A Dual Identity

Throughout the novel There There, Tommy Orange utilizes Jacquie Red Feather’s grandchildren, specifically Orvil, to epitomize the development of the modern “Urban Indian” who still retains aspects of their ancestral culture. While tacos and powwows are part of their lives, the Red Feather grandchildren also demonstrate what it means to just be kids growing up in the city of Oakland. 

The first example of this identity balance comes from Opal’s lack of ancestral teaching, stating her methods are consistent with the “‘Cheyenne way, we let you learn for yourself, then we teach you when you’re ready” (Orange, 119). This absence of historical teachings or storytellings cause the boys to learn about their ancestry through modern means - Native American ceremonial depictions on television, use of the internet, listening to traditional powwow music, and learning native dances through streaming platforms like Youtube. Orange has even stated that in the modern day, Native American definition and identity, “Continue to be slandered despite easy-to-look-up-on-the-internet facts about the realities of [their] history and current state as a people” (Orange, 7). With this advice as part of the prologue, Orange is making a direct statement to the present-day reader on how to become correctly educated on the Native American past. Depicted as part of today’s youth, Orvil and his brothers take such advice to learn about their own culture. 

The children again exemplify how to balance the weights of contemporary society with rich historical history when Orvil decides to be interviewed for Dene Oxendene’s filmmaking project. Orvil retells the story of his mother’s overdose, culminating in the discovery of his Indian heritage and beginning identity. Yet, even though he is participating in a project where the goal is to embrace Native American storytelling, Orvil’s main incentive was for the $200. As soon as the cash is in his hand, “Orvil and his brothers leave the Indian Center and go straight to Target in West Oakland to get Lony’s new bike” (Orange, 124). Even though he engaged in a program to create a feeling of togetherness among Native Americans, Orvil’s sole motivation was for the money, so he could purchase a bike for his younger brother. This action of doing anything to obtain money for a loved one, is an action Orange expects non-Native American readers to be able to draw a present-day connection to. 

As the trio leaves Target, Orvil pulls a mysterious article out of his body, stating, “‘I’m pretty sure they’re spider legs’” (Orange, 125). Again, the children utilize the internet to search for a connection between Indian culture and the strange object. Serving in a literary context as a type of metaphorical foreshadowing about the powwow, the characters themselves discover nothing of a connection except that Opal experienced the same sensation. Parked in a Wendy’s parking lot and void of answers, Orvil “Takes the legs, folds up the toilet paper, and stuffs it in his pocket” (Orange, 128). While the mysterious spider legs tie in the Red Feather’s Native American heritage, the boys actions exemplify those of also non-Indian children; while riding bikes a mysterious object is discovered, stuffed in one’s pocket, and then the play continues. Orvil demonstrates how among the streets of present day Oakland he can have experiences tied to the Indian identity, while still acting like any other child. This dynamic of utilizing both identities harmoniously certifies the birth of the “Urban Indian” disposition.