Important cultural practices in Oman and the broader Middle East often remain enigmatic to the global community, obscured by various factors including limited exposure, stereotypes, and geopolitical tensions. These practices, deeply rooted in tradition and heritage, hold profound importance yet are frequently overlooked on the world stage.
While language barriers and geopolitical complexities pose challenges to understanding, the power of cinema becomes an important tool for cultural enlightenment. Filmmakers play a pivotal role in unravelling the secrets of Middle Eastern culture, capturing its essence and showcasing it to a global audience.
Among the many cultural practices in Oman, activities related to the dates season are starting to generate a better understanding these days. Al Tabseel is still very present, especially in Manah, Bahla, and Bidiyah among other wilayats across the Sultanate. This is because this tradition does not only hold an economic value but is a celebration of social value as it brings people together, reinforces teamwork and supports the preservation of Omani traditions.
When documentary film director Mohammed Al Ajmi decided to preserve the Al Tabseel season in film, his goal was not only to showcase it in a beautiful cinematic approach but to make sure that the global audience would be able to appreciate this time-honoured tradition.
Already aware of the beauty of this tradition, Mohammed wanted to showcase the complexities of the season showcasing not just the dedication and resilience of the Omani farmers, and the challenges they have to face, but also how such activity is being passed down to the younger generation.
Al Ajmi would later title the film Al Murad, an Arabic—Omani rope that refers to the rope used during the harvest season.
To harvest the dates, men from different villages would have to climb the date palms sometimes around 8 metres tall. To secure and keep the climbers safe, they would be tying a rope around their hips which allows them to stay secure and not fall.
The murad not only secures the climbers, but they also use the same rope to slowly drop the qafeer or the basket filled with harvested dates to the ground.
During the making of the film, Al Ajmi and his team had to ask for the schedule of the harvest and had to come in early so they would catch the farmers at the right time.
Mohammed shared that seeing the process allowed him to have an even deeper appreciation for the process, as it's not easy and requires proper technical skills to ensure the harvest.
"We tried to capture the rawness of this experience in the film. But for us, the main takeaway we home viewers will have is how the Al Tabseel season is complex, but underneath this layer, it creates core memories for the families.
"The films show the happiness of the children who enjoy their holidays around the farms and surrounding green trees," he shared.
"It was a true labour of love. It took us 3 months to complete the film and we were working with 13 people who wanted to see it succeed. We were astonished by the outcome," he said.
The film has won three awards so far, which include the Ain Platform Judges’ Award at the second Al Sharqiyah International Film Festival, the Best Film Award by Audience Vote at the Al Sharqiyah Film Festival, and the Best Screenplay Award at the Sahara Film Festival.
“Praise be to God, the film has received great reviews from the audience. At the beginning of each screening, there's always been a buzz and appreciation for the work," Al Ajmi said.
"My hope is for the film to reach an even wider audience and that it will become available on many different platforms at festivals inside and outside of Oman," he said.
In a world increasingly interconnected yet often divided, cultural exchange becomes imperative. Films act as catalysts for this exchange, transcending borders and inviting audiences on a journey of discovery. By spotlighting the cultural richness of Oman and the Middle East, filmmakers sow the seeds of appreciation, paving the way for greater global harmony and understanding.
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