国際教養学部で、「Gender Studies」「Intermediate Seminar 35: Culture in the Middle of Now and Here」「The Pacific in the 21st Century World」の各科目を受け持つドボルザーク・グレッグ教授にGood Practice Awardを受賞。以前から、ICT ツールを 積極的に取り入れ、学生にとってわかりやすく面白い、そしてインタラクティブ性に富 んだ授業を作ってきた。コロナ禍で授業のオンライン化が進んだ 2020 年度は、独 自の授業ガイド作成やオンラインでの作品展示など、さらに新しい工夫を施している。

（著：マイク・フー）

グレッグ・ドボルザークは、ハワイ大学太平洋諸島研究センター設立75周年記念として、太平洋諸島研究についてのインタビューをContemporary Pacific Journal（学術誌）から受けた。

This lecture and related workshops, led by Pacific/Asia cultural historian and curator Greg Dvorak, professor at Waseda University in Tokyo, invites participants to visually explore the deeper patterns of violence, dehumanization, resistance, and empowerment that run through the colonized and militarized landscapes and seascapes connected to, but beyond the horizon of, the Filipino experience. Focusing especially on the region of Northern Oceania (a region commonly known as Micronesia), the Philippines’ closest Pacific neighborhood, Dvorak will draw together diverse and transoceanic ideas around propaganda, art, resistance, visibility and invisibility between major nations and small communities. When asked about “the war” in the Pacific and their memories about it, Islanders tend to ask, “what war?” For Micronesians, and many Islanders, war is a topic that extends back through at least five hundred years of Western and Asian colonial history, and also into ancestral time over thousands of years. The Pacific War is not the only war that Islanders are aware of: In their consciousness exists many other battles, such as the struggle against militarism and nuclear testing, the struggle against the “environmental colonialism” that is causing climate change and sea level rise, and the ongoing struggle for sovereignty and self-determination. In a deeper perspective, Islanders also look back to the battles fought over land by their brave ancestors who navigated to these islands. Indigenous people throughout the Pacific region, dating back to the time of Ferdinand Magellan, share a great deal in common with the Filipino people, but this is not a history ordinarily taught in the Philippines. Additionally, the indigenous people of the Philippines share deep ancestral Austronesian roots with the people who settled the Pacific Islands. Paying attention to these visual and genealogical histories in the 20th and 21st centuries, while being mindful of the larger context of the ongoing wars in Oceania, will help participants gain a better literacy of contemporary decolonization and demilitarization as seen in art from the region, and how that links or does not link with conversations happening in the contemporary Philippines.

This project aims to explore how Pacific Islanders speak back to colonialism and climate change through the medium of contemporary art on a global scale. The project will work toward an exhibition and symposium in Japan as well, engaging indigenous communities with their counterparts in Oceania.1. conducted extensive research and studio visits throughout Japan, coordinating with institutions in Kyoto, Osaka, Aomori, Hokkaido, Okinawa2. facilitated and undertook successful and significant research workshops in Guam, Republic of the Marshall Islands, the Federated States of Micronesia, and Philippines.3. successfully surveyed museum and gallery collections, interviewed artists in UAE (Sharjah), Europe (Italy and Germany) and the United States (New York);4. presented research in several forums and coordinated a special four-day research symposium program with Pacific Islander artists as part of the Yamagata Film Festival (October);5. published findings in peer-reviewed Japanese book, peer-reviewed English book (Routledge), and submitted essay to Cambridge University PressFor the first year, I had planned it would take longer to conduct research in the Republic of the Marshall Islands and other Pacific and European sites, expecting to have to completely build my research project myself with minimal local support. However, I was lucky to be able to affiliate with local collaborators who were doing similar projects and enabled me to conduct my own research within their institutions or projects. I was thus able to utilize research funds productively, meet with influential artists/experts swiftly, and gain access to rare works and sites. I was also able to add a trip to the UAE when I learned artists I was researching were exhibiting there. This, together with work in the Philippines, strengthened and supported my original project significantly.Unexpected events due to the COVID-19 pandemic have resulted in making it necessary for me to postpone most or all of the international research trips I had planned for FY2020, but this is unlikely to actually delay my project. I now have a robust network of collaborators thanks to last year's research, so I am able to focus on conducting domestic research in Japan this year, exploring online collections and working with artists and collaborators especially in Okinawa, Hokkaido, and Aomori. Therefore I am rearranging the research schedule while also writing, holding an online symposium instead of an in-person workshop, and preparing for in-depth extended travel later this year or next year, when I will also be curating an exhibit in Brisbane as an outcome of this project in 2021

気候変動への認識、植民地主義・グローバリゼーション・軍事化に対する抵抗、海と日本の太平洋地域への意識といったテーマで、太平洋諸島と日本の間のコミュニティの架け橋となるべく、アーティストと学者による国境と海を越えたネットワーク「プロジェクト35（Project Sango）」を2012年に設立した。プロジェクト35は、キュレーターやアート関連事業へのコンサルティングを行う一方、太平洋の専門家（特に日本とアジアの太平洋諸島民と先住民族）を集めて対話する「トランスオーシャニア・シンポジウム」を日本で適宜開催している。また、早稲田大学に「太平洋諸島地域研究センター」を設立することを目指している。

多くの島々が連なる太平洋。オセアニアと呼ばれるその広大な海洋地域は青い“大陸”とも呼ばれ、世界でもっとも広い人間居住地域である。しかし、20世紀初頭から今日にいたるまで日本および米国の帝国支配を受け、地球上でもっとも植民地化、軍事化の進んだ地域のひとつともなっている。「AM/NESIAアムネシア」はこれまで日本と米国によって声を奪われ忘れられ辺境に追いやられてきた土地と人々、その交流を描いた作品群を特集する。そのうち「土地ランズ」では、人々のアイデンティティと密接に結びついている先祖代々の土地や海の、まさにその場所で行われる核実験や気候変動の影響に粘り強く抵抗を続ける人々の姿を描いた作品を取り上げ、「身体ボディーズ」では、変わりつつあるジェンダー観や島民男性の高い収監率、兵役問題など、オセアニア地域の人々の身体や暮らしが植民地政策によっていかに周辺化され消し去られ、変容させられてきたかを追う。また「交差クロッシングス」では、顧みられることのない移民問題、文化交流、そして日本列島と太平洋諸島地域の間に位置するオセアニア中間地域の問題などを展望。戦前のプロパガンダ映画から元入植者や軍人たちの証言、そして国籍の曖昧な人々の状況、フラダンスの広がりといった事柄まで、幅広く批判的に検証し、古くから日本と近隣太平洋地域とを結んできたルート（経路）とルーツ（起源）を探りたい。

In my research titled "Collective 'De-Fence': Trans-Indigenous Art and Activism in the Wake of the Global Pandemic", I deepened the interrogation into art's role in “speaking back” to empire. This project laid the foundation for my 2023 KAKENHI initiative, where I delved into demilitarization amid escalating military endeavors by the US, Japan, and China. The research contextualized the intertwined narratives of Cold War-era nuclear testing and the persisting climate crisis, with a particular focus on the Republic of the Marshall Islands.The primary research in AY2022 was conducted in Hawaiʻi, centered on diasporic communities, particularly during a period when the Marshallese borders remained sealed post-pandemic. A pivotal aspect of this investigation was to understand how artists and communities were reconciling the increasing militarization against the backdrop of nuclear remembrance and the imminent threat of “disappearing islands” due to sea level rise.My findings revealed a remarkable resilience and robustness within these communities and artists. While they navigate a landscape rife with challenges, their interpretations of hope emerged as a notable insight. This hope, as documented, was uniquely interlaced with experiences of trauma. Such interpretations became particularly evident as they processed the juxtaposition of past nuclear horrors with present environmental challenges, framed against an intensifying military environment.Furthermore, it was evident that the artists and communities weren't just passive observers but active participants in shaping narratives, demonstrating resistance, and fostering remembrance. Their artworks serve as both testament and critique, actively engaging with and challenging the dominating narratives of power, empire, and environmental negligence.This revelation, that hope and trauma can be so intricately connected in the face of multifaceted challenges, became a pivotal discovery of my research. Currently, I am expanding upon this profound finding in the academic year 2023 through my larger KAKEN project, collaborating with local experts and artists to delve deeper into these intertwined narratives and their manifestations in art and community resilience.

In 2022, I delved into the next phase of my research: “The Archipelago Speaks Back, Phase II: Resilience and Resistance in Art and Activism Between Oceania and Japan.” Building on my prior research, this phase took me notably to the Republic of Palau and Hawaiʻi. The study aimed to discern how Islanders were navigating challenges including the COVID pandemic, declining tourism, climate change, and shifting gender and indigeneity identities.In Palau and Hawaiʻi, our findings highlighted remarkable resilience. Islanders, despite profound challenges, displayed innovative adaptation strategies. We closely examined artists deeply influenced by these contemporary factors. Their art encapsulated the vibrant resilience and resistance of their communities, reflecting both overt and subtle battles against evolving challenges.The narrative evolved in Japan, where regions like Hokkaido, Okinawa, and Tohoku were studied. Comparing Oceania's experiences with colonized sites in Japan,, shared struggles and unique narratives emerged. A significant observation was the rising tokenism of artists of indigenous heritage in the art world. While their increased visibility brought opportunities, it also presented challenges. Artists, however, are navigating this duality, amplifying their voices amidst superficial appreciation of their heritage.Yet, a stark contrast emerged when assessing Japanese institutions. Their reluctance towards genuine decolonization, versus artists' drive to redefine their identities and challenge boundaries, was evident.In essence, "The Archipelago Speaks Back, Phase II" achieved its objectives by revealing island communities' resilience against diverse challenges. The comparative lens between Oceania and Japan enriched our understanding of contemporary art and activism dynamics in and between colonized sites and metropoles. 

This special project (Tokutei Kadai), proposed originally in 2019 for AY2020 but delayed unavoidably because of the global coronavirus pandemic, was undertaken mainly in the 2021 academic year.  Originally, the proposal was to travel to New Zealand, but since overseas travel was mostly restricted and New Zealand’s borders remained closed, this project was modified to concentrate instead on the work of indigenous and minority artists within Japan. Building on the first phase of my 2019-2021 Kakenhi project, this special project (Tokutei Kadai) successfully established a new research base that now addresses the field of gender studies to both complement my research as well as establish a basis for curatorial and ethnographic research around decolonization and sexual and gender minorities in Japan. My research on "Decolonizing Japan" entailed ethnographic and art-related research in Okinawa, particularly Okinawa island and Yonaguni Island.  I met with numerous artists who work with themes of feminism, gender, and queer identity.  Later, I also surveyed art exhibits and met with artists in the Tohoku region that dealt with Ainu themes of gender, as well as the major Feminisms exhibit at the Kanazawa 21st Century Museum of Art. 

Special Research Project 2017S-157 "Transoceanian Trajectories: Tracing Global Flows of Representation and Resistance among Pacific Islander Artists" was designed, proposed, and executed as a preliminary phase to a larger project planned for 2019 onwards, a joint research and curatorial project which will entail a symposium, exchange, and exhibition around issues of art, identity, memory, environment, gender, and self-determination between the Pacific Islands and Japan.  It was an initial project to complement some of the early work I had already been doing in surveying the work of Pacific Islander (indigenous) contemporary artists, which I conducted in the Marshall Islands, the Federated States of Micronesia, Palau, Sāmoa, the Cook Islands, Fiji, Tonga, and New Zealand.  For this special project, I attended the Venice Biennale of contemporary art in August 2017, where I engaged with Pacific artists there who have succeeded in showing their art internationally, and other non-Pacific artists who work with themes surrounding Oceania.  With each of these artists and curators, I conducted visits and interviews, while also viewing how various international audiences engaged with their work.  I also viewed the overall exhibitions in Venice and Florence as a way to gain more contextual knowledge of the international art world.  This research led to a profound understanding of how difficult it is for indigenous artists, especially artists from the Pacific Islands region, to gain access to international audiences-- but also, how effective art can be when they do succeed in communicating their messages.  For instance, Lisa Reihana's work, "Emissaries," won many awards and communicated a devastating history of European colonization in the Pacific Islands which is not easily relatable through mere textual or archival knowledge.  These art interventions, together with more creative but rigorous academic work, are required to cultivate better, equal, transoceanic, trans-regional alliances between Japan and its Pacific neighborhood in the 21st century, and this initial research sets the stage for further programs that bridge historical and contemporary understandings of place around urgent themes of climate change, militarism, and globalization.