Edited by Jordi Nofre & Manuel Garcia-Ruiz


Since the 1990s, the growing interaction between tourism and nightlife has characterized the urban transformation of cities in the Global North, South and East. Different tourism strategies have been implemented depending on the urban context, turning cultural or physical heritage as an attraction to tourist or exploiting the local resources as an economic engine. While the COVID-19 pandemic and its social and economic constraints had a brutal impact, on the tourism industry and the nightlife industry, today in 2023 we can say that nightlife tourism – i.e., the sum of the nightlife practices of tourists and the sum of the economic and cultural tactics developed by local business and leisure and entertainment industries- has practically reached the same values than before the outbreak pandemic.

At the same time, it is worth mentioning that this is not a recent phenomenon arising from the process of increasing “leisurisation of our global contemporary cities and societies”. Writers, journalists and urban chroniclers have recounted this phenomenon since the beginning of the 20th century as result of a global port geography that, at that time, was the main vector of contemporary globalization, giving rise to a cultural diversification of the night scenes of cities such as, for example, Barcelona (Spain), Shanghai (China) or New York (United States of America) – among many others. However, over the last two decades, the expansion of the tourism-oriented nightlife economy in central areas of a significant number of cities across the globe (regardless of their size) has led to an increasing homogenization (westernization?) of the nightlife tourism industry. In turn, what Nofre (2021) calls the “touristification of the night'” has undoubtedly led to the appearance of numerous significant negative impacts at the spatial, social, economic, cultural, environmental and public health levels, as well as the loss of local historical, architectural and/or cultural heritage. Nevertheless, nightlife tourism, its multiple impacts, its multifaceted dimensions, its past and its present, its challenges and opportunities towards safer (especially for women and LGBTQIA+ people) sustainable, resilient and inclusive nighttime tourism are research topics still underexplored.


The editors of this book invite the academic community to submit a proposal for participation by sending an abstract of up to 500 words including the main objective of the work to be presented, its methodology, its main results and a brief description of the discussion of the results obtained in your work as well as its main conclusions. Proposals should be accompanied by details of institutional affiliation, contact email, and biosketch of each of the authors of no more than 100 words. Book chapter proposals should be sent, in .docx or .pdf format, by March 10th to Jordi Nofre ( and Manuel Garcia-Ruiz (

Acceptance or rejection will be communicated on Monday, March 19th. For those proposals selected, chapters should not exceed 4,500 words, including title, abstract, main text, footnotes/endnotes, bibliography and figures. In this sense, the limit of figures for each chapter will be 2. The authors of the selected proposals will sign the publication contract once their proposal is selected, demonstrating the commitment of the three parties involved (publisher, editors and authors) in the good development of the construction of this book, “Nighttime tourism in an uncertain world”. The expected release date for the book is between the end of this year 2023 and the beginning of 2024.

Nighttime Tourism in an Uncertain World is a joint initiative between the LXNIGHTS Research Group and the International Night Studies Network.

Cite this blog post
Manuel Garcia-Ruiz (2023, February 22). CFP NIGHTTIME TOURISM IN AN UNCERTAIN WORLD. International Night Studies Network. Retrieved April 16, 2024, from

Manuel Garcia-Ruiz

He is a PhD Scholar at CIES-Iscte and a Research Collaborator at IS-FLUP. He research on topics such as city branding, cultural regeneration, the commodification of arts and culture, art washing, and the construction of artistic fields.

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