Traditions in Motion

For many Indigenous communities, adopting and adapting car culture is a way to express their heritage and contemporary experiences. The customization of cars, skateboards, motorcycles, bicycles, and even one’s shoes have become canvases for storytelling. Often incorporating traditional symbols, colors, and patterns, Indigenous artistry blends with modern technology. This unique expression of self highlights a dynamic and evolving cultural landscape of pride and resilience.

Taking part in a subculture that values creativity and self-expression, Indigenous lowrider, motorcycle, and skateboard enthusiasts defy marginalization and celebrate their heritage. Car and motorcycle clubs and skateboard groups bring together family and community allowing them to reclaim public spaces, challenge stereotypes, and assert their presence and identity. This is an act of empowerment and resistance for Indigenous people.

Around 71 percent of American Indians and Alaska Natives live in urban areas. Discover how these practices carry cultural connections into diverse settings allowing these traditions and their meanings to travel with Indigenous people, no matter when or where they go.

“We all fall from the height we climb or society has placed on us. We all fall short of our own glory and thus we fall off our pony. Maybe it is a pony of our global compassionate duties. Maybe it is an internal struggle that oftentimes leaves us in the dust of life’s arena. The fallibility and foible of our mission is global and collective. All nations, all tribes, we evolve through this ‘ride.’ The one rider is still our hope and maybe our strength in reserve, maybe he will fall, maybe he will hang on for a few more seconds. In this recognition, we still have hope.”

On Indigenous reservations communities can be hundreds of miles apart, and many tribal members travel long distances for jobs, social events, and even everyday errands like food shopping. Cars, like ponies of the past, have become integral to Native life. The lowriding traditions of the Chicano community are increasingly intersecting with and inspiring the drive to express Native identity. Often the outward piece—be it ceremonial regalia or a decorated car or bike—are the result of hours of work, accumulated skills, specialized knowledge, and family support. These cars embody family lore, memory, and an aesthetic expression of belonging. The customization of cars transforms a mundane vehicle into a work of art and a dynamic expression of self. From backyard junk cars to show stoppers, these slow cruising cars have become exciting canvases embodied with Indigenous life.

This work was created on Route 66 as an homage to the historic route and its centennial occurring in 2025. The image acknowledges the influence of car culture on the landscape and culture of the Southwest. With the onset of the route, hotels and motels began to emerge from the barren desert of the Southwest. People came to the Southwest intrigued by Indigenous cultures of the region. The interest in regional pottery as souvenir changed the size of traditional Puebloan pottery as they became collectable items and mementos of travels to the west. 

The painting is a commentary on the aesthetics of beauty and tradition. It is the understanding of modern art blending elements of traditional iconic subject matter of still-life roses and a classic car. Both images are intertwined with one not holding more presence than the other. This image poses the question, “What is beauty in the modern age?” 

Petrolglyph is the culmination of a dream I had when I was a boy growing up in northern New Mexico seeing classic cars cruising. I wanted to embrace the DIY nature of Chicano lowrider culture with a car that I felt a connection to. The Dart was a pretty common car because it was an attainable purchase. An American vehicle for the masses, I deemed it the proletariat chariot. This “rolling piece of pottery” blends southwestern pottery designs with Chicano lowrider culture.  

Ten Indigenous artists were invited to paint a die-cast car of their choice for the exhibit. Their design choices showcase a passion for car culture and expressing their cultural identity through art. Decorated with motifs found in Indigenous pottery, basketry, and cultural symbols, each of these cars and trucks tell a story about the artists’ lives embodying community, memory, and influences.

Many years ago our grandparents often made trips to the local market or trading post to make purchases or trades. This is how I imagined my grandparents traveling together, in their nice blue Chevy truck and dressed in their best. Though we don't have colorful trees like this during the fall season where we're from, however, I did include them because I favor the fall season more than the others.

From reservation lands to city gridlocks, Indigenous motorcyclists embrace freedom mounted on their modern chrome ponies. Their rides have become a way to support their communities, and their bikes a surface for expressing Indigenous connections. Visualize a modern stampede of revved pipes claiming highways through all that is now called America.

Across the country are Indigenous motorcycle clubs. The Phoenix-based Rez Riders have members from all Native Nations who ride iron horses of modern times. Their members live in the good Red Way of their people remembering the price their relatives paid so that they can live free to express themselves, unite, and to carry on the old teachings for future generations ensuring the next generation knows they have the right to practice their ways without denial from anyone. Club members ride united to carry this message to different fires throughout America and abroad to build friendships, meet new family, and share with others the Indigenous spirit of life. Through charitable acts the Rez Riders Indigenous Motor Club fosters a family environment of Native people.

I think collectively our voice is so much stronger with the visual presence of more than 200 motorcycles coming down the road. And when people realize we’re doing this to raise awareness and resources for Missing and Murdered Indigenous People (MMIP) we hope that perhaps they look into that further and maybe save some lives.

From flat sandstones to asphalt parking lots to concrete sidewalks and metal railings, Indigenous skateboarders express themselves through their decks as much as through their tricks. Blending sport with fine and pop art, Native artists have pulled from traditional designs to create a contemporary aesthetic reflecting their history, culture, and identity, as well as their contemporary lives and dreams.

The many styles and techniques these Native artists have created are with the same agility they use to navigate through the maze of days between cultures.

From dry washes and rocky beds to city streets, bicycles provide Indigenous youth their first rush of freedom. The bike and person meld together as an expression of identity, whether racing through reservation lands or running errands on urban streets.

At car shows, Indigenous cyclists proudly display a personalized statement of style combined with lowrider traditions. In creating these bikes, families often gather to hunt for parts, make purchases, and contribute to the building process. This collaborative effort strengthens familial relationships and imparts valuable mechanical skills, life lessons, and memories that endure for a lifetime.

Lowrider bikes are more than practical; they are highly personalized: constructed using a distinctive combination of V-shaped handlebars, banana seats, and beach cruiser frames. Enthusiasts modify everything: hardware, accessories, paint, sound systems, lights, and the frame. Bicycles are another way Indigenous artisans showcase their skills while expressing their heritage and contemporary lifeways.

Jessica’s love for lowriders came from her father, which she has passed on to her daughter, who will pass it on to the child she is expecting. Their family spends time together cruising and going to car shows. They see lowriding as an intergenerational activity that brings different people together, and creates an opportunity for them to educate non-Native Americans about their culture.

Cody built the bike together with his father. It’s yellow paint was inspired by the original Lowrider Magazine logo. Cody encourages others to build a bike and get involved with the lowrider scene: “Everyone’s really cool and most people are willing to help or give you an idea where to start and that’s what’s good about the scene.”

An exhibit curated and produced by Arizona State Museum | University of Arizona

Lisa Falk Jennifer Juan Ruben Urrea Moreno Andie Zelnio

Special thanks to Kyle Knox for inspiration and collaboration on the exhibit concept, and to all the artists, photographers, galleries, and museums who contributed works for this exhibit.

Presenting Sponsor Desert Diamond Casino

 statemuseum.arizona.edu