In 2022, I delved into the next phase of my research: “The Archipelago Speaks Back, Phase II: Resilience and Resistance in Art and Activism Between Oceania and Japan.” Building on my prior research, this phase took me notably to the Republic of Palau and Hawaiʻi. The study aimed to discern how Islanders were navigating challenges including the COVID pandemic, declining tourism, climate change, and shifting gender and indigeneity identities.

In Palau and Hawaiʻi, our findings highlighted remarkable resilience. Islanders, despite profound challenges, displayed innovative adaptation strategies. We closely examined artists deeply influenced by these contemporary factors. Their art encapsulated the vibrant resilience and resistance of their communities, reflecting both overt and subtle battles against evolving challenges.

The narrative evolved in Japan, where regions like Hokkaido, Okinawa, and Tohoku were studied. Comparing Oceania's experiences with colonized sites in Japan,, shared struggles and unique narratives emerged. A significant observation was the rising tokenism of artists of indigenous heritage in the art world. While their increased visibility brought opportunities, it also presented challenges. Artists, however, are navigating this duality, amplifying their voices amidst superficial appreciation of their heritage.

Yet, a stark contrast emerged when assessing Japanese institutions. Their reluctance towards genuine decolonization, versus artists' drive to redefine their identities and challenge boundaries, was evident.

In essence, "The Archipelago Speaks Back, Phase II" achieved its objectives by revealing island communities' resilience against diverse challenges. The comparative lens between Oceania and Japan enriched our understanding of contemporary art and activism dynamics in and between colonized sites and metropoles.