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In postcolonial contexts, the development of local cultural heritage for tourism is often promoted by development agencies (NGOs), state institutions and tourism agencies as a means of involving local communities in tourism dynamics. Building on this assumption, this presentation examines the extent to which the tourism development of rock art sites actually engages the communities living in proximity to them. This question is particularly relevant, since rock art—largely attributed to hunter-gatherer populations—is frequently portrayed in official discourses as a form of cultural heritage especially well-suited to fostering community involvement.Our analysis focuses on rock art sites developed for tourism in the Erongo Mountains, drawing on three case studies: (i) rock art sites located within the boundaries of the Erongo Mountain Rhino Sanctuary; (ii) sites situated on the foothills of the massif in the Tubusis area; and (iii) sites developed for tourism in the Spitzkoppe massif. By focusing on the main rock art sites developed for tourism in these 3 cases studies areas, we will examine the existing forms of tourism and types of visits, as well as the actors involved and the benefits for local communities. This analysis will lead to an examination of the modes of collaboration between Namibian landowners of German descent and local Namibian communities of various origins, accompanied by an in-depth reflection on what is meant by “local communities” in these three contexts. Finally, we will conclude with recommendations aimed at improving relations between these two main categories of stakeholders, with a view toward sustainable and equitable tourism development. The study draws on several field campaigns conducted in 2022, 2023, and 2024, which combined phases of participant observation with semi-structured interviews involving a range of actors engaged in these tourism processes.
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