Call for Publications: Routledge Practicing Oral History Book Series

The Routledge Practicing Oral History book series invites proposals for works on applying oral history in our complex, contemporary world. Much has changed since the first title was published fourteen years ago, in technology, methodology, and recent history. We are here to meet the moment and bring new titles with the most current best practices to practitioners in areas where oral history might be used. 

 Recent titles:

  • Oral History at a Distance
  • Student-Centered Oral History: An Ethical Guide
  • Family Oral History Across the World
  • Practicing Oral History with Military and War Veterans

Contact Information

Nancy MacKay
Series editor
Contact Email
nancymackay@gmail.com

URL: https://www.routledge.com/Practicing-Oral-History/book-series/POHLCP

CFP: Acid Free

Acid Free, the online magazine of the Los Angeles Archivist Collective, is accepting submissions for its upcoming Issue #15 on the theme of…SOUND!

Acid Free seeks to be a smart, complicated, non-academic forum for a variety of voices and issues in our field, to ground archivists locally and regionally while also keeping an eye toward larger conversations and landscapes. “Sound” can be broadly interpreted through an archival lens. Possible topics may include oral histories, time-based media, music, storytelling, playlist-ing, DJ culture, field recordings, and the absence of sound: archival silence(s), hearing impairment, silent film collections.

Articles can be any length, but we recommend keeping it under 1,000 words. Deadline is December 1, 2024. See attached Call for Submissions for more information! Send questions to acidfree.la@gmail.com.

Yours,

The Acid Free Team

Call for Contributions to Notes from the Field: Fall 2024


Notes from the Field
, a publication of the TPS Collective, is accepting submissions about teaching and working with primary sources for three series of peer-reviewed blog posts: “Language,” “Teaching for Large Audiences,” and “Play in Primary Source Instruction.”

These series were crowdsourced during a Notes from the Field TPS Fest session this summer. Grounded in issues your colleagues in the field are exploring, this call is intended to highlight a broad range of voices from all sectors of the TPS community. Please see the calls below for more information.

Series One: Language

In this series, we are interested in hearing how you think, plan, and teach around languages in primary source instruction. Whether you are teaching with materials in non-English languages or teaching in English for English-language learners, we look forward to learning how you harness language acquisition, comparison, or introduction in teaching with primary sources.

Series Two: Teaching for Large Audiences

How do you plan for instruction with primary sources for a lecture room full of students or an at-capacity museum tour group? What are some active learning approaches you have incorporated in-session? How do you receive feedback? Any successes, struggles, and strategies are welcome. 

Series Three: Play in Primary Source Instruction

In this series, we are exploring the state of gamification in primary source instruction. How do you utilize play in your instruction sessions? Have you partnered with faculty in designing activities? Do you center your sessions around physical or digital resources? A mix? We want to hear your reflections, wins, and wishes for the future. 


Contributions should be 1000-1200 words and will be subject to Notes from the Field’s peer review process. Posts will be published on a rolling basis beginning in November 2024. Full submission information is available in the Notes from the Field author and peer review guidelines. Any questions, expressions of interest, or submissions can be sent to the Notes from the Field Lead Editor, Anastasia Armendariz, at ajarm@uci.edu.

CFP: Oral History Review, Special Issue on Indigenous Oral History

Oral History Review – Special Issue!
Announcing a Special Issue dedicated to Indigenous Oral History
Fall 2026

Twenty-five years ago, Winona Wheeler edited “Indigenous Voices from the Great Plains,” a special issue of Oral History Forum, the journal of the Canadian Oral History Association. Around the same time, she attended her first OHA conference, where, she figured, she was the only Indigenous person there. It was a lonely event! Indigenous peoples had been engaged in the practice of oral history for centuries but not many of us were finding our ways to meetings like those run by the OHA. The years since then have seen much change: in 2020 Nepia Mahuika’s exceptional Rethinking Oral History and Tradition: An Indigenous Perspective, won the OHA’s book award, and in 2021 an Indigenous caucus was
formed to provide a recognized space within the OHA for Indigenous oral historians to support one another and to encourage young Indigenous scholars’ oral history work within their communities. As caucus co-founder Sara Sinclair said at that time, her interest in the new group was in part the simple opportunity it granted to engage with other Indigenous practitioners whose work she admired more directly. In 2022, the OHA committed to an Indigenous Initiative, including building an endowed fund “to promote the success of Indigenous oral historians, as well as meaningful and ethical oral historical projects within Indigenous communities.”

There are still many challenges our practitioners face We remain under-represented within cultural and academic institutions and under-funded in our community-engaged practices. Accounts of what the practice of Indigenous oral history means, and how we do it, also remain under-published and misunderstood. For these reasons and more, we are excited to announce a special issue of the Oral History Review and with it, the opportunity to promote meaningful exchange within our community about the practice of Indigenous oral history, by Indigenous practitioners. This is an opportune time to bring the Indigenous oral history community together again, and welcome new peers to introduce themselves and to join us in our pursuits.

We invite you to respond to this call for papers with oral history encounters/interviews, essays, reflections and stories that reveal the multiplicity of ways in which Indigenous oral historians embrace different ways of knowing, and diverse expressions of what it means to “do” oral history in our communities.

Our call for papers asks you to consider:

  • What you are doing with your oral histories; what are the unique ways that you are working with your material, and how you are putting it to use.
  • The projects that shaped who you are and that most informed your oral history practice.
  • The stories of the narrators who changed your life, the relationships that underpinned your adventures, and the experiences that have evoked the most emotion.
  • The readings that have most impacted the way you think about/teach about oral history, whether those readings are categorized as “oral history” or not.
  • How relationships inform the work that you do.
  • How you think about, and feel about, and honor responsibility to community.
  • How you have navigated rules and restrictions in mainstream academic institutions that have made it harder to do your work.
  • How your own approach to teaching Indigenous oral history has evolved
  • How your own thinking about the meaning and practice of oral history has evolved in your own lifetime.

We are especially excited to consider multi-media approaches to sharing these reflections in the OHR’s digital edition of this issue!

The deadline for submissions is June 1st, 2025.

To submit your articles, use the OHR submission portal, https://mc.manuscriptcentral.com/ohr.

For questions, please contact our Special Issue Editors, Sara Sinclair and Winona Wheeler:

  • Sara can be reached at sara.e.sinclair@gmail.com.
  • Winona can be reached at winona.wheeler@usask.ca.

Call for Chapters: Remembering and (Re)remembering Social Justice in the 21st Century

Remembering and (Re)remembering Social Justice in the 21st Century

deadline for submissions: October 20, 2024
full name / name of organization: Ben Alexander. Columbia University
contact email: bea3@columbia.edu

Call for Papers
New Volume: Remembering and (Re)remembering Social Justice in the 21st Century 
Publisher: FACET

Please Submit a 500 word Abstract by October 20.    

We are looking for 3, maybe 4, chapters to complete our volume that is in-contract with FACET.  Verne Harris will be authoring our Forward, Trudy Peterson our Introduction and Verne Harris our Afterword.  Chapter titles include:

  • Bending the Arc of History Toward Justice: The Romero Institute and the Digital Transformation of Social Justice Work in the Twenty-First Century – Indigenous Rights and Environmental Justice
  • Justice as Morality, Morality as Justice: Cultivating a Moral Vision of Archival Capabilities and Human Dignity
  • Out of the Institutional Archive and on to the “Digital Streets”: Restoring Community Access to the Squatters’ Collective Oral History Project
  • The US Opioid Crisis through the Records Lens: Corporate Malfeasance and Justice Seeking.
  • The Archimedes Palimpsest, They Shall Not Grow Old and Shoah’s Interactive Holograms: Making Social Justice History Contemporary 
  • Recordkeeping for Menstrual Data: Privacy, Mobile App Analytics, and Consent

From the end of World War II through the change in millennia intersections between the evolution of the post-modern archive and the formation of post-modern historical discourses intersected concerns for social justice within complex geo-political landscapes composed of fractious post-colonial environments, Cold War interests, and often violent confrontations (within western democracies) centering on demands for inclusion and plurality.  In general, the archive created precedent for the extension of Activisms around the world by incorporating new forms of material remembrance that provided precedent for newly imagined forms of collective memory.  Indeed, while it may seem quaint today, archives struggled to preserve unprecedented quantities of visual materials (both moving image and static) as well as new forms of manuscript materials (mimeographs, Zines etc.) that in their day seemed dangerously ephemeral but were absolutely essential to social justice movements.  Further, the archivist had to imagine new ways to engage new forms of civil rights actions and movements. 

Scholars, archivists and activists today are confronted with similar challenges.  Activist cultures are now largely immaterial.  Activist movements are often global in reach but shaped by geographically specific cultures.  The archivist today must assume new agencies to engage and document social justice actions and movements.  Indeed, the distinction between archivisms and activisms is decidedly blurred. 

Our volume seeks collaborative and international discussion among scholars (from a breadth of interests), as well as activists and archivists to engage the tremendous challenges that threaten the historicity of 21st century social justice movements around the world.  

We are especially interested in 6 categories of research.

1)    What distinguishes 21st century social justice actions from 20th century activisms?  What unities and agencies remain consistent among movements including Occupy, The Arab Spring, and BLM?     

2)    Has the evolution in the very nature of social justice advanced expectations of the archivist?  Must the 21st century archivists assume activist agencies?  Might 21st century archivists require sensitivities (perhaps training) that is additional to 20th century models?  

3)    What will distinguish a 21st century social justice archive from its 20th century counterparts?  It would seem that the very core of archival practice will require careful revaluation in new and unique 21st century contexts.

4)    Certainly, we are experiencing an unprecedented loss of faith in authenticity – a troubling advent for the archive.  How will records produced within complex 21st century digital matrices assume accustomed authority (based on their authenticity).  These are concerns that were vastly limited within the scope and reach of material world. 

5)    From a most contemporary point of view, we will want to consider the tensions between recent political evolutions and assumptions about the very nature of private information specifically and who controls information that is intended to hold government accountable more generally. 

6)    Finally, we are looking for a broad international perspective.  The examples of 21st century social justice referenced above (Occupy, Arab Spring, and BLM) are definitively international in their reach.  How might the experience of these previous revolutionary actions inform approaches to documenting more contemporary social dispensation.  We are especially interested in perspectives from activists and archivists from around the world.  

Announcements from SAA and CFP

Introducing: American Archivist Submissions Window
SAA’s leading publication in the archives field, American Archivist, is introducing a submissions window beginning with issue 88.2 (Fall/Winter 2025). The submissions window for this issue opens January 1 through February 15, 2025. For more information on submitting content, including research articles, case studies, perspectives, book reviews, and book review essays, please visit the American Archivist submissions page.

Submit to a Special Section of American Archivist on User Experience
The American Archivist Editorial Board invites proposal submissions for a Special Section in American Archivist exploring the wide-ranging spectrum of user experience topics and initiatives in the archives field. The goal of this Special Section is to showcase the importance of user experience work to the wider professional community. The deadline for proposals is February 1, 2025.

Read the Latest Review on the Reviews Portal 
In the newest review on the American Archivist Reviews Portal, Cheryl Oestreicher (Boise State University) reviews Heritage, Memory and Identity in Postcolonial Board Games, edited by Michal Mochocki (Routledge, Taylor & Francis Group, 2024). The book includes authors from a variety of disciplines examining game studies through numerous lenses, especially nostalgia and colonialism. Oestreicher writes, “Archivists are acutely aware that an ‘idyllic past’ does not really exist and thus understand the importance of ensuring a more historically accurate record.” Read the full review here

CFP: Media Fields Journal, Issue 19: Archival Elements

Call for Papers: Archival Elements
Media Fields Journal, Issue 19

Submission Deadline: October 31, 2024

In 2008, the International Federation of Film Archives (FIAF) released its 70 th anniversary manifesto reaffirming film’s status as the “optimal archival storage” of the moving image. “Don’t throw film away!” they urged, for unlike its digital successors, film elements tangibly embody traces of their own material history alongside a bygone cultural heritage. “No matter what technologies may emerge,” they write, existing film elements “connect us to the certainties of the past.”

For film archivists, the element is the inert container of audiovisual content subject to archival care and maintenance—the original artifact and source of any material or digital copies to come. Indeed, across scholarly and archival spheres alike, the element has remained the intrinsic foundation of the moving image, its archival preservation, and the theoretical study thereof. Whereas Caroline Frick has considered the ways that “original” media elements become bound up with notions of authenticity, cultural heritage, and nationhood, scholar-practitioners have increasingly turned to what Giovanna Fossati calls film’s “archival life,” a term that seeks to discursively address the expanding myriad of physical and digital spaces required in contemporary preservation. How, Fossati posits, might scholars and archivists alike better account for the ways that film and media are at once preserved, historized and politicized by archival processes? In other words, what might be gained from reflecting seriously on how different kinds of media traverse the archival sphere? What happens when a given audiovisual element also becomes an archival one?

This issue of Media Fields seeks to build on these conversations by examining how the proliferation and mediation of the archive and its elements is productive. Contemporary archival elements are often integrated into processes involving other forms of media, such as database and metadata development, digitization, interactive and public-facing archival digital interfaces, and larger multimedia collections. We ask: what kinds of political, theoretical, and practical connections arise when thinking about and doing the archive in these different spatial ways —traditional, alternative, or otherwise—and how might we better place these approaches in discursive conjunction with one another? Further, what are new ways in which theory (archival and otherwise) might intervene and inform archival practice, and historicizing therein? In turn, what does this mean for the (after)lives of the media themselves?

The Media Fields Editorial Collective at UC Santa Barbara’s Department of Film and Media Studies welcomes submissions that critically engage the connections between space, media, and archival practice. We seek essays of 1500–2500 words, digital art projects, and interviews from scholars and practitioners alike. Potential submission topics include, but are not limited to:

  • Preservation: Precarity and decay, fragility, physicality, ontologies of the film and media archive and its objects, broadly construed
  • Cataloging: Metadata organization, archival etymology, reparative description and taxonomies, hierarchical data structures
  • Collection management: Power and ethics, restitution and social justice, collections policy, community oversight, institutional and/or community-based funding structures
  • Memory: Personal, collective, historical and/or cultural memories, archival modes of erasure, loss, and silence
  • Curation: Accessibility, community engagement, digital interfaces
  • Provenance: Found footage, orphan films, transnational displacement
  • Archival space: Traditional institutions, digital databases, garages, basements

Past Media Fields issues and submission guidelines may be found at mediafieldsjournal.org.

Please email all inquiries and submissions to issue co-editors Kelsey Moore and Hannah Garibaldi at submissions@mediafieldsjournal.org by October 31, 2024.

Contact Email

submissions@mediafieldsjournal.org

URL

http://mediafieldsjournal.org/call-for-submissions/

CFP: Beta Phi Mu Scholars Series Books by Rowman & Littlefield

The Beta Phi Mu Scholars Series, published by Rowman & Littlefield, an imprint of Bloomsbury, welcomes book proposals that advance knowledge in the discipline and profession of library and information science. The following broad topics are suggestions that future authors may wish to undertake, but is by no means an exhaustive list:

  • The economics of information and libraries
  • Innovative service options in different environments
  • Technologies that facilitate librarians’ and information specialists’ work
  • Examination of the dynamics of communities
  • Complexities of decision making
  • Developing professionals to make differences in organizations
  • Research into communication challenges
  • Serving ethnically, culturally, and/or linguistically diverse populations
  • Creating models for the sustenance of leadership in organizations

More information about the series can be found here. To see our most recent publications, please view the Rowman & Littlefield website.

Authors are asked to submit proposals that include the following:

  1. Working title
  2. Expected publication date and anticipated timeline
  3. Estimated length of manuscript
  4. Summary
  5. Outline of chapters
  6. Drafted chapter (if possible)
  7. Explanation of the significance of the manuscript
  8. Resume or vita addressing author’s qualifications

Inquiries, questions, and proposals should be sent directly to the Editor, Andrea Falcone, at bpmseries@gmail.com.

CFP: Markers: Annual Journal of the Association for Gravestone Studies

Call for article submissions for the 2026 issue of Markers, the scholarly journal of the Association for Gravestone Studies. The deadline is November 1, 2024.

The subject matter of Markers is defined as the analytical study of gravemarkers, monuments, tombs, and cemeteries of all types and encompassing all historical periods and geographical regions. Markers is of interest to scholars in public history, anthropology, historical archaeology, art and architectural history, ethnic studies, material culture studies, historic preservation, American studies, folklore and popular culture studies, linguistics, literature, rhetoric, local and regional history, cultural geography, sociology, and related fields. Articles submitted for publication in Markers should be scholarly, analytical, and interpretive, not merely descriptive or entertaining, and should be written in a style appropriate to both a wide academic audience and an audience of interested non-academics.

Questions and submissions to Markers should be sent to Editor Elisabeth Roark, Professor of Art History and Museum Studies at Chatham University, at roark@chatham.edu.  To learn more about the Association for Gravestone Studies, please visit our website at https://www.gravestonestudies.org/.

Contact Information

Dr. Elisabeth Roark, Editor, Professor of Art History and Museum Studies, Chatham University

Contact Email

roark@chatham.edu

URL

https://www.gravestonestudies.org/agspublications/markers

Reissued Call for Artists, Writers, and Academics: “Creative Responses to Holocaust Materialities” – A special issue of Holocaust Studies: A Journal of Culture and History

Holocaust Studies has given the editors permission to include creative work for the first time in the journal. 

In this special issue, we aim to further examine the ‘material turn’ of Holocaust studies through the lens of creative practices, which remains an understudied area of this movement. As Marianne Hirsch (2019) notes: “Commemorative artistic practices can themselves function as the connective tissue between divergent but related histories of violence and their transmission across generations. The arts offer a fruitful platform to practise the openness and responsiveness that allow such connections to emerge for the postgenerations”. Our scope includes contemporaneous and non-contemporaneous artistic, cultural, and literary works, established by those with and without a direct connection to this history. We are particularly keen to include contributions from creative writers and artists experimenting with and reflecting critically on their own creative processes, working, for instance, with line, genre, textiles, objects, images, or sound as an ephemeral artefact; and from critics showing how survivors or their descendants have represented the Holocaust through these materialities. One theme might be re-purposing, repackaging or even ‘recycling’ of materials: a material intended for one purpose which has been used or examined for other ends. Another concern might be the role of creativity in the phenomenology of viewing and interpreting historical materialities, or of creativity in the  effort to recover, or reconstruct, lost or stolen objects. A perennial concern is the researcher-artist’s role in relation to the archive.

Abstracts should be no more than 300 words, with a short biography (150 words max). Please send your proposals (or any questions) via email to: holocaustmaterialities@gmail.com by 1st September 2024 (extended submission date). We expect final submission of the journal issue to be in 2025.

If you are submitting creative work, please specify in your abstract how many images and approximate word count for any creative writing you expect to include as part of your final submission .

Normal word count for the journal’s critical essay submissions is 8-12k. For creative work, your final submission should include at least 2K words of critical reflection on your creative practice/contextual information. For the creative element, there is no minimum word count; however, the 12k word limit remains. 

The following approximate guidelines might be useful: 1 image = 250-500 words. 50 lines of poetry = 1,000 words.

Contact Information

Hannah Wilson and Jay Prosser

Contact Email

holocaustmaterialities@gmail.com