{"id":688,"date":"2024-04-27T17:10:00","date_gmt":"2024-04-27T22:10:00","guid":{"rendered":"https:\/\/csalateral.org\/ccrrrc\/?post_type=ramp_article&#038;p=688"},"modified":"2024-07-09T09:26:59","modified_gmt":"2024-07-09T14:26:59","slug":"the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0","status":"publish","type":"ramp_article","link":"https:\/\/csalateral.org\/ccrrrc\/articles\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\/","title":{"rendered":"The \u201cJapanese Gaze\u201d and Racism | \u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0"},"content":{"rendered":"\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><strong>Abstract<\/strong> In this essay, Japanese artist Hikaru Fujii introduces his media installations works, which trace the history of the \u201cgaze\u201d at racialized Others present throughout Japanese art history, especially as Japan grappled with its own modernization as a nation-state. Hikaru Fujii incorporates his research into his own media works, specifically addressing the questions of how the \u201cJapanese gaze\u201d has shaped the visuality of others in Japanese paintings, world\u2019s fairs, and art institutions, such as in the case of the 15th-century Nanban Folding Screens (Southern Barbarian Screens), which depicted Portuguese and people of African descent (most likely enslaved by Portuguese). He traces how the formation of Japaneseness has consistently required and depended on the categorization of others, particularly those colonized by the Japanese Empire (e.g. Koreans and Taiwanese) as well as those who have settled in contemporary Japan as refugees and immigrants. He calls for our renewed interests in the art to think about how the Japanese public as well as our own \u201cgaze\u201d may be destabilized by critically engaging with artworks.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#english\">English translation by Ikumi Yoshida<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u82b8\u8853\u304c\u30ec\u30a4\u30b7\u30ba\u30e0\u306b\u7121\u95a2\u5fc3\u3067\u3044\u3089\u308c\u306a\u3044\u7406\u7531\u306e\u4e00\u3064\u306f\u3001\u30b8\u30e3\u30fc\u30ca\u30ea\u30b9\u30c8\u304c\u793e\u4f1a\u554f\u984c\u3068\u3057\u3066\u53d6\u308a\u6271\u3046\u306e\u3068\u306f\u9055\u3044\u3001\u82b8\u8853\u6a5f\u69cb(\u7f8e\u8853\u9928\u3001\u7f8e\u8853\u53f2\u3001\u7f8e\u8853\u6559\u80b2\u306a\u3069)\u305d\u308c\u81ea\u4f53\u304c\u4eba\u7a2e\u7684\u6291\u5727\u306e\u5897\u5e45\u306b\u52a0\u62c5\u3057\u3066\u304d\u305f\u4e3b\u4f53\u3060\u304b\u3089\u3067\u3042\u308d\u3046\u3002\u4f5c\u54c1\u306e\u5f62\u5f0f\u3084\u6279\u8a55\u8a00\u8aac\u3001\u7f8e\u8853\u53f2\u306e\u8a18\u8ff0\u306b\u3088\u3063\u3066\u69cb\u9020\u5316\u3055\u308c\u3066\u304d\u305f\u30ec\u30a4\u30b7\u30ba\u30e0\u306b\u79c1\u304c\u6c17\u3065\u304d\u59cb\u3081\u305f\u306e\u306f\u3001\u4e00\u4eba\u306e\u6559\u5e2b\u306e\u6b21\u306e\u3088\u3046\u306a\u547c\u3073\u304b\u3051\u3060\u3063\u305f\u3002&nbsp;<\/p>\n\n\n\n<p 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class=\"wp-block-paragraph\"><br><figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" class=\"wp-image-691\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"Peter Golightly in a suit, wearing a white glove on his left hand, is stretching his left arm to adjust the top right side of a painting, which consists of six panels. The painting is a photographic copy by Ikk\u014d Narahara, who was asked to produce a collection of his photo works capturing a fifteenth-century Japanese style work, which depicts a procession of non-Japanese foreign visitors.\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u300e\u5357\u86ee\u7d75\u56f3\u300f\u85e4\u4e95\u5149, 2017, \u30b7\u30f3\u30b0\u30eb\u30c1\u30e3\u30f3\u30cd\u30eb<\/figcaption><\/figure><\/p>\n\n\n\n<p 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class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" class=\"wp-image-692\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"A close-up of a painting depicting two men, presumably of African descent, who are wearing fifteenth-century European clothes. The man on the right is holding onto the ropes connected to the mast, looking out toward the sea. The other man on the left is looking down from a platform at the upper end of the mast.\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"> Hikaru Fujii, a close-up from <em>Nanban by\u014dbu<\/em> (<em>Southern Barbarian Screens<\/em>), 2017, Single Channel. Republished with permission from the artist.<\/figcaption><\/figure><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u30ea\u30b9\u30dc\u30f3\u306e\u7f8e\u8853\u9928\u306b\u6240\u8535\u3055\u308c\u3066\u3044\u308b\u300c\u5b9f\u7269\u300d\u304c\u65e5\u672c\u306b\u904b\u3070\u308c\u3066\u304d\u305f\u306e\u306f\u3001\u4e07\u56fd\u535a\u7f8e\u8853\u5c55(1970\u5e74)\u3067\u306e\u3053\u3068\u3060\u3063\u305f\u3002\u3053\u306e\u5c55\u89a7\u4f1a\u3053\u305d\u304c\u56fd\u7acb\u56fd\u969b\u7f8e\u8853\u9928\u306e\u8a2d\u7acb\u306e\u8d77\u6e90\u3068\u306a\u308b\u306e\u3060\u304c\u3001\u65e5\u672c\u521d\u306e\u60b2\u9858\u306e\u4e07\u56fd\u535a\u89a7\u4f1a\u306e\u958b\u50ac\u306b\u3042\u305f\u3063\u3066\u3001\u897f\u6d0b\u7f8e\u8853\u53f2\u3092\u76f8\u5bfe\u5316\u3057\u3088\u3046\u3068\u300c\u4e16\u754c\u7f8e\u8853\u53f2\u300d\u306a\u308b\u3082\u306e\u3092\u6253\u3061\u51fa\u3057\u305f\u305d\u306e\u7f8e\u8853\u5c55\u306e\u56f3\u7248\u89e3\u8aac\u306b\u306f\u6b21\u306e\u3088\u3046\u306b\u8a18\u8ff0\u3055\u308c\u3066\u3044\u308b\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u300c\u3053\u3053\u306b\u306f\u3001\u73cd\u5947\u30fb\u5947\u7363\u30fb\u970a\u85ac\u306e\u6570\u3005\u3092\u7a4d\u307f\u8fbc\u3093\u3067\u3001\u65e5\u672c\u4eba\u306e\u60f3\u50cf\u3092\u8d8a\u3048\u305f\u4e16\u754c\u304b\u3089\u3084\u3063\u3066\u6765\u308b\u5de8\u5927\u306a\u3001\u7570\u69d8\u306a\u8239\u3001\u8c6a\u83ef\u306a\u7f8e\u3057\u3044\u670d\u88c5\u306b\u8eab\u3092\u5305\u3093\u3060\u9f3b\u306e\u9ad8\u3044\u5927\u7537\u9054\u3001\u9ed2\u3044\u8896\u9577\u3044\u4fee\u9053\u670d\u59ff\u306e\u5ba3\u6559\u5e2b\u3001\u305d\u308c\u3089\u3092\u773a\u3081\u308b\u753b\u5bb6\u306e\u5f37\u3044\u597d\u5947\u5fc3\u306e\u76ee\u3068\u9a5a\u304d\u304c\u751f\u304d\u751f\u304d\u3068\u8868\u73fe\u3055\u308c\u3066\u3044\u308b&#8230;\u300d\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u65e5\u672c\u7f8e\u8853\u306e\u516c\u5b9a\u306e\u6b74\u53f2\u306f\u300c\u9f3b\u306e\u9ad8\u3055\u300d\u3068\u3044\u3046\u7d30\u90e8\u306b\u504f\u57f7\u3057\u306a\u304c\u3089\u3001\u300c\u5357\u86ee\u5c4f\u98a8\u300d\u3092\u65e5\u672c\u4eba\u304c\u59cb\u3081\u3066\u30e8\u30fc\u30ed\u30c3\u30d1\u4eba\u3068\u51fa\u4f1a\u3063\u305f\u6b74\u53f2\u7684\u4e8b\u4ef6\u3092\u8a18\u9332\u3057\u305f\u82b8\u8853\u3068\u3057\u3066\u8a55\u4fa1\u3059\u308b\u300250\u5e74\u5f8c\u306e\u4eca\u65e5\u306b\u304a\u3044\u3066\u3082\u305d\u306e\u89e3\u91c8\u306e\u67a0\u7d44\u307f\u306b\u5909\u308f\u308a\u306f\u306a\u3044\u3002\u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u306f\u3001\u753b\u9762\u5de6\u306e\u5de8\u5927\u306a\u5916\u56fd\u8239\u304b\u3089\u53f3\u3078\u3068\u79fb\u52d5\u3057\u3001\u30e8\u30fc\u30ed\u30c3\u30d1\u304b\u3089\u6765\u305f\u300c\u5927\u7537\u300d\u3068\u5bfe\u9762\u3059\u308b\u300c\u65e5\u672c\u4eba\u300d\u3078\u3068\u7740\u773c\u3059\u308b\u3002\u305d\u306e\u8996\u7dda\u306e\u904b\u52d5\u306f\u3001\u300c\u897f\u6d0b\u300d\u3068\u300c\u6771\u6d0b\u300d\u306e\u4ea4\u6d41\u3068\u3044\u3046\u30aa\u30af\u30b7\u30c7\u30f3\u30bf\u30ea\u30ba\u30e0\u306e\u30ca\u30e9\u30c6\u30a3\u30f4\u3092\u5b8c\u6210\u3055\u305b\u308b\u3002\u3057\u304b\u3057\u3001\u6b21\u306e\u77ac\u9593\u3001\u753b\u4e2d\u306b\u63cf\u304b\u308c\u305f\u7570\u90a6\u4eba100\u4eba\u4e2d57\u4eba\u3082\u306e\u30b0\u30ed\u30fc\u30d0\u30eb\u30b5\u30a6\u30b9\u306e\u975e\u767d\u4eba\u305f\u3061\u306f\u898b\u3048\u306a\u304f\u306a\u308b\u3002\u5974\u96b7\u305f\u3061\u3068\u306e\u300c\u5357\u5317\u306e\u4ea4\u6d41\u300d\u3001\u3059\u306a\u308f\u3061\u690d\u6c11\u5730\u7684\u51fa\u4f1a\u3044\u3092\u4e0d\u53ef\u8996\u306b\u3059\u308b\u3002\u9ed2\u4eba\u3084\u808c\u306e\u8272\u306e\u6fc3\u3044\u7537\u305f\u3061\u306f\u3001\u65e5\u672c\u3068\u30e8\u30fc\u30ed\u30c3\u30d1\u306e\u51fa\u4f1a\u3044\u3092\u9ec4\u91d1\u8272\u306b\u8f1d\u304b\u3059\u305f\u3081\u306e\u9670\u6697\u306e\u5b58\u5728\u3068\u306a\u308b\u3002\u7f8e\u8853\u3068\u3044\u3046\u8996\u899a\u88c5\u7f6e\u304c\u4eba\u7a2e\u7684\u6291\u5727\u306e\u5897\u5e45\u306b\u52a0\u62c5\u3057\u3066\u304d\u305f\u6240\u4ee5\u3067\u3042\u308b\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u65e5\u672c\u306b\u300c\u7f8e\u8853\u300d\u3068\u3044\u3046\u8a00\u8449\u304c\u8a95\u751f\u3057\u305f\u306e\u306f\u3001\u65e5\u672c\u653f\u5e9c\u304c\u521d\u3081\u3066\u516c\u5f0f\u53c2\u52a0\u3057\u305f\u30a6\u30a3\u30fc\u30f3\u4e07\u56fd\u535a\u89a7\u4f1a\u306e\u6642\u3060\u3063\u305f\u304c\u300120\u4e16\u7d00\u306b\u5165\u308b\u3068\u65e5\u672c\u3067\u3082\u4e07\u56fd\u535a\u89a7\u4f1a\u3092\u6a21\u3057\u305f\u5c55\u89a7\u4f1a\u304c\u958b\u50ac\u3055\u308c\u308b\u3088\u3046\u306b\u306a\u308b\u3002\u300e\u65e5\u672c\u4eba\u3092\u6f14\u3058\u308b\u300f\u306f\u305d\u306e\u6642\u4ee3\u3092\u518d\u73fe\u3059\u308b\u30ef\u30fc\u30af\u30b7\u30e7\u30c3\u30d7\u306e\u8a18\u9332\u3068\u306a\u3063\u3066\u3044\u308b\u3002\u51fa\u6f14\u8005\u3067\u3042\u308b\u53c2\u52a0\u8005\u304c\u3001\u305d\u308c\u305e\u308c\u306e\u76ee\u306e\u8272\u3001\u808c\u306e\u8272\u3001\u9aa8\u683c\u3001\u982d\u306e\u5f62\u3001\u4f53\u683c\u3068\u3044\u3063\u305f\u751f\u7269\u7684\u6027\u8cea\u3092\u89b3\u5bdf\u3057\u5408\u3044\u3001\u300c\u65e5\u672c\u4eba\u300d\u3068\u3044\u3046\u60f3\u50cf\u306e\u5171\u540c\u4f53\u3092\u5275\u308a\u3042\u3051\u3066\u3044\u304f\u3002\u305d\u306e\u4e00\u65b9\u3067\u3001\u300c\u65e5\u672c\u4eba\u300d\u3089\u3057\u304f\u306a\u3044\u8005\u305f\u3061\u3092\u898b\u5b9a\u3081\u3001\u300c\u308f\u308c\u308f\u308c(\u65e5\u672c\u4eba)\u300d\u3068\u306f\u7570\u306a\u308b\u8005\u305f\u3061\u3068\u3057\u3066\u3001\u5f7c\u3089\u751f\u8eab\u306e\u4eba\u9593\u3092\u5c55\u793a\u3057\u3066\u3001\u4e00\u65b9\u7684\u306b\u8868\u8c61\u3057\u3066\u3044\u304f\u3068\u3044\u3046\u65e5\u672c\u7248\u300c\u4eba\u9593\u52d5\u7269\u5712\u300d\u3092\u518d\u6f14\u3059\u308b\u3082\u306e\u3067\u3042\u308b\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1024x576.jpg\" alt=\"Six Asian women have lined up, facing forward, in a black, spartan, room.\" class=\"wp-image-693\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1024x576.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-300x169.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-768x432.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1536x864.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u300e\u65e5\u672c\u4eba\u3092\u6f14\u3058\u308b\u300f\u85e4\u4e95\u5149, 2017, \u6620\u50cf\u30a4\u30f3\u30b9\u30bf\u30ec\u30fc\u30b7\u30e7\u30f3<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">19\u4e16\u7d00\u534a\u3070\u306b\u5f8c\u767a\u306e\u4f4d\u7f6e\u304b\u3089\u56fd\u6c11\u56fd\u5bb6\u306e\u5f62\u6210\u3092\u958b\u59cb\u3057\u305f\u65e5\u672c\u304c\u5e1d\u56fd\u3068\u3057\u3066\u7acb\u3061\u73fe\u308c\u3088\u3046\u3068\u3057\u3066\u3044\u305f\u4e16\u7d00\u8ee2\u63db\u671f\u3001\u4e16\u754c\u306e\u5927\u90e8\u5206\u306e\u5730\u57df\u306f\u6b27\u7c73\u5217\u5f37\u56fd\u306e\u8cc7\u672c\u4e3b\u7fa9\u7d4c\u6e08\u30b7\u30b9\u30c6\u30e0\u306b\u7d44\u307f\u8fbc\u307e\u308c\u3066\u3044\u305f\u3002\u65e5\u672c\u653f\u5e9c\u306f\u6d77\u5916\u88fd\u54c1\u3092\u6392\u9664\u3059\u308b\u4fdd\u8b77\u4e3b\u7fa9\u306e\u653f\u7b56\u3092\u8ee2\u63db\u3055\u305b\u3001\u8f38\u5165\u54c1\u306e\u51fa\u5c55\u3092\u521d\u3081\u3066\u8a8d\u3081\u308b\u535a\u89a7\u4f1a\u3092\u958b\u50ac\u3059\u308b(1903\u5e74)\u3002\u305d\u3053\u3067\u65e5\u672c\u4eba\u304c\u9451\u8cde\u3057\u305f\u306e\u306f\u3001\u4e16\u754c\u5404\u5730\u306e\u76ee\u65b0\u3057\u3044\u30e2\u30ce\u3060\u3051\u3067\u306f\u306a\u304b\u3063\u305f\u3002\u5f53\u6642\u3001\u6b27\u7c73\u306e\u4e07\u56fd\u535a\u89a7\u4f1a\u3067\u6d41\u884c\u3057\u3066\u3044\u305f\u300c\u6c11\u65cf\u5b66\u7684\u5c55\u793a\u300d\u304c\u50ac\u3055\u308c\u3066\u3044\u308b\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u65e5\u672c\u3067\u306f\u300c\u5b66\u8853\u4eba\u985e\u9928\u300d\u3068\u540d\u4ed8\u3051\u3089\u308c\u305f\u305d\u306e\u30d1\u30d3\u30ea\u30aa\u30f3\u306b\u306f\u3001\u9023\u65e5\u6570\u5343\u4eba\u306e\u89b3\u5ba2\u304b\u6765\u5834\u3059\u308b\u307b\u3069\u4eba\u6c17\u304c\u3042\u3063\u305f\u3002\u30a8\u30f3\u30c8\u30e9\u30f3\u30b9\u306b\u306f\u3001\u30a4\u30ae\u30ea\u30b9\u3067\u524d\u5e74\u306b\u51fa\u7248\u3055\u308c\u305f\u4eba\u985e\u5b66\u66f8\u300e\u73fe\u5728\u306e\u4eba\u7a2e(The living races of mankind)\u300f\u306b\u63b2\u8f09\u3055\u308c\u305f\u5404\u56fd\u306e\u6c11\u65cf\u5199\u771f\u304c\u5927\u304d\u304f\u5f15\u304d\u4f38\u3070\u3055\u308c\u5c55\u793a\u3055\u308c\u3066\u3044\u308b\u3002\u30d1\u30d3\u30ea\u30aa\u30f3\u3092\u8a2a\u308c\u305f\u89b3\u5ba2\u306b\u6c11\u65cf\u5199\u771f\u3092\u307e\u305a\u306f\u898b\u305b\u3001\u305d\u306e\u5f8c\u306b\u3001\u305d\u308c\u305e\u308c\u306e\u4f1d\u7d71\u7684\u4f4f\u5c45\u7a7a\u9593\u3092\u6a21\u5023\u3057\u305f\u5efa\u9020\u7269\u306e\u4e2d\u3067\u751f\u6d3b\u3059\u308b\u751f\u8eab\u306e\u4eba\u9593\u3092\u76f4\u63a5\u306b\u89b3\u5bdf\u3055\u305b\u308b\u3002\u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u306f\u3001\u897f\u6d0b\u306e\u77e5\u8b58\u3092\u5229\u7528\u3057\u306a\u304c\u3089\u3001\u4eba\u9593\u3092\u7269\u4f53\u306a\u3044\u3057\u306f\u6a19\u672c\u3068\u307f\u306a\u3059\u79d1\u5b66\u7684\u30ec\u30a4\u30b7\u30ba\u30e0\u3078\u3068\u767a\u5c55\u3057\u3066\u3044\u304f\u3002<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><br><figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"679\" class=\"wp-image-696\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1024x679.jpg\" alt=\"Two pages of the cover image and the front matter of The Living Races of Mankind, a book published in 1902 in London. The first page on the left includes a book description, which reads, \u201cA popular illustrated account of the customs, habits, pursuits, feasts &amp; ceremonies of the races of mankind throughout the world.\u201d To the left, there is a picture of an Arab person carrying a water jug on top of his head. On the second page on the right is a picture of a Japanese man\u2019s back, covered in red and blue tattoos. The caption for this image reads, \u201cAn elaborately tattooed Japanese man. Tattooing of this complex and highly-coloured type was at one time not uncommon in Japan.\u201d\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1024x679.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-300x199.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-768x509.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1536x1018.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Harry Johnson and H.N. Hutchinson, <em>The Living Races of Mankind vol 1<\/em> (Hutchinson &amp; Co, 1902). Courtesy of the <a href=\"https:\/\/library.si.edu\/digital-library\/book\/livingracesofman01john\">Smithsonian Libraries and Archives<\/a>.<\/figcaption><\/figure><\/p>\n\n\n\n<p 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class=\"wp-block-paragraph\">\u65e5\u672c\u5404\u5730\u3067\u300c\u4eba\u9593\u306e\u5c55\u793a\u300d\u304c\u958b\u50ac\u3055\u308c\u3066\u3044\u305f\u6642\u4ee3\u3001\u690d\u6c11\u5730\u53f0\u6e7e\u306e\u6c11\u653f\u9577\u5b98\u3067\u751f\u7269\u5b66\u8005\u3067\u3082\u3042\u308b\u5f8c\u85e4\u65b0\u5e73(1857-1929)\u306f\u3001\u65e5\u672c\u4eba\u3092\u9ad8\u7d1a\u9b5a\u306e\u300c\u30bf\u30a4\u300d\u306b\u3001\u53f0\u6e7e\u4eba\u3092\u300c\u30d2\u30e9\u30e1\u300d\u306b\u55a9\u3048\u3066\u3001\u300c\u982d\u306e\u4e00\u65b9\u306b\u3064\u3044\u3066\u3044\u308b\u30d2\u30e9\u30e1\u306e\u76ee\u3092\u3001\u30bf\u30a4\u306e\u3088\u3046\u306b\u4e21\u65b9\u306b\u3064\u3051\u66ff\u3048\u3078\u308b\u3053\u3068\u306f\u3067\u304d\u306a\u3044\u300d\u3068\u3057\u3066\u3001\u53f0\u6e7e\u4eba\u306e\u65e7\u6163\u7fd2\u306b\u306f\u7121\u5e72\u6e09\u3068\u3059\u308b\u653f\u7b56\u3092\u53d6\u3063\u3066\u3044\u305f\u3002\u307e\u305f\u300c\u512a\u7b49\u4eba\u7a2e\u300d\u306f\u300c\u91ce\u86ee\u4eba\u7a2e\u300d\u3068\u63a5\u89e6\u3059\u308b\u3068\u7834\u6ec5\u3092\u3082\u305f\u3089\u3059\u3068\u3044\u3063\u305f\u512a\u751f\u5b66\u3082\u5b58\u5728\u3057\u3001\u65e5\u672c\u4eba\u3068\u53f0\u6e7e\u4eba\u3068\u306e\u7d50\u5a5a\u3092\u751f\u7269\u5b66\u7684\u5074\u9762\u304b\u3089\u6392\u9664\u3059\u308b\u6cd5\u5f8b\u3082\u5b58\u5728\u3057\u305f\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u3057\u304b\u3057\u3001\u4eba\u9593\u306f\u4ea4\u6d41\u3057\u3001\u6df7\u3058\u308a\u5408\u3044\u3001\u591a\u5143\u5316\u3057\u3066\u3044\u304f\u751f\u304d\u7269\u3067\u3082\u3042\u308b\u3002\u4e21\u8005\u306e\u5883\u754c\u7dda\u306f\u3044\u305a\u308c\u300c\u878d\u548c\u300d\u3057\u3066\u3044\u304f\u3060\u308d\u3046\u3002\u300c\u65e5\u672c\u6c11\u65cf\u300d\u304c\u6df7\u8840\u6c11\u65cf\u3067\u3042\u308b\u3068\u3044\u3046\u3053\u3068\u306f\u690d\u6c11\u5730\u652f\u914d\u306e\u6b63\u5f53\u6027\u306b\u3068\u3063\u3066\u8105\u5a01\u3068\u306a\u3063\u3066\u304f\u308b\u3002\u300c\u65e5\u672c\u4eba\u7a2e\u300d\u306e\u512a\u4f4d\u6027\u3092\u7dad\u6301\u3059\u308b\u305f\u3081\u306e\u300c\u795e\u8a71\u7684\u8840\u6db2\u300d\u304c\u690d\u6c11\u5730\u306b\u5927\u91cf\u306b\u6d41\u3057\u8fbc\u307e\u308c\u3066\u3044\u304f\u3002\u305d\u308c\u306f\u3001\u65e5\u672c\u304c\u8fd1\u4ee3\u56fd\u5bb6\u306e\u5efa\u56fd\u306e\u969b\u306b\u300c\u767a\u660e\u300d\u3057\u3001\u653f\u4f53\u306e\u5927\u52d5\u8108\u306b\u6d41\u3057\u8fbc\u3093\u3067\u3044\u304d\u305f\u3082\u306e\u3001\u3059\u306a\u308f\u3061\u300c\u7687\u5ba4\u306e\u8840\u300d\u305f\u3063\u305f\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u7537\u7cfb\u306e\u8840\u3092\u9014\u7d76\u3048\u308b\u3053\u3068\u306a\u304f\u53d7\u3051\u7d99\u3044\u3067\u304d\u305f\u3068\u3059\u308b\u300c\u4e07\u4e16\u4e00\u7cfb\u300d\u306e\u5929\u7687\u3092\u7236\u3068\u3059\u308b\u5bb6\u65cf\u56fd\u5bb6\u30a4\u30c7\u30aa\u30ed\u30ae\u30fc\u304c\u690d\u6c11\u5730\u3067\u5168\u9762\u5316\u3059\u308b\u3002\u8a00\u8a9e\u30fb\u6163\u7fd2\u3001\u5b97\u6559\u30fb\u6c0f\u540d\u30fb\u5730\u540d\u306b\u81f3\u308b\u307e\u3066\u65e5\u672c\u306b\u300c\u540c\u5316\u300d\u3055\u305b\u3001\u6c96\u7e04\u306e\u3088\u3046\u306b\u300c\u7d14\u7c8b\u3067\u306a\u3044\u3082\u306e\u306f\u7d14\u7c8b\u306b\u3059\u308b\u3053\u3068\u300d\u304c\u6c42\u3081\u3089\u308c\u305f\u3002\u305d\u308c\u3067\u3082\u3001\u5b97\u5bb6\u7687\u5ba4\u306e\u7d14\u7c8b\u306a\u8840\u3092\u5206\u304b\u3061\u5408\u3046\u8840\u7d71\u96c6\u56e3\u300c\u65e5\u672c\u6c11\u65cf\u300d\u3068\u306f\u5dee\u7570\u5316\u3055\u308c\u3001\u65e5\u672c\u306e\u672c\u571f=\u5185\u5730\u306e\u81ea\u7136\u30fb\u6c17\u5019\u30fb\u5730\u8cea\u30fb\u8a00\u8a9e\u3092\u7d99\u627f\u3059\u308b\u300c\u65e5\u672c\u4eba\u7a2e\u300d\u3068\u306f\u7570\u306a\u308b\u3082\u306e\u3068\u3057\u3066\u5dee\u5225\u5316\u3055\u308c\u308b\u3002\u690d\u6c11\u5730\u51fa\u8eab\u8005\u306e\u300c\u8840\u300d\u306f\u6238\u7c4d\u306b\u3082\u70d9\u5370\u3055\u308c\u3001\u5929\u7687\u3092\u5bb6\u7236\u9577\u3068\u3059\u308b\u300c\u7e26\u300d\u306e\u5e8f\u5217\u306e\u6700\u4e0b\u5c64\u306b\u56fa\u5b9a\u5316\u3055\u308c\u3066\u3044\u304f\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"A Southeast Asian woman student wearing glasses and a blue shirt is standing in front of a mic, speaking.\" class=\"wp-image-697\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u300e2.8\u72ec\u7acb\u5ba3\u8a00\u66f8 |\u65e5\u672c\u8a9e\u3067\u6717\u8aad\u3059\u308b\u300f\u85e4\u4e95\u5149, 2019, \u6620\u50cf\u30a4\u30f3\u30b9\u30bf\u30ec\u30fc\u30b7\u30e7\u30f3<\/figcaption><\/figure>\n\n\n\n<p 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loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/2.8-declaration-of-independence-reading-in-japanese-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">\u516c\u7684\u306b\u3082\u79c1\u7684\u306b\u3082\u793e\u4f1a\u306b\u57cb\u3081\u8fbc\u307e\u308c\u305f\u30ec\u30a4\u30b7\u30ba\u30e0\u304c\u514b\u660e\u306b\u8a18\u8ff0\u3055\u308c\u3066\u3044\u308b\u304c\u3001\u3053\u306e\u544a\u767a\u304c\u306a\u3055\u308c\u3066\u304b\u3089100\u5e74\u5f8c\u306e2019\u5e74\u3001\u65e5\u97d3\u95a2\u4fc2\u306f\u304b\u3064\u3066\u306a\u3044\u7dca\u5f35\u306e\u306a\u304b\u306b\u3042\u3063\u305f\u3002\u79c1\u306f\u3053\u306e\u4f5c\u54c1\u3092\u5c55\u793a\u3092\u3059\u308b\u305f\u3081\u306bSeMa(\u30bd\u30a6\u30eb\u5e02\u7f8e\u8853\u9928)\u3078\u8d74\u3044\u305f\u304c\u3001\u5916\u52d9\u7701\u306f\u65e5\u672c\u4eba\u306e\u97d3\u56fd\u3078\u306e\u6e21\u822a\u3092\u6ce8\u610f\u559a\u8d77\u3059\u308b\u307b\u3069\u306b\u4e8b\u614b\u306f\u7dca\u8feb\u3057\u3066\u3044\u305f\u3002\u305d\u306e\u8981\u56e0\u306f\u3001\u690d\u6c11\u5730\u652f\u914d\u306b\u3088\u308b\u88ab\u5bb3\u306e\u8ce0\u511f\u3092\u6c42\u3081\u308b\u97d3\u56fd\u5074\u306b\u5bfe\u3057\u3066\u3001\u300c\u5f53\u6642\u306f\u56fd\u969b\u6cd5\u4e0a\u3067\u5408\u6cd5\u3060\u3063\u305f\u300d\u3068\u3059\u308b\u65e5\u672c\u5074\u306e\u4e3b\u5f35\u304c\u6fc0\u3057\u304f\u5bfe\u7acb\u3057\u3066\u3044\u305f\u3053\u3068\u306b\u3042\u308b\u3002\u73fe\u5728\u307e\u3067\u7d9a\u304f\u3053\u306e\u6b74\u53f2\u8a8d\u8b58\u306e\u554f\u984c\u3092\u8907\u96d1\u306b\u5165\u308a\u7d44\u3093\u3060\u3082\u306e\u306b\u3057\u3066\u3044\u308b\u304c\u3001\u97d3\u56fd\u304c\u6c11\u4e3b\u5316\u3055\u308c\u308b\u524d\u306e\u72ec\u88c1\u653f\u6a29\u6642\u4ee3\u306b\u65e5\u672c\u306e\u690d\u6c11\u5730\u652f\u914d\u306e\u6b74\u53f2\u3092\u300c\u4e0d\u554f\u300d\u3068\u3057\u305f\u4e8b\u60c5\u3082\u3042\u308b\u304c\u3001\u65e5\u672c\u304c\u4eba\u7a2e\u4e3b\u7fa9\u30a4\u30c7\u30aa\u30ed\u30ad\u30fc\u306b\u57fa\u3065\u304f\u690d\u6c11\u5730\u652f\u914d\u306e\u52a0\u5bb3\u306e\u6b74\u53f2\u3092\u5fb9\u5e95\u7684\u306b\u898b\u3064\u3081\u3001\u8003\u3048\u3001\u8b70\u8ad6\u3055\u305b\u308b\u6559\u80b2\u3092\u3057\u3066\u3053\u306a\u304b\u3063\u305f\u304b\u3089\u306b\u4ed6\u306a\u3089\u306a\u3044\u3002<\/p>\n\n\n\n<p 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\u8fd1\u4ee3\u3092\u8d85\u514b\u3059\u308b\u3068\u3044\u3046\u3002<\/p>\n\n\n\n<p class=\"has-text-align-left\"><br><figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" class=\"wp-image-698\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1024x768.jpg\" alt=\"In a black-and-white picture, Taiwanese men, with their torsos bare while wearing white headbands, are standing in rows in a pool of water, forward facing toward the camera.\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1024x768.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-300x225.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-768x576.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1536x1152.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u300e\u56fd\u6c11\u9053\u5834\u300f1940\u5e74\u4ee3. \u570b\u7acb\u81fa\u7063\u6b77\u53f2\u535a\u7269\u9928<\/figcaption><figcaption class=\"wp-element-caption\"><\/figcaption><\/figure>\u65e5\u672c\u5e1d\u56fd\u306e\u30e2\u30ce\u30af\u30ed\u30fc\u30e0\u306a\u4e16\u754c\u89b3\u3092\u898b\u4e8b\u306b\u7f8e\u5b66\u5316\u3057\u305f\u6620\u753b\u304c\u53f0\u6e7e\u56fd\u7acb\u6b74\u53f2\u535a\u7269\u9928\u306b\u6240\u8535\u3055\u308c\u3066\u3044\u308b\u30021940\u5e74\u4ee3\u306e\u65e5\u672c\u7d71\u6cbb\u4e0b\u306e\u53f0\u6e7e\u3067\u5236\u4f5c\u3055\u308c\u305f\u305d\u306e\u30d7\u30ed\u30d1\u30ac\u30f3\u30c0\u6620\u753b\u306e\u518d\u6f14\u3092\u300e\u7121\u60c5\u300f\u3068\u3044\u3046\u4f5c\u54c1\u3067\u8a66\u307f\u305f\u3002\u300c\u65e5\u672c\u4eba\u3067\u306a\u3044\u72b6\u614b\u304b\u3089\u65e5\u672c\u4eba\u3067\u3042\u308b\u72b6\u614b\u306b\u5909\u3048\u308b(\u5909\u308f\u308b)\u300d\u305f\u3081\u306e\u8ecd\u4e8b\u8272\u306e\u5f37\u3044\u6559\u80b2\u65bd\u8a2d\u300c\u56fd\u6c11\u9053\u5834\u300d\u306e\u821e\u53f0\u3092\u3057\u3064\u3089\u3048\u3001\u65e5\u672c\u5728\u4f4f\u306e\u79fb\u6c11\u306e\u82e5\u8005\u305f\u3061\u304c\u65e5\u672c\u8a9e\u3067\u8ecd\u6b4c\u3092\u5531\u6b4c\u3057\u3001\u6226\u610f\u9ad8\u63da\u306e\u30b9\u30ed\u30fc\u30ac\u30f3\u3092\u5fa9\u5531\u3059\u308b\u3002\u5929\u7687\u3078\u306e\u5fe0\u8aa0\u5fc3\u3092\u8a93\u3046\u56fd\u5bb6\u795e\u9053\u306e\u5b97\u6559\u7684\u5100\u793c(\u798a)\u3088\u3063\u3066\u3001\u304b\u3064\u3066\u53f0\u6e7e\u4eba\u306e\u9752\u5e74\u305f\u3061\u304b\u30c8\u30e9\u30f3\u30b9\u72b6\u614b\u3068\u306a\u308a\u305d\u308c\u305e\u308c\u306e\u500b\u6027\u3092\u6d88\u5931\u3055\u305b\u300c\u7d71\u4e00\u300d\u3055\u308c\u305f\u3088\u3046\u306b\u3001\u81ea\u5df1\u306e\u4eba\u9593\u6027\u306e\u4e00\u5207\u3092\u6392\u9664\u3057\u305f\u300c\u7121\u79c1\u300d\u306e\u5883\u5730\u3078\u3068\u5411\u304b\u3063\u3066\u3044\u304f\u4eba\u9593\u3092\u6f14\u3058\u308b\u3002\u305d\u306e\u300c\u7121\u79c1\u300d\u306e\u81e8\u754c\u70b9\u304c\u3001\u7b2c\u4e8c\u6b21\u4e16\u754c\u5927\u6226\u4e2d\u306b\u690d\u6c11\u5730\u51fa\u8eab\u306e\u82e5\u8005\u305f\u3061\u3082\u53c2\u52a0\u3057\u305f\u81ea\u6bba\u653b\u6483\u90e8\u968a\u300c\u795e\u98a8\u300d\u3060\u308d\u3046\u3002\u305d\u306e\u81ea\u6b7b\u306f\u56fd\u5bb6\u306e\u305f\u3081\u3067\u306f\u306a\u3044\u3068\u4eac\u90fd\u5b66\u6d3e\u3092\u4ee3\u8868\u3059\u308b\u54f2\u5b66\u8005\u306e\u7530\u8fba\u5143\u306f\u8ad6\u3058\u308b\u3002\u540c\u80de\u306e\u305f\u3081\u3001\u611b\u3059\u308b\u5bb6\u65cf\u306e\u305f\u3081\u306b\u8eab\u3092\u6367\u3052\u6b7b\u3092\u8d85\u8d8a\u305b\u3088\u3001\u3059\u306a\u308f\u3061\u65e5\u672c\u3068\u3044\u3046\u7a2e\u65cf\u306e\u306a\u304b\u306b\u6b7b\u306c\u3053\u3068\u306b\u3088\u3063\u3066\u6c38\u9060\u306b\u751f\u304d\u308b\u3053\u3068\u3092\u610f\u5473\u3059\u308b\u306e\u3060\u3068\u5b66\u751f\u3092\u6226\u5730\u3078\u9001\u3063\u305f\u3002<\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\"><br><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1024x684.jpg\" alt=\"A pitch black gallery room, which shows film installations projected onto two walls. The installation on the right is a moving image of young refugees and immigrants in Japan, wearing simple pink, blue, or purple t-shirts and blouses, facing forward and looking at the camera. The image on the left is a black-and-white moving image showing rows of the training centers set up in Taiwan under Japanese colonial rule.\" class=\"wp-image-700\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1024x684.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-300x200.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-768x513.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1536x1025.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-840x560.jpg 840w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u300e\u7121\u60c5\u300f\u85e4\u4e95\u5149, 2019, \u6620\u50cf\u30a4\u30f3\u30b9\u30bf\u30ec\u30fc\u30b7\u30e7\u30f3<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u305d\u308c\u304b\u308978\u5e74\u5f8c\u306e\u4eca\u65e5\u3001\u300c\u65e5\u672c\u4eba\u7a2e\u300d\u3068\u3044\u3046\u8a00\u8449\u306f\u4f7f\u308f\u308c\u306a\u304f\u306a\u3063\u305f\u3002SNS\u4e0a\u3067\u306f\u300c\u65e5\u672c\u306b\u306f\u4eba\u7a2e\u5dee\u5225\u306f\u5b58\u5728\u3057\u306a\u3044\u300d\u3068\u3044\u3046\u8a00\u8449\u3055\u3048\u6ea2\u308c\u3066\u3044\u308b\u3002\u300c\u65e5\u672c\u6c11\u65cf\u300d\u306b\u3088\u308b\u30ec\u30a4\u30b7\u30ba\u30e0\u306e\u5168\u9762\u5316\u306f\u904e\u53bb\u306e\u3082\u306e\u3068\u306a\u308a\u3001\u6b74\u53f2\u306e\u7247\u9685\u3067\u5fd8\u308c\u3089\u308c\u305f\u306e\u304b\u3082\u3057\u308c\u306a\u3044\u3002\u304b\u3064\u3066\u300c\u65e5\u672c\u4eba\u306e99%\u306f\u4eba\u7a2e\u5dee\u5225\u4e3b\u7fa9\u8005\u3060\u3063\u305f\u300d\u3068\u3044\u3046\u6b74\u53f2\u3092\u4fe1\u3058\u308b\u3082\u306e\u306f\u3044\u306a\u3044\u306e\u304b\u3082\u3057\u308c\u306a\u3044\u3002\u3057\u304b\u3057\u3001\u4f5c\u54c1\u306e\u5236\u4f5c\u3092\u901a\u3057\u3066\u79c1\u304b\u51fa\u4f1a\u3063\u3066\u304d\u305f\u65e5\u672c\u5728\u4f4f\u306e\u79fb\u6c11\u3084\u96e3\u6c11\u306e\u82e5\u8005\u305f\u3061\u306b\u306f(\u305d\u308c\u305e\u308c\u56fa\u6709\u306e\u540d\u524d\u306e\u3042\u308b\u79c1\u306e\u53cb\u4eba\u305f\u3061\u306b\u306f)\u3001\u65e5\u672c\u793e\u4f1a\u306b\u751f\u304d\u308b\u7d4c\u9a13\u3068\u3057\u3066\u6b74\u53f2\u306e\u9023\u7d9a\u6027\u304c\u898b\u3048\u3066\u3044\u308b\u3002&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u300e\u7121\u60c5\u300f\u306e\u51fa\u6f14\u8005\u306e\u4e00\u4eba\u306f\u3001\u81ea\u5206\u306e\u52b4\u50cd\u529b\u3092\u53d6\u5f15\u3059\u308b\u8077\u696d\u9078\u629e\u306e\u81ea\u7531\u3082\u306a\u3051\u308c\u3070\u3001\u5931\u696d\u306e\u81ea\u7531\u3055\u3048\u3082\u306a\u3044\u3002\u305d\u306e\u3088\u3046\u306a\u8eab\u5206\u3092\u65e5\u672c\u3067\u306f\u300c\u6280\u80fd\u5b9f\u7fd2\u751f\u300d\u3068\u540d\u3065\u3051\u3066\u3044\u308b\u304b\u3001\u4eba\u985e\u306e\u6b74\u53f2\u306f\u300c\u5974\u96b7\u300d\u3068\u5b9a\u7fa9\u3057\u3066\u89e3\u653e\u3092\u3081\u3056\u3057\u3066\u304d\u305f\u3002\u5236\u4f5c\u30b9\u30bf\u30c3\u30d5\u306e\u4e00\u4eba\u306f\u300c\u65e5\u672c\u3067\u306f\u4eba\u9593\u6271\u3044\u3055\u308c\u306a\u3044\u300d\u3068\u3064\u3076\u3084\u304f\u3002\u5f7c\u3089\u306e\u751f\u3092\u6761\u4ef6\u4ed8\u3051\u308b\u5165\u7ba1\u6cd5\u304c\u3001\u65e7\u690d\u6c11\u5730\u51fa\u8eab\u8005\u306e\u7ba1\u7406\u30fb\u6291\u5727\u3042\u308b\u3044\u306f\u6392\u9664\u306e\u305f\u3081\u306e\u904e\u53bb\u306e\u6cd5\u5f8b\u3092\u5f15\u304d\u7d99\u3044\u305f\u3082\u306e\u3067\u3042\u308b\u3053\u3068\u3092\u5f7c\u3089\u306f\u77e5\u3063\u3066\u3044\u308b\u3002\u307e\u305f\u96e3\u6c11\u3068\u3057\u3066\u5b50\u4f9b\u306e\u9803\u306b\u6765\u65e5\u3057\u305f\u82e5\u8005\u306f\u3001\u672a\u3060\u79fb\u52d5\u306e\u81ea\u7531\u304b\u5236\u9650\u3055\u308c\u3066\u3044\u308b\u3002\u4ed6\u306e\u90fd\u9053\u5e9c\u770c\u3092\u8d8a\u5883\u3059\u308b\u3053\u3068\u306f\u8a31\u53ef\u5236\u3068\u306a\u308a\u3001\u7b2c\u4e09\u56fd\u306b\u51fa\u56fd\u3059\u308b\u3053\u3068\u3082\u3001\u5927\u5b66\u306b\u884c\u304f\u3053\u3068\u3082\u3001\u52b4\u50cd\u3059\u308b\u3053\u3068\u3082\u8a8d\u3081\u3089\u308c\u3066\u3044\u306a\u3044\u3002\u672a\u6765\u3092\u69cb\u60f3\u3067\u304d\u306a\u3044\u305d\u306e\u751f\u6d3b\u306f\u3001\u62e1\u5f35\u3055\u308c\u305f\u5f37\u5236\u53ce\u5bb9\u6240\u3067\u306e\u300c\u751f\u304d\u306a\u304c\u3089\u306e\u6b7b\u300d\u306a\u306e\u3060\u3068\u79c1\u306b\u6559\u3048\u3066\u304f\u308c\u305f\u3002&nbsp;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/mujo-the-heartless-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">\u300c\u308f\u308c\u308f\u308c(\u65e5\u672c\u4eba)\u300d\u3068\u306f\u7570\u306a\u308b\u5f7c\u3089\u306b\u306f\u3001\u516c\u7684\u306b\u3082\u79c1\u7684\u306b\u3082\u793e\u4f1a\u306b\u57cb\u3081\u8fbc\u307e\u308c\u305f\u904e\u53bb\u304b\u3089\u7d9a\u304f\u30ec\u30a4\u30b7\u30ba\u30e0\u304c\u898b\u3048\u3066\u3044\u308b\u3002\u3057\u304b\u3057\u3001\u4eba\u306f\u898b\u305f\u3044\u3082\u306e\u3057\u304b\u898b\u3048\u306a\u3044\u3002\u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u306b\u306f\u305d\u308c\u306f\u898b\u3048\u306a\u3044\u3002\u898b\u3048\u306a\u3044\u3053\u3068\u3067\u30ec\u30a4\u30b7\u30ba\u30e0\u306f\u767a\u52d5\u3057\u7d9a\u3051\u3089\u308c\u308b\u3002\u4eca\u3082\u8ab0\u304b\u304c\u65e5\u672c\u3068\u3044\u3046\u7a2e\u65cf\u306e\u306a\u304b\u3067\u300c\u7121\u79c1\u300d\u306e\u72b6\u614b\u3092\u5f37\u5236\u3055\u308c\u3066\u3044\u308b\u3002\u300c\u65e5\u672c\u4eba\u7a2e\u300d\u306e\u5e78\u798f\u306e\u305f\u3081\u306b\u72a0\u7272\u306b\u306a\u3063\u3066\u3044\u308b\u3002\u82b8\u8853\u306f\u305d\u306e\u73fe\u5b9f\u3092\u524d\u306b\u7121\u529b\u3067\u3042\u308b\u3002\u305d\u308c\u3067\u3082\u306a\u304a\u3001\u4f5c\u54c1\u3092\u307e\u306a\u3056\u3059\u4e00\u4eba\u306e\u8996\u7dda\u306b\u8ced\u3051\u308b\u3057\u304b\u306a\u3044<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"english\">English translation by Ikumi Yoshida<\/h2>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"Peter Golightly in a suit, wearing a white glove on his left hand, is stretching his left arm to adjust the top right side of a painting, which consists of six panels. The painting is a photographic copy by Ikk\u014d Narahara, who was asked to produce a collection of his photo works capturing a fifteenth-century Japanese style work, which depicts a procession of non-Japanese foreign visitors.\" class=\"wp-image-691\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-2_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 1.<\/strong> Hikaru Fujii, a still image from <em>Nanban by\u014dbu<\/em> (<em>Southern Barbarian Screens<\/em>), 2017, Single Channel. Republished with permission from the artist.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">One of the reasons why the arts cannot be indifferent to racism is that, while journalism has dealt with it as a societal problem, institutions of art (e.g. museums, art history, and art education) have participated in racist oppression itself as well as its expansion. I have gradually become aware of structural racism reinforced by art history. It was my teacher\u2019s remark that sparked such a realization. This teacher asked, \u201cWhy are there no Black people at this school? Let\u2019s talk about that.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was the only Asian student in the classroom of my art school in Paris. I was never stopped on the street and questioned by the police, nor was I ever exposed to overt racial discrimination. Not only did I feel safe, but also it was made sure that the classroom was a secure humanitarian space. However, it was the fact that in <em>here<\/em> and <em>now<\/em>, there was not a single Black person, which caused me to acknowledge that such a classroom also exists as an extension of the history of violence and domination. For me, casting my gaze at the absence of Black people in the art school classroom meant questioning and reflecting on art education, Western art history, and the aesthetic regime of the past couple of centuries. Although it has been more than twenty years since I was in that classroom, when I look back at my experiences, I feel that it was a lesson in postcolonialism. However, now I look around and the world is filled with wars, which are both borne out of and further entrench racism. As Stuart Hall noted in 1988, and remains true today, colonized nations and ethnicities are far from being freed.<sup class='footnote'><a href='#fn-688-1' id='fnref-688-1' onclick='return fdfootnote_show(688)'>1<\/a><\/sup> Rather, severe racism targeting refugees and immigrants is rampant in many places.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Japan is not an exception; in fact, it is perfectly synchronized with this trend. Yet there is a dominant belief that ninety-nine percent of Japanese people are not racist and that racism is not relevant to nationwide dialogue. Instead, most people seem indifferent. This situation could be compared to me feeling safe in the art community in Paris while observing the absence of Black people. This environment, which structurally divides people, renders the oppressed invisible and enables racism to remain widespread. In this essay, I draw on the works I have created in Japan and attempt to reflect on Japanese people\u2019s history with a focus on the concept of their gaze (<em>shisen<\/em>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A few years ago, I was conducting research on some eight thousand items in a collection at the National Museum of Art, Osaka. There, I was commissioned to create a piece to exhibit. It is only natural that an artist will critically examine the place where their work will be displayed alongside other works. The collections at any museum manifest what kind of institution it is. On that occasion, Ikk\u014d Narahara\u2019s photography caught my eye. Narahara was asked to produce a collection of photographic&nbsp; <em>copies<\/em> of Southern Barbarian (<em>Nanban<\/em>) screens: A series of the paintings produced by fifteenth-century Japanese artists, which are currently housed in Lisbon\u2019s National Museum of Ancient Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While Japan did not use the term \u201cAge of Discovery,\u201d it was during this period when Portuguese people were shocked by Japanese people, who were selling off their own people at low prices as if they were livestock. One Japanese Catholic priest, Hara Martin\u00e3o (1569\u20131629) witnessed how many Japanese people were sold as slaves on his voyage to see Pope Gregory XIII. He wrote,&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">If anyone can see how many of my people \u2014men, women, boys, and girls \u2014are sold off to all kinds of places around the world with almost nothing and forced to work in unbearably miserable conditions, they would feel tremendous sympathy for my people (<em>waga minzoku wo ureu<\/em>).<sup class='footnote'><a href='#fn-688-2' id='fnref-688-2' onclick='return fdfootnote_show(688)'>2<\/a><\/sup><\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">When Portugal was expanding their influence in Asia from China and Macau, Japan had not yet become a unified country. And so, Hara\u2019s sentiment of \u201csympathy for my people\u201d could be seen as the sprouting of a seedling of Japanese nationalism.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite this sentiment, Hara believed that there was a correlation between skin color and different ranks among humans and claimed that the origin of human beings was \u201cwhite and fair coloured Adam and Eve.\u201d He continued writing that \u201c[Japanese] people are sent to the countries where inferior races reside, and there, they have to witness black-coloured savages as miserable slaves, and have to be told lies and false delusions. Who can stand that?\u201d<sup class='footnote'><a href='#fn-688-3' id='fnref-688-3' onclick='return fdfootnote_show(688)'>3<\/a><\/sup> Does this mean that even Hara, who impressed people with his eloquent Latin speech, understood race informed by European religions, languages, and cultures? Or does it mean that Hara, a Japanese who kept his <em>yellow skin<\/em> without a <em>white face<\/em>, was still promised happiness and harmony in paradise? There, he was able to remain a Japanese person who did not even need to learn about racism.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Let us take a look at the Southern Barbarian screens, painted by a Japanese artist in the Age of Discovery. Kyoto-based contemporary dancer of African descent, Peter Golightly, improvised the following lines in front of Narahara\u2019s work at the museum:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">That\u2019s lacquer, so they probably went to China.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I think that man is Turkish or Moroccan, or from somewhere in Africa.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are lots of people who are probably African slaves.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Europeans are Portuguese, I think.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But that guy at the rigging, at the very bowel of the ship.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That\u2019s my favorite, I really like that one.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also the guys were really high.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That little boy, he\u2019s kinda creepy.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I hope he was ok.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shoes. Bare feet. Cats and dogs and that little boy playing with himself.&nbsp;<\/p>\n<\/blockquote>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/nanban-byobu-southern-barbarian-screens-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Peter Golightly was able to see all that. He was able to identify the men with darker skin offloading cargo, the Black workers who were assigned with dangerous tasks while working barefoot. He was able to clearly see pedophilia, homosexuality, and prostitution hidden in the images. He was able to grasp class differences and racial differences depicted in the images. Was it because of his imagination or was this informed by his identity as an African American? In addition to Golightly\u2019s own aesthetic framework, the primary reason for such an understanding is the original Japanese painter\u2019s way of depicting the scene. This painter must have lived in the strict class hierarchy founded on bloodlines, in a society where people sold outcastes (<em>hinin<\/em>) to other people. While the concept of race may have not been something to be hierarchized for the painter, he still saw the social division drawn by blood. It was likely that he completed the picture by filling those spaces with <em>colors<\/em> of race or skin.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Peter Golightly was able to put what he saw into his words, but humans can only see what they want to see. The art historian and researcher of Black culture, Hiroko Hagiwara, revealed the \u201cabsence\u201d of discourse around Black people in this painting from Japanese historiography.<sup class='footnote'><a href='#fn-688-4' id='fnref-688-4' onclick='return fdfootnote_show(688)'>4<\/a><\/sup><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"A close-up of a painting depicting two men, presumably of African descent, who are wearing fifteenth-century European clothes. The man on the right is holding onto the ropes connected to the mast, looking out toward the sea. The other man on the left is looking down from a platform at the upper end of the mast.\" class=\"wp-image-692\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-3_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 2.<\/strong> Hikaru Fujii, a close-up from <em>Nanban by\u014dbu<\/em> (<em>Southern Barbarian Screens<\/em>), 2017, Single Channel. Republished with permission from the artist.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The actual painting, which had been originally housed at the Museu Nacional de Arte Antiga, Lisbon, was presented in Japan for the first time in 1970 at the world\u2019s fair. This fair ultimately became the origin of the National Museum of Art, Osaka. Being a host of the world exposition was Japan\u2019s earnest wish, and on such an occasion in 1970, officials tried to provincialize Western art history by proposing the field of \u201cworld art history.\u201d The following is an excerpt from the illustrated description prepared for the exhibition:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Depicted so lively in the picture is the strange gigantic ship that came from Japanese people\u2019s imagination of the world beyond, filled with rarities, exotic beasts, and elixirs of the world, big men with big noses in luxurious, beautiful clothes, the missionaries in long-sleeved robes, and the artist\u2019s eyes sparkling with wonder and curiosity before them.<sup class='footnote'><a href='#fn-688-5' id='fnref-688-5' onclick='return fdfootnote_show(688)'>5<\/a><\/sup><\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The official Japanese art history is fixated on the \u201cbig noses\u201d and praise the \u201cSouthern Barbarian screens\u201d as a historically important record of an important historical event where Japanese people encountered Europeans for the first time. It has been fifty years since the exhibition and such a framework does not seem to have changed much. Japanese people\u2019s gaze moves from the huge ship on the left to the right, and lands on a Japanese person who meets \u201ca big man\u201d from Europe. This eye movement completes the Occidentalist narrative of contact between the East and the West. However, in the next moment, out of the hundred people depicted in the picture, fifty-seven non-Western people of color were rendered invisible. The audience does not see the \u201cexchange between the North and South\u201d through the presence of slaves or such colonial encounters either. When shedding light on the meeting between Japan and Europe, people with \u201cdarker skin\u201d are pushed aside into the shadows. This is how and why art as a visual machine has contributed to the expansion of racial oppression.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Japanese word <em>bijutsu<\/em> (art) was coined during the 1873 Vienna World\u2019s Fair, where the Japanese government officially participated for the first time. In the twentieth century, Japan started organizing domestic art exhibitions mimicking world\u2019s fairs. My moving image installation, <em>Playing Japanese<\/em> is a recorded series of workshops, which recreate that era. The participants are performers, who observe one another\u2019s phenotypical features such as eye color, skin color, bone structure, head shape, and body type, constructing an imagined community as Japanese. At the same time, the participants judge who does not look Japanese and label them as different from \u201cus\u201d (the Japanese), showing what it means to exhibit human beings in such a one-sided representation. It was a restaging of a Japanese version of a \u201chuman zoo.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1024x576.jpg\" alt=\"Six Asian women have lined up, facing forward, in a black, spartan, room.\" class=\"wp-image-693\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1024x576.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-300x169.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-768x432.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon-1536x864.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-4_Fujii-Soo-Ryon-Lee-Yoon.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 3.<\/strong> Hikaru Fujii, a still image from <em>Playing Japanese<\/em>, 2017, film installation. Republished with permission from the artist.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The mid-nineteenth century was when Japan started its journey to nation-building before eventually becoming an empire. Most areas of the world had been absorbed into the capitalist system of the Western powers. The Japanese government shifted away from protectionism, which had barred imports, and held an exhibition in 1903 where foreign items were openly displayed. They were not only trade goods, but also people in \u201canthropological exhibitions\u201d presented to the audience, which was a popular feature of world\u2019s fairs in the West.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The exhibition was labeled the \u201cAnthropological Pavilion of the Human Races,\u201d and attracted a few thousand people every day. The entryway welcomed visitors with enlarged ethnographic photos from <em>The Living Races of Mankind<\/em>, a book published in England the previous year. The audience members were to see these images first, and then guided into an exhibition hall where each ethnic group\u2019s traditional residence was recreated. There, visitors were expected to observe living human beings. The \u201cJapanese gaze\u201d took advantage of Western knowledge and developed it into scientific racism, which regarded human beings as things or specimens.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"679\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1024x679.jpg\" alt=\"Two pages of the cover image and the front matter of The Living Races of Mankind, a book published in 1902 in London. The first page on the left includes a book description, which reads, \u201cA popular illustrated account of the customs, habits, pursuits, feasts &amp; ceremonies of the races of mankind throughout the world.\u201d To the left, there is a picture of an Arab person carrying a water jug on top of his head. On the second page on the right is a picture of a Japanese man\u2019s back, covered in red and blue tattoos. The caption for this image reads, \u201cAn elaborately tattooed Japanese man. Tattooing of this complex and highly-coloured type was at one time not uncommon in Japan.\u201d\" class=\"wp-image-696\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1024x679.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-300x199.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-768x509.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2-1536x1018.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-5_Fujii-Soo-Ryon-Lee-Yoon-2.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 4.<\/strong> Harry Johnson and H.N. Hutchinson, <em>The Living Races of Mankind vol 1<\/em> (Hutchinson &amp; Co, 1902). Courtesy of the <a href=\"https:\/\/library.si.edu\/digital-library\/book\/livingracesofman01john\">Smithsonian Libraries and Archives<\/a>.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Over time, Japan did stop blindly accepting theories of race and evolution. In an April 1903 article, anthropologist at University of Tokyo, Matsumura Ry\u014d (1880\u20131936)\u2014who helped organize documents related to the exhibited items\u2014wrote in the<em> Journal of the Anthropological Society of Tokyo<\/em> that the \u201cphotographs were not chosen by specialists, and the chosen ones look particularly strange and seemingly savage. The geographical areas are limited, too, and I feel extremely disappointed and regretful that there are no photographs of Europeans, Americans, or Siberians.\u201d What was intended to be a staged academic setting turned out to be what Matsumura perceived as a freak show of savages. What frustrated this young researcher the most was that the ideal of anthropology of objectifying the world did not include white Westerners. I am not sure if we should call his grand desire scientific or imperialistic, especially given the era. The West labeled Japan as a country of the <em>yellow race<\/em> and thus inferior. But at the same time, Japan was finally keeping up with the West to be able to compete equally; even schools taught that the white race and the yellow race were equal. We should be mindful of the fact that, even for this young scholar who wanted to challenge Western racism\u2019s idea that race was immutable, nationalism was something already internalized.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Modern Japanese nationalism was a wellspring of the force that aimed to change the hierarchy of the world and did not denounce racism itself. Rather, the <em>Japanese race<\/em> was framed as a <em>superior race<\/em> to the <em>yellow <\/em>people, and thus the Japanese race must become the leader of Asia to bring a new order. Therefore, the anthropological display in Japan was a visual machine, which worked to satisfy such desires. Now, let us read Matsumura\u2019s text to see who was to be gazed upon by the Japanese viewers:&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The following is a list of races of people who are living there today: Seven Ainu (including two women), two Ryukyuans (both women), one Atayal (a woman), two wild Aborigines (both men), two Taiwanese Aborigines (a man and a woman), two Malays (both men), one Javanese (a man), seven Indian people (including two women), one Turk (a man), one Zanzibari (a man). There were also two Korean women, but because of a certain situation, they were let go today.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The \u201cJapanese gaze\u201d went beyond East Asia and traversed around the Indian Ocean, but it was also obstructed by the \u201ccertain situation,\u201d to which Matsumura so vaguely alluded. In fact, the exhibition was met with resistance, which was referred to at the time as the \u201cAnthropological Pavilion of the Human Races Incident\u201d (<em>Jinruikan jiken<\/em>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There were signs of objections even before the exhibition. A minister of the Qing government officially demanded that the Japanese Ministry of Foreign Affairs remove Chinese people from the planned exhibition. Japanese government wanted to avoid harming its relationship with China, which was emerging as Japan\u2019s most important trade partner. It eventually agreed not to include Chinese people in the exhibition. It was during this time when the exhibition added the term, \u201cacademic\u201d (<em>gakujutsu<\/em>), which meant \u201canthropological,\u201d to its title. On the eighth day of the exhibition, the inclusion of Koreans in the show was also problematized, resulting in Koreans being \u201clet go,\u201d as Matsumura put it. The nationalistic sentiment of \u201csympathy for my people\u201d was formed in neighboring countries, too. Here is a quote from \u201cCancel the Anthropological Pavilion of Human Races,\u201d an editorial published in <em>Okinawa shinp\u014d <\/em>on April 11, 1903, following the protests from Chinese and Koreans.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">We are ashamed that there are so many cruel and greedy citizens in the Japanese empire. They did not choose anyone from other prefectures but chose Okinawa prefectural citizens to be exhibited alongside wild Aborigines from Taiwan or Ainu from Hokkaido. This means that they see us Okinawans as equal to Ainu. Is there any worse insult than this? Okinawa prefectural citizens might not be so sensitive or brave, but there is no way we can stand this insult. Okinawa prefectural efforts for social education have been improving rapidly, and even as for clothes, 80 to 90 percent of boys wear them properly and even the number of girls who renew their attire has been drastically increasing. That is because we have been appreciating and believing in the emperor\u2019s impartial gaze upon all of his subjects (<em>isshin d\u014djin<\/em>) since the abolition of feudal domains and establishment of prefectures; we have strived to purify impure things and fix old customs, so that we can return to becoming identical to the rest of Japan.<\/p>\n<\/blockquote>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/playing-japanese-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">At that point, it had been twenty-four years since the Ryukyu Kingdom was annexed into Japan as one of the most important locations for Japanese national security. Okinawans refused to be regarded as the same as Ainu and Indigenous peoples in colonized Taiwan. To be clear, the Okinawan \u201cgaze\u201d at the so-called \u201csavages\u201d in this context should be differentiated from the Japanese gaze. Okinawans were forcefully robbed of their languages and cultures, which shaped their fury exposing the contradictory notion of the Japanese emperor\u2019s \u201cimpartial gaze upon all of his subjects.\u201d Given this, we cannot help but think of the emperor system as sustaining Japanese people\u2019s racism.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the time where \u201cexhibitions of human beings\u201d were held all over Japan, in colonial Taiwan, biologist and the head of civilian affairs, Got\u014d Shinpei (1857\u20131929), compared Japanese to a high-grade fish such as red snappers while comparing Taiwanese to flounders. He wrote, \u201cWe can\u2019t move a flounder\u2019s eyes from one side to the other so that they would have eyes on either side of their heads as red snappers do.\u201d Based on this logic, he established policies not to interfere with Taiwanese customs. This aligned with some eugenic theories, which claimed that superior races would be spoiled in contact with savage races, leading to legislation banning inter-ethnic marriages between Taiwanese and Japanese.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, people interact, commingle, and diversify. The border between these two would eventually be reconciled (<em>y\u016bwa<\/em>). The miscegenation of the Japanese people became a threat to their justification for colonial control; a tremendous amount of the <em>mythical blood<\/em> was injected into the colonies to sustain superiority of the Japanese race. By \u201cmythical blood,\u201d I mean to point to the idea that such blood was invented in the birth of Japan as a modern nation, which was poured into the blood vessels of the political body, symbolizing the blood of the imperial family.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The ideology that the emperor possesses <em>bansei ikkei<\/em> (an unbroken bloodline) and is the father of the nation state was spread all over the colonies. Languages, customs, religions, names, and places were assimilated into the Japanese way, and people were forced to <em>purify impure things<\/em>, such as in Okinawa. Still, people were labeled differently from a Japanese ethnic group, which was supposed to share the pure blood line trickling down from the royal family, spreading into metropolitan Japan\/the mainland\u2019s nature, climate, geology, and language. The types of \u201cblood\u201d of people from the colonies were marked in <em>koseki <\/em>(family registers) and placed as a fixed category at the bottom of the \u201ctop-down\u201d hierarchy of racial classification (with the emperor as the patriarch).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"540\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg\" alt=\"A Southeast Asian woman student wearing glasses and a blue shirt is standing in front of a mic, speaking.\" class=\"wp-image-697\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1024x540.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-300x158.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-768x405.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-1536x810.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-6_Fujii-Soo-Ryon-Lee-Yoon-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 5.<\/strong> Hikaru Fujii, a still image from <em>2.8 Declaration of Independence | Reading in Japanese<\/em>, 2019, film installation. Republished with permission from the artist.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The era of \u201cTaish\u014d democracy\u201d (1912\u20131926) brought democratic developments in political, societal, and cultural areas in mainland Japan. In Tokyo, Japan\u2019s metropole, a few hundred Korean students gathered on February 8, 1919, and declared the start of their own liberation movement. However, soon after this declaration, police officers burst into their gathering place and arrested the students for treason. Although many of them had to serve time in prison for the crime of distributing documents, which called for the destruction of the existing political system, some of the students escaped Japan and brought the February 8 Declaration of Independence to the Korean peninsula, leading to the March 1st Movement, the biggest resistance movement of the imperial period. Here, I quote Lee Kwang-soo (1892\u20131950), known as the father of modern Korean literature, who was a student in Japan at the time.<sup class='footnote'><a href='#fn-688-6' id='fnref-688-6' onclick='return fdfootnote_show(688)'>6<\/a><\/sup> He was inspired by the principle of self-determination of peoples and one of the leaders who drafted the February 8 Declaration of Independence.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In my film installation <em>2.8 Declaration of Independence: Reading in Japanese<\/em>, the declaration was read aloud by exchange students from Southeast Asia, who are expected to be part of a labor force in twenty-first-century Japan.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Our people are not allowed to vote, nor are we given freedom of assembly and association, freedom of speech or publication. We\u2019re even limited in our freedom of religion and freedom of enterprise. There are no organizations for administration, judiciary, or the police, which do not infringe on Korean people\u2019s human rights. Our people are discriminated against as inferior to the superior Japanese, who are trying to make us their slaves both publicly and privately. They alter history and destroy our people\u2019s sacred history and traditions and dignity and inflict more indignities. Except for a few officers, most of the institutions of government, transportation, communication, and military employ only Japanese people, depriving our people of opportunities to know and experience what it means to lead a life in a nation-state. Our people shall never enjoy survival nor development as a people under the injustice of a military dictatorship.<\/p>\n<\/blockquote>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/2.8-declaration-of-independence-reading-in-japanese-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">This declaration shows how clearly racism was embedded in social and private life. A hundred years later, the Korea-Japan relationship again faced a severe crisis. I was to visit the Seoul Museum of Art (SeMA) at that time, but Japan\u2019s Ministry of Foreign Affairs alerted Japanese citizens about the risk of travelling to Korea. The cause of this crisis was that Japan rejected Korea\u2019s demand to be compensated for losses and damages caused by colonization, claiming that \u201cit was legal under the international law.\u201d Neither party yielded to the other\u2019s claims. Until this day, the two countries have not reached the same recognition of history. It is true that there are many reasons for this, including the previous South Korean dictators who neglected to ask Japan for its accountability for its deeds during colonization. Nevertheless, Japan has also been avoiding gazing and reflecting upon its own history, neglecting to thoroughly discuss its role as a colonial aggressor based on the ideology of racism.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Would it be too far-fetched to say that Japanese people lost their chance to reflect on their history as an aggressor on August 15, 1945, a crucial moment when the emperor spoke to the public for the first time as a <em>human being<\/em>? Maybe so, and because the emperor, speaking through the radio, declared Japan\u2019s miserable defeat, I cannot help but suggest that this actually made it possible to redefine Japanese military aggression as something positive to reinforce Japan\u2019s moral superiority. Such impossibility was made possible because of the emperor\u2019s speech (see John Dower\u2019s work on this topic), even though this imagination could have been used to open a totally different door to a different future.<sup class='footnote'><a href='#fn-688-7' id='fnref-688-7' onclick='return fdfootnote_show(688)'>7<\/a><\/sup> The emperor expressed his deep regret and remorse on the \u201cday the war ended\u201d for the Asian countries, which <em>collaborated<\/em> with Japan for \u201cthe liberation of East Asia (<em>T\u014da no kaih\u014d<\/em>).\u201d This \u201csacred war\u201d was carried out with the cause of so-called <em>hakk\u014d ichu <\/em>(assembling all the world under one roof) to end Western colonialism in Asia, and in the process, claiming Japan as the head of the Asian family. Let me interpret this cause in the context of the history of racism by drawing on Japanese wartime ideologue and philosopher Nishida Kitar\u014d. This cause could be interpreted as saying that equality among human beings is only possible by making the world unite with the emperor at its helm. This is because the principle of the new world order founded by the emperor is the unification, while white people colonize with the principle of the incessant distinctions between black and white. The \u201cdiverse\u201d Western world is preconditioned by \u201cconflicts,\u201d but the new world order formed by the emperor conditions \u201coneness\u201d and goes beyond the early modern period.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1024x768.jpg\" alt=\"In a black-and-white picture, Taiwanese men, with their torsos bare while wearing white headbands, are standing in rows in a pool of water, forward facing toward the camera.\" class=\"wp-image-698\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1024x768.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-300x225.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-768x576.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-1536x1152.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-7_Fujii-Soo-Ryon-Lee-Yoon-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 6.<\/strong> A still image from a film about the Civilian Training Center (<em>kokumjin d\u014djo<\/em>), date and author unknown, circa 1940s. Courtesy of the National Museum of Taiwan History \u570b\u7acb\u81fa\u7063\u6b77\u53f2\u535a\u7269\u9928.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The National Taiwan Museum houses films which aestheticize the monochrome worldview of the Japanese Empire. My film installation, <em>Muj\u014d <\/em>(<em>The Heartless<\/em>), attempts to restage a performance of propaganda films shot in Taiwan under Japanese rule in the 1940s. The stage was set to create an army-style educational institution, the so-called Civilian Training Center (<em>kokumin d\u014djo<\/em>), which aimed to change the trainees \u201cfrom being non-Japanese to being Japanese.\u201d There, young immigrants in Japan sing army songs and repeat wartime slogans out loud. Through <em>misogi<\/em> of State Shintoism (ritual purification by washing one\u2019s body), young Taiwanese men fell into a trance and lost their individuality as \u201cunified\u201d human beings, having become stripped of their humanity and approaching a \u201clack of self\u201d (<em>mushi<\/em>).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This critical point of a \u201clack of self\u201d indeed forms the core of Kamikaze pilots, which involuntarily included young men from the colonies. Sending the students to war, Kyoto School scholar Tanabe Hajime preached to his students that their suicides were not for the country but that their deaths as part of the Japanese race would allow them to live eternally, so they need to give their bodies and souls up for their comrades and families they love.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1024x684.jpg\" alt=\"A pitch black gallery room, which shows film installations projected onto two walls. The installation on the right is a moving image of young refugees and immigrants in Japan, wearing simple pink, blue, or purple t-shirts and blouses, facing forward and looking at the camera. The image on the left is a black-and-white moving image showing rows of the training centers set up in Taiwan under Japanese colonial rule.\" class=\"wp-image-700\" srcset=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1024x684.jpg 1024w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-300x200.jpg 300w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-768x513.jpg 768w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-1536x1025.jpg 1536w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1-840x560.jpg 840w, https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Figure-8_Fujii-Soo-Ryon-Lee-Yoon-1.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><strong>Figure 7.<\/strong> Hikaru Fujii, a still image from <em>Muj\u014d (The Heartless)<\/em>, 2019, film installation. Republished with permission from the artist.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">It has been seventy-eight years since the end of the Second World War, and no one uses the term \u201cthe Japanese race\u201d anymore. On social media, I see many people post that \u201cracial discrimination doesn\u2019t exist in Japan.\u201d Full blown racism by the \u201cJapanese ethnic group\u201d is seen as a thing of the past, forgotten in a tiny corner of history. Maybe at this point, no one will believe that 99 percent of Japanese people were racists. However, while working on <em>Muj\u014d <\/em>(<em>The Heartless<\/em>), I have met various young refugees and immigrants (who have names and who are my friends), and they testify from their own experiences that such racist tendency continues today.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the cast members in <em>Mujo<\/em> has no freedom to choose their occupation, cannot negotiate their own labor agreement, and they cannot even leave their current job. In Japan, this group of people is labeled \u201ctechnical intern trainees.\u201d Historically, however, they have been informally defined as \u201cslaves,\u201d who have survived for liberation. One of the production staff members mumbled, \u201cWe\u2019re not treated as human beings in Japan.\u201d They all know that the immigration law that conditions their survival stems from the past legislation, which aimed to control, suppress, and even eliminate people from the former colonies. There was this person who came to Japan as a kid under refugee status. Those in a similar situation are not allowed to move around as they wish. They need a permit to go to other prefectures. They are not allowed to go to other countries, attend college, or work. They cannot possibly begin to construct their future. He told me that it was as if you were \u201cliving as dying\u201d in a large-scale concentration camp.<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/mujo-the-heartless-hikaru-fujii\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Positioned as different from \u201cus\u201d (the Japanese), they see and experience racism buried in the society both publicly and privately. However, people only see what they want to see. The \u201cJapanese gaze\u201d cannot recognize racism. Racism is not witnessed by the \u201cJapanese gaze.\u201d Even at this moment, those who are classified as \u201cothers\u201d by the Japanese gaze, such as refugees and immigrants are forced to condition themselves as \u201cselfless,\u201d and sacrifice themselves for happiness of the \u201cJapanese race.\u201d Art may be powerless when faced with this reality. But we still have the gaze, the gaze of that one person who is beholding that piece of art, which may still destabilize and change the audience\u2019s gaze toward the Others.<sup class='footnote'><a href='#fn-688-8' id='fnref-688-8' onclick='return fdfootnote_show(688)'>8<\/a><\/sup><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Notes<\/h2>\n\n\n<div class='footnotes' id='footnotes-688'><div class='footnotedivider'><\/div><ol><li id='fn-688-1'> Stuart Hall, \u201cNew Ethnicities,\u201d <em>Black Film, British Cinema ICA Documents 7<\/em>, ed. Kobena Mercer (London: Institute of Contemporary Arts, 1988).  <span class='footnotereverse'><a href='#fnref-688-1'>&#8617;<\/a><\/span><\/li><li id='fn-688-2'> De Sande, <em>Tensh\u014d-ken\u014d-sh\u014dnen shisetsu (shin-ikoku s\u014dsho)<\/em>, trans. Izui Hisanosuke (Kyoto: Yush\u014d-d\u014d shoten, 1969), 233.  <span class='footnotereverse'><a href='#fnref-688-2'>&#8617;<\/a><\/span><\/li><li id='fn-688-3'> De Sande, <em>Tensh\u014d-ken\u014d-sh\u014dnen<\/em>, 233. <span class='footnotereverse'><a href='#fnref-688-3'>&#8617;<\/a><\/span><\/li><li id='fn-688-4'> Hagiwara Hiroko, \u201cNanban-by\u014dbu no kokujin zuz\u014d,\u201d<em> Yamaguchi daigaku jinbun gakubu, Ibunkakenky\u016b (Yamaguchi daigaku jinbun gakubu nenp\u014d)<\/em> 2 (2008): 107\u201316. <span class='footnotereverse'><a href='#fnref-688-4'>&#8617;<\/a><\/span><\/li><li id='fn-688-5'> Nihonbankokuhakurankai ky\u014dkai bankoku bijutsukan, ed., <em>Bankoku bijutsuten s\u014dmokuroku: ch\u014dwa no hakken <\/em>(Osaka:<em> <\/em>Nihonbankokuhakurankai ky\u014dkai bankoku bijutsukan, 1970). <span class='footnotereverse'><a href='#fnref-688-5'>&#8617;<\/a><\/span><\/li><li id='fn-688-6'> CcRrrC East Asia Section Editors\u2019 note: Lee Kwang-soo is a controversial figure for his pro-Japanese activities during the last years of Japanese colonial rule, specifically for his later literary works, which urged Koreans to abandon their hopes for independence and reform their ethnicity toward fully assimilating into Japanese in the Asia-Pacific War period. While he is vocally condemned in South Korean literary history for his anti-Korean activities, he is more ambivalently received as an important figure by Zainichi literary scholars. We add this context to help clarify Lee Kwang-soo\u2019s controversial legacy for the readers. <span class='footnotereverse'><a href='#fnref-688-6'>&#8617;<\/a><\/span><\/li><li id='fn-688-7'> John Dower, <em>Haiboku wo dakishimete<\/em> (Embracing Defeat), vol.1, trans. Miura Yoichi and Takasugi Tadaaki (Tokyo: Iwanamishoten, 2004), 22.  <span class='footnotereverse'><a href='#fnref-688-7'>&#8617;<\/a><\/span><\/li><li id='fn-688-8'> Translator\u2019s note: To see more of Hikaru Fujii\u2019s artwork, visit <a href=\"https:\/\/www.hikarufujii.com\/works\">https:\/\/www.hikarufujii.com\/works<\/a>. <span class='footnotereverse'><a href='#fnref-688-8'>&#8617;<\/a><\/span><\/li><\/ol><\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Abstract<\/strong> In this essay, Japanese artist Hikaru Fujii introduces his media installations works, which trace the history of the \u201cgaze\u201d at racialized Others present throughout Japanese art history, especially as Japan grappled with its own modernization as a nation-state. Hikaru Fujii incorporates his research into his own media works, specifically addressing the questions of how the \u201cJapanese gaze\u201d has shaped the visuality of others in Japanese paintings, world\u2019s fairs, and art institutions, such as in the case of the 15th-century Nanban Folding Screens (Southern Barbarian Screens), which depicted Portuguese and people of African descent (most likely enslaved by Portuguese). He traces how the formation of Japaneseness has consistently required and depended on the categorization of others, particularly those colonized by the Japanese Empire (e.g. Koreans and Taiwanese) as well as those who have settled in contemporary Japan as refugees and immigrants. He calls for our renewed interests in the art to think about how the Japanese public as well as our own \u201cgaze\u201d may be destabilized by critically engaging with artworks.<\/p>\n","protected":false},"author":1,"featured_media":689,"template":"wp-custom-template-article-east-asia","ramp_assoc_topic":[7],"ramp_focus_tag":[50,44,52,45,47,51,48,46],"associated-profiles":[24],"article-types":[],"class_list":["post-688","ramp_article","type-ramp_article","status-publish","has-post-thumbnail","hentry","ramp_assoc_topic-east-asia","ramp_focus_tag-anthropology","ramp_focus_tag-blackness","ramp_focus_tag-empire","ramp_focus_tag-film-installation","ramp_focus_tag-gaze","ramp_focus_tag-japan","ramp_focus_tag-performance","ramp_focus_tag-visual-art"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The \u201cJapanese Gaze\u201d and Racism | \u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0 - Cultural Constructions of Race and Racism Research Collective<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/csalateral.org\/ccrrrc\/articles\/the-japanese-gaze-and-racism-\u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The \u201cJapanese Gaze\u201d and Racism | \u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0 - Cultural Constructions of Race and Racism Research Collective\" \/>\n<meta property=\"og:description\" content=\"Abstract In this essay, Japanese artist Hikaru Fujii introduces his media installations works, which trace the history of the \u201cgaze\u201d at racialized Others present throughout Japanese art history, especially as Japan grappled with its own modernization as a nation-state. Hikaru Fujii incorporates his research into his own media works, specifically addressing the questions of how the \u201cJapanese gaze\u201d has shaped the visuality of others in Japanese paintings, world\u2019s fairs, and art institutions, such as in the case of the 15th-century Nanban Folding Screens (Southern Barbarian Screens), which depicted Portuguese and people of African descent (most likely enslaved by Portuguese). He traces how the formation of Japaneseness has consistently required and depended on the categorization of others, particularly those colonized by the Japanese Empire (e.g. Koreans and Taiwanese) as well as those who have settled in contemporary Japan as refugees and immigrants. He calls for our renewed interests in the art to think about how the Japanese public as well as our own \u201cgaze\u201d may be destabilized by critically engaging with artworks.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/csalateral.org\/ccrrrc\/articles\/the-japanese-gaze-and-racism-\u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0\/\" \/>\n<meta property=\"og:site_name\" content=\"Cultural Constructions of Race and Racism Research Collective\" \/>\n<meta property=\"article:modified_time\" content=\"2024-07-09T14:26:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/csalateral.org\/ccrrrc\/wp-content\/uploads\/2024\/04\/Cover_Fujii-Soo-Ryon-Lee-Yoon-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1350\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@lateraljournal\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"20 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/\",\"url\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/\",\"name\":\"The \u201cJapanese Gaze\u201d and Racism | \u300c\u65e5\u672c\u4eba\u306e\u8996\u7dda\u300d\u3068\u30ec\u30a4\u30b7\u30ba\u30e0 - Cultural Constructions of Race and Racism Research Collective\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Cover_Fujii-Soo-Ryon-Lee-Yoon-scaled.jpg\",\"datePublished\":\"2024-04-27T22:10:00+00:00\",\"dateModified\":\"2024-07-09T14:26:59+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/articles\\\/the-japanese-gaze-and-racism-%e3%80%8c%e6%97%a5%e6%9c%ac%e4%ba%ba%e3%81%ae%e8%a6%96%e7%b7%9a%e3%80%8d%e3%81%a8%e3%83%ac%e3%82%a4%e3%82%b7%e3%82%ba%e3%83%a0\\\/#primaryimage\",\"url\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Cover_Fujii-Soo-Ryon-Lee-Yoon-scaled.jpg\",\"contentUrl\":\"https:\\\/\\\/csalateral.org\\\/ccrrrc\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Cover_Fujii-Soo-Ryon-Lee-Yoon-scaled.jpg\",\"width\":2560,\"height\":1350,\"caption\":\"Hikaru Fujii, a still image from Nanban by\u014dbu (Southern Barbarian Screens), 2017, Single Channel. 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Hikaru Fujii incorporates his research into his own media works, specifically addressing the questions of how the \u201cJapanese gaze\u201d has shaped the visuality of others in Japanese paintings, world\u2019s fairs, and art institutions, such as in the case of the 15th-century Nanban Folding Screens (Southern Barbarian Screens), which depicted Portuguese and people of African descent (most likely enslaved by Portuguese). He traces how the formation of Japaneseness has consistently required and depended on the categorization of others, particularly those colonized by the Japanese Empire (e.g. Koreans and Taiwanese) as well as those who have settled in contemporary Japan as refugees and immigrants. 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