A Renaissance in Public Display of Native Art & Culture — Isleta Pueblo

According to Robert Julyan (Place Names of New Mexico) and Joe Sando (Pueblo Nations), Isleta Pueblo is more properly known by its Tiwa name, Shiewhibak (flint-kick-stick place, referring to a traditional Puebloan gambling game). It has had a tradition of unique art and culture for hundreds of years.

However, it is only relatively recently that the public has been given an opportunity to share in this marvelous tradition. Some of the opportunities for us to share in these offerings are obvious, whereas others are “hidden treasures,” just waiting for us to explore. In addition, most of them have distinct meanings that may not be immediately obvious to drivers through the pueblo.

Isleta logo

The logo, which is ubiquitous on Isleta’s structures and official paperwork, was designed by Augustine Sangre and shows an eagle in flight between the sky and the earth, surrounded by feathers. He is grasping two rods which represent the canes of authority that were presented to governors of the nineteen pueblos in September 1864 by Indian Agent Michael Steck on behalf of President Abraham Lincoln.

There are four separate locations where Isleta art and culture can be viewed by the public: along N.M. 47, at the Isleta Hotel and Casino complex, and further down the highway at the Pueblo Headquarters complex, at the Pueblo’s Elder Center and in the newly-reopened Pueblo Cultural Center.

N.M. 47

Many of us drive the stretch of N.M. 47 between the towns and villages on the east side of the Rio Grande and Interstate 25 on a regular basis. As we do, there are two things to watch for.

First, watch your speedometer, because when the vigilant members of the Isleta Police Department say that the speed limit is 45, they mean 45!

The second thing to watch for is the set of unique art that the Pueblo has installed along the way. Let’s examine these pieces, with the caution that drivers should pay attention to their driving while letting their passengers enjoy the artistry.

From north to south, we have two rust-colored sculptures, one on each side of the road just south of Isleta’s two gas stations, next, the casino/hotel complex itself. These are followed by the Corn Maiden statue on the west side near the Isleta golf course and the award-winning basket design at the Tribal Complex on the east side just before the highway dips into the valley.

The plans for the monuments were described in the May 2015 issue of the Isleta Pueblo News, which also described the shrubs and concrete accents along N.M. 47. The entire beautification project was overseen by Kimo Constructors.

Rust-colored sculptures

The rust-colored sculptures are the work of Isleta artisan Ron Olguin. Olguin is a graduate of the Institute of American Indian Arts and has served on the Isleta Tribal Council on two occasions.

Although he prefers to work as a studio artist with acrylics and watercolors, he submitted the proposed design for the sculptures when the highway department was improving N.M. 47 in 2015.

Ron recalls that the state wanted a design that looked like a gateway, so he proposed the two panels, one on each side of the road. His proposal was accepted, and the final 3/8-inch thick panels were fabricated and laser cut by Choice Steel in Albuquerque and treated to provide the rust-like patina by Kimo Constructors.

The panel on the west side of N.M. 47 was designed to reflect the valley and bosque. It includes two flying ducks, cat-tails, corn, rain, lightning, and mountains — all images of cultural significance to the Puebloan people. One of Olguin’s early designs included a backdrop that would provide shadows for the cutouts on the main panel; however, he noted that the varying colors of the clouds and the sky provided an even better backdrop, so the idea of a back panel was set aside.

The eastern panel includes many of the same iconic images — lightning, mountains, clouds, and rain, and has a stylized sun dagger with an arrow, symbolizing the historic Chaco connection with the Puebloan people in the Rio Grande Valley. In this case, the Manzano Mountains to the east of the panel are of particular significance to the people of Isleta. The stepped image on the very top represents a tablita, a headdress worn by pueblo women.

Art at the casino/hotel complex

The casino/hotel complex was opened in July 2008. The basic architecture reflects a pueblo concept with a tiered structure and traditional imagery on the exterior.

The hotel on the west side of the casino has two unique features. The six-story glass atrium over the lobby of the hotel has an angular motif that represents feathers, an important aspect of Native American culture. The spa area on the west side of the hotel represents a large pot, configured in the Native American style

The entrance to the casino features two bronze statues by Caroline Lucero-Carpio, another well-known Isleta sculptor and a graduate of the Institute of American Indian Arts. The statue outside the entrance is entitled Mah-Wahn or “Welcome” in the Southern Tiwa language.

On the west side of the car drop-off and valet pick-up area of the casino is a 100-foot-long wrought iron “mural” that depicts the lush river valley as it was before the river was dammed and controlled by the Middle Rio Grande Conservancy District. The mural and four corner pieces show the rushes, tules and other riverine plants, as well as ducks, geese and other waterfowl. The distinctive Isleta eagle also swoops low into the plants, looking for its next meal.

Immediately inside the front entrance of the casino is another Lucero-Carpio statue entitled Pa-Tol. It portrays three men playing another traditional Isleton gambling game with a woman watching in the background. In contrast to the Mah-Wahn statue, the gamblers and the woman are all life-sized. Although patrons of the casino are not able to play this game themselves, it is a singularly appropriate sculpture for the entrance to a casino.

According to the sculptor:

“Pa-Tol is a game that we played to relax or pass time. At times, they would bet for money, barter for services or exchange of goods, and sometimes play just for fun. The circle portrays the land, the pebbles symbolize the stars and the four directions, the center rock is the Mother Earth, the openings are depictions of the water and rivers.

The three tossing sticks represent night and day. The players tap the center rock a few times before they toss them. The number of moves clockwise depends on their fall. At times they move backwards, and whoever gets to the East opening where the game started wins.

My inspiration originates from my Native Pueblo culture. We live simply and humbly as did my Pueblo ancestors. I also convey prayers, gratitude, joy, and life experiences in my pottery and sculptures. May my artwork contribute to spreading inspiration and positive energy and let the world know that our indigenous people are still strong in this 21st century.”

Once you are inside the casino and hotel complex, you will find several other exhibits of Native American art — pottery, jewelry, weaving, statues, and photographs.

When you drive past the casino at night, you will notice that the north face of the structure has a long row of lights. These are stylized yucca plants, which symbolize the reliance of the pueblo people on the gifts and beauty of nature.

(Editor’s Note: The second part of John Taylor’s article will be published in the Nov. 14 issue of the News-Bulletin)

(La Historia del Rio Abajo is a regular column about Valencia County history written by members of the Valencia County Historical Society.

The author of this month’s column is John Taylor, a retired engineer from Sandia National Laboratories and board member of the Valencia County Historical Society. He is the author or co-author of twenty-one books on New Mexico history, including “Murder, Mystery, and Mayhem in the Rio Abajo,” “A River Runs through Us,” “Tragic Trails and Enchanted Journeys,” “Mountains, Mesas, and Memories,” “Years Gone by in the Rio Abajo,” and “History Surrounds Us,” all co-edited with Dr. Richard Melzer.

This is the first of a two-part article that introduce the readers to some of the statuary and art of Isleta Pueblo that is available to the public along N.M. 47. Opinions expressed in this and all columns of La Historia del Rio Abajo are the author’s only and not necessarily those of the Valencia County Historical Society or any other group or individual.)