No Admission Required: Sovereignty, Slots and Native American Art

223 Pages·2016·7.37 MB·English

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Sinclair, Jane. "No Admission Required: Sovereignty, Slots and Native American Art." (2014).
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Jane Sinclair
Candidate

American Studies
Department

This dissertation is approved, and it is acceptable in quality
and form for publication:

Approved by the Dissertation Committee:

Peter L. White, Chairperson

Theodore S. Jojola

Joyce M. Szabo

M. Jane Young

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No Admission Required: Sovereignty, Slots and Native American Art

By

Jane Sinclair

B.A., Psychology and Studio Art, University of California, Santa Cruz, 1988
M.A., Art History, University of Washington, 1994

DISSERTATION

Submitted in Partial Fulfillment of the
Requirements for the Degree of

Doctor of Philosophy
American Studies

The University of New Mexico
Albuquerque, New Mexico

July, 2014
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©2014, Jane Sinclair
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DEDICATION

To M. Jane Young — a great teacher
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ACKNOWLEDGEMENTS
The writing of this dissertation has been one of the most significant academic
challenges that I have ever had to face. Without the guidance of my four committee
members I never would have finished this dissertation. I would like to express my
deepest gratitude to Dr. M. Jane Young, whose selfless help as a mentor, tireless
editor and friend has seen me through this lengthy process. Although retired as a
professor emeritus, she never once questioned her commitment to me as a student. I
also want to thank Dr. Peter L. White for stepping in to save the day as my
committee chair. His deep understanding of the underpinnings of New Mexico
politics proved invaluable. As an art historian and long-term colleague in the field of
museum studies, Dr. Joyce Szabo offered critical input on the field of contemporary
Native American art. And finally, Dr. Ted Jojola contributed much by sharing his
personal insights on casinos and the world of Indian gaming. I especially benefitted
from his comments on stereotypes of Native people in the media and the subversive
role of “Indian” humor.
As a non-Native museum professional, both at the Museum of Indian Arts and
Culture/Laboratory of Anthropology and the Denver Art Museum, I had the
opportunity to work with many Native artists, scholars and community members.
Their input—whether spoken or unspoken—allowed me to approach this material in a
manner that could never be taught by reading any amount of literature. Hopefully,
these Native voices can be “heard” throughout my dissertation. I would particularly
like to thank the late Ed Ladd (Zuni Pueblo); Dr. Nancy Marie Mithlo (Chiricahua
Apache); Andrew and Judy Harvier (Santa Clara Pueblo); Dr. Tessie Naranjo (Santa
Clara Pueblo); Ignacio and her daughter Bea Duran (Tesuque Pueblo); Rafaelita
Yazza and her sister Lydia Tsosie (Picuris Pueblo); Hulleah Tsinhnahjinnie
(Seminole/Creek/Navajo); Theresa Harlan (Laguna/Santo Domingo/Jemez Pueblo);
Lonnie Vigil (Nambe Pueblo); Barbara Teller Ornales and her sister Lynda Teller
Pete (Navajo); Linda Haukaas (Rosebud Sioux); Robert Tenorio (Santo
Domingo/Kewa Pueblo); Geneva Navarro (Comanche); and Sunny Dooley (Navajo).
As a graduate student at the University of Washington and later as an instructor at
the University at California, Santa Cruz, I was inspired by Dr. Kathryn Shanley
(Assiniboine/Sioux) and the late Dr. Louis Owens (Choctaw/Cherokee/Irish).
Through these ongoing partnerships/friendships, I have learned lessons too
numerous to count.
Through my tenure as a graduate student at the University of New Mexico, I
have enjoyed many opportunities. Perhaps the most important was the three years I
spent as a fellow in the Center for Southwest Research in Zimmerman Library. This
hands-on experience greatly enhanced my ability to conduct primary research. I owe
a special vote of gratitude to archivist Nancy Brown-Martinez and research librarian
Paulita Aguilar for their support. Nancy Brown-Martinez taught me what it means to
be a relentless researcher.

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No Admission Required: Sovereignty, Slots and Native American Art

by

Jane Sinclair

B.A., Psychology and Studio Art, University of California, Santa Cruz, 1988
M.A., Art History, University of Washington, 1994
Ph.D., American Studies, University of New Mexico, 2014

ABSTRACT

This dissertation examines how Native American art is displayed in Indian
casinos in the Southwest. Exhibition strategies, employed by traditional art and
natural history museums offer points of comparison. An overview of legal battles
leading up to and following the passage of the Indian Gaming Regulatory Act (IGRA)
in 1988 is provided. While New Mexico is the primary focus of this discussion, the
state of Arizona is also mentioned. The evolution of gaming compacts in New Mexico
is detailed at length. Local attitudes both for and against the legalization of Indian
gaming is documented through media sources, such as newspaper articles, letters to
the editor and political cartoons. These sources all speak to the climate of the time:
negative stereotypes are prevalent. Connections between tourism and casino
advertising are also explored. Early advertisements capitalize on Indian humor,
inside jokes that emphasize ironic wordplay or puns. Later examples become more
generic, characterized by less text and fewer references to “Indian” culture. This
study draws comparisons between American Indian literature, museum studies, the
history of Native American art and depictions of gaming. Themes associated with
oral histories, storytelling and a sense of place are analyzed. In addition, topics
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related to tribal sovereignty, economic well-being and the growth of Indian gaming
are investigated. Whether sovereign status is enhanced or depleted by the advent of
legalized gaming is a reoccurring question. Native artists who depict casino subject
matter are highlighted, with an emphasis on work that offers social commentary or
questions the impact of Indian gaming on Native life. The visual culture of specific
Indian gaming facilities is explored through Interior and exterior design, ranging from
casino chips to monumental sculptures. Casinos discussed include Sandia Resort
and Casino, Camel Rock Casino, Isleta Resort and Casino, Buffalo Thunder Casino
and Resort, Twin Arrows Navajo Casino Resort, Casino Arizona and Foxwoods
Resort Casino. While the main emphasis of this dissertation is on Pueblo casinos,
other indigenous gaming facilities are discussed, including those owned by Navajo,
Salt River Pima-Maricopa and Pequot tribal communities. This study provides a new
perspective on how Indian casinos can function as museums.
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Table of Contents
List of Figures ........................................................................................................ ix
Chapter One “Indian Gaming’s Fate a Coin-Toss”: The Road to Legalization in New
Mexico ......................................................................................................... 1
Chapter Two Marketing Casinos: Coupons, Giveaways and “Indian” Motorcycles . 40
Chapter Three Addressing the New Buffalo: Native Artists, Native Rights ............. 88
Chapter Four Raising the Stakes: Indian Casino, Gambling Hotspot or Museum
Venue? .................................................................................................... 130
Chapter Five Conclusion: Final Thoughts, Final Questions ................................. 176
Further Thoughts: A Case Study ................................................................. 190
Suggestions for Further Work ..................................................................... 193
Closing Thoughts ........................................................................................ 197
Works Cited ........................................................................................................ 201
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List of Figures
Figure 1. Public Service Announcement, Keep America Beautiful, Close–up of actor
Iron Eyes Cody, 1971. ................................................................................... 16
Figure 2. Political Cartoon, Trevor, Albuquerque Journal, 1995. .............................. 17
Figure 3. Close to Home . . . Far from Ordinary, Sandia Resort and Casino
Advertisement, 2013. .................................................................................... 44
Figure 4. A Better Way to Santa Fe, Buffalo Thunder Resort and Casino
Advertisement, 2013. .................................................................................... 47
Figure 5. It’s a Mountain of Fun! It’s a Mountain of Art! Taos Mountain Casino
Advertisement, 1999. .................................................................................... 57
Figure 6. Come on Over . . . Enjoy the Local Life, Camel Rock Casino
Advertisement, 2013. .................................................................................... 69
Figure 7. The Mother’s Day Special that Keeps on Giving, Taos Mountain Casino,
The Taos News, 2000. .................................................................................. 72
Figure 8. Luck of the Irish Slot Tournament, Camel Rock Casino Advertisement,
2000. ............................................................................................................. 74
Figure 9. Win Your Pot of Gold Here, San Felipe’s Casino Hollywood Advertisement,
2000. ............................................................................................................. 75
Figure 10. Isleta Gaming Palace Advertisement, 2000. ........................................... 76
Figure 11. Be a Taos Mountain Casino Super Senior, Taos Mountain Casino
Advertisement, 2000. .................................................................................... 79
Figure 12. Every Monday is Senior Day, San Felipe’s Casino Hollywood
Advertisement, 2000. .................................................................................... 81
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