Dancing, music, and instruments, specifically Bear Shield’s drum and Orvil’s guitar, symbolize the idea that it’s possible, and perhaps necessary, to find beauty and vitality after experiencing pain, suffering, and violence. Notably, Bear Shield’s suffering is caused by a massacre carried out by the U.S. government; with that in mind, his drum also represents the idea that finding vitality and beauty after suffering can be a form of political resistance against oppressive and violent institutions. When Jude hears Bear Shield play his drum, Jude remarks that after experiencing so much “hunger and suffering,” the drum “made something new, […] a brutal kind of beauty lifting everything up in song.” That description of how the drum helps “[lift] everything up in song” mirrors Opal Viola’s idea that, after she’s diagnosed with cancer, simply surviving the illness won’t be enough; instead, if she survives, she wants to come back better. She says that Native culture has undergone a similar transformation. Native culture and Native people have been systematically targeted for centuries, but in the novel’s present, Opal Viola notes, “The culture sings. It dances.”
Various characters undergo similar transformations throughout the novel as they move from great suffering to a kind of resilient beauty, often through the help of music and dancing. Orvil starts playing music during his lowest point, and he then uses music as a way to maintain sobriety after he overdoses and almost dies. Orvil’s suffering is also linked to centuries of violence and cultural erasure carried out by the U.S. government, which begins, in the novel’s narrative, with Jude’s survival of the Sand Creek Massacre. Like Jude and Bear Shield, then, Orvil’s ability to find a life-sustaining force within music after experiencing profound suffering can also be seen as a form of political resistance.
Music, Instruments, and Dancing Quotes in Wandering Stars
Chapter 1 Quotes
There was unspeakable pain and loss all about us wherever we went. So much hunger and suffering, but with the drum between us, and the singing, there was made something new. We pounded, and sang, and out came this brutal kind of beauty lifting everything up in song.
Chapter 11 Quotes
The song he played was not a song and not even a lament and not an alarm but like a call from a broken bird, whose throat and beak had become elongated through some trial of pain meant to break him, but only ended up transforming him into something longer stretched, and into his song with these notes that kept stretching after he stopped playing them, that and about everything we’d been feeling all along stuck in our suits and dresses, in that school and without our language, he was making music find it for him, his lost tongue and all of ours.
Chapter 25 Quotes
Surviving wasn’t enough. To endure or pass through endurance test after endurance test only ever gave you endurance test passing abilities. Simply lasting was great for a wall, for a fortress, but not for a person […]
Jude Star would have been my great-grandfather. My great-grandfather survived the Sand Creek Massacre, and his son survived boarding schools, and his daughter, my mother, survived losing her mother and being raised by white people. And still brought us up knowing who we are. Who we are. Somehow. So why had I been sheltering the boys from their culture? Something made so strong it survived more than it should have survived. It was more than survival. The culture sings. The culture dances. The culture keeps telling stories that bring you into them, take you away from your life and bring you back better made.
Chapter 30 Quotes
That was the thing. Something different. Transcendence was why people chose to die, to get high.



