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Leisure’s place in the intangible cultural heritage

The advent of intangible cultural heritage Intangible cultural heritage (ICH) officially become part of UNESCO at the International Conference on New Perspectives, held in Paris in 1993. The importance of “encouraging all kinds of action to make the bearers of intangible heritage aware of the value of their culture and of the need to ensure its safeguarding and revitalization” is identified (UNESCO, 1993, p. 8). Ten years later, the Text of the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO, 2003) is adopted by the international organization. Article 2 paragraph 2 of the General provisions section of the Text identifies the five domains of ICH, namely (a) “oral traditions and expressions, including language as a vehicle of intangible cultural heritage”; (b) “performing arts”; (c) “social practices, rituals and festive events”; (d) “knowledge and practices concerning nature and the universe”; and (e) “traditional craftsmanship.” The 9 articles in this issue relate to the second and third domains of ICH, as identified in the Text. Table 1 presents the different themes addressed and their authors according to the two ICH domains. This issue thus opens up discussion on the following themes: ludism and creation (Bartholeyns & Bonvoisin, 2011), civic engagement (Tornatore, 2017), or new forms of participation (Kamal, 2019) promoted by ICH, whose activities, not their products or supports, represent the object of study, in terms of values (Pietro et al., 2017), identity (Frangne, 2011), sense of belonging (Regulus, 2007), etc. The articles in this issue also invite reflection in terms of interpretation (Chaumier, 2010), appropriation (Linck, 2012), cultural mediation (Lempereur, 2008), in professional or amateur leisure practices (Euvrard, 2016), and in those of mass tourism (Massoud et al., 2019; Rodzi et al., 2013), ensuring the safeguarding of ICH (Brito & Pianezza, 2017), which “contributes to the enrichment of cultural diversity and human creativity” (UNESCO, 2003). The choice to focus this issue on “performing arts” and “social practices, rituals and festive events” is largely based on the idea that their transmission only occurs in “their manifestation, therefore, by those who experience them” (Le Coq et al., 2019, p. 171). This choice is also motivated by the fact that, paradoxically, cultural industries, in their economic logic of frequentation and the public, increasingly take place in these two related universes that are