Omanis today enjoy a standard of living that would have been inconceivable to their grandparents. Technological advance and accompanying prosperity, brought about under the wise leadership of His Majesty, Sultan Qaboos bin Said, have transformed our country. In the rapid march to progress, however, it can be easy to disregard tradition, and, as age-old customs are replaced by modern systems, the direct link between a people and their heritage can be weakened. Indeed, to younger Omanis, raised in the comfortable conditions of the last 30 years, heritage can somehow be retrospective, a relic of the past, and something that they see on ceremonial occasions or in museums. Keeping heritage relevant to the modern age and ensuring traditions continue to be passed on from one generation to the next can therefore be a challenging task. At the direction of His Majesty, various government departments have done commendable work in keeping vulnerable aspects of our heritage alive, including traditional craft industries, many of which are in danger of being rendered obsolete by the forces of progress and Oman's transition to a modern state.

Given the present trend toward globalisation, the importance of preserving Oman's heritage and culture cannot be overstated, for it is our heritage that defines us as a nation and as a people. Traditional craft industries in particular give expression to our identity, for every product made by Omani artisans provides insight into our own lifestyles and occupations, as well as our social structures and beliefs.

The Omani Craft Heritage Documentation Project was conceived in order to support the efforts of the Omani authorities, and to help ensure crafts play a full part in Oman's renaissance. Research into traditional crafts had been carried out previously as part of various initiatives, both governmental and private, but what was now required was a comprehensive survey of the whole country, one that would serve the Sultanate and signal the importance of Oman's heritage and culture to an international audience.

Neil Richardson and Marcia Dorr, the researchers and authors of this publication, were entrusted with this formidable challenge. With nine vast provinces across the whole of the Sultanate to survey, and terrain comprising coast, mountain and desert, we all appreciated the difficulties involved, but the authors' wealth of experience and knowledge of their field stood them in excellent stead during the lengthy endeavour.

The research and writing process commenced in 1996. For each of the nine provinces the methodology was the same: identifying the location of craft communities, interviewing artisans, recording and photographing raw materials, tools and equipment, production processes, and articles made, and examining the context within which each craft developed and is practised. Given the seasonal nature of much craft production, the often extreme remoteness of many craft communities and the lengthy production processes inherent in many craft disciplines, the process of documentation continued for a full three years.

During this time the extent to which artisans continued to practise their craft was a source of continual encouragement, and a testament to the resilience and perseverance of Oman's craft communities. For the small number of craft disciplines that had been forsaken, craft skills continued to exist within living memory and documentation was still possible. That these artisans demonstrated a willingness to return to the practice of their craft upon the identification of economic opportunity or the provision of other incentives gives much cause for optimism about the perpetuation of Oman's traditional craft industries as a whole.

In addition to their field research, the authors examined the origins of Oman's craft traditions, the influences that have come to bear on the development of crafts in Oman, and the utilitarian basis that underlies all craft production. Furthermore, they identified the various elements of design that have come to symbolise Oman's craft heritage. The result has been a rich archive of photographic images and information that provided the material for this publication and will serve as a major resource for our nation and for scholars worldwide.

The process of preparing the material for publication took a further two years. I believe that the final result stands as a testament not just to the dedication of the authors, but firstly to the myriad craftsmen and women throughout the country who freely shared their unique knowledge about one of our most important cultural resources. We owe each one of them a tremendous debt of gratitude.

Although this publication is the culmination of the authors' research, and of the Omani Craft Heritage Documentation Project as a whole, I would like to view it as a starting point rather than as an end itself. As our world continues to change, it is my fervent hope that the future will present renewed opportunities for Oman's traditional craft industries, and that this publication will contribute to greater discussion and analysis of how these ancient traditions can be sustained in the modern age. We can then do our best to ensure that the spirit which these crafts represent remains alive, and that we continue to use hand-made craft objects in our homes and in the workplace as we have done for centuries.

Finally, I take this opportunity to express my profound gratitude to His Majesty Sultan Qaboos bin Said for his gracious support and for his direction that the perpetuation of Oman's heritage and culture be given due consideration as part of the country's development agenda. The craft heritage of Oman bears witness to a great and ancient civilisation and it is the shared responsibility of all Omanis, young and old, to ensure that it continues to do so.


Shihab bin Tariq Al Said