An attack on monuments, history or landmarks is an attack on people’s legitimacy, memory and, in return, their future. Cultural heritage has always been one of the main targets in times of conflict. Those who wage war recognise that it is not just decoration or folklore; it forms the foundation of a collective identity on which the survival of an entire society rests.

As of 10 June 2026, UNESCO verified 536 damaged cultural sites in Ukraine, and as of UNESCO’s latest verified assessment of Gaza, dated 24 March 2026, the agency confirmed damage to 164 cultural sites. These included historic structures, monuments, religious buildings, archaeological sites and repositories of cultural property. For years such sites have borne the brunt of wartime destruction as a way to not only destroy the physical landscape of a country but also its people’s sense of belonging, connection to their past, and anchor for emotional perseverance.

This narrative of heritage destruction has been consistent throughout history. In 2012, extremist groups in Timbuktu, Mali, destroyed centuries-old religious monuments and mausoleums. The International Criminal Court (ICC) then convicted Ahmad Al Faqi Al Mahdi for intentionally directing attacks against religious and historic sites. This was the first time the court treated such an instance as a stand-alone war crime – a turning point in legal protection of cultural heritage. The same logic was evident in the destruction of Palmyra in Syria. This central ancient city is a UNESCO World Heritage Site as well as one of the critical archaeological locations in the Middle East, making it a target of ISIS. The terrorist group left funerary towers, temples and many monuments demolished. While these structures served little military purpose, they had symbolic significance for cultural memory and shared historical legacy. Looking beyond the Middle East, we find examples such as the bombing of the National and University Library of Bosnia and Herzegovina during the Siege of Sarajevo, which destroyed millions of books and archives and has led to a global reflection on how cultural institutions are targeted, as they are the embodiment of a community’s shared memory.

In recognising these dangers, the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict was adopted. This convention forms the basis of international efforts to protect cultural heritage from demolition in times of war. It demonstrates that an attack on cultural property is an attack not just on physical buildings, but on the identity of entire societies.

The Gulf’s position in heritage protection has shifted significantly over the past two decades – from a passive observer to a key contributor to restoration, preservation and cultural diplomacy efforts. Saudi Arabia’s partnership with UNESCO and the Royal Commission for AlUla is a prime example. It focuses on safeguarding documentary heritage, such as archives, manuscripts and historical records that help preserve collective memory and historical narratives. At the international level, the Gulf is also involved in the cooperation between UNESCO and the International Alliance for the Protection of Heritage in Conflict Areas (ALIPH). It involves many international partners, one of which is the United Arab Emirates (UAE), and it has funded emergency protection measures, documentation projects, recovery planning in conflict areas and anti-trafficking initiatives. The Alliance financed the transport of hundreds of specialised museum crates and packing materials for Ukraine to evacuate important vulnerable collections while also creating 3D models of monuments. ALIPH has supported heritage at risk in the Middle East, including Gaza, where cultural sites face both immediate danger and long-term recovery challenges. The collaboration supported the emergency stabilization of heritage sites, preserving local architecture, clearing debris, preparing the monuments for restoration and training heritage professionals. The Gulf’s contribution to cultural heritage is gradually expanding from tourism and cultural development to broader efforts of preservation, reconstruction and cooperation. During times when tensions are high and war continuously endangers, the Gulf states are able to not only protect their own heritage but also protect the shared cultural memory of the wider Middle Eastern region.

Just as cultural heritage can be destroyed, it can also be protected. During this increasingly unstable global landscape, historical sites, cultural institutions and archives deserve more political attention. One of the main ways to do so is strengthening international cooperation against looting and trafficking of cultural property. This becomes a concern of national and international security as the illicit antiquities trade is often intertwined with transnational organised crime, money laundering  and black-market funding pipelines that flow directly through major international art markets, including those in Western countries and the Gulf. Collaboration efforts could cut funding of criminal and extremist networks which are often reliant on such illicit activities during times of conflict. This could also be a great opportunity for Europe and the Gulf to expand their partnerships by sharing their expertise, helping fund conservation projects and providing support in emergency response mechanisms when risks are heightened. In the age of constantly advancing technology, digitalisation of archives and monuments has the ability to serve as an extra layer of protection. 3D laser scanning (LiDAR), photogrammetry, and digital modeling are all technologies that enable the creation of highly accurate replicas of monuments and museum collections. Even if a site has already been damaged or partially destroyed, these technologies can document dimensions and details that are invaluable in later preservation work like physical reconstruction and structural analysis. Palmyra is a prime example of how digitalisation has helped safeguard information on destroyed structures, helping plan future restoration and reconstruction projects. Reconstruction of a country is not just refurbishing its buildings and infrastructure; it is also largely cultural and requires restoring archives, monuments, places of worship and any other sites that hold collective memory together and strengthen social cohesion. Thus, countries should reserve a fraction of their cultural and recovery budgets to the documentation of vulnerable heritage, emergency protection funds and training local conservators.

Attacks on cultural heritage strike the very foundation of a nation. This is why the Council of the European Union ties cultural heritage to peace, democracy, sustainable development, dialogue and resilience, noting that it strengthens societies by fostering tolerance and intercultural mutual understanding. At the same time, it can also be used to trigger and target conflicts. This dual nature is precisely why heritage protection should be at the forefront of international security discussions. Rebuilding a country after war involves more than just restoring its infrastructure; it also involves restoring its memory and historical identity, the things that make a people a nation in the first place.