Join SAA Publications for an online conversation about Selecting and Appraising Archives and Manuscripts, Volume 6 in SAA’s Archival Fundamentals Series III, on May 4 at 12:00 p.m. CT. The book’s authors and contributors will talk about policy development, ethics and strategies for collecting repositories, appraisal and acquisition in institutional settings, and more, followed by a short Q&A. Register here.
Research Participant Request – Credentialism in Higher Education: A Study of Archival Careers
I am an Ed.D student at the University of North Georgia, and I am writing to invite you to participate in my research study:
Title of the Study: Credentialism in Higher Education: A Study of Archival Careers
Study Number: 2026-031
Principal Investigator: Allison Galloup, Higher Education Leadership and Practice
Faculty Advisor: Michael Lanford, michael.lanford@ung.edu
The purpose of this study is to investigate the social and cultural implications of the increase in number of archivists who enter the field through library and information science programs. Participants considered for this study are archivists currently employed at a higher education institution who hold a terminal degree (MLS/MLIS or MA, or a combination of these degrees).
The research will be conducted in two parts:
- Brief responses (no more than 500 words) to two questions related to your archival education and career as an academic archivist.
- A 60-75 minute interview during which you will be asked about your training and preparation for becoming an archivist, your experiences as an archivist, and your relationships with other archivists and librarians.
For the interview, I will ask for your permission to record and transcribe the conversation for the purposes of data analysis. Your initial written responses will also be included in data analysis.
Confidentiality will be maintained throughout the process. The interviews, transcripts, and written responses will be de-identified. During the data analysis process, you will be given the opportunity to review, edit, and offer clarification of the transcripts of your interview.
Participation in this study is voluntary. You may request to leave the study and have any data relating to your participation deleted at any time. The risks involved are no greater than those you would encounter in daily activities. There is no compensation for participating in the study. However, you may find contributing to the larger conversation around graduate archival education fulfilling.
If you are interested in participating, please visit Credentialism in Higher Education: A Case Study of Archival Careers.
For questions about this study, you can call or email the principal investigator, Allison Galloup, at 678-717-3656 or allison.galloup@ung.edu or the faculty advisor, Michael Lanford, at michael.lanford@ung.edu.
For questions about being a research participant, please contact the chair of the Institutional Review Board (irbchair@ung.edu) or the Research Integrity Officer (research-integrity@ung.edu).
Call for papers: Justin Winsor Library History Essay Award
The Library History Round Table (LHRT) of the American Library Association (ALA) invites submissions for the Justin Winsor Library History Essay Award, named in honor of ALA’s first president, the distinguished nineteenth-century librarian, historian, and bibliographer. This award is given annually and recognizes the best essay written in English on library history. The winner will receive a certificate, a $500 cash award, and an invitation to have their essay considered for publication in Libraries: Culture, History, and Society.
Criteria
Manuscripts submitted should not be previously published, previously submitted for publication, or under consideration for publication or another award. To be considered, essays should
- embody original historical research on a significant topic in library history
- be based on primary sources whenever possible
- use good English composition and superior style.
The Library History Round Table is particularly interested in works that place the subject within its broader historical, social, cultural, and political context and make interdisciplinary connections.
Applicants are encouraged to follow the submission guidelines for Libraries: Culture, History, and Society when formatting their manuscripts. Submissions should conform to the latest edition of the Chicago Manual of Style, using the author-date system, and should not exceed thirty typewritten, double-spaced pages.
Submissions and Selection
Applicants must submit their manuscripts electronically. Applications must be received by Thursday April 30th. The application deadline is firm; submissions received after the deadline will not be forwarded to the committee.
Please upload your manuscripts electronically via the web form: LHRT Justin Winsor Award Submission Form.
Interested applicants can direct inquiries to Rachel Trnka, Justin Winsor Award Committee Chair, rachel.trnka@ucf.edu; please include “LHRT Winsor Award” in the subject line.
Contact Information
Rachel Trnka
Instruction & Engagement Librarian
UCF Libraries
Contact Email
rachel.trnka@ucf.edu
CFP: 2026 OHA Biennial Conference, Human voices, modern technology: Oral history & authenticity
Deadline 11 May 2026
Oral history is ‘history built around people’ (Paul Thompson). Its methodology is embedded in humanity—it is a person-to-person communication through which the experiences and memories of one are recorded for posterity by another, using best practice tools and techniques. Through oral history, voices are preserved and accents, nuances, vernacular speech, emotive expressions and silences are captured. By recording these very human reactions we can analyse the stories and experiences of diverse groups, including those who in the past have been absent in the historical record.
Underpinning the relationship between interviewer and interviewee are issues of ethics, privacy, permission, informed consent, personal safety, and representation—all principles grounded in authenticity and truth. Rapidly advancing technologies such as AI (Artificial Intelligence) can be useful and time saving. By incorporating new technology into our practice in a considered and balanced way, we can streamline oral history processes and improve accessibility. Yet AI may also erode the very human connectivity that is integral to oral history interviews and outputs. As AI changes the world around us, oral history practitioners face distinctive challenges: ensuring the security and integrity of data; protecting the personal privacy and safety of interviewees; ensuring copyright, ownership and the authenticity of voice.
We invite papers that consider how new applications, techniques and changes in technology are being used by practitioners in planning, recording, transcribing, archiving, and sharing oral histories. Papers might consider (but are not limited to):
- ethical considerations
- transcription technologies
- challenges underpinning podcasting and videography
- the long-term storage of interviews, and the
- potential consequences of hosting projects online.
Alternatively, we are also looking for papers that reaffirm the values that have always been inherent to oral history as a methodology necessitating human interactivity and authentic storytelling, which recognise the importance of continuing to forge connections and safeguard oral histories for the future.
Requirements
All proposals to present at the conference must be submitted using the conference EasyChair submission portal (see details below) no later than 11 May 2026.
We welcome proposals for presentations in a variety of formats and media, including standard paper presentations (typically 20 minutes); short ‘lightning’ accounts of work in progress (typically 5 minutes); participatory workshops; performances; or thematic panels comprising several presenters. Presentations should involve oral history.
If you would like to discuss the format or focus of your presentation before you submit, please send an email to conference@oralhistoryaustralia.org.au and we will send your details to the chair of the Conference Program Committee.
Proposals for presentations / papers / panels / posters should be no more than 200 words (single space, 12 point font in Times New Roman) and must include at the top of the page, your name, institutional affiliation (if applicable), postal address, phone number and email address, the title for your presentation/panel, the sub-theme/s your work best connects to, and the presentation format (standard 20 minute paper; 5 minute ‘lightning’ account of work in progress; thematic panel; performance; or participatory workshop).
Presenters will be encouraged to submit papers to the refereed, online Oral History Australia journal, Studies in Oral History.
Submission
New proposals should be uploaded to EasyChair via this link: https://easychair.org/conferences/?conf=oha2026.
To use this online conference management system, you will need to create an author account (a simple process that we have used in previous conferences) and then submit your proposal by uploading it as a PDF document (with full details as listed above).
If you are unfamiliar with EasyChair, please follow the instructions available at: https://www.easychair.org/docs/how_to_submit.
If you are unable to use this system, please email your proposal as a PDF attachment to conference@oralhistoryaustralia.org.au.
CFP: Reimagining “Modern” Heritage in Africa, Nsibidi: A Journal of African Heritage
Background to the Theme
The historiography of 20th-century modernism has historically marginalized the Global South, frequently framing Africa’s modern heritage as derivative, or strictly a product of exogenous colonial and post-colonial interventions (Le Roux, 2003; Uduku, 2006). For our inaugural issue, we turn our attention to a critically under-theorized and rapidly disappearing subset of the continent’s history: the Modern Heritage of Africa.
The material and socio-cultural realities of this heritage are vast and complex, ranging from the Afro-Brazilian typologies of West Africa and the brutalist university campuses of the independence era (Herz et al., 2015), to colonial railway networks, early industrial mining towns, and the mid-century cinemas and radio stations that gave birth to new urban cultures. Currently, mainstream heritage discourse often struggles to adequately conserve or interpret these sites, largely due to an over-reliance on Eurocentric conservation frameworks, such as the Venice Charter, which traditionally prioritize static material authenticity.
In response, and guided by the decentering mandate of the Cape Town Document on Modern Heritage (2022) alongside the recently adopted Nairobi Outcome on Heritage and Authenticity (2025), this issue argues that preserving the memory of these sites requires a profound epistemological shift. The Cape Town Document underscores the imperative to untether the concept of the “modern” from its Eurocentric origins, advocating for equitable, expanded definitions that account for plural modernities and multiple narratives. Complementing this, the Nairobi framework establishes that African heritage is dynamic, community-centered, and intricately links the tangible with the intangible. Consequently, we must re-examine these contentious structures not as inert, fossilized relics, but as active sites of socio-spatial negotiation whose authenticity is continuously evolving.
The “Nsibidi” Approach
We challenge the prevailing notion that “Modern” heritage is strictly a Western phenomenon or a direct import. Contributors from across disciplines: history, anthropology, architecture, urban studies, and cultural heritage are invited to analyze these sites critically through the lens of African Indigenous Knowledge Systems (AIKS), the Cape Town Document, and the pluralistic framework of the Nairobi Outcome.
We ask scholars and practitioners to consider questions such as:
- How do we interpret the “authenticity” and integrity of modernist structures when their spatial meaning and utility have been entirely reimagined by local communities?
- How do modernist structures and infrastructural networks interface with the spiritual geography and traditional land-use practices of their contexts?
- How have communities indigenized colonial spaces and technologies through ritual, informal urbanism, or adaptive reuse?
- What do oral histories and archival research reveal about the indigenous labor, vernacular craftsmanship, and lived experiences that built and sustained these modern spaces?
“When the music changes, so does the dance.” — Hausa Proverb
In the spirit of this proverb, we seek to understand how African heritage practice dances with modernity, adapting to and transforming the physical and cultural remnants of the 20th century.
Sub-Themes
We welcome original research articles, case studies, conservation reports, and critical essays that engage with the following sub-themes:
- Evolving Authenticities & Decentered Modernities: Applying the Cape Town Document and the Nairobi Outcome to the preservation, reconceptualization, and interpretation of 20th-century built heritage.
- Architectural & Spatial Realities: Critical assessments of “Tropical Modernism,” civic monuments, and the indigenization of 20th-century architecture.
- Infrastructural Memory: The social and cultural histories of colonial railways, ports, industrial sites, and segregationist urban masterplans.
- Sites of Cultural Production: The legacy and preservation of mid-century cinemas, radio stations, printing presses, and post-independence cultural hubs.
- Difficult Heritage: Managing, interpreting, and decolonizing sites associated with pain, apartheid, or colonial extraction.
- Intangible Modernities & Oral History: Documenting the voices, labor narratives, and newly forged urban traditions associated with 20th-century modernization.
Language Policy
Nsibidi is committed to epistemic justice and encourages the use of indigenous languages for key theoretical, spatial, and cultural concepts. Terms without direct English equivalents should be retained in their original language and explained contextually within the text.
Submission Guidelines
All submissions will undergo a rigorous double-blind peer review process. We encourage submissions from academic researchers, heritage practitioners, and spatial designers.
- Abstract Submission: Please submit an abstract (approx. 250–300 words) outlining your proposed paper, methodology, and relevance to the theme, along with a brief author bio.
- Final Paper: Accepted abstracts will be invited to submit full manuscripts. Manuscripts should be formatted according to the journal’s style guide (provided upon abstract acceptance) and stripped of all identifying information to ensure a blind review. High-resolution archival photographs, maps, and diagrams are highly encouraged.
Important Dates
- Abstract Submission Deadline: May 15, 2026
- Notification of Acceptance: June 1, 2026
- Final Paper Submission Deadline: August 15, 2026
Contact & Inquiries
Please send all abstracts, full manuscript submissions, and inquiries to the editorial team at:
journal@nsibidi.institute
References
- Folkers, A. (2010). Modern architecture in Africa. Springer.
- Herz, M., Frei, I., Hunt, M., & Ritz, C. (Eds.). (2015). African modernism: The architecture of independence. Ghana, Senegal, Côte d’Ivoire, Kenya, Zambia. Park Books.
- Le Roux, H. (2003). The networks of tropical architecture. The Journal of Architecture, 8(3), 337–354.
- MoHoA (Modern Heritage of Africa). (2022). The Cape Town Document on Modern Heritage. University of Cape Town / UCL.
- Ndlovu, S. (2014). African heritage and the limits of traditional conservation charters. Journal of Heritage Stewardship, 11(2), 45–62.
- Uduku, O. (2006). Modernist architecture and ‘the tropical’ in West Africa: The tropical architecture movement in West Africa, 1948–1970. Habitat International, 30(3), 396–411.
- UNESCO & African World Heritage Fund. (2025). The Nairobi Outcome on Heritage and Authenticity. International Conference on Cultural Heritage in Africa, Nairobi, Kenya.
Contact Email
journal@nsibidi.institute
URL
CFP: Fwd: Museums Journal 2027 – Collections, Collecting, Collectives
Theme: Collections, Collecting, Collectives
The urge to collect predates the development of modern museums. The Wunderkammer, also known as the “Cabinet of Curiosities,” was a practice established in Europe in which collectors could admire the beauty and artistry of foreign artifacts while also exhibiting their wealth and power to society. This model then became the basis for Western museums. These collections became open to the public through collectives gathering and demanding equal space, changing how objects were seen from sites of creation to consumption. Moreover, with the inclusion of the public, collections transformed from a performance of status to a highlighting of personal memorabilia, allowing people to preserve and display what is most important to them. How do we reframe collecting not as an elite pursuit but as a practice integral to our humanity? Collectives gather to admire what stands in pristine cases, that once were part of the earth, made by someone’s hands, and held close to someone’s heart. What begins as an intimate act of gathering soon hardens into structure. Collections emerge not merely as accumulations of objects, but as frameworks that determine what is preserved, displayed, and ultimately remembered.
Collections:
A collection is an accumulation of objects. Cultural institutions and organizations inherit the work of preserving cultural and personal heritage. What responsibilities come with holding, curating, or inheriting a collection? How does collecting build upon these responsibilities? How do they build narrative and tell a story? How do museums portray history through the physical? How do we form relationships with relics?
Collecting:
Collecting is an activity that manifests in auction houses, stores, homes, and streets. Along with histories of physical collections, the importance of oral history creates a sense of unity and oneness with oneself through history. When memory is sustained through people rather than objects, it becomes inherently collective. What are the economic and environmental impacts of collecting? How can collecting become a site of ritual for oneself and others? In the context of collecting, how can spaces such as libraries and personal collections demonstrate ways of life and create a sense of history? How can acts of collecting help preserve traditions in new and distinctive ways?
Collectives:
Collectives make up the core of museums. From administrators and educators to visitors and guests, people are the lifeblood of cultural institutions. Yet, collectivity does not begin or end within museum walls. How does collective action extend beyond institutional frameworks and move into communities, organizing, people-centric networks, and shared cultural labor? How do collectives form through shared objects, tastes, grief, or resistance? How do we interact with various institutions? How can collectives change what is seen and what is obscured? How can collectives be formed and appreciated outside of a central museum space?
Produced and edited by the University of Illinois Chicago Museum and Exhibition Studies graduate students and published by Chicago-based Bridge Books, Fwd: Museums strives to create a space for challenging, critiquing, and providing alternative modes of thinking and production within and outside of museums.
For our twelfth issue, we invite contributions and collaborations rooted in reflections on collections across cultural institutions, personal archives, and community-held alike. What does it mean to collect within and beyond systems of capital and curation? How do institutional collections intersect with personal, familial, or grassroots forms of gathering and preservation? What is collective about museums?
Fwd: Museums invites academic articles, artwork, essays, exhibition/book reviews, creative writing, interviews, poetry, rants, love letters, and experimental forms to analyze, critique, and make space for new thinking about museums and exhibitions. All submissions should follow the guidelines and relate to the journal’s mission statement (bolded above). We strongly encourage book and exhibition reviews on multiple topics, but require all other submissions to connect to the 12th issue’s theme, “Collections, Collecting, Collectives.”
The submission deadline is January 5, 2027, 11:59 PM (CST). Submit your work here: https://docs.google.com/forms/d/e/1FAIpQLSewSwV6sx0d6mPwX7x6DrYObxj0X1e2WdhB2IVaVeQBzNzVYA/viewform
Questions? Email fwd.museums@gmail.com.
Find us on Instagram @fwd_museums
Guidelines
Written submissions such as essays, research papers, and poems should be between 2,500 – 4,000 words and use Chicago Manual of Style formatting and citations, in a DOCX file. Broadly accessible language that a large audience can understand is preferred. If you think your submission may exceed 4,000 words, please email us at fwd.museums@gmail.com to discuss the length of your submission.
All images should be sent as separate files (not embedded in text) at 300+ dpi in tiff format. Note in-text where images should be inserted and include credit, caption, date of execution, materials used, and dimensions, as appropriate.
A Note on Reviews
Reviews should be between 1,500 – 2,500 words. We welcome long-form museum, exhibition, film, and book reviews with a point of view and connections to social, historical, political, and other contexts, rather than summaries of book contents. We invite creative formats; email us if you’d like examples. Check our Instagram or email us for books available for review.
Who Should Submit?
Anyone! You! Students, faculty, scholars, museum employees, artists and art handlers, volunteers, part-timers, activists, and other people with something to say about museums, exhibits, and cultural work are welcome to submit.
Please see the Journal Style and Manuscript Guide for information on how to format your submission.
Contact Information
Dr. Therese Quinn
Museum and Exhibition Studies
University of Illinois Chicago
Contact Email
fwd.museums@gmail.com
URL
CFP: Fontes Special Issue: “Preserving Cultural Heritage in the Performing Arts”
Invitation for submissions on Preserving Cultural Heritage in the Performing Arts for a special issue of Fontes Artis Musicae.
This special issue focuses on the extraordinary efforts librarians, archivists, curators, and supporters of the performing arts have taken or are taking to preserve our cultural heritage for the future. It is amazing what we have saved in the face of war and conflict over the course of our histories. Today, the specter of war continues, as does this work. We are also at a moment when new methods and workflows for digital content must be developed in order to capture and preserve what is important and meaningful to us. This issue will explore past successes, present challenges, and ideas for the future. Submissions may take many forms, including original research, case studies, and essays.
Possible topics include:
Histories of collections saved in wars
Unique considerations for saving and preserving performing arts materials
Leveraging crowdsourcing for preservation
Toolkits for preserving collections at the onset of a conflict
Preserving born-digital compositions
Fontes Artis Musicae is a peer-reviewed journal published by the International Association of Music Libraries, Archives and Documentation Centres (IAML).
The deadline for submission is June 30, 2026. Articles will undergo a double-blind peer review process. To discuss ideas or propose a paper, please email the guest editor: Stephanie.Bonjack@Colorado.edu”
Call for Participation: Survey on Acquiring Primary Sources on Conspiracy Theories
Dear Colleagues,
I’m recruiting academic librarians and archivists to take an online survey about acquiring primary source material on conspiracy theories for research use. Your participation in this research project is completely voluntary. You must be at least 18 years old and be employed at an academic library or a special collections library/archive.
Your participation will take about 20 minutes. You will be asked to complete an online survey on your personal views. More detailed information on the procedures can be found on the survey website.
There are no risks or discomforts related to the study and subjects will not be paid. Possible benefits to the subjects and others include research and publications that can be used by librarians and archivists for decision-making in the workplace. Your alternative to participating in this research study is not to participate.
For questions or more information on this study, contact Kate Stewart, University of Kansas Libraries, at kate.stewart@ku.edu or 785-864-3339. The University of Kansas does not discriminate in any employment practice, education program or educational activity.
To take this survey and learn more about it, click on this link: kusurvey.ca1.qualtrics.com/jfe/form/SV_0ePquzLVsiJewaa
The survey will be open until April 20th, 2026. Thank you for your time!
IOHA 2026 Call for Submissions: Articles and Reviews
The Editorial Team of Words & Silences | Palabras & Silencios is pleased to invite submissions for articles and reviews in our upcoming 2026 edition.
Published by the International Oral History Association (IOHA), the journal is a peer-reviewed, open-access digital publication, freely available online, that welcomes contributions from all individuals engaged in oral history, whether in academia, community-based projects, creative practices, or activist contexts.
For this edition, we are accepting submissions in three sections:
1. Special Topic: (Re)Thinking Oral History
The section draws from the theme of the 23rd International Oral History Association Conference, (Re)Thinking Oral History, held in Krakow, Poland, in 2025, and extends its concerns into the pages of the journal. It invites articles that take a critical look at how oral history defines its aims, responsibilities, and modes of practice in the present.
In a world shaped by democratic tensions, geopolitical conflicts, climate change, deepening inequalities, wars, and mass displacement, we are interested in how oral history is being reworked in response to these conditions, and in how its ethical, methodological, political, and public commitments are being rethought.
We welcome theoretically informed, empirically grounded, and practice-based contributions that engage with issues such as neutrality and involvement, technological change (including AI), documenting moments of crisis, care and healing, marginalized voices, environmental concerns, community archives, global asymmetries in knowledge production, multilingualism, and new ways of circulating oral history—asking, ultimately, what kinds of stories are we producing, and for whom, now and in the years ahead.
Deadline for submissions: May 30, 2026
2. Articles and Essays
This open section reflects the broad, plural spirit of the International Oral History Association and its commitment to dialogue among oral historians working in different contexts around the world.
We invite both research articles and reflective essays on a wide range of themes related to oral history, including theory, methodology, ethics, archives, memory, public history, artistic practices, and community-based work. Contributions should offer original perspectives on oral history’s practices, debates, and futures across regions, languages, and traditions.
Deadline for submissions: June 30, 2026
3. Reviews
We are looking for reviews of diverse products and mediums, created no earlier than 2023, that focus on oral history or critically reflect on its challenges, methodologies, and practices, including but not limited to: books, electronic media, exhibitions, podcasts, films, events, festivals, conferences, archives, and collections.
Reviews should go beyond summary, having oral history as a central focus and offering critical insight into the contribution, reach and significance of the work for oral history and related fields.
Deadline for submissions: June 30, 2026
Submission Guidelines
- Length: 2,500–6,000 words (Special Topic and Articles and Essays) and 1,000–1,500 words (Reviews).
- Format: Double-spaced throughout (except footnotes), Times New Roman, size 12pt.
- Style: Chicago Manual of Style, including footnotes (not endnotes) and a complete References or Works Cited section at the end.
- Articles and essays should include an abstract (150–200 words) and 3–5 keywords. Reviews do not require an abstract.
- Language: Submissions may preferably be made in English and/or Spanish. Submissions in other languages are possible; however, upon acceptance, authors will be asked to provide a final revised version in English and/or Spanish. Authors are encouraged to submit the final version in more than one language to support IOHA’s multilingual tradition.
Submission Instructions
- Submissions should be sent as a Word document (.doc or .docx) to iohajournal@gmail.com
- Please indicate in the subject line the section for which the submission is intended (Special Topic, Articles and Essays, or Reviews).
- Manuscripts should be anonymized for peer review, with any identifying information removed from the text and file properties. A separate title page should include the author’s name(s), institutional affiliation (if any), a brief biographical note, and contact information.
For further inquiries, feel free to contact us at iohajournal@gmail.com
Call for Applications: American Archivist Editor
The Society of American Archivists seeks an avid reader, writer, and editor of professional archival literature to serve as Editor of American Archivist.
SAA seeks a dynamic individual with excellent communication skills who will enhance the visibility of American Archivist in the archives and allied professional communities and grow the number of high-quality submissions.
Established in 1938, American Archivist is the leading publication in the archives field. Published semi-annually by the Society of American Archivists, the journal features research articles, case studies, perspectives, and international scene pieces as well as reviews of professional literature, archival technologies, and resources. It strives to publish contributions that advance the core organizational values and strategic goals of SAA.
The Editor is responsible for the solicitation, selection, peer review, and final approval of articles and features. A successful candidate shall demonstrate an ongoing commitment to diversity, equity, and inclusion as reflected in the SAA Statement on Diversity, Equity, and Inclusion. Critical to advancing the goals enumerated in the SAA Strategic Plan, we seek a candidate who will continue to diversify and strengthen the peer review system, harness the diverse talent and perspectives of the Editorial Board, and focus on making our journal more inclusive and accessible. Thus, we welcome a candidate who will maintain the independence, prominence, and credibility of American Archivist as a critical venue for presenting the diversity of knowledge and ideas relevant to the archival profession through a rigorous peer review process that values diversity and inclusivity and produces excellent scholarly and professional contributions.
The Editor will use PeerTrack (an author- and reviewer-friendly manuscript submission and peer review system) to work with authors and prospective authors on necessary revisions. In addition, the Editor works closely with the reviews editors, a copyeditor, an indexer, and SAA staff (who handle journal production and business matters). The Editor coordinates the activities of the American Archivist Editorial Board, serves ex officio on the SAA Publications Board, and reports to the SAA Council.
Candidates should possess the following qualifications:
- Demonstrated leadership skills, including a strong and clear showing of a commitment to diversity, inclusion, and equity, and a vision that places the journal at the forefront of professional dialogue.
- Demonstrated ability to develop and nurture relationships with authors, both emerging and established, to encourage them to explore interesting questions, and to submit ideas and articles to the journal.
- Strong understanding of archival work or the archival profession
- Ability and willingness to develop ideas in emerging areas of the profession and to support the thoughtful reexamination of past professional insights, and to address issues of particular relevance to historically underrepresented populations.
- Ability to nurture intriguing, but not completely formed, submissions to successful publication.
- Excellent personal communication and writing skills, including the ability to edit scholarly material, to give feedback to authors, and to make timely reports to those in SAA with oversight responsibility for the journal.
- Sufficient financial and time-management skills to ensure that the journal is published regularly, on time, and on budget.
The new American Archivist editor will serve a three-year term, beginning no later than October 1, 2026. The honorarium is budgeted at $36,000 per year.
Application
Submit letter of interest and curriculum vitae/résumé by May 15, 2026, to hr@archivists.org with the subject line “Application for Editor of American Archivist.” Interviews of finalists will be conducted in June 2026.
Publishing in the Archives Profession 