Like\neverything else in the museum and academic world however, all these editorial\npractices are cultural and historical. They are made, constructed, and can\ntherefore be unmade and remade. Conventions change to reflect and adapt to a\nchanging world. And we don\u2019t need to tell you how much our world has changed in\nthe last 18 months: with the pandemic, the climate crises and #BlackLivesMatter.\nGiven that this journal aims to genuinely engage with global museology and\naddress the Anglophone bias of museum studies and practice by opening its pages\nup to a diversity and range of voices and content, then acknowledging and\nmaking room for issues of race, culture, language and different perspectives is\nparamount, not least for the task of decolonization.[1]<\/a><\/p>\n\n\n\n Over\nthe last year we have been engaged in a parallel process of reviewing and\nexpanding the editorial framework of the journal alongside our publisher\nBerghahn, and actively trying to bring in a greater variety of material from outside\nthe Anglo-western European-American axis: in the last couple of issues we have\nhad writers from China, Hong Kong and Japan, South America, Africa, southern, central\nand eastern Europe, and Australia, New Zealand and the Pacific. Many of these\nwriters are from Non English Speaking Backgrounds, or write in local varieties\nof English inflected by indigenous languages, different orthographies or\nscripts. <\/p>\n\n\n\n This\nblog post reflects on this experience in light of the theme of \u201cidentity\u201d in\npeer review; our examples explore the concept of \u201cfostering new voices\u201d alongside\nimportant researcher development principles such as maintaining research\nintegrity, professional courtesy and fairness, and promoting good stewardship.[2]<\/a> <\/p>\n\n\n\n At\nMuseums Worlds,<\/em> we understand that doing\nresearch can be an isolating activity; however, once the peer reviewers,\neditors and copyeditors engage with your research, it makes the experience rewarding\nas it leads to the best possible output for readers. Having your research\nscrutinized requires shifting your author identity from \u201cme\u201d to a collective \u201cwe\u201d\nworking in partnership with the journal; remember your peer reviewers contribute\ndifferent knowledge and skills to the project. They should be trying to help\nyou make your research and writing the best it can be through constructive\nfeedback.<\/p>\n\n\n\n Nonetheless,\npeer review as we know it today is a recent practice, becoming more popular\nsince the 1970s.[3]<\/a>\nPrior to that, journal editors decided on content. As the practice matures,\nthere is scope to change.<\/p>\n\n\n\n How\ndoes one get training in peer review? Looking around, you can find guidance targeted\nat individual, community, institutional, national and global level. Individual\nresearchers mentor others, research communities through their specialist\njournals can provide opportunities, and institutional policies, national codes\nand international statements offer a useful framework for navigating matters\nrelated to research integrity, professional fairness, and good stewardship\nacross all research disciplines. For example, The\nAustralian Code for the Responsible\nConduct of Research, 2018<\/em><\/a>, co-developed by the Australian Research\nCouncil, the National Health and Medical Research Council and Universities\nAustralia covers topics such as peer review, disclosure of and management of\nconflicts of interest, as well as publication and dissemination of research.[4]<\/a> These guiding documents state\nthat institutions have responsibility to provide ongoing training and education\nfor researchers and those in relevant roles. In addition, individuals should take\nresponsibility for seeking training opportunities where they perceive a\nknowledge gap. Particular emphasis was made for training early career\nresearchers[5]<\/a>\nand postgraduate students on all aspects of peer reviewing from grant\napplications to dissemination.[6]<\/a> <\/p>\n\n\n\n At\nthe close of 2020, against the backdrop of the #BlackLivesMatter movement,\nincreasing social inequity and dramatic climate change events, Berghahn encouraged\nits journal community to experiment and find ways to foster new voices in their\n2021 content. <\/p>\n\n\n\n Berghahn wasn\u2019t the only publisher caught up in this moment focused on fostering new voices. During times of great change and uncertainty, new voices provide novel perspectives that may help solve very old systemic problems. For example, museum researcher-activists Diane Drubay and Asha Singhal (2020)<\/a> argue that museums are facing a big identity crisis. Drubay and Singhal are part of the WeAreMuseums<\/em>[7]<\/a> movement; their solution to this identity crisis involves the whole museum community engaging in vibrant, diverse dialogue. As Drubay explains, where \u201cchange is the only constant in life, we cultivate new ways of talking to each other, thinking and working together in order to give the opportunity to museum professionals to experience and embody change (Drubay and Singhal 2020: 665).[8]<\/a><\/p>\n\n\n\n The \u201cResearch in Other Forms\u201d section of this year\u2019s Museum Worlds 9<\/em><\/a>, while published in English, has a global focus and includes new voices from authors capable of moving from their mother tongue to writing in academic English. Our journal, like many others, is reliant on the skills of its reviewers and contributors, and these can be hard to find when so many academics and students are busy teaching online and when museum professionals are tied up keeping their institutions afloat. The co-author and monolingual New Zealand-based reviews editor focused on mentoring emergent M\u0101ori and Moana Oceania contributors writing about M\u0101ori and Moana Oceania content, drawing from specific regional indigenous knowledges, terms and ways of expressing themselves. Here language intertwines with identity. Therefore, the journal\u2019s style guide requesting translations of \u201cforeign\u201d terms which were italicized, unlike in New Zealand English and publishing, stimulated dynamic email correspondence and telephone conversations between the reviewing team and M\u0101ori and Moana Oceania contributors.<\/p>\n\n\n\n In Hollie Tawhiao\u2019s (Ngaati Tiipa) exhibition review<\/a>, E Hina e! E Hine e! Mana Waahine Maaori\/Maoli of Past, Present and Future<\/em> held at the Waikato Museum \/ Te Whare Taonga o Waikato, Hamilton, from 14 September 2019\u201310 October 2021, she explains in a footnote how she \u201cused double vowels in te reo Maaori (the Maaori language) to represent a long vowel sound, as it is the preference of the Waikato-Tainui iwi (tribe). However, some names, titles, and words in the Hawaiian language are shown with macrons.\u201d[9]<\/a> The title proved a challenge, as Tawhiao needed to resist calling it an exhibition review of M\u0101ori women\u2019s art. The aim of the exhibition, as interpreted by the three women curators, is to present staunchly (regional Waikato) Maaori and Kanaka Maoli images and ideas of Maaori and Kanaka Maoli women through time.[10]<\/a> <\/p>\n\n\n\n Another form of identity politics emerged with Riria Hotere-Barnes\u2019 (Ng\u0101ti Maniapoto, Te Aup\u014duri, Te Rarawa, Ng\u0101ti Wai) exhibition review<\/a> titled: Brett Graham: Tai Moana, Tai Tangata<\/em>, Govett Brewster Art Gallery, New Plymouth, 5 December 2020\u20132 May 2021.[11]<\/a> The work of artist, Brett Graham (Ng\u0101ti Koroki Kahukura), expresses te ao M\u0101ori and M\u0101ori experiences; even the exhibition labels were written in Te Reo M\u0101ori which was not a parallel translation of the English text. Because of these cultural politics, many Ma\u014dri terms have no gloss provided in the review, requiring extra attention at the copyediting stage to prevent a disorienting read for anyone not familiar with New Zealand. Mindful of the international audience, the author\u2019s aim was to provide enough context to render translations unnecessary. This was an interesting challenge indeed, because in accommodating one audience, we alienate another. As Hotere-Barnes said: \u201cthe time has come to privilege the voice of indigenous artists, writers and readers. Such was the theme of the exhibition I reviewed, and I wholeheartedly agree with the artist.\u201d[12]<\/a> <\/p>\n\n\n\n The last example<\/a>, from Museum Worlds<\/em> contributors Toluma\u2019anave Barbara Makuati-Afitu and Kolokesa Uaf\u0101 M\u0101hina-Tuai, offers a Moana Oceania perspective, where talanoa (\u201ctalking critically yet harmoniously\u201d) is part of the research process. The authors challenge Moana Oceania peoples not to conform to stereotypes of the Western status quo and embrace \u201cthe fine art of talanoa as a refinement tool for robust discussion and debate for the betterment and well-being of our Moana Oceania communities as a whole.\u201d[13]<\/a> The process of translation and cross-cultural encounters requires particular care, especially in using the correct diacritical marks for the glottal stop for Tongan and S\u0101moan words.<\/p>\n\n\n\n These\nexamples served to demonstrate the exciting, evolutionary process of peer\nreview while navigating matters related to research integrity. Journal peer\nreviewers, including its commissioning reviews editors, have a pivotal role in\nushering in these fresh new voices. As Museum\nWorlds<\/em> enters its second decade, plans for 2022 include transferring the\ntranslated exhibition review model to the book reviews section. Translated book\nreviews and reviews in English of books published in other languages are just\none-way to bring previously excluded voices into the greater global community.\nIn changing museum studies and museums, we hope that we can better shape and be\nshaped by our changing world.<\/p>\n\n\n\n Joanna Cobley<\/strong> (University of Canterbury Te Whare W\u0101nanga o Waitaha) and Conal McCarthy<\/strong> (Victoria University of Wellington Te Herenga Waka) are reviews editor and editor for the Berghahn journal Museum Worlds: Advances in Research<\/a><\/em>, a multidisciplinary, refereed, annual journal that publishes work that significantly advances knowledge of global trends, case studies, and theory relevant to museum practice and scholarship around the world. The journal is published Open Access as part of the Berghahn Open Anthro<\/a> subscribe-to-open initiative. For updates and more information about the journal, please join our mailing list<\/a>. [1]<\/a> Brulon Soares, Bruno, and Anna Leshchenko. 2018. \u201cMuseology\nin Colonial Contexts: A \u0421all for Decolonisation of Museum Theory,\u201d ICOFOM\nStudy Series <\/em>(46): 61-79. https:\/\/doi.org\/10.4000\/iss.895. http:\/\/journals.openedition.org\/iss\/895\n(accessed 15 September 2021). <\/p>\n\n\n\n [2]<\/a>\nSee for example, the Singapore Statement\non Research Integrity<\/em>. Developed in 2010 and serving as a global guide, the\nSingapore statement promotes four principles and 14 responsibilities considered\nessential to research integrity worldwide, https:\/\/www.jsps.go.jp\/english\/e-kousei\/data\/singapore_statement_EN.pdf\n(accessed 15 September 2021).<\/p>\n\n\n\n [3]<\/a>\n\u201cPeer Review \u2013 A Historical Perspective,\u201d Broad Institute, Peer Review \u2013 A\nHistorical Perspective : Broad Institute of MIT and Harvard (accessed 16\nSeptember 2021).<\/p>\n\n\n\n [4]<\/a> The\nAustralian Code for the Responsible\nConduct of Research, 2018<\/em>, https:\/\/www.nhmrc.gov.au\/about-us\/publications\/australian-code-responsible-conduct-research-2018\n(accessed 16 September 2021).<\/p>\n\n\n\n [5]<\/a> Some\njurisdictions use seven years to differentiate the border between early career\nand established researchers, see: Sue Tangney and Claire Flay-Petty, \u201cDeveloping\nEarly to Mid-career Academic Staff in a Changing University Environment.\u201d All Ireland Journal of Teaching and Learning\nin Higher Education<\/em> 11, 1 (Spring 2019): 1\u201315.<\/p>\n\n\n\n [6]<\/a> Peer Review: A guide supporting the\nAustralian Code for the Responsible Conduct of Research<\/em> (National Health\nand Medical Research Council, Australian Research Council and Universities\nAustralia: Commonwealth of Australia, Canberra: 2019), p2.<\/p>\n\n\n\n [7]<\/a>\nWeAreMuseums, https:\/\/wearemuseums.com\/museums-facing-crisis (accessed 16\nSeptember 2021).<\/p>\n\n\n\n [8]<\/a> Diane Drubay & Asha Singhal, \u201cDialogue as a framework for systemic change,\u201d Museum Management and Curatorship<\/em> 35, 6 (2020): 663-670, DOI: 10.1080\/09647775.2020.1837001<\/p>\n\n\n\n [9]<\/a> See:\nhttps:\/\/waikatomuseum.co.nz\/exhibitions-and-events\/view\/2145883308<\/p>\n\n\n\n [10]<\/a>\nPersonal email communication between Reviews Editor and author, 11 September\n2021.<\/p>\n\n\n\n [11]<\/a>\nLink to virtual tour: https:\/\/govettbrewster.com\/virtualtours\/<\/p>\n\n\n\n [12]<\/a>\nPersonal email communication between Reviews Editor and author, 23 August 2021.<\/p>\n\n\n\n [13]<\/a>\nLagi-Maama Academy and Consultancy (Toluma\u2019anavae Barbara Makuati-Afitu and\nKolokesa Uaf\u0101 M\u0101hina-Tuai), \u201c\u2018Talking Critically Yet Harmoniously\u2019: It is in\nour Bloodlines as Moana Oceania Peoples,\u201d Museum\nWorlds<\/em>, 9 (2021): 114.<\/p>\n","protected":false},"excerpt":{"rendered":" by Joanna Cobley and Conal McCarthy Researchers at all stages and levels are encouraged to publish. Academic publications, including Museums Worlds: Advances in Research, undergo a peer review process. The purpose of peer review is to ensure research integrity while encouraging new ideas, knowledges and experimental methods to emerge. In fact, peer review fosters researcher… Read More<\/a><\/p>\n","protected":false},"author":19,"featured_media":16570,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[149,1,222],"tags":[1665,1982,1587,337,1003,734,1981,278,783,1983,1585,1586],"_links":{"self":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/16567"}],"collection":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/comments?post=16567"}],"version-history":[{"count":14,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/16567\/revisions"}],"predecessor-version":[{"id":16671,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/16567\/revisions\/16671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/media\/16570"}],"wp:attachment":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/media?parent=16567"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/categories?post=16567"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/tags?post=16567"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/berghahnbooks.com\/blog\/wp-content\/uploads\/2021\/09\/ARMW-9_11-Cheng_HKMoA-1024x768.jpg\")
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