The concept of shared heritage has also found its way into the civil societies of single nations. The reason for this is worldwide migration and, as a result, the increasing reconfiguration of nations as multicultural civil societies, within which cultural majorities and minorities have to negotiate new narratives that create a shared culture of remembrance for their material and immaterial cultural heritage. It is apparent that immigrant minorities are increasingly asserting their claim to participate in an (often monocultural) historiography. Both the cultural policies of states and of cultural heritage agencies such as museums, theatres, orchestras, or publishing houses must, therefore, deal with how they can broaden their views and, with regard to the process of canon formation, take into account the heritage of their multicultural societies. 

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Through the revision of national collective memory and identity narratives, the concept of shared heritage becomes not only a solution for migration societies, but also a catalyst for conflicts. An example of this is where in so-called majority societies, so-called minorities create their own cultural institutions in order to tell their story from their perspective. In this case, while the ensuing diversity of museums and theatres reflect the diversity of society, it is also an indication that minorities have no confidence in the narratives of the majority nor in being represented by them. shared heritage is therefore not only a matter of positive diversity, dialogue, and new narratives, but it can also expose conflicts and contradictions of segregated cultural memories and heritage concepts within a single country.