A Forgotten Episode in African American History – Movie Review : Daughters of the Dust

“Daughters of the Dust” tells a story about the Gullahs, a three-generation Peazant family, who have lived on St. Simons Island, off the Georgia coast, since their ancestors were brought there in chains as slaves from Africa centuries ago.

The film is non-linear in structure and the story, told through glimpses of the past, present and future, overlapping and disjunctive, is not easy to follow. It is through careful attention to the dialogues between the main characters that we audience get some understanding of this forgotten episode of African American history in this forgotten place. In fact, the well-conceived dialogues in Gullah Creole help make the story more expressive. During the one and a half days when the members of the Peazant family meet, they pour out their minds, thus evoking bitter memories of the old days when the enslaved Africans toiled on the plantations and also casting light on the second generation’s expectation of resilience and potential in the unknown future.

What brings them together is a reunion dinner followed by a rite of passage to a new life in the North on the mainland. However, the Peazants are divided in their opinions about the migration, which accounts for the occasional bitter arguments. Nana, the family’s matriarchal figure, whose entire life has been built around the family, is determined to stay on the island, insisting that their cultural heritage and folklore should be maintained. Those in favour of embarking for the mainland include the two cousins, Viola and Yellow Mary, the former a devout Catholic and the latter a pursuer of freedom, both with recent experience of life away from the island. Haagar, another cousin, claims to be educated, often viewing Nana’s conservative mind with contempt, and is also hopeful of better opportunities on the mainland.

In spite of the divergences of their perspectives, the Christians, Muslims, and indigenous believers among the Gullahs get along harmoniously with one another. While some kids gather round Viola listening to her Bible stories, a few are seen kneeling in adoration on the sand under the guidance of Bilal, a Muslim. And a small group, adults and kids alike, show obvious interest in an indigenous “wish book”.

Though there are scattered details concerning the male characters in the story, the ones assigned most of the dialogues and most often filmed in close-ups are the females.  Assumedly, this is due to the fact that females have been the victims of unfair treatment over all those long years. Nana remembers how she, like the other maidens in the days of slavery, struggled to grow crops in arid dusty soil, hence the name “Daughters of the Dust”. Yellow Mary is rejected with scorn and criticized for having been ruined. In fact, rape cases still occur. Eli is in constant pain because he suspects that a rape predator is responsible for his wife’s pregnancy. However, there is a touch of optimism towards the end when Eula bravely asserts that the scars and wounds they bear have now hardened and can well serve as an armour protecting them from further abuse.

Though without entertainment elements, the film has been acclaimed for its lush visuals. Every outdoor scene is a stunning painting depicting Nature’s beauty at its best. I am most impressed by the presence of the sea in the background in almost every scene, probably to highlight the call to the islanders from the mainland. Somehow I think the director has set the sea as a stage where the actors and actresses go on and off. We see Yellow Mary strolling on one side of the seashore with her lover from Cuba, while on the other side, there is the cheerful laughter of the young boys and girls running about. And Mr. Sneak, the photographer, also chooses a few seaside sites for taking snapshots of the islanders. What is most captivating is that Eula’s dramatic assertion about females’ strengthened resistance against abuse also takes place on the seaside with a close resemblance to a closing speech on stage.

One remarkable point worth the prospective viewer’s attention is the voice-over narration by Eula and Eli’s unborn child, who, a character herself, travels back and forth through time. This and other unique features make the film dreamy and poetic with a special appeal for viewers looking for something different from the mainstream films.