Daughters of the Dust (1991)

Languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well into the 20th Century and was one of the last ... See full summary »

Director:

Julie Dash

Writer:

Julie Dash

Stars:

Cora Lee Day, Alva Rogers, Barbarao

2 wins & 1 nomination.

Cast

Cast overview, first billed only:
Cora Lee Day	...	Nana Peazant
Alva Rogers	...	Eula Peazant
Barbarao	...	Yellow Mary
Trula Hoosier	...	Trula
Umar Abdurrahamn	...	Bilal Muhammad
Adisa Anderson	...	Eli Peazant
Kaycee Moore	...	Haagar Peazant
Bahni Turpin	...	Iona Peazant
Cheryl Lynn Bruce	...	Viola Peazant
Tommy Redmond Hicks	...	Mr. Snead
Tony King	...	Newlywed Man (as Malik Farrakhan)
Cornell Royal	...	Daddy Mack Peazant
Vertamae Grosvenor	...	Hair Braider
Sherry Jackson	...	Older Cousin
Reverend Ervin Green	...	Baptist Minister

Storyline

Languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well into the 20th Century and was one of the last bastion of these mores in America. Set in 1902.

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Plot Keywords:

gullah culture | sea island | island | pregnancy | dialect | 

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Genres:

Drama | Romance

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Details

Country:

USA UK

Language:

English

Release Date:

27 December 1991 (USA)

Filming Locations:

St. Helena Island, South Carolina, USA

Box Office

Gross:

$1,642,436 (USA)

Company Credits

Production Co:

American Playhouse, Geechee Girls, WMG Film

Technical Specs

Runtime:

112 min

Sound Mix:

Ultra Stereo

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Quotes

[first lines]
Nana Peazant: I am the first and the last. I am the honored one and the scorned one. I am the whore and the holy one. I am the wife and the virgin. I am the barren one and many are my daughters. I am the silence that you can not understand. I am the utterance of my name.

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Connections

Referenced in Ebert Presents: At the Movies: Episode #2.21 (2011)

User Reviews

Rupturing cinematic codes

Daughters of the Dust is film that slits the eyes of spectators who have been fed only linear and simplistic narrative/plot dev'ts through hollywoodism and can't possibly fathom any other way of being/thinking. It is truly an excruciating film to watch for those who have not dreamt and lived the "double consciousness" of modernity, for those who do NOT want to recall and remember the fact of american quilombos, maroon societies, slave revolters and runaways who succesfully established another way of life, not based on european dominance. This story is about the struggles of maintaining that community in 1902, a turning point in the life of this one maroon society. Dash breaks with cinematic codes in her experimental reconstruction of historical memory...a forgotten episode in African american history, a forgotten place, re-calling back to life ancestors that had survived and thrived: The Gullahs, Peazant family, persisting, unerasable, as the unborn child running through our memory, coming out of our past, forging a new and alternative future: a future that rejects the limitations of western epistemology. The summoning of these images to screen from the unwritten (african) past provides its own logic and development which Dash successfully visualizes in a polyphonic tradition, many voices, multiple perspectives. She does not allow a simplistic and individualistic rendering of this history...NO!she allows the struggle of divergent african perspectives, Christian, Muslim, Africanist, Native American to emerge in the same frame, to address that age old question: To exist or not to exist, to bear witness or to forget. In order for this history to exist and bear witness, Julie Dash does not allow any conventional reductionary scheme of narrativity, her temporal references are not linear. Her story is told through palimpestic time, the past present and future, overlapping and disjunctive: rupturing our understanding of history/memory and identity. The conflict that drives the film's narrative is not individual ego/conventional good vs bad drama/or boy gets girl(Hollywoodism); the conflict is how will the communal memory of these African survivors be salvaged from the ravaging of modernism's erasure..We see the family eat their last supper as the rite of passage to a life on the other side, a side that the ancestors fought to diverge from...The film is testimony to the african ancestors and to the spirit of resistance of slave revolters. Many people have offered criticism of dash's "feminism." Feminism is a problematic concept to apply to this film, no it is not feminist, it is afro-centric, matri-focal, and woman, as bearer of culture and memory as mother to the community, becomes the embodiment of that struggle. (of course it is not "feminist": it doesn't speak about abortion law, equal pay, etc etc..this kind of feminism is eurocentric and simplistic..) Thank you Julie Dash, i am not african american but the tears poured down my face as i, too, recalled that life left behind, another time another place. A place where people, muslims/christians/indigenous or any other can actually co-exist peacefully side by side, respectful of each other's differences. The character who chose to leave her so called "civilized" mother at the last minute, to take off with her Native American lover..is one of the most powerful onscreen testimony of love between indigenous peoples that has ever been made.