Abstract: Characterized by demands for reform and calls for revolution, Spanish colonial rule was perceived to be at its waning phase during its last decade in the Philippine historical memory. The Proyecto de colonización en Filipinas: Remitido por varios españoles residentes en Buenos Aires por conducto del Ministerio de Estado provides a contrarian response and a new perspective on Spain’s design in Mindanao, one of the many overlooked regions in Philippine historical studies during colonial period. This study aims to extract the historical narrative, uncover the authors’ intentions, and clarify the underlying ideology behind the colonial project outlined in the Proyecto de colonización. The 17-document folio, with additional context, reveals that Spanish immigrants in Argentina suffered from the political and economic aftereffects of the Baring crisis in South America. Seeking to pursue their economic aspirations under the tutelage of Spanish protection, they ask the Madrid government’s permission to migrate to its overseas territories. In 1895, the news of the Spanish victory in Marawi inspired various personalities in Buenos Aires to submit proposals for an agricultural colony in Mindanao by acquisition of land favorable for settlement. Nevertheless, analysis of the documents written by the authors in the folio reveals their intention to implement settler colonialism in the Philippines, a departure from the existing Spanish policy of imperial and commercial exploitation. Even though the proposals failed to seek approval for implementation, early perspectives were provided of what was to come when Christian settlers arrived in Mindanao. The study demonstrates that the 1890s Philippines transcends the age of revolution and highlights the understudied nature of settler colonialism in the country, both in the hands of foreigners and fellow Filipinos.


Description: In popular mythology, the Overland Trail is typically a triumphant tale, with plucky easterners crossing the Plains in caravans of covered wagons. But not everyone reached Oregon and California. Some 6,600 migrants perished along the way and were buried where they fell, often on Indigenous land. As historian Sarah Keyes illuminates, their graves ultimately became the seeds of U.S. expansion. By the 1850s, cholera epidemics, ordinary diseases, and violence had remade the Trail into an American burial ground that imbued migrant deaths with symbolic power. In subsequent decades, U.S. officials and citizens leveraged Trail graves to claim Native ground. Meanwhile, Indigenous peoples pointed to their own sacred burial grounds to dispute these same claims and maintain their land. These efforts built on anti-removal campaigns of the 1820s and 30s, which had established the link between death and territorial claims on which the significance of the Overland Trail came to rest. In placing death at the center of the history of the Overland Trail, American Burial Ground offers a sweeping and long overdue reinterpretation of this historic touchstone. In this telling, westward migration was a harrowing journey weighed down by the demands of caring for the sick and dying. From a tale of triumph comes one of struggle, defined as much by Indigenous peoples’ actions as it was by white expansion. And, finally, from a migration to the Pacific emerges instead a trail of graves. Graves that ultimately undergirded Native dispossession.




Abstract: This essay examines the colonial constructions of Indigenous land usage on Vancouver Island in the 19 th century. It turns first to the historiography of Indigenous presence in the Pacific-Northwest region to understand how Indigenous people had been represented in scholarship in the 19 th and 20 th centuries. For decades it was believed that Indigenous groups did not participate in the stewardship of their land or did not greatly impact it with their presence. By examining more recent scholarship on Indigenous agriculture this is proved to be a misrepresentation. It then turns to cartographic and ethnographic material produced by colonial of icials and settlers that depicts Indigenous land usage and occupation in the mid-19th century, which used the purposeful erasure of Indigenous presence to justify colonial settlement. It combines the social stereotypes of the era with the perceived legitimising character of maps and photographs to understand how the settler’s geographic imagination did not include the presence of Indigenous peoples on Vancouver Island. These cartographic and ethnographic materials created inaccurate representations of how Indigenous peoples managed and lived on their lands, confining them to small and untouched areas. It was only through the purposeful space created in these documents that a view of British Columbia and Vancouver Island being pristine, untouched, and untapped wildernesses could be born. The photographs of E.S. Curtis and colonial era maps of Victoria will be pivotal to this research, bringing to focus the world view of the Vancouver Island settler.



Abstract: The Canadian Broadcast Corporation’s (CBC) long-running documentary series, The Nature of Things, featured a controversial episode titled The Ice Bridge. This documentary forwarded and dramatically re-enacted a hypothesis known as the Solutrean Hypothesis, that asserts the Americas were peopled first by sailors from Europe. This hypothesis, having been thoroughly debunked, is one that gets re-considered with regularity among European and Euro-settlers in what is currently the United States and Canada. This fringe archaeology speaks directly to the settler colonial logic of elimination, which seeks to exterminate all traces of Indigenous people, to ‘indigenize’ the settler population. It is not alone in this but exists within a spectrum of ‘archaeologies’ from conspiratorial and paranormal pseudoarchaeologies, to fringe hypotheses, and accepted (in the past or currently) scientific approaches that continue the violence of settler colonialism. Each of these has a very real impact on the wellbeing of Indigenous peoples. Attachment to these understandings of the world also fuel white supremacy and colonial violence that can be expressed in dangerously physical ways. This chapter examines media’s engagement with archaeological approaches – mainstream, fringe, and pseudo – and their considerations of the people of the Americas. Cases in media coverage of pseudoarchaeological peopling of the Americas, more ‘scientific’ approaches in the Solutrean Hypothesis, and coverage of the controversial case of Kennewick Man are discussed for their contributions to the logic of elimination, anti-Indigenous violence, and narratives of white supremacy. This entry highlights how presenting archaeology is not neutral and while we may dismiss pseudoarchaeology, we must address it for the real damage it does. Not only this, but in the pursuit of scientific knowledge, more formal archaeologies and reporting around them can also replicate similar harm to marginalized people. Archaeologists must be responsible in action and mindful of the damage of settler colonialism in our work.


Description: In the nineteenth century, white Americans contrasted the perceived purity of white, middle-class women with the perceived eroticism of women of color and the working classes. The Latter-day Saint practice of polygamy challenged this separation, encouraging white women to participate in an institution that many people associated with the streets of Calcutta or Turkish palaces. At the same time, Latter-day Saints participated in American settler colonialism. After their expulsion from Ohio, Missouri, and Illinois, Latter-day Saints dispossessed Ute and Shoshone communities in an attempt to build their American Zion. Their missionary work abroad also helped to solidify American influence in the Pacific Islands as the church became a participant in American expansion. Imperial Zions explores the importance of the body in Latter-day Saint theology with the faith’s attempts to spread its gospel as a “civilizing” force in the American West and the Pacific. By highlighting the intertwining of Latter-day Saint theology and American ideas about race, sexuality, and the nature of colonialism, Imperial Zions argues that Latter-day Saints created their understandings of polygamy at the same time they tried to change the domestic practices of Native Americans and other Indigenous peoples. Amanda Hendrix-Komoto tracks the work of missionaries as they moved through different imperial spaces to analyze the experiences of the American Indians and Native Hawaiians who became a part of white Latter-day Saint families. Imperial Zions is a foundational contribution that places Latter-day Saint discourses about race and peoplehood in the context of its ideas about sexuality, gender, and the family.


Abstract: In this thesis I investigate mimetic Indigenous artwork as a productive site of settler colonial disruption. More specifically, I attend to the potential of these artworks to disorient romantic habits of viewing landscapes. Framed as a critique of settler logics, I argue that the underlying ideologies of Euro-American romantic landscape art have tracked from the 19th century to today to produce an illusory, aestheticized view of nature as grand and empty, distancing settlers from the material realities of land use and the violence of settler colonialism. In a contributory attempt to decolonize settler understandings of and relations to land, I look to artworks by Indigenous artists Kent Monkman and Nicholas Galanin as examples of subversive critique, claiming that through mimetic, intertextual techniques, their works strategically engage with settler colonial systems as a challenge to romantic settler land relations, prompting new engagement with memory, land, and place. Using decolonial studies and visual rhetoric as centralizing frameworks, I constellate concepts such as détournement (Debord, 1959), moral shock (Jasper, 1997) and settler common sense (Rifkin, 2013) to highlight the ways that these artworks disrupt settler land logics and work to fracture the “settler sublime.” This thesis ultimately advocates for a critical rupture in romantic conceptions of land; while mimetic Indigenous artworks may not constitute a paradigm shift on their own, they actively work to dismantle settler ideologies, creating space for Indigenous epistemologies to emerge.