Palm frond weaving in Qatif: The heritage of the forefathers lives on in the hands of the sons
In a scene reflecting a deep connection to their roots, veteran artisans in Qatif Governorate have intensified their efforts to protect the heritage of palm frond weaving from extinction by passing down the secrets of this intricate craft from fathers to sons. This initiative aims to ensure the sustainability of the Eastern Province's cultural identity and to bolster the creative economy based on traditional crafts that form an integral part of Saudi Arabia's heritage.
Historical context: The palm tree is the foundation of life
The Qatif region boasts a rich history deeply intertwined with palm trees, as its lush oases were a vital source of life in ancient times. The palm tree was not merely a source of food through its dates, but a "tree of life" from which every part was utilized. From this arose the craft of palm frond weaving, where, over centuries, local inhabitants developed engineering techniques to transform palm fronds into indispensable everyday items, from bedding and food storage containers to tools for construction and ventilation, making this craft a cornerstone of the region's traditional economy.
Guardians of heritage pass on the trust
This cultural movement is led by a select group of elders who inherited the craft from generation to generation. In this context, craftsman Ali Hassan Al-Rabah emphasized that his adherence to this craft stems from the legacy of his father, Haj Hassan Al-Rabah, with the aim of documenting the traditional way of life lived by his ancestors and transmitting it vividly to new generations, thus ensuring that this delicate thread of heritage is not severed.
Al-Rabeh has years of experience in transforming palm fronds into various functional and aesthetic products, including “Zabeel,” “Marfa’a,” and “Quffa,” in addition to old cooling tools such as “Al-Mura’a Al-Mahfa,” and dining and hospitality tools such as “Al-Safra” and “Al-Hasir,” which are products that have begun to return to the forefront as art pieces and heritage decorations.
Secrets of Innate Engineering
On another side of this living memory, palm frond craftsman Abdulrab Al-Matar recounts the details of his journey, which began at the age of nine when he learned the fundamentals of the craft from his mother. Al-Matar has mastered the basic "saffa" technique, from which all other artistic forms branch out, relying on complex, innate geometric skills.
The process begins with six strands of palm frond, before adding the "seventh strand," which the older craftsmen call "the father," the essential support upon which the final product's integrity is built. He explained that crafting a single "saffa" (a type of basket) requires meticulous precision and immense patience, as it necessitates preparing thirty strands, each three and a half fathoms long, which are then intricately woven together using a delicate artistic technique to ensure strength and quality.
Cultural and economic importance
This effort is not merely about nostalgia; it carries significant cultural and economic dimensions. Preserving the palm frond craft contributes to strengthening national identity and supports the Kingdom's heritage tourism sector. Furthermore, transforming these products from purely utilitarian tools into works of art opens new horizons for productive families and young artisans, connecting the past with the present and bolstering the local economy.
Al-Matar added that the technical terms in this craft vary depending on the number of branches. A piece made of two branches is known as a "takhmisa," one with four branches as a "simt," and so on up to a "ushr." His skill is evident in the making of the "marhala," a tool traditionally used in palm fronds to carry firewood and palm leaves. It is formed by adding a "head of the palm" after sixteen heads of palm leaves, in a precise manual calculation.
In concluding their remarks, the craftsmen stressed that their primary motivation is not financial gain, but rather preserving historical memory. Al-Matar practices his work with personal passion to document the heritage for himself and his community, refusing to sell some of his rare pieces so that they remain a living testament to the good old days.
