysis, reflection, and public participation. Its strategies include: a) Identifying the cultural heritage elements most vulnerable to climate change and defining possible adaptation strategies (including conservation plans, through a work that involves knowledge transfer and the promotion of international cooperation in this field); b) collecting and transferring useful vernacular knowledge for climate adaptation; and c) promoting low-carbon cultural tourism adapted to climate change.
The interrelationship between cultural heritage and art offers an integrated perspective for addressing climate change. The Spanish proposal demonstrates how these elements can be effectively integrated into adaptive policies, highlighting the importance of a holistic approach, where local knowledge and artistic creativity can be assets that help strengthen community resilience and promote sustainable actions in the face of climate challenges. An example of this is the exhibition “If the Climate Changes, Everything Changes,” an initiative carried out at the Prado Museum, where four works by Velázquez, Sorolla, Goya, and Patinir were selected to highlight the rise in sea levels, species extinction, the plight of climate refugees, or the disappearance of rivers and crops due to extreme drought⁷.
While there are particular initiatives in Chile, there is no comprehensive proposal for the prevention and/or strengthening of cultural heritage and artistic development as part of climate action. Indeed, in terms of Indigenous and local knowledge, the scenario is not very promising as it concerns a population generally subjected to constant invisibility and undervaluation of their lifestyles, with few opportunities to participate in decision-making, and at the same time bearing the brunt of the effects of an extractivist-based economy, ecological degradation, and climate change.
We conclude by posing some questions with the intention of promoting reflection and debate on this subject, whether we are in the position of an artist, scientist, public servant, political representative, decision-maker, or citizen. We welcome your contributions and comments.
- Do you believe that art has the ability to raise awareness among those less familiar with the scientific literature on the environmental crisis and those who do not perceive the severity of the risk we are all exposed to? Do you know of artistic experiences with potential in climate action that should be disseminated?
- To what extent can art and cultural heritage influence the way we understand our relationship with the environment and the climate crisis? Do you know of any initiatives that have led to a change in perspective or awareness regarding the balance between nature and development?
- Do you consider that the knowledge and lifestyles of those living in close contact with nature can become an asset to be considered in the planning or improvement of public policies at the local level?
- Considering Spain’s example, how could Chile replicate and adapt these strategies to protect its own cultural heritage and foster greater resilience to climate change?
¹ Workshop Report “Promoting solutions based on indigenous and local knowledge: to respond to the impacts and vulnerabilities related to climate change. A perspective from the Caribbean” September 3-5, 2019, Georgetown, Guyana.
² IPCC, 2019: “Summary for Policymakers”, in: IPCC Special Report on the Ocean and Cryosphere in a Changing Climate [H. O. Pörtner, D. C. Roberts, V. Masson-Delmotte, P. Zhai, M. Tignor, E. Poloczanska, K. Mintenbeck, M. Nicolai, A. Okem, J. Petzold, B. Rama, N. M. Weyer (eds.)]. In press.
³ Chen, M.-H. (2022). The contribution of art to climate change communication. Humanities Journal, vol. 12, no. 2, University of Costa Rica.
⁴ As a reference to this little-known artistic universe, we invite you to review the work developed, for example, by Cristián Báez regarding Andean Metal, Nelson Varas Díaz or Jan Koplow in the field of Metal Studies. Or listen directly to Chilean bands such as Mawisa, Kontra Sangre, or Egregor.
⁵ The audiovisual field has been experiencing rich development in recent years in relation to these issues, from disciplines as diverse as documentary cinema, animation, photography, among many others.
⁶ https://www.miteco.gob.es/va/cambio-climatico/temas/impactos-vulnerabilidad-y-adaptacion/plan-nacional-adaptacion-cambio-climatico.html#:~:text=El%20Plan%20Nacional%20de%20Adaptación,del%20cambio%20climático%20en%20España.
⁷ https://www.youtube.com/watch?v=pAtmZjij_cw&ab_channel=WWFEspa%C3%B1a%F0%9F%90%BC
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