Abstract: The Slater Fire of 2020 burned in Karuk aboriginal territory overseen by the Klamath National Forest. It burned over 200 homes to the ground and ravage over 100,000 acres of forest. This thesis argues that state-enforced fire suppression policies and methods are tools of settler-colonial erasure and the continuation of genocidal violence towards Karuk people. It analyzes the conflict between interests of the colonial state on one side and Indigenous resistance and survival on the other. Fire is an essential tool for the survival of Indigenous cultural identities, the material security of said populations, and the health of the environs that they have inhabited since time immemorial. In describing the history of this conflict, this work synthesizes historical narratives with critical analysis to demonstrate the aims of state sponsored fire suppression, and to illustrate the necessity of Indigenous populations’ ability to apply cultural fire. Settler colonial studies serve as the analytical foundation for this piece of research. Settler colonialism functions as a crossroads of critical theories that illuminate various ways that the settler state perpetuates regimes of erasure and genocidal violence towards Indigenous peoples and their lands. Ecological frameworks critical of settler land and resource management practices and policies are utilized to demonstrate the effects of settler-colonialism on Karuk spaces and peoples. The lived experiences and histories of Karuk people are a central feature of this thesis that have been accessed via interviews with cultural practitioners and community members and the analysis of various historical sources. This thesis illustrates the connection between genocide perpetrated towards Indigenous peoples during the 19th century and ongoing genocidal violence inherent within fire suppression and land management regimes maintained within the United States of America.




Excerpt: As outlined above, mimicry in Indigenous artwork is used to undermine the colonial state and settlers by discounting its prestige and mocking its artistic integrity. Mimicry is achieved by utilising traditionally European materials or stylistic elements to express Indigenous beliefs and cultures. This enables Indigenous artists to re-establish their art as civilised and enlightened, subsequently normalising the European equivalent. Furthermore, this allows the artist to preserve and adequately depict Indigenous identity by inserting Indigenous figures and entities into Eurocentric landscapes. In their work, Monkman and Belmore do both things. Each artist uses characteristically European mediums to reimagine settler art through an Indigenous lens, specifically from the Renaissance era. The Renaissance is an epoch that reflects the pervasive and institutionalised Western bias within art history.13 This is because art that emerged from this period connoted a level of sophistication and prestige that non-Western art could not achieve under the dominant Eurocentric aesthetic. Artistic practices of non-Western countries during the Renaissance era were typically marginalised,14 as their styles were deemed “primitive” and inferior. This type of Eurocentric narcissism is also undoubtedly reflected in settler colonialism: propelled by the idea that European society was the most civilised, enlightened, and, therefore, worthy of the most land. The status of Renaissance art reinforces a binary of “civilised” and “uncivilised” cultures. Thus, mimicry of art from this era can be conceptualised as an attempt to subvert the hierarchy.