[72]Although the oldismaking way forthe new, progress isstilla mantle wornlightly by a societythat retains a strongcommitment totradition, culture,and heritage.on otter, and special commissions are accepted for work to order.Contiguous with the various souks are artisanal workshops, wheresilver- and goldsmiths, weaponry makers, blacksmiths, leathercratters, carpenters, tailors, and hahva makers may all be found hardat work. It is evident, particularly in the gold and silver souks, thatmercantile prosperity and the cosmopolitan character of the capitalhave done much to encourage the production of luxury goods.The souks of the capital are outlets not only for consumergoods but also tor a broad range of imported raw materials usedby urban and rural artisans. Textile sellers offer fabrics from the FarEast, the Indian subcontinent, Africa. Europe, and the Americas,together with threads, trims, and other costume materials used byembroiderers and pit-loom weavers. Suppliers in the alleys behindthe gold and silver souk provide jewelers and khanjar (Omaniceremonial dagger) makerswith imported metals in ingotor nugget form, wire and sheetmetal in various gauges at highlycompetitive prices, dies, tools,scales, and crucibles from Pakistanand India, Omani leather, Indianteak, and arange of burnishing,soldering, and casting compounds.For the incense makers, perfumeand spice sellers otter fragrantingredients from the far cornersof the world—aromatic oils,woods, resins, rose-scentedwater, fixatives, and burners.The spice stalls also otter henna< powder and paste as well as2 dried limes, which are used as1afixative m henna mixtures.Although the old ismaking*i the new, progress isway foro- still a mantle worn lightly byThe secrets of one of the world'smost ancient crafts are containedin a small workroom in Bahla, oneof the last corners in the Arabworld where Indigo dyeing isstillintertwined with local cultureSuccessive generations of Omanisa society that retains a strong commitment to tradition, culture,and heritage. The extent to which Omani craft products continueto have utility in daily life is quite remarkable, as is the extentto which craft producers continue to equate challenge withopportunity m the practice of their craft. Craft skills continueto be passed down trom mother to daughter, father to son, andcontinue to be captivated by theOman remains among the few nations inthe Middle East withallure of the precious dyestuffa living heritage that remains relevant to both local populationsand visitors. There is every hope that the country cancontinue to broaden its horizons without forfeiting its past.SMITHSONIAN FOLKLIFE FESTIVAL
THE OMANICRAFT HERITAGEDOCUMENTATIONPROJECTRich and diverse, the craft industriesof Oman are among the mostimportant cultural traditions in theArabian Peninsula. Until recently,however, there had been littleresearch into this subject. When.73.itbecame apparent that the rapidmodernization of the Sultanatewould challenge the survival of thecountry's craft industries, the OmaniCraft Heritage DocumentationProject was initiated in1996 by HisHighness Seyyid Shihab bin TariqAn embroiderer 15 resplendent in her own hand-stitched finery inBilad Sur. She uses silk and metallic threads from India and Asia,and silk fabric woven especially for the Omani market.SUGGESTED READINGRichardson, Neil, .ind Marcia Dorr. 2003. The Craft Heritage of ( )man.Dubai: Motivate.MARCIA STEGATH DORR earned degrees in fine arts andeducation from the University of Michigan. She taught art andestablished an interior design firm in Ann Arbor before goingto live mThe Gambia with her family in 19X3. While there shecreated a West African artisans' co-operative. In1986 she moved tothe Sultanate of Oman, where her work in cultural preservationcontinued with a United Nations project to revitalize traditionalpottery production. Ms. Dorr is presently advisor to the governmenttor the adaptive re-use ot historic torts and castlesNEIL RICHARDSON was born in London and later movedto Australia, where he graduated from the University ofWestern Australia with a degree in business and marketing.He has worked in Oman since1989, specializing in heritagemanagement and the preservation of traditional cratt industries.In addition to his work on the documentation of traditionalcraft industries, he was a co-founder of the Omani HeritageGallery, a not-for-profit organization linking traditional Omaniartisans with contemporary markets tor their products..-4// photographs courtesy of the Omani Craft HeritageDocumentation Project unless noted otherwise.Al Said. Its aim has been to identifyand document the different typesof crafts in allparts of the country.From Xhejirz (ceremonial smallbladedax) makers of Musandamto the potters of Dhufar, hundredsof craftspeople have beeninterviewed, and their techniquesand products have been carefullydocumented and photographed.An important result of thisproject, the extraordinary twovolumework, The Craft Heritageof Oman, is a tribute to Oman'sartisans and the traditions theycreate. Authors Neil Richardsonand Marcia Dorr document theorigins and development of thecountry's craft traditions andartisan communities. They providea comprehensive region-by-regionrecord of the design and productiontechniques of the many and variedcrafts found across the Sultanate.This wide-ranging catalogue ofartifacts concludes with a review ofthe changing role of craft industriesin a rapidly modernizing society,making it the most significantpublication on the traditional craftheritage of southeast Arabia.OMAN DESERT, OASIS, AND SEA
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