In a striking new film, *Stew Peas*, acclaimed Jamaican filmmaker Sosiessia Nixon delves into the complex world of obeah, a traditional African spiritual practice that has persisted in Jamaica despite its colonial ban in the 1700s. The feature-length thriller centres on the life of a detective named Tessa, whose personal turmoil escalates when her husband becomes ensnared by the mystical influence of their new maid, Marcia. The narrative takes a chilling turn as it reveals Marcia’s use of menstrual blood in a beloved Jamaican dish, transforming it into a powerful love potion.
The Allure of Obeah
The film’s plot revolves around a fascinating aspect of Jamaican culture— the belief that certain meals, particularly the iconic kidney bean stew, can bind a man to a woman when prepared with specific ingredients. Nixon articulates her intention to provoke dialogue around the intersections of Christianity and obeah, a practice rooted deeply in the African heritage of the island.
“This film focuses on the persisting Jamaican obeah belief, that a woman could ‘bind’ a man in a relationship by serving him a meal of the traditional kidney beans and meat stew,” Nixon explained, highlighting the cultural significance of these traditions. The film challenges viewers to reflect on the power of belief, as expressed in the local saying: “belief kills and belief cures.”
Cultural Resonance and Personal Connections
Hailing from St Thomas, a parish colloquially known as the “obeah parish,” Nixon draws from her own experiences to shape the narrative. She shared, “Growing up in St Thomas, I was very much exposed to a lot of obeah.” This personal connection adds authenticity and depth to the film, making it resonate with audiences both in Jamaica and within the broader Caribbean diaspora.
Producer and actor Ava Eagle Brown, who also founded the Black River Film Festival, noted the film’s broader appeal. “There is so much of us in this film, the things that make us Jamaican – especially if you’re in the diaspora … it brings you back home,” she remarked. Brown humorously suggested that the film might lead men to question their partners about the contents of their stew peas, illustrating the film’s potential to spark conversations about deeper cultural beliefs.
Addressing Misunderstandings of African Spiritualities
Sonjah Stanley Niaah, a cultural studies scholar and director at the University of the West Indies’ Centre for Reparation Research, welcomed the opportunity to discuss African spiritualities often misunderstood and vilified by colonial narratives. She explained that the notion of using menstrual blood in cooking is rooted in an African perspective that sees natural elements as inherently powerful.
Stanley Niaah emphasised, “People in this part of the world are people of African descent, and there’s a pantheon of African spirituality that we have in our blood… But today, African spirituality has no attention, no substance, it’s not being taught in schools.”
This neglect leads to an ongoing tension between Christian practices and African spiritual traditions, a legacy of the colonial past that continues to shape Jamaican society.
A Beacon of Hope Amidst Adversity
The release of *Stew Peas* comes at a challenging time for Jamaica’s film industry, particularly following the devastation caused by Hurricane Melissa, which severely impacted infrastructure and creative projects in Black River. Brown expressed her disappointment over having to cancel this year’s film festival due to the hurricane’s destruction, which she described as a blow to the creative community.
Nixon’s film, however, stands as “a ray of hope” amidst these difficulties, symbolising the resilience of Jamaican artistry. Jamaica’s film commissioner, Jackie Jacqueline Jackson, echoed this sentiment, stating that films like *Stew Peas* demonstrate the determination of the creative industry to persevere and flourish, even in the face of adversity.
Why it Matters
*Stew Peas* not only entertains but also serves as a crucial conversation starter about the coexistence of diverse belief systems in Jamaica. By spotlighting the cultural significance of obeah, Nixon invites audiences to confront and engage with the complexity of their heritage. As Jamaica continues to navigate the challenges of recovery and representation in the creative sector, films like this are vital in showcasing the island’s rich tapestry of stories and beliefs, ensuring that they are not lost to history.
