OASISIhe oases of Oman have always been centers where farmers andmerchants from the coast meet and trade with nomadic Bedouins fromthe interior desert. Many oasis towns arose near passes on either sideof the Hajar Mountains inthe north. Built next to the wadis, or rivervalleys that seasonally bring water from the mountains, these oases wereable to support cultivation, particularly of dates. Their wealth and strategiclocation enabled oases to become mercantile centers that brought64]together settled people, nomads, and visiting traders. These fortifiedtowns, where copper vessels, fish, dates, indigo cloth, and camels aretraded, remain centers for contact between the desert and the sea.t 'rafts ot the oases use local and imported materials and represent influencesfrom throughout the region. Foreign traders brought gold, silver, and iron to oasistowns to supplement local copper 111 the production ot jewelry, weapons, and tools.I he\ sold silk and cotton that enabled local weavers to make finer cloth, and woodtor more elaborate architectural construction. Ideas also transformed the oases.Persians, tor example, brought knowledge ot irrigation that developed the elaboratefalajsystem to tunnel water to settlements. Today the oasis town provides access tothe products ot the 21st century—cars, TVs, cell phones, and computers. And as 111the past, itcontinues to be a place to exchange ideasthrough both formal institutions like universities andinformal meetings ot individuals.SEAThe seacoast has also been ameeting placethroughout Omani history. For millenniaOmani sailors have been famous tor their travelsthroughout Asia and Africa. Whether Sindbadot the tool Xifilih was .\n Omani is irrelevant;the widespread belief that he was reflects thereality ot many Omani sailors and merchants mthe Middle East and the Indian Ocean. Omanimerchants sailed to China inthe Nth century,and itwas an Omani who led the Portuguese explorer Vasco da (¡ama to IndiaQurayat fishermenin1498. The Omani seas continue to provide fishermen with their livelihood,cast their net from atraditional woodenhurí,an inshorefishing activity thatisrepeated dailyalong much ofOman's coastline.and. although most new ships now come from outside Oman, an effort is beingmade to revive its great shipbuilding traditions. On the shores of the city of Stir,a visitor caw see the reconstruction ot ancient dhows, and in Musandam, alongthe Straits oí I lormuz, traditional boats still actively fish 111 the local waters.Through this great maritime tradition, Oman has absorbed Indian,European, and African cultural influences. Many Omani communitieshave their roots inPersia, India, or Africa; Baluch, Gujarati, and Swahilican still be heard 111 homes throughout the Sultanate. And, not surprisingly,coastal music and dance are creative amalgams ot Arab, African,and Indian traditions—vitalelements ot Omani national identity.SMITHSONIAN FOLKLIFE FESTIVAL
THE FESTIVAL PROGRAMThe 200s <strong>Smithsonian</strong> Folklife Festival programon Oman features over ioo musicians, dancers,craftspeople, and cooks representing culturaltraditions trom the desert, oasis, and sea. Thedate-leaf baskets and decorative wool carpetsmade tor easy transport by nomadic desertpeoples provide a striking contrast to theheavy copper vessels and elaborate silverworkproduced by craftsmen in the oases, while proudshipbuilders demonstrate skills that have madeOmani ships renowned throughout the IndianOcean. The fabled frankincense that in someways represented to the ancient Mediterraneanworld what oil does to modern economies isstillgrown in the south and used throughout Oman.A section ot the program features a variety ofOmam adornments including aromatics suchas frankincense, as well as textiles and jewelry.Most Omam music accompanies dance andis present at celebrations ot all kinds around thecountry. People rejoice with music and danceat births and weddings, use them sometimesfor healing, and celebrate with them at timesof victory. Men's and women's dance is accompaniedby musical instruments that display thecultural influences ot the region—stringedinstruments trom India, wind instruments tromPersia, drums trom Africa, and even bagpipes(originally from Egypt but more recently playedby British military troops in residence in Oman)are allpart ot the sounds of Omam music.The 2005 program is the first to feature anArab nation at the <strong>Smithsonian</strong> Folklife Festival.Arabs and Arab Americans have participatedin past Festivals, but this program provides anopportunity to tocus on an Arab culture at atime when the Arab world isunfortunatelymuch misunderstood here. We hope the Omanprogram will dispel some myths about theregion and even include a tew pleasant surprisestor those knowledgeable ot the region.[65]NOTE ON TRANSLITERATIONArabic words that have been incorporated into English,including place names found in Webster's Dictionary, areprimarily written in their English form. Transliterationsof other words from the Arabic to the Roman alphabetare usually guided by Library ot Congress usage. Inmost cases, transliterations are made from ModernStandard Arabic words, not from words in Omamdialect(s). Diacritical marks are omitted unless they arean integral part ot the language. Readers will notice thefollowing two marks:(')An apostrophe to indicate the break in soundthat occurs in the middle of some Arabic words(') A single, inward-facing quote to represent the'ayn consonant which does not occur in EnglishSUGGESTED READINGAgius, Dionisius. 2003. Seafaring in the ArabianGulf and Oman.The People of the Dhow.London: Kegan Paul International.Callan, Lou, and Gordon Robison. 2000. Oman &the I 'titled Arab Emirates. Melbourne: Lonely Planet.The Journal ot Oman Studies, 1 bis. 1-12.197S-2002. Muscat: Ministry of Heritageand Culture. Sultanate of Oman.Ministry of Information, Sultanate ofOman: http://www.omanet.omOwtram, Francis. 2004. A Modern History of Oman:Formation of the State since 1920. London: I.B.Tauris.Stevens, Andre, 1990. Oman: Citadels between Sandand Sea. Winksele. Belgium: Terra Incognita.Wikan, Unni. 1991. Behind the I HI in Arabia: WomeninOman. Chicago: University of Chicago Press.RICHARD KENNEDY isthe curator ofthe 2005 Festival program on Oman andDeputy Director ot the <strong>Smithsonian</strong> Centerfor Folklife and Cultural Heritage. He has cocuratedFestival programs on the Silk Road.Tibetan culture, the Philippines, Russian music,Thailand, Indonesia, and Hawai'i. His Ph.D.isin South and Southeast Asian Studies fromthe University ot California at Berkeley.Hawley, Donald. 1984. Oman & ItsRenaissance.Second edition. London: Stacey International.All photographs courtesy oj the Omani Craft HeritageDocumentation Project unless noted otherwise.OMAN: DESERT, OASIS, AND SEA
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The annual Smithsonian Folklite Fes
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—CONTENTSThe Festival's Timely Ap
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COMMERCE FOR CULTUREFrom the Festiv
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[ii]The food concession for the Mel
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