Farmers and fishermen in the Maldives have long relied on an ancient calendar to guide their daily lives.
The Nakaiy system divides the year into 27 distinct periods, each named after a star or constellation in the night sky.
Any one period in the calendar tells you about expected weather and tidal patterns, navigational routes, and fishing conditions. The Nakaiy was created through centuries of careful observation and local knowledge, passed down through families as an essential tool for survival.
But things are now changing. The climate crisis is leading to more extreme weather events across the Indian Ocean island nation and upending the Nakaiy calendar.
“When you go and speak to communities and ask them what kind of impacts they are facing, a lot of elders will tell you that the weather, it doesn’t follow the calendar anymore,” explained Aishath Reesha Suhail, a programme officer in the Maldives’ Ministry of Tourism and Environment.
As the effects of climate change worsen, it is a real prospect that the Nakaiy may be abandoned by local people, representing a major cultural loss to the Maldives.
‘Systemic and growing threat’
With extreme weather becoming the norm, communities are observing a domino effect of consequences in their everyday lives. The slow onset of heritage loss is now being seen across continents, but notably among small islands in remote parts of the ocean.
“Climate change represents a systemic and growing threat to cultural heritage worldwide,” a UNESCO spokesperson told Climate Home, adding that the World Heritage Committee has identified climate change as “one of the most significant long-term risks affecting properties across all regions.”
UNESCO, the UN body for education, science and culture, defines the loss of cultural heritage as “the erosion of traditional knowledge systems, craftsmanship, social practices and identity, particularly where communities are displaced or livelihoods disrupted”. A clear example is historical sites and even entire islands washed into the ocean as a result of rising sea levels and coastal erosion.
The Maldives is dealing with such a situation now. The Koagannu Cemetery is a 900-year-old resting place, located on the country’s southernmost atoll, a mere 50 metres from the shoreline. The monument’s intricate coral gravestones are being actively threatened by the encroaching Indian Ocean.
The government and local community have responded to this challenge with emergency protection measures. Sandbags and concrete structures have been installed along the coastline, complemented by large numbers of palm trees to create a seawall. A wider solution is ‘beach nourishment’, a common practice in the Maldives where sand from elsewhere is brought in to replace what has been lost through erosion. Taken together, these solutions have so far protected the cemetery.
Among the many issues climate change creates, cultural heritage is not always front of mind. In the Maldives, one of the main barriers people face is awareness. “Most of what we are dealing with relates to the erosion of our islands along with areas such as fisheries… but we are quite limited in our capacity to do something about it,“ Suhail said.
“We don’t understand the full breadth of the issue at present because we haven’t been able to do extensive research on the matter,” she added. However, assessing the extent of the damage – and how to respond effectively – is a key priority for the government, outlined in its latest climate plan, known as a Nationally Determined Contribution, and as part of its National Adaptation Plan process.
Fishing is at the core of the country’s culture and identity, employing thousands of people. Most dishes include fish – “we have it for breakfast, lunch and dinner,” Suhail noted – but the climate crisis and overfishing are shifting how and when communities can fish. Tuna makes up 98% of all fish caught in the Maldives, but warmer ocean temperatures are changing migratory patterns, pushing the species into deeper, colder waters.
As a critical economic and cultural resource, the government has outlined a range of solutions to protect the fisheries sector in its first Biennial Transparency Report to the UN. These include using real-time tracking data to improve the efficiency of fishing operations; investing in canneries to increase fish storage; and diversifying away from tuna through marine farming.


Culture and nature go hand-in-hand
The same pattern is playing out elsewhere.
Palau and the Maldives are not close to one another. The two states are separated by around 4,000 miles and sit in different corners of the ocean. But both are experiencing very similar climate challenges, based on their position as a set of scattered, low-lying islands surrounded by an imposing body of blue water.
In the same way as the Maldives, Palau’s cultural heritage is closely tied to “land, coastlines and traditional food systems,” according to Toni Soalabla, at the Palau Office of Climate Change.
“Many of the places that hold stories, history and identity of our communities are located along the coast and are increasingly exposed to erosion and sea level rise,” she said.
One of these places is Ngerutechei village, reportedly the oldest in Palau, and home to ancient stone paths and carvings. The village provides a glimpse into the past social values and culture of the people in this western Pacific nation.
As part of the development of Palau’s National Adaptation Plan, the government has worked with local leaders to identify similar sites of cultural significance. The plan encourages communities to use their own knowledge to create protective measures for these sites.
Climate change is also prompting communities to take up traditional land and food practices again. These include cultivating taro, a stable food source that has historically supported water, soil and food security on the islands.
“These systems developed over generations in response to local environmental conditions, so strengthening them today is both a climate adaptation measure and a way of maintaining cultural knowledge that might otherwise fade,” said Soalabla.
Cultural practices in Palau have developed alongside the natural ecosystems that people rely on to survive. It is within this context that researchers believe adaptation policies should be created. Recognising this relationship “can strengthen both community identity and environmental resilience at the same time”, according to Soalabla.




Heritage on the global stage
The issue of cultural loss has not gone unnoticed in international climate negotiations.
Small island states such as the Maldives have used their role at the UN to push for greater awareness and action, with some key successes.
In 2015, the Paris Agreement established a Global Goal on Adaptation (GGA) which recognised that countries needed to do something about climate change now and not later. However, it took six years before a framework and a set of adaptation targets were agreed at the UN climate summit in Glasgow to pursue this goal.
From this came the establishment of seven overall themes – from poverty eradication to access to health – to guide adaptation action and a set of around 60 indicators to measure progress against the targets.
World leaders invited to see Pacific climate destruction before COP31
Emilie Beauchamp, an adaptation specialist at the International Institute for Sustainable Development (IISD), said that “cultural heritage was highlighted as one of the global priorities [of the GGA Framework] and is one of the seven themes, so it is considered very important by the international community.”
The much-debated set of indicators, only finalised in Belém at last year’s COP30, include five related to cultural heritage with a focus on preserving cultural practices and important sites that are “guided by traditional knowledge, Indigenous Peoples’ knowledge and local knowledge systems”. A spokesperson for UNESCO said the inclusion of heritage indicators “marks an important recognition that climate impacts extend beyond economic losses”.
While critics said the set of final indicators was rushed through by the Brazilian presidency, they now serve as guidance for national governments that wish to implement plans to protect their common heritage. The missing piece of the puzzle remains how to finance these plans – something notably absent from the Belém text, which made clear that the adaptation indicators “do not create new financial obligations or commitments, nor liability or compensation”.
The lack of financial commitments proved disappointing for many small states grappling with how to prevent their cultural history from being entirely forgotten, especially at a time when adaptation finance remains below requirements. A recent UNEP report found that developing nations would need an estimated US$310 billion per year in 2035 to adapt to climate change, while current public financing was around $26 billion.
At these low levels “only a small percentage of what the framework outlines could be implemented,” according to Beauchamp.


The challenge of cultural heritage
When looking at low-lying islands on a map, they can appear as specks of land amid a vast ocean. Many of the stories from these remote places go unnoticed. But the specks represent millennia of human culture that is slowly being lost to the ocean.
While the international community has now recognised the problem and solutions exist, the recurring issue of scarce finance may prevent governments from taking sustained action. Island communities have already been forced to move home as sea levels rise, leaving behind their cultural connections to a place.
The value of any cultural asset, or of human heritage, can be judged by how it is engaged with over generations. Without human intervention, many historical sites, language, cuisine and other local customs would become a forgotten part of history. The rapid onset of climate change brings the role of cultural heritage into sharp relief, challenging communities to decide in real time what they value, what deserves saving, and how to achieve that.
Stories of cultural loss are not confined to small islands but it is here where the challenge is presenting most acutely. The experiences of these vulnerable nations in protecting their heritage will provide the litmus test for effective adaptation responses elsewhere.
Adam Wentworth is a freelance writer based in Brighton, UK.
(Main image: The Isdhoo Havitha is an ancient Buddhist monastery in the Maldives, located moments from the shoreline. Photo: Ashwa Faheem)
The post Island nations fight to save cultural heritage from climate change appeared first on Climate Home News.
Island nations fight to save cultural heritage from climate change
Climate Change
Commencement of NSW Forestry assessment a ‘chance to fix a broken system’ and deliver urgent forest protection
SYDNEY, Friday 18 September 2026 — In response to the Federal and NSW government’s announcement to commence an assessment of NSW forestry under the new national nature laws, Adele Chasson, Nature Policy Lead at Greenpeace Australia Pacific said:
“This is the Federal Government’s chance to fix a broken system that has enabled the destruction of NSW’s precious forests for far too long.
“Native forest logging continues to smash threatened species habitat. In NSW, it is pushing unique wildlife like koalas, greater gliders and glossy black cockatoos towards extinction. The state-owned logging agency has a disastrous record of environmental damage and breaches.
“The Regional Forest Agreement (RFA) system has failed, allowing the industrial logging of special forests for decades across Australia with no oversight. Thankfully, the Federal Government has started the process to finally remove the logging industry’s exemption from national nature laws.
“It’s time for the Federal Government to deliver the protection that forests urgently need, and that Australians overwhelmingly want. The Government must ensure a thorough assessment of the devastating impacts of native forest logging in NSW, and establish strong environmental rules that states must follow.
“These forests have been cared for by First Nations people for tens of thousands of years. They are some of the most biodiverse on the planet, store carbon, clean our air and water. It’s critical we protect them.”
ENDS
Media contact:
Kate O’Callaghan on 0406 231 892 or kate.ocallaghan@greenpeace.org
Climate Change
Furry Little Peach x Greenpeace
What happens when a love of marine life meets a playful imagination?
Sydney artist, illustrator and children’s author Sha’an d’Anthes, better known as Furry Little Peach, has teamed up with Greenpeace to create Happy Ocean Happy Planet: a joyful celebration of the extraordinary creatures that call our oceans home.
Sha’an felt inspired to create an illustration celebrating the beauty and resilience of marine life. Its hopeful message, A Happy Ocean is a Happy Planet, sparked a special collaboration with Greenpeace and a limited-edition t-shirt designed to help protect the oceans that inspired it.
The exclusive Furry Little Peach tee is available as a gift to new regular Greenpeace donors who give $30 or more and make at least three donations. By becoming a regular giver, you’ll help Greenpeace campaign for ocean protection.

ARTIST INTERVIEW: Sha’an d’Anthes (Furry Little Peach)
Sha’an shares the story behind the artwork, the local marine creatures featured in the design and why hope can be such a powerful force for action.
Hi Sha’an! Can you tell us a little about yourself and what you do?
My name is Sha’an d’Anthes, I also go by the pseudonym Furry Little Peach and I’m an illustrator, artist and children’s author based in Sydney, Australia. I love creating joyful, vibrant and nostalgic art that looks at the world through the lens of childlike wonder.

What do you love about drawing animals and nature?
I love all of the different shapes, colour and narrative you get to explore when drawing animals and nature. I’m also a city-slicker these days, and so I think that my work is a sort of escapism (for myself and hopefully for my audience).
How did the Greenpeace collaboration come about?
I went to the premiere of David Attenborough’s documentary Ocean, and felt compelled to create something to share the message of the film. This t-shirt is actually based off of that illustration including the tagline in I included when I shared it “A Happy Ocean is a Happy Planet”. I’m so grateful Greenpeace approached me for the project – it was a blast.
Where did you start when creating the Happy Ocean Happy Planet design?
The Happy Ocean tee starts the same as all of my work – with a brainstorm/braindump and really loose concept sketches.
How did you choose the animals for the illustration?
I actually asked Greenpeace to help me with the research of local marine life and they were so accommodating. They very quickly delivered me a huge list of local species of fish, mammals and coral and I just went through and looked up each creature and curated a little group of sea life that I thought would look sweet together – a mix of sizes, types, colours, textures and shapes.
What did you use to create the artwork?
So much of my work is traditional, but when it comes to things like t-shirts I always use digital drawing programs because I like to draw each colour in a separate layer which requires me to jump in and out of layers because it allows me to control colour and printing. When working digitally I always sketch in Procreate (an Australian digital art app), and then with this project I created final art in Adobe Fresco because it called for a vector graphic (an image that can be blown up to any size).
Do you have a favourite creature in the design?
I love painting Humpback Whales and always have, but I also have a soft spot for the sweet little Jelly Blubber jellyfish.
What did you want people to feel when they saw the artwork?
I specifically wanted to focus on the outcome that all of us want to see – a happy, thriving ocean where creatures are given the time and space to balance themselves. I feel that even when tackling tough subjects, leaning into hope is my natural inclination. As long as we have hope that things can be better, we will continue to take action.
What was the most fun part of creating it?
I actually documented the entire process of this project in a studio vlog on YouTube – and you can see how much fun I’m having doing final art jumping between layers and building the image. I had just come off completing final art for two books which are multi-year long projects, so being able to do a project that from start to finish in just a few days was really freeing at the time.
What does a “happy ocean” mean to you?
An ocean that given the time and space to repair and balance itself. Something I really took away from David Attenborough’s Ocean is that ocean ecosystems are actually really good at repairing themselves if we just let them do their thing.
How can people get their hands on the t-shirt?
The shirt is a reward for regular givers to Greenpeace – those who commit to at least 3 months of donations will receive the tee as a gift. Read about how at http://act.gp/flp-tee
How is Greenpeace helping to make our oceans happier places?
They have a deep focus on the health and happiness of our oceans through advocating for the set up of marine sanctuaries, holding big ocean polluters to account and calling for a ban on deep sea mining.
What are you working on next?
I will be jumping headfirst into Peachtober – an annual daily art challenge I run each year in October, if there are any artists reading this it’s a great time so please come join! In terms of publications my next picture book The Late Bird will be out in February 2027 (published by Harper Collins US) and then I have an creative activity book for adults coming out next August with Chronicle US and Penguin Australia. Otherwise you can always check out what I’m tinkering away with in my studio on Instagram and YouTube.

Climate Change
AI giant Anthropic’s first Australian data centre deal an “egregious” example of Big Tech double talk
SYDNEY, Thursday 17 September 2026 — Greenpeace Australia Pacific has slammed AI giant Anthropic’s deal for its first Australian site in Queensland’s Western Downs, the heart of coal seam gas country, saying the project will entrench gas and turbocharge climate pollution.
The expected electricity demand from the data centre site, situated in the middle of the Western Downs coal seam gas fields, is comparable to 1.5 million Australian households. Greenpeace’s report Energy Vampires: The AI data centres draining Australia called for a moratorium on frenzied data centre development until appropriate guardrails are in place.
Joe Rafalowicz, Head of Climate and Energy at Greenpeace Australia Pacific, said: “This is an egregious example of Big Tech giants being given carte blanche to drain energy and water, and use polluting gas to fuel their hyperscale data centres.
“AI and Big Tech corporations claim to bring new renewable energy to the grid, while blatantly planning to power their operations with polluting fossil fuels.
“Planning documents show the first stage of this behemoth project could be powered by ‘behind the metre’ gas — the same playbook AI companies have used in the US, leading to a 20% increase in climate pollution from electricity. Now these companies want to bring their cowboy plans to Australia and the Federal Government is allowing it.
“If they plugged into the local grid, the power required would increase Queensland’s electricity grid emissions by around 6.6 million tonnes — an 18% rise. If they build their own gas-fired power plants, this will drive up Queensland’s emissions even more.
“Billions of dollars are now pouring into a massive pipeline of proposed new data centres, of unprecedented size, being built at incredible speed across the country. Australians should be worried about the extreme lack of scrutiny being applied to these projects, and the corporations leading the data centre charge.
“The data centre build-out is happening without the endorsement of the Australian people, yet we are the ones who will pay the price. We can not allow unchecked data centre expansion to derail our renewable energy transition, entrench gas and turbocharge climate pollution — that’s why Greenpeace has called for an urgent moratorium until appropriate guardrails are in place.”
ENDS
Media contact: Kate O’Callaghan on 0406 231 892 or kate.ocallaghan@greenpeace.org
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