Restricted Technical Report PP/1988-1 g89/X1.3 REPUBLIC

OF YEMEN Creation and Creativity

Global Programme for the Development of Handicrafts in the Republic of Yemen

by J. Anquetil

Serial No. FMWCCIAEBISOI109

A United Nations Educational, Scientific and Cultural Organization

Paris, 1990

U l f S E U

REPUBLIC OF YEMEN

GLOBAL PROGRAMME FOR THE DEVELOPMENT OF HANDICRAFTS IN THE REPUBLIC OF YEMEN

by J. Anquetil

Report prepared for the Government of the Republic of Yemen by the United Nations Educational, Scientific and Cultural Organization (Unesco)

U N E S C O

Technical Report

FMR/ CC/ AE B/90/ IO 9-( Anq u e t i 13 20 August 1990 0 Unesco 1990 Printed in France

PP/1988-1989/XI.3

Abstract

TABLE OF CONTENTS

Pase

(ii)

I. INTRODUCTION 1

11. OBJECTIVES OF THE PROJECT 2

111. RECOMMENDATIONS 4

IV. ANALYSIS OF EXISTING HANDICRAFTS IN THE REPUBLIC OF YEMEN 6

Weak points 6 Strong points 7

V. HANDICRAFT CENTRES PROPOSED 8

General considerations Centre for architecture-related handicrafts The basketry centre The textile centre The jewellery centre The national jambiya centre The leatherwork centre The pottery and ceramics centre The metalwork centre The Arab Countries' Handicraft Centre

VI. NATIONAL PILOT WORKSHOP PROGRAMME IN THE PROPOSED HANDICRAFTS CENTRES

8 11 15 17 21 23 25 27 29 30

36

Adaptation of products 36 Quality of products 36 Range of products 37 Authenticity of products 37 The training programme 37 Budget estimates 38 Results anticipated 39

VII. ECONOMIC JUSTIFICATION OF THE PROGRAMME

VIII.CONCLUSIONS

ANNEX - Photographs of Existing Handicrafts

40

41

42

(ii)

Abstract

Handicrafts are an integral part of the cultural heritage of the Republic of Yemen, and of its living history. Their situation today is a matter for concern, since they are on the verge of extinction, threatened by diverse factors, including the rapid pace of socio-economic changes in the modern world, mediocrity of products, increased imports, worker emigration, and difficulties of access to certain areas of the country. It is urgent to devise remedies before the craftsmen of the present generation vanish, leaving few successors to perpetuate their skills.

The report analyses the problems facing Yemeni handicrafts and proposes solutions. The Yemeni Government has instituted measures designed to help preserve local crafts, and a project is currently under way. The protection of Yemen's traditional handicrafts goes hand in hand with the restoration of the historic old city of Sana'a and with participation in the Arab Countries' Regional Action Programme on behalf of handicrafts. Detailed technical information is given concerning specific handicrafts, including those related to architectural elements, basketry, textiles, jewellery, iambivas, leather, metalwork, and pottery and ceramics. Recommendations for the updating of Yemen's handicrafts include the founding of eight craft workshops; documentation centres and showrooms; the modernization of equipment; the recruiting of instructors for vocational training and management training; encouraging the use of native raw materials; the curbing of imports; the adaptation of handicraft products to cater to the local and tourist markets: the development of new products: contests for selection of hana'icraft displays; and the issuance of quality labels.

The report surveysthe potential of handicrafts for creating new .employment opportunities. Budget estimates are submitted, together with comparative international statistics on the market for handicrafts in Yemen, where tourism is on the upswing. The conclusion concerning the general outlook for Yemeni handicrafts is that although craft items are generally not essential commodities, their encouragement should be given favourable consideration: from the economic standpoint, the development programme proposed here would help solve Yemen's unemployment problem; socially, the revival of handicrafts Qould mean complementary occupation for Yemeni women; and, culturally, handicrafts loom as' countervailing factors to the mainstream world trend toward uniformization.

,

I. INTRODUCTION

1. The present report was commissioned within the framework of the Participation Programme for 1988-1989, for the purpose of assistingthe Government ofthe Republic of Yemen in implementing its handicraft survey and development programme in order to draft a schedule for the upgrading of handicraft promotion in Sanala. This schedule was to be compiled in co-operation with the competent national authorities. In this connection, Mr. Jacques Anquetil, Unesco consultant, undertook a mission to the Republic of Yemen from 16 October to 17 November 1989.

2. Sana'a, the capital of the Republic of Yemen is listed in the Unesco Cultural Heritage Division's inventory of the world's cultural treasures that are to be safeguarded.

3. The Executive Office for the Preservation of the Old City of Sana'a was set up under the auspices of the Prime Minister. This office is housed in the ancient Dar Sadid palace, restored by the Royal Family.

4. Its director, Dr. Abdul Rahman al-Haddah, is in charge of initiating all the actions necessary for protecting and restoring the historic city, together with its cultural and artistic life. Dr. al-Haddah has a deep personal attachment to the development of handicrafts in his country, in the context of the revitalization of the old city. He fully realizes that Yemen's handicrafts are a masterpiece in jeopardy that urgently requires safeguarding, along with Sanala's ancient buildings. The country's handicrafts are a living history of Yemen, and over a large part of its area they constitute its cultural heritage.

5. In 1979, at the Yemeni Government's request, a report entitled National Plan for Co-operative Assistance to the Handicraft Trades of the Yemen Arab Republic was compiled by the International Labour Office jointly with the Confederation of Yemen's Development Association (CYDA), responsible for the protection and fostering of the handicraft industries.

6. This skilfully compiled, well-documented initial report (Mr. D. Stuart Williams, consultant) is of significant interest, and it enables a comparative survey of the situation of Yemeni handicrafts over the past ten years. For example, it is noteworthy that Mr. Williams lists 300 weavers at Bait al-Faqit, whereas the present consultant found only twelve weavers still active in that locality in 1989.

7. In view of the rapidly deteriorating plight of Yemeni handicrafts brought about by the fast evolution of society and by new economic constraints, the Government had instituted drastic measures, with financial assistance from the United Nations Development Programme (UNDP) and the International Labour Organization (ILO) . Under the direction of Mr. Kevin A. O'Connor, ILO consultant, a project for the renewed development

2

of traditional craft industries was submitted in 1988-1989, entitled Handicraft Survey, Yemen Arab Republic.

8. The main purpose of this project was to reverse the currently declining trend in the Yemeni handicraft industry, to increase its profitability, and to generate new income and new employment opportunities for new members of the work force. The project was also designed to contribute to the preservation of the traditional crafts that are part of the nationls cultural heritage.

9. In Mr. OlConnorls report, the investigations in Part I include surveys of the situation regarding jewellery, gemstones, textiles (including basketry), leatherworking and wood cawing. Part I1 covers ironmongery, brass- and copperware, and pottery, with recommendations for a study of each of the techniques.

10. Thanks to the existence of the two structures headed by Dr. al-Haddah, the present consultantls mission consisted primarily of formulating recommendations on the basis of the existing survey and of fostering the insertion of additional handicraft development programmes under the auspices of the currently ongoing project (1988-1989 Handicraft Survey) within the framework of the Executive Office for the Preservation of the Old City of Sanata. The purpose of the\project proposed here is to complete and expand the one that is already under way.

OBJECTIVES OF THE PROJECT

The objectives of the Yemeni Government are as follows:

Reduction in the number of handicrafts employing imported industrial products (such as acrylic fibres used in weaving) ;

Creation of jobs (employment opportunities for individuals newly entering the work force);

1

Development of Yemeni handicrafts with a view to the upgrading and utilization of natural resources and local creativeness and to the preservation of traditional crafts, with special emphasis on architecture-related skills;

A third five-year plan (1987-1991), emphasizing substitutes for imports, i.e. the maximum use of local 'resources, development of small industries and handicrafts, and the promotion of tdurism;

The Government's decision to obtain foreign assistance for the development of handicrafts and rural industries, which is also indicative of the new orientation of its economic policies ;

Imparting fresh impetus to handicrafts in the old city, the

i)

ii)

The

3

project being accommodated in two buildings - one for the men's training, the other for the women's - with a structure being set up for the marketing of handicraft projects. Under this heading, two concrete realizations have been achieved:

The old copper caravanserai (samsarah nahas), housing the activities of the men's sector (leatherwork, jewellery, wood carving and weaving) has been restored to accommodate the ancient techniques and materials. Its roomy ground floor, which boasts some old storerooms, could be used as an official showroom for continuously ongoing displays.

A magnificent, spacious mansion called Bait Mutahaar (located outside the souk) has also been restored to house the activities ofthe women's sector (rug-making, weaving, embroidery and basketry), with the technical assistance of Mrs. Sally Brockensha (a weaving specialist). The objective of the women's sector will be to initiate women into a variety of kinds and techniques of weaving, affording them an opportunity to earn income in their homes after training.

instituting of government-initiated measures designed to foster the use of indigenous wool and cotton by erecting protective tariff barriers aimed at foreign competitors' imports. The Yemeni women, whose emigration to the neighbouring countries accounts for only limited numbers of individuals, have largely contributed to the output of the wood and cotton sectors.

The specific objectives are as follows:

With the help of the Government and of international organizations, the restoration of several of the tower houses in various souk caravanserais:' this is already in progress (Unesco programme, Mr. Barry Lane, consultant);

Imparting new impetus to the social, cultural and economic life of old Sana'a. The aim is not to transform Sanala into a "museumt1 city maintained for a privileged few; rather, the aim is to keep Sana'a alive. To this end, handicrafts, with their related commercial and cultural activities, must be maintained and developed in the souk in the forms in which they already exist;

Drafting a concrete programme for the revival of those handicrafts that are the most seriously threatened by competition from imports;

Developing the tourist market by means of very competitive, adapted products and/or new products. Creative design and production are not enough bythemselves: selling is a must;

4

e) Bringing Sana'a into line with the modern world and attuning it to contemporary realities in order for it to remain a living city.

i) Earlier craftsmen were adept at changing their working procedures: for example, the traditional windows made of alabaster, a raw material that became extremely , expensive, were replaced by windows with coloured-glass panes; with the mass emigration of craftsmen and the scarcity of local woods, in new buildings the carved wooden doors were replaced by iron doors embellished with painted geometrical designs (real Pop Art!) based on constantly differing patterns on each floor.

ii) The silversmiths have successfully converted to the more popular gold work that is increasingly in demand. In 1971, there were only five goldsmithery shops in old Sana'a, whereas by 1989, their numbers had risen to 107.

iii) The artisans in old Sana'a realize that true tradition lies in contemporary creative designs catering to the new utilitarian needs of the big local clientele - a clientele that is even bigger when the tourist market is included (7 percent annual growth).

f) Creating structures geared to help craftsmen improve their products, techniques, workshops, and marketing potentialities. The instituting of more competitive prices will clear the way for the difficult export market.

111. RECOMMENDATIONS

Cultural and economic aspects of the old city of Sana'a

13. It is recommended that the old city be preserved in view of its particular importance as a crossroads between Arabia and Africa. Since earliest times, Sanala has played a major role as

' a relay post and a crossroads for.caravans. The Sana'a souk is reputed to be the oldest urban marketplace in the Arabian peninsula. In 1986, 1,750 shops and stalls were listed as areas of overlapping business and production activities. Despite the rapid transformation of society, the souk remains a major merchandising centre for handicraft products either produced on site or brought in from the sundry regions of the 'Republic of Yemen. The souk's role as a crossroads for products in the old city is primordial hithin the context of the overall programme of handicraft development.

14. Far-reaching transformations have already occurred in the souk. Only the .pluridisciplinary activities involved in the crafting or assembling of the various components of the jambiyas and in skilled jewellery-making are still alive. Significantly,

5

the crafting of coloured window glass, an activity vital to the safeguarding of old Sana'a, is scattered amongst a large number of workshops located on the outskirts of the new city.

15. It is recommended that several glass ateliers be set up around a square in the old part of Sana'a so as to facilitate transportation, primarily with the aim of producing a blown-glass facility for coloured windowpanes.

16. It is recommended that energetic measures be taken to save traditional crafts from extinction. The brassware artisans, embroiderers, blacksmiths, weavers, potters and leatherworkers are facing stiff competition are threatened by the large-scale importing of cheaper, industrially-produced goods: for example, for iambiva belts, imported Syrian-made machine embroidery is replacing local handmade embroidery. Quite possibly within the next two years - if not within the next year - the last surviving craftsmen will have vanished, taking with them their skills and traditions that are so precious for the world.

17. It is recommended that a showroom be set up for displaying the finest handicraft products. (For this reason, the consultant deemed it expedient to gain an insight into all the production potentialities of the Republic of Yemen.) This showroom should be in the city, which must remain the place for exchanges and contacts between the rural and urban communities. This revitalization entails a global approach to the national economy for reasons related to import permits, to the development of tourism, to the founding of vocational training centres, to the teaching of arts and crafts in primary and secondary schools, and to the revival of traditional skills in pilot workshops in every craft.

18. It is recommended that new and varied forms be found for the development of closely interrelated production and commercialization. In addition to these initial, limited training actions in the context of the two structures existing in old Sanala (Samsarah Nahas and Bait Mutahaar), new life must be injected into the areas around the souk. Shops in this locality are few and far between, and it is recommended that several handicraft centres be set up to dispense training and to turn out new products tailored to suit the market demand, at the same time featuring sales outlets with showrooms displaying the latest products from each centre.

19. A small guidebook should be compiled containing a detailed map and itinerary (starting, for example, from Bal al-Yemen or from the main mosque). This would enable visitors to find their way more easily to the centre along a route designed to reveal the rich urban landscape of old Sanala, with its dwelling places, squares, gardens, and mosques. A district mosque with its distinctive minaret could be an additional landmark to guide tourists through the maze of streets leading to a handicraft centre.

6

20. The recommendations set forth in the 1988-1989 Handicraft Survey Report should be complied with, including notably the recommendation that co-operation be maintained with the Executive Office for the Preservation of Old Sana'a.

21. The specific recommendations of the present report concern the programmes of the various handicraft centres proposed and their budgets. Later chapters of this report will analyse these centres on the basis of the need for adaptation of all the handicrafts concerned.

IV. ANALYSIS OF EXISTING HANDICRAFTS IN THE REPUBLIC OF YEMEN

22. In the light of the inventory of the existing Yemeni handicrafts (illustrated summary in the Annex), the main issues facing this sector of activity in the Republic of Yemen are as follows:

a) Weak points

i i)

ii)

iii)

iv)

v)

vi)

vii)

Production is scarce, slow, and disorganized; the items are of only middling quality and fail to meet the high standards required to attract tourists sufficiently or to properly satisfy consumer needs (lacquered finish, unduly high prices, outmoded models, etc.: textiles, jewellery, sizes, shapes and colours do not cater to the requirements of the tourist market).

Absence of product testing and lack of standardization of quality (labels).

Utilization of only a limited array of raw materials, whereas thesematerials actually abound in Yemen. (Many raw materials are either used insufficiently or are not used at all, including gemstones, amber, lava, etc.)

Lack of financial inducements in the handicraft sector: artisans are unable to earn a decent living and to devote themselves exclusively to their crafts.

There is a shortage of suitable tools and small machines that would help craftsmen to .enhance their40utputs as well as to ensure high production standards and competitive prices.

Lack of vocational training for apprentice craftsmen.

Lack of outlets: both the local and the tourist markets are limited, and the exporting of products is not yet organized.

7

viii) Lack of management training for craftsmen, who are unable to calculate cost prices accurately.

ix) Difficulty of obtaining statistical data on this cottage industry, since handicrafts are a secondary activity for rural dwellers (for basketmakers in particular).

b) Strons points

i) There is a broad array of resources in the Republic of Yemen and there are individuals who possess a cultural heritage (the synthesis of several civilizations) and who are endowed with skills and potentialities as creative designers.

ii)

iii)

There are outstanding items in the way of baskets and pottery, in addition to the jambivas: the utilitarian handicrafts are extremely valuable culturally.

There is a vast potential thanks to the existing raw materials - of which few are used and some are not used at all - for the handicraft sector (gems, leather, cotton, sisal, etc.).

iv) The Government's willingness to develop this field of activity on the basis of a currently ongoing three-year survey plan (1988-1991).

VI The presence of a large number of craftsmen- instructors qualified to teach their techniques (traditional artisans who, although lacking academic credentials, are able to transmit invaluable knowledge).

vi) Since the cost of purchasing tools and setting up workshops is not high, the handicraft sector could be developed and jobs created with only a minor investment.

vii) The existence of the window-glass and iambiva handicrafts, which are the most symbolic of the Republic of Yemen and are the most highly developed, along with old-style jewellery.

viii) In the light of the statistical data for all the areas, it would be possible to bring together in the showroom in old Sanala the richness and diversity of Yemeni handicrafts for both the local and the tourist markets.

8

Measures recommended

23. In the light of the foregoing, the following measures should be implemented on the basis of the conclusions and recommendations of the Yemeni Handicraft Survey Project:

Development of Yemeni handicrafts, with the upgrading and utilization of natural resources and local creative artistry.

Adaptation of traditional models so as to cater to present needs and varied markets.

A wider range of goods (product adaptation in each pilot workshop).

The creation of new products with both new and traditional techniques for employing local raw materials, including those already being used and those not yet used.

Suitable apprenticeship training for artisans in various crafts with a view to achieving professionalism (a training programme in each pilot workshop).

Providing incentives to encourage investments in the handicraft sector for the improvement of craftsmen's economic and social conditions, and reducing the number of handicraft items involving the use of imported industrial products.

Providing marketing facilities, attractive premises and new outlets for handicraft products (continuous official exhibits, and showrooms in each specialized workshop).

Promotion of handicrafts through appropriate advertising and incentive campaigns designed to induce the public to purchase handicraft items.

HANDICRAFT CENTRES PROPOSED

General considerations

In the light of the inventory of handicrafts in Yemen-and of the measures to be implemented on the basis of.the foregoing analysis of weak agd strong points, the following questions emerge : What orientation training is necessary for the handicraft sector? For which specific sectors is it necessary? At which levels is it necessary?

25. Since the vocational training programme must concentrate simultaneously on handicraft techniques (new equipment programme and art training, creation of new products), with particular emphasis on designs for utilitarian objects, the handicraft items

9

made in Yemen should be mainly geared to everyday use. Tourists are interested in originality (typically Yemeni features) , and sound quality and good finishing.

26. The number of handicraft workers (men and women) will be on the basis of the restoration of old Sanala, of the market potential, and of the utilization of local raw materials. The various workshops proposed involve two priorities, i.e. the upgrading of local raw materials and the utilization of all their resources. This programme is in accordance with the Yemen Handicraft Industries Project (UNDP/ILO/YEM) . 27. The Survey lists recommendations for specific groups of handicrafts. The priority goal is the revival and preservation of threatened handicrafts, including silver jewellery, gemstones, cutting, polishing, weaving, leatherwork and wood carving. The second part of the Handicraft Survey addresses those crafts that were not dealt with in the first part. Ironmongery, brass- and copperware, pottery, window glass and iambiyas, the trades which are flourishing and reliable, have not been studied for quite different reasons. The principal Survey recommendation will be indicated for each craft.

28. The development programme submitted in the present report is global. The majority of the craftsmen in the Republic of Yemen have little or no experience in assessing the social and economic realities related to their own work. Many handicrafts are declining. Certain of them are moribund.

29. The plan proposed would allow for the creation-of five hundred new jobs during three years and the training of 2,800 apprentices in the sector at the same time.

30. The Arab Countries' Handicraft Centre project is very important. Based in the old part of Sana'a, with the prospect of action by the Arab countries, it emerges as the only project geared to solving all the operational problems of a national centre (instructors, managers, funding programme, etc.).

31. The investment necessary for setting up and running the centres will be justified by the creation af jobs and by the maximum utilization of Yemeni raw materials.

32. With creatively designed wares, handicrafts would become highly important for the economic development of the Republic of Yemen. Handicraft exports represent a major source of foreign currency in those countries in which exporting is organized. (Thailand is currently exporting over $ 300 million worth of handicrafts, thereby creating several million new jobs. See the economic justification of this programme in Part VI1 of the present report. )

33. In co-operation with the Executive Office for the Preservation of Old Sana'a, a plan should be drawn up for restoring the premises of the various handicraft centres

10

proposed. The following is a list of the eight planned handicraft centres.

a) Centre for architecture-related skills:

i) Pilot workshop: glass-blowing for colouredwindowpanes (samirva) .

ii) Pilot workshop for wood carving and wood turning for restoration work and for the creation of new products (in particular, the making of furniture suitable for the dwellings in the old part of Sana'a), in liaison with the metalwork centre.

iii) Showroom (continuously ongoing exhibits).

b) Basketry centre:

i) Pilot workshop for processing various plant fibres.

ii) Pilot workshop for plant dyes (in liaison with the textile centre).

iii) Showroom.

c) Textile centre:

i) Pilot workshop for the weaving of cotton, wool, hair and fibres.

ii) Pilot workshop for embroidery machines.

iii) Pilot workshop for the dyeing of cotton, wool and hair.

iv) Showro.om.

d) Jewellery centre: \

i) Pilot workshop for silver jewellery.

ii) Pilot workshop for gold jewellery.

iii) Pilot workshop for gemstone products.

iv) Pilot workshop for fancy jewellery.

e) Jambiya centre:

i) Pilot workLhop for dagger blades, in liaison with the metalwork centre.

ii) Pilot workshop for handles and sheaths in liaison with the jewellery centre and textile centre (embroidery machines).

iii) Showroom.

11

Leatherwork centre:

i) Pilot workshop for fancy leather goods.

ii) Pilot workshop for footwear.

iii) Pilot workshop for bookbinding.

iv) Liaison with the iambiva centre for the making of

v) Showroom.

Pottery and ceramics centre:

i) Pilot workshop for traditional pottery.

ii) Pilot workshop for contemporary ceramics.

iii) Pilot workshop for enamelled pumice stone.

iv) Showroom.

Metalwork centre:

i) Pilot workshop for blacksmithery, with modern forge.

ii) Pilot workshop for brassware and copperware crafting.

iii) Improvement of traditional items in liaison with the

daggers, sheaths and belts.

jambiva dagger-blade manufacturing centre.

iv) Showroom.

34. (design centres) is as follows:

The regional programme of Arab Countries' Handicraft Centres

a) Training programme for product adaptation and the creation of new products.

b) Promotion and commercialization (travelling exhibits, participation in international trade fairs, issuing of catalogues) .

c) Showroom displaying selected products from the Arab countries.

d) Documentation centres.

Centre for architecture-related handicrafts

35. The variegated architecture of the Republic of Yemen is exemplary and unique. It stands out as a model of the art of building without architects. It manages to be popular and spontaneous in full harmony with the natural environment. One

12

feature of traditional Yemeni architecture is its use of local raw materials:

- Stone in the mountainous areas.

- Clay in the semi-desertic plateaus.

- Fired clay bricks or unfinished bricks from the high t

plateaus.

The structures made with the above materials involve the participation of several different craft corps:

a) Freestone work:

i) The mullans were designed on the basis of the builders' requirements. The usta decided on the various ways of stone cutting depending on the site (facades, window arches, angle stone, friezes, etc.).

ii) Certain craftsmen use the stone-cutting technique to turn out utilitarian objects of extremely pure shapes (traditional cooking utensils). This is a handicraft that could be developed for the tourist market, including ashtrays, plates, lamps, etc.

b) Gypsum work and window glass:

ii)

Gypsum work is used for covering inside walls, for finishing the muffredse for installing polychrome arches and for finishing shelving and decorative bas- relief s.

Gypsum is also used as a distemper for facade elements. Each area has its own style of decoration. Each element - doors, friezes, windows, moucharabiehs - is a pretext for decoration, in the traditional akray of geometric and symbolic motifs.

iii) In old Sanala, the characteristic building materials are stones, fired bricks, wood, plaster and gypsum decorations. The carving of gypsum fanlight screens is one of the skilled crafts of the Republic of Yemen.

iv) Together with the jambiya, gypsum coloured window glass (samirva) is a symbol of the Republic of Yemen. (This is still a major handicraft activity.) It'has. been a steadily-growing art for over one century. Thewindow- glass shages and motifs are extremely varied. Every windowpane is made to measure. Most of the coloured glass is imported from the Union of Soviet Socialist Republics and is quite expensive. The colour range is limited (red, yellow, blue and green): to obtain a broader range, the glassworkers sometimes insert bits of plastic between two layers of glass (the plastic being reprocessed from plastic bags).

13

v) In some cases, painted glass is used. The manufacturing of window glass requires no particular assistance, since it is not in danger from industrial production. However, in order to reduce cost prices and to enlarge the colour range, it would be advisable to set up a small glass-blowing workshop in old Sana'a. Today,.every dwelling unit and commercial building is erected without the inclusion of window glass in all the principal rooms.

vi) Although these glass products would be of but scant interest for the tourist trade, because of transportation difficulties, they could have a great appeal if they were adapted. One local artisan has taken the initiative of making small windowpanes for tourists. He designs models based on patterns taken from the old houses in Sana'a. This kind of handicraft should be developed and encouraged.

Wood-working:

i) Wood-working products (sculptured, carved, turned woods) have been largely insignificant over the past twenty years. There are several reasons for this situation, as follows:

- Local wood is in scant supply and imported wood is very costly.

- The carpenters emigrated to the richer Gulf countries ten years ago.

- Prefabricated doors from Asia have gained importance in the southern part of the country.

ii) This crisis has led to a prodigious phenomenon of adaptation: throughout Yemen, the manufacturers are producing metal doors that are now painted or decorated, thereby launching a genuinely new, popular art that is very lively in the variety and the imaginative quality of the abstract decorations with which the doors are embellished.

iii) Wood carving in the context of the programme for the preservation of old Sana'a is highly important for the restoration of traditional buildings (windows, doors, balconies, moucharabiehs).

iv) In addition to the restoration work in the wood-carving centre, a pilot workshop should be set up for the producing of small furniture items suitable for traditional dwellings, e.g. beds from the Tihama area.

14

v) All kinds of carved chests of drawers could be created for the tourist market.

vi) In old Sana'a, the beautiful eighteenth-century doors of the building of Bayt Muhammaad of Yamani (on the first floor) have marquetry work done in mother-of- pearl and wood. This traditional technique could be carried on with the use of local raw materials, such as coral, amber and horn. The damascene craftsmen who make iambiva handles and sheaths could participate in this operation (for example, Muhammad Ali an Nume).

vii) The art of nail-head work could also be revived. Nails for ironmongery (istars) are continuing to be made (in various sizes) by the souk blacksmiths. It would be possible to cover wooden chests with nail-head work.

Woodcraft workshop proqramme

36. One problem for tourists who purchase wooden items is that the lumber is seldom kiln-dried, meaning a high potential level of cracking in air-conditioned and centrally heated premises. A solar lumber dryer should be seriously considered for the Republic of Yemen.

37. In the pilot workshop, it would be possible to produce laminated wood for turning out good-quality objects .(trays, bowls, candlesticks). Carving and fairly intricate turning are possible, and attractive new designs could be developed. The natural beauty of various woods and the potential in traditional and contemporary designs are the objectives for wood-carving, wood-turning and furniture-making.

38. For the tourist market, consideration should be given to varied aspects of wood crafts, such as kit-assembly items (children's furniture and toys). 1

39. Sets of three small nested tables, wooden spice chests (in various sizes) and traditional chairs and beds (serir) in kit form would also be worthy of attention.

Wood-carvinq programme I

40. This programme includes an inventory of supplies (woods, tools, small machines and other products) and specialized training:

a) The pricing of4 carved products and their competitiveness.

b) A market survey for the local market (doors, windows).

c) The outlook for the tourist market.

d) The establishment of merchandising outlets (marketing strategy for carved-wood and turned-wood products).

15

e) Training programme specifically geared to furniture-making.

f) Training programmes for product adaptation and for the learning of new techniques.

The basketry centre

41. Basketry in the Republic of Yemen has its applications in all kinds of functions involving a great variety of forms, from the simplest to the most sophisticated, including prayer mats, hats, grain-storage receptacles, trays, sundry food baskets, incense baskets, camel muzzles, etc. The basic, changeless requirements of daily living determine and inspire the forms (carrying, hunting, etc. ) .

42. Basketry has survived the most successfully of the handicrafts, and has not had to compete with imports or machine- made products.

43. The raw materials for basketry are inexpensive. Each region is distinguished by its specific resources and cultural tradition. The techniques are secret and are handed down from generation to generation.

44. In the Saada area there is namass grass, dyed red, green or black, used for making baskets with leather bottoms; in the Tihama area, there are daum-palm leaves, and spins, and nakhl date-palm leaves, stems, and spins.

45. However, many raw materials and techniques either are not being used at all or are being insufficiently used. For example, in the Tihama area, floor mats are made of sisal, banana leaves and fibre. From these latter materials it is possible to obtain a strong, flexible, silky yarn for weaving and rope-making. In banana-producing countries, banana leaves are commonly used for producing sturdy baskets and furniture (particularly in Haiti and Africa).

46. The objectives of the basketry centre are as follows:

a) To provide facilities for interested craftsmen for upgrading their products by adopting a new technology (at present, the artisan's only tool is a small knife used for cutting and peeling stems). A 50 percent time-saving could be achieved by the use of a machine for cutting and splintering: this is a small, manually-operated machine which can be adapted for use with all the other raw materials. Production costs should be low and product prices hence more competitive.

b) To demonstrate the various modern methods employed, including in the handling and processing of raw materials, the operation of new tools, the new equipment available, and the introduction of new patterns and designs.

16

47. The coiled basket technique, for making baskets out of grass (namass), is used for various baskets in the Saada and Raada areas. (The two structural parts of a coiled basket are the core, or foundation material, and the stitching or sewing material.)

48. Many different kinds of ropes, cords and fibres can be used as core material, and a wide variety of patterns and designs is possible. The stitching material holds the coils together and gives the basket its colour, texture, and surface design. In the stitching, it is possible to use fabric strips that are tied together: the various textures and colours enable very interesting designs. The raw material is quite cheap, since it can include scraps of used fabrics (from dressmakers, tailors, clothing manufacturers).

49. To achieve organized production, the basketry centre should have full facilities for training and producing. Baskets are the ideal tourist item. Production should be adapted so as to yield a variegated range of sizes, colours, and uses. Each basket must belong to a category and must not be an isolated item. For example, there can be nested trays, in red or yellow only, with three basic shapes (square, round and oval) and three different sizes (nested baskets are easy to pack and crate for export).

The recommendations of the basketry survey are as follows:

With the raw materials and skills in hand, it is recommended that attention be focused on adapting these skills so as to develop new basketry products.

Strict quality control should be instituted in order to maintain a continuity of high standards.

The basketry centre should also have facilities for the fibre programme, as follows:

i) Cutting, splitting, and trimming (with small machines if possible).

ii) Processing and curing.

iii) Bending and forming.

iv) Weaving (with various plant fibres such as sisal, bananla, etc. 3 .

v) Dyeing, colouring and painting.

vi) Joinery and stitching.

vii) Pressing and shaping.

viii) Testing of materials and products.

17

d) The aim is to create a comprehensive of products in categories outside basketry, e.g. furniture items (solid, inserts) and office and household

and innovative array the usual range of frame, with basketry items (briefcases,

wastepaper baskets, sundry receptacles, desk sets, table mats and cheese trays are examples of the kinds of products that could be considered for the tourist market).

Pilot workshops of the basketry centre:

i) Workshops for the various techniques involving local plant fibres (wattle work, lattice work, plaiting, coiling).

ii) Workshop for the vegetable dyes for fibres, in liaison with the textile centre; dyeing,

The textile centre

A. Weavinq

51. Textile production should be centred on the raw materials, cotton, wool and hair, corresponding to two different areas:

Cotton

52. The Tihama region is famous as the cotton-raising area of the Republic of Yemen. The weavers' villages are Bait al-Raqih and Al-durayhimi. The products are masnaf, futah and sittara. The cotton in this area is purchased directly by the Yemen textile corporation for producing cloth in the Sana'a cotton mill. Cotton from the Tihama region is not used by the weavers, who buy their cotton, imported from China or India, from commercial dealers.

53. For the weaving of a bedspread (235 cm x 120 cm) , Chinese sewing cotton costs about 400 YR (when in fine density, 70 epc [warp] and 16 pp cm [weft]). The finished bedspread is sold for 500 YR. For the labour, the cost is 100 YR, with two days' work and two men for each traditional loom = 25 YR per day for each weaver ( ! ) . 54. The Bait al-Faqih weavers are obliged to offer tourists cheaper (250 YR) bedspreads imported from India.

55. After the present generation of weavers has passed away, there will be only one individual left to transmit this skill. The present weaving potential is 1.5 metres per day, with two weavers, because the ground looms in use throughout Yemen are not suited to competitive production and prices. With counterbalanced looms fitted with batten-flying shuttles, six metres could be woven in one day, in 60-inch widths (1.4 metre widths), with only a single weaver. Six metres = six pounds of cotton per day.

18

6 p x 300 days = 1,800 pounds per loom per year. 6 m x 300 days = 1,800 metres per loom per year. With 200 new looms in activity:

1,800 pounds x 200 looms = 360,000 pounds. 1,800 metres x 200 looms = 360,000 metres.

Number of new jobs potentially created: 300 spinning, 30 knitted fabrics, 20 dyeing, for each specialized village.

The weavers should be encouraged to buy spun Yemeni cotton in bulk from the Sana'a cotton mill.

In Taiz, the pit treadle loom is used for weaving woollen fabrics (this loom was used in Persia, Egypt and the Sudan), with one man weaving 1.65 metres per day.

Among the products is the Yemeni men's wrap-around skirt (maawaz) , which was originally woven from unfinished cotton, but which today is made entirely of acrylic yarn imported from china. The price is 250 YR in the Taiz souk. There are also imitations, imported from Thailand and Korea, priced at from 80 to 100 YR.

Wool and hair

56. There are two major wool areas: the eastern plateau, with Saada, Marib and Al-Souf; and the central high plateau, with Raada and the Dhama Khamir area.

57. The products include rugs (shelma), small rugs used for carrying grain (za'al); vests (abbah). The rugs sell for 700- 1,500 YR, the prices depending on the size of the rug and the quality of the wool (fineness of the weaving).

58. Productivity is very low with the use of the traditional horizontal ground loom (the problem is the same as that with the ground loom used for cotton weaving). The product range is quite limited. The spinners are women:. they use a primitive spindle with a split bamboo distaff lock.

59. By intermingling goat and camel hair with black or white wool, it is possible to create new threads with carding (hand- carding). For spinning and unwinding, small machines (spinning wheels) are necessary in order to ensure good quality and competitively priced products. At the present time, raw material costs are high.

,

60. The recommendation of the Handicraft Survey is: "Government action should be taken to curb the rising influx of acrylic yarn and threat imports. Local material, wood and cotton should be used preferably to imports if cloth production is to be made more economical. Looms to increase efficiency and productivity should be introduced. I'

19

61. Adaptation of the existing ground loom is impossible. Training would be necessary for the weavers (cotton and wool) with the new looms proposed. The prototype counterbalanced looms equipped with batten-flying shuttles should be made locally by woodworkers in the old city of Sanata.

62. In view of the limited product range for each raw material (cotton and wool), it would be necessary to create an array of new models suited to local needs and catering to the tourist market.

B. Embroidery

63. Hand embroidery is on the wane in the face of competition from machine embroidery and cheaper imports from Syria and other countries. For example, a pair of trouser cuffs (sirwaal) takes approximately two hours to embroider by machine and sells for 80 YR, whereas a pair of hand-embroidered cuffs takes seven days and sells for 120 YR (the best quality costs 300 YR).

64. Among the embroidered products, the commonest and most numerous are the jambiva belts, together with the stiff hats for judges (qaawaa'q). Most of the iambiva belts are machine- embroidered and imported from Syria and Saudi Arabia.

65. Hand-embroidery is labour-intensive andhighlyuneconomical. As concerns the raw materials, gold, silver, and copper threads are imported from France and cotton is increasingly being imported from China at the present time. Acrylic and nylon yarns in strong colours are unsuitable for the tourist market.

66. The recommendation of the Handicraft Survey is: "Embroidery in the Republic of Yemen should be revived. Machine embroidery should be encouraged and guided under the auspices of the handicraft proj ect .

67. With the women's sector activity set up at Bait Mutamar, there should be training in rug-making and hand-embroidery. However, it would be necessary to set up a new pilot workshop specializing in machine embroidery training (for both men and women) with patterns taken from every region of the Republic of Yemen. It would be possible to create embroidery items for the tourist market, including wearing apparel, bags, table linens, place mats, etc. For the jambiya belts, the material used is DMC imported cotton, but it would be possible to use sisal and plant fibres (banana fibre) coloured with strong vegetable dyes.

C. Dveinq

68. Dyeing is on the decline in the Republic of Yemen. Ikat cotton is moribund. Zabid, on the Tihama coast, was the centre for indigo dyeing. In 1962, there were 300 indigo-dyeing workshops associated with weaving centres in the Zabid area. In 1989, there was only one workshop. The indigo used is not local, but is imported from Germany; the same is true for calico dyeing,

20

imported from Pakistan. In old Sanala, one elderly man is continuing to employ the Iltie-and-dyell technique (raas mushmuq) , producing dyed face veils.

69. The leaves of the qarad tree (genus acacia) have been used since time immemorial for dying reddish-coloured leather. Dyes for weaving, basketry, and leather would be taught in the pilot workshop. Today, because ofthe social and economic upheaval, the art of dyeing is threatened with extinction. High-quality chemical dyes for producing the best colours are expensive. The colour depends on the mordant (tannic acid, alum, chrome, etc.).

70. Vegetable dyes are obtained from fruits, flowers, skins, barks, and the roots and stalks of various plants and trees. Such dyes have the advantage of being naturally abundant in nearly all the areas of the Republic of Yemen. A systematic inventory will be necessary. Examples are as follows:

Aloe (fibres with nitric acid = ochre). Lemon juice = yellow ochre. Onion skins = yellow. Safran = yellow ochre. Tea and coffee = brown, etc.

71. With vegetable dyes, it is possible to employ various techniques, including I1resist1l dyeing, tie-and-dye, plansi, tritik, batik, etc. The combination of several techniques, such as plangi (knotting and plaiting) and tritik enables the production of a wide range of patterns and designs. In the textile centre, it will be necessary to have a pilot workshop for vegetable dyes and llresistll dyeing in order to make these new products.

Pilot workshops of the textile centre: 3

a) Weaving workshop (cotton, wool and hair):

i) Carding and spinning (small machines).

ii) Training in the use of new looms.

iii) Introduction of new patterns and new product ranges.

iv) Upholstery fabrics and fashion fabrics.

b) Embroidery workshop: '

i) Training in machine embroidery (for jambiva belts, wearing apparel, etc.).

ii) Range of new products for the tourist market.

21

c) Dye workshop:

i) Vegetable dyeing (piece-dyeing, skin-dyeing).

ii) tlResistll-dyeing techniques.

iii) Ikat technique.

The jewellery centre

A. Silver jewellery

72. The number of silversmiths in old Sana'a has declined from 27 in 1988 to 20 today. The reasons for this decline are the same as those for other crafts, i.e. socio-economic factors and the rapid pace of the changes affecting them, in addition to emigration of workers. Silver work has been replaced by old work in today's market. In 1975, there were five gold jewellery craftsmen, where today there are 107 (statistics from the 1988- 1989 UNDP/ILO Yemen Survey).

73. In Saada, there are 14 silver metal-working shops, because of the presently existing Jewish community. Formerly, the main source of raw materials was melted-down coins, such as the Maria- Theresa thaler (80 percent silver). Today, certain jewellers are importing silver ingots.

74. In the silver souk in old Sana'a (suq al-Fiddah) , there are many silver dealers (retailers of antique items) selling goods to tourists who proceed to take their purchases out of the Republic of Yemen. This is a serious problem. These antique objects will be gone, with few new products to take their place. (Of the 20 workshops remaining, only six are engaged in contemporary production.)

75. As concerns products, the silversmiths are engaged inmaking repairs and alterations and in remodelling old jewellery pieces.

76. The contemporary silver output includes cosmetics bottles (kajahl), rings, pendants, and occasional silver dagger sheaths on a commission basis. (There is a possibility €or development in liaison with the iambiya centre.)

77. The recommendation of the Handicraft Survey is: "The handicraft development project has as a priority the revival and resuscitation of threatened crafts. Silver jewellery is without a doubt in this category, so it is a recommendation of this survey that retraining inputs be directed to the benefit of this sector".

B. Goldsmithery

78. The change that occurred in the number of gold and silver workshops in old Sana'a from 1979 to 1988 is most striking. In

22

1979 there were five gold jewellery craftsmen, whereas in 1988 there were 107 of them. The reason is the current popularity of gold on the local market: gold is more malleable than silver, it is not normally subject to corrosion, and it is a sound investment.

79. In order to create new products and to achieve competitive prices, it will be necessaryto mechanize the equipment (cutting- head on a gold-engraving machine).

C. Gemstones (semi-precious qems)

80. Gemstones are still hand-worked in Anis, the Dhamar province area, Khawlan al-Tiyyal, Sanala province and the Bani-Hushesh area; however, this activity is on the verge of extinction because of the slow and laborious nature of production. The Handicraft Survey reports that the polishing of gemstones is barely surviving in Sana'a and in the Bani-Hushesh area.

81. There are three craftsmen in the old city of Sanala working with the uncompetitive, traditional methods used in the Republic of Yemen. Polished gemstones are imported from India.

82. This is a major sector, one that has to be equipped with small, modern machines.

83. In the Republic of Yemen, there are also non-mineral raw materials, such as amber, in enormous quantities, in addition to very hard coral and pearls from the Red Sea.

84. The recommendation from the Handicraft Survey is: "It is demonstrated that gemstone crafting is an ancient, traditional activity on the verge of being extinguished, so it squarely meets the criteria for inclusion in the handicraft projects in progress1'.

85. Training programmes in gemstones will be necessary in view of the new machines being used in modern jewellery-making (lapidary craft). It will also be necessary to encourage and motivate new ideas and techniques, as well as to reinforce basic principles and ideas for using local gemstones in various quantities.

\

D. Fancy iewellery

86. For the use of local raw materials, it is. important to foster new techniques. The various raw materials (gemstones, d

amber, coral, stones4, seashells, wood, day, horn, etc.) can be used to make necklaces, brooches, bracelets, pendants, etc. The standard of design is highly variable.

87. The pilot workshop for fancy jewellery must co-operate closely with other handicraft centres that specialize in particular techniques so as to obtain the sundry elements that may be required for the creation of new samples.

23

88. The fancy jewellery workshop could study the matter of receptacles for local products, i.e. for spices, tobacco, and food items.

89. For these four different activities - silver jewellery, gold jewellery, gemstone products and fancy jewellery - it will be necessary to set up a pilot workshop for each technique, outfitted with modern tools and up-to-date equipment.

90. For fancy jewellery, the small machines are difficult to finance, but the craftsmen will have to have the requisite jewellery-crafting tools, including the following:

a) Planishing hammers for forging.

b) Saw frames and an array of metal-sheet cutting blades.

c) Half-round files, hand files, and a selection of needle files, plus a bezel mandrel for making rings.

placing. d) Curved tool for setting stones in bezels, tweezers for

e) Rawhide mallet for benching and hammering metal without making marks.

f) Ring clamp for holding rings while filing.

g) Flat pliers, round-nosed pliers.

The national jambiya centre

91. Jambiya work is Yemen's second most important handicraft (ranking after window-glass manufacturing):

"The continued proud possession and wearing of the iambiya by virtually every adult male citizen has ensured a providential market and prosperity for the craftsmen producing what became the enduring national symbol of Yemen." (Part I1 of the Handicraft Survey.)

92. Although a large local market exists for the iambiya, only the combining of the various elements is a native activity: all these elements are imported. Jambiya prices depend on their sundry component parts, and each part corresponds to a special handicraft.

A. Daqqer blades (naslah)

93. The quality of the blades is of prime importance. The blades are no longer made by souk blacksmiths, but are imported from Syria, Saudia Arabia and Egypt. The only craft still extant is that involving the polishing of the imported blades.

24

94. For the metalwork centre, it would be desirable to train apprentices in the making of dagger blades. They could be taught by older workers. Blades could be processed by the jewellery workshop via various techniques, including embossing (zakhrafa), repousse work (buruz) , chasing (napsh), engraving (hafr) , the application of intricate arabesque patterns and the inscription of the owner's name.

B. Qualitv of the handles

95. Certain jambiyas with antique rhinoceros horn handles can fetch very high prices (up to 30,000 Y.R.). Before the instituting of the international ban, Yemen was the foremost importer of rhinoceros horn, which is now extremely rare: cattle horns are cheaper. Today, the latter are imported from India. The horn is sometimes inlaid with silver motifs (damascening). The handle is called an as'adi, and when it shows the patina of time, it is referred to as a savfani.

96. For handle-making, it would be advisable to use Yemen cattle horns, which are not being used. In addition to its utilization for handles, horn can be employed for the making of various utilitarian or ornamental objects, such as combs and fancy j ewellery . 97. With the pyrogravure technique, decorations can be applied by rubbing the tip of a pokerwood tool (a wood-burning pen), which has an oblique, flat end, over the horn surface to create motifs.

98. work with. with plastics.

Handles can also be made of amber, which is easy to cut and The drawback to amber is that it is easily imitated

99. The fact of the existence of vast quantities of raw materials in the Republic of Yemen and their commerciai value should justify a particular interest in the manufacturing of daggar handles. Handles made of local precious woods could be inlaid with gemstones, as is done today, and with silver nails - called istars - manufactured by souk jewellers. These handles could also be decorated with the pyrogravure technique.

C. Sheaths

100. The souk carpenters cut out the wooden frames of -the sheaths, which are then assembled and upholstered in Leather. This is still an actdive handicraft in the souk.

101. Certain sheaths are covered in chiselled silver and even in gold. Co-operation would be necessary with the jewellery workshop for the creating of new sheaths, some of which are elaborately chiselled and very expensive.

25

D. Quality of the belt

102. The belt is a highly important element of the iambiva. The iambiva known as the asib (with a curved blade) is attached directly onto the belt by a strap. The iambiva known as the thumi is less incurved and is slipped under the belt with a clip.

103. The belt is always embroidered, but there are few individuals left to do the embroidering, for reasons that were stated earlier. Belts usually have embroidered strips sewn directly underneath the leather. These strips are now being imported from Syria and Saudi Arabia, and they have machine embroidery. Belt prices vary depending on the quality of the threads, which may be silver, gold, cotton or synthetic. Hand- embroidered belts are quite expensive (300 to 3,000 Y.R.) . Instead of the mass importing of machine embroidery, it would be advisable to develop, jointly with the textile workshops, the manufacture of embroidery machines for the specific purpose of jambiva belt production.

104. The pilot workshop would be assigned to group together all the elements designed and produced in the other workshops specialized in jewellery and embroidery (textile) work, so as to achieve a one-hundred-percent Yemeni facility. The making of jambivas is a sound, flourishing business. At the end of the Ramadan (the breaking of the fast), people purchase new sheaths and, in some cases, another iambiya. A new fashion can be a factor in incentive-buying. Nor should the potential tourist market for iambivas as souvenir items be overlooked. Antique iambiyas are for sale at very high prices. Contemporary items would be much more attractive to tourists. This workshop would work in close co-operation with the souk craftsmen. The latter would benefit from on-site technical assistance and would undertake the training of apprentices.

The leatherwork centre

105. In 1971, in the old city of Sana'a, there were 105 leatherworkers (44 per cent of them were iambiva sheath-cover makers). By 1979, their number had dropped to 86 (including 70 jambiva belt- and handle-makers).

106. The number of shoemakers is declining: from 44, in 1971, they had dwindled to six by 1989. This decline is due to the importing of plastic shoes and sandals. The number of saddlers has fallen off drastically: in 1971, there were five; in 1989, there were none.

107. The first problem is the supplying of good quality leather at a reasonable price. The leather used in Yemen is not properly tanned, has a strong odour, and is unsuitable for fine leatherwork.

108. There are several families running small-scale tanneries that produce poor quality, plant-tanned bridles for the local

26

craft market. In one antiquated tannery in the northern town of Khamir, the methods used for tanning hides are slow, inefficient, polluting, and foul-smelling. A newer tannery is located near Hodeidah, boasting recently installed tanning and finishing equipment. There is a camel-bridle project.

109. The basic leather workshop equipment is quite negligible: tools and accessories are insufficient.

110. The leathercraft sector is a sector that should be developed with technical assistance, with special emphasis on the designing and producing of new fancy leather goods, including handbags, belts and wallets, as well as good quality, fashion-aware footwear for the tourist market. The leathercraft centre should have full training and production facilities, including new types of tools and small, sturdy machines to enable time-savings and reduced production costs.

111. The traditional leather baby cradle, or misba'a, is an attractive object, customarily adorned with varied geometric patterns. The misba'as that are currently being produced are infelicitously decorated with plastic or other synthetic ornaments. Their production centre is in Saada. Fittings can add enhanced decoration, in addition to serving a more obvious functional purpose, such as belt buckles in all shapes and sizes, made of a wide variety of materials (wood, brass, silver, seashells, amber, coral, etc.).

112. For all these items, their finishing is important, in order to attract the tourist market. Leather goods should be designed to cater to the requirements of shape, size, and indoor or outdoor use, as well as to achieve eye-appeal.

113. Bookbinding is another division of leatherwork. The old city of Sanala has two remaining bookbinders, occupied in restoring ancient Koranic manuscripts. This is a sector that could be developed for an important market. !

114. It would also be desirable to have a section devoted to producing dagger sheath covers (asib) and belts, in liaison with the iambiva centre.

115. The recommendation of the Handicraft Survey is: "The successful revival of the leather goods trade to economic viability, given the willingness of the craftsmen and their families to be retrained, and an available supply of good quality tannery-produced leathers, requires three further inputs to have any chance of success:

(1) New product designs aimed at changing markets and tastes.

Introduction of basic leather equipment, standardized and improved techniques, tools and quality control.

"(2)

27

"(3) Instructors recruited from international sourcesll.

Pilot workshops of the leatherwork centre:

i) Workshop for fancy leather goods.

ii) Workshop for shoes and sandals.

iii) Workshop for bookbinding.

iv) Workshop for dagger sheath covers and belts (in liaison with the jambiva centre).

v) Showroom displaying traditional products such as the

The pottery and ceramics centre

misba I a.

116. In the Republic of Yemen, pottery making is concentrated in those localities that supply its most important material, clay, i.e. in the far northern area, the Tihama coastal plain and the southern and central areas.

117. The village of Hays (Tihama area) is specialized in pottery. In 1979, it had eleven pottery-making establishments. By 1989, there were only two pottery workshops in activity (an 88 per cent decline). At Tawila, ten potteries were recorded in 1979, whereas today there are only four left (a drop of 60 per cent). In 1971, pottery accounted for 4.76 per cent of the household utensils on sale in the Sana'a souk, according to Sergeant's survey. By 1989, this figure had dwindled to an imperceptible level, well below one per cent.

118. This situationhas come about for severalreasons, including the existence of industrial products, competition from plastic and aluminium utensils, and the difficulties of access to mountain villages via secondary roads. In addition, kiln firing is expensive, what with the cost of fuel and firewood and the primitive techniques of the old potters.

119. The products reflect rural simplicity (they are essentially utilitarian objects), including water pitchers (abariq), coffee pots (jamin), jars (ku'ad) , water-pipe jars (jahlal) , censers (mabkha), braziers, bowls, cups, cooking pots, and small, four- arched pedestals for suspending. The Tihama pottery products are glazed (yellow and greenish glazes). The regional variations in products and decorations (painted geometrical designs) should be emphasized for the tourist market, with good kiln firing. However, traditional kiln firing fails to achieve sufficiently high temperatures for proper bonding of the clay materials, the result being products that are extremely fragile and difficult to transport. All the bowls produces in Hays are chipped (impossible for the tourist market).

28

120. The recommendations of the Handicraft Survey are: IIPottery in Yemen Arab Republic should remain a rural industry, but to revitalize it, it could be brought under the aegis of the current Handicraft Project as a means of introducing new manufacturing techniques in a pilot scheme. The project could be a means to retrain rural potters for short periods, concentrating initially on those existing in the hinterland of Sana1a.I1

121. The pottery workshop should be equipped for research in ceramics :

i) Testing the properties of local clays and the workability of clay bodies (plasticity, shrinkage, firing properties).

ii) Testing the possibilities of decoration for slips,

122. Industrial enamels are very expensive and could be replaced by local (natural) enamels.

underglazed colours, on-glaze colours, etc.

123. The equipment necessary for this research sector is as follows:

- Electric kiln (plus spare parts) - Electric kiln, front loading, mixer of about 0.125

- Power-driven wheel - Banding wheel - Miscellaneous tools.

cubic metres, vibrating screen with various sieves

124. As regards traditional products, technical assistance and a ceramics specialist (for twelve months) will be necessary.

125. There could be a workshop annex for investigating the possible use of volcanic rock products:

a) Pumice stone exists in abundance in Yemen. It is strong, lightweight, and can be shaped on a turning lathe, like wood, prior to being enamelled in a traditional kiln. For the tourist market, the objects produced (ashtrays, dishes, vases, etc.) are both original and lightweight.

!

b) Lava stone, cut into squares or various sizes with a diamond saw and then enamelled, should easily find a niche in the local and export markets. Lava stone can be used as a wall- facing for kitchens and bathrooms and for inside and outside pavings, since it is highly impact resistant and unaffected by temperature variations. The 'finished tiles can be decorated with enamelled adornments (geometrical motifs, flower designs, leaf patterns, etc.).

Specific equipment and technology will be necessary.

29

Pilot workshops of the pottery and ceramics centre:

i) Workshop for traditional pottery

ii) Workshop for contemporary ceramics

iii) Workshop for pumice stone and lava stone, enamelled

iv) Showroom

The metalwork centre

A. Blacksmitherv

126. Blacksmithery should be carried on in liaison with the architecture-related centre for the manufacturing of window and door fittings.

127. In the old Sanala souk, ironmongery suffered a 40 per cent decline between 1971 and 1989. In the face of decreasing incomes from blacksmithery, the artisans concerned have had to either seek other employment in Yemen or join the Yemeni emigrant work force in the Gulf States and Saudi Arabia.

128. The Al-Haddahi souk currently has 37 workshops in activity, with 45 employees. Their prices are not competitive with those of imported products.

129. The measures recommended are as follows:

a) Providing suitable tools and small machines to enable the blacksmiths to increase their outputs as well as to ensure a high production standard.

b) Providing modernization in the form of electric fan-blow forges replacing the traditional bellows forges.

c) Providing incentives to encourage investments designed to improve the blacksmiths' economic and social conditions.

130. The recommendation of the Handicraft Survey is: "This ironmongery centre could be one part of a suggested two-part metal crafts training centre, which could be established. The second part refers to the need for a similar facility for the revival of the brassware and copperware crafts."

B. Brassware and copperware (non-ferrous metal crafts)

131. The brassware and copperware sector is moribund. In 1950, there were an estimated 200 craftsmen actively employed; in 1971, nine coppersmiths were identified, and by 1989 this figure had dropped to four.

132. Under generic terms of nahas (copper) and yellow copper (nahas safar) , the items produced are tobacco water-pipes (mada'ah) , brass trays (saman) , water containers (al-habbah) ,

30

braziers, bowls, copper-brass lanterns, coffee pots, brass tripods (jillas), engraved or decorated with fine fretwork.

133. For the tourist market, new products would have to be created, and there would have to be a revival of traditional products.

134. The recommendation of the Handicraft Survey is: "This survey would recommend for spatial requirements, equipment requirements and ancillary needs for such a project.'I

C. Craftins of dasser blades

135. In liaison with the iambiya centre, there should be a revival of small-scale manufacturing of dagger blades (haddah al- nisal). The blacksmiths have inherited the ancient tradition. This resuscitation is necessary for the project. The iambiva is a one hundred per cent Yemeni product. Its prices are not competitive with those of dagger blades imported from Syria.

Pilot workshops of the metalwork centre:

- Blacksmith shop - Brassware and copperware workshop - Dagger blade workshop - Showroom.

The Arab Countries' Handicraft Centre

A. Reaional programme

136. The Arab Countries' Programme for handicraft training and for the promotion and adaptation of products could be organized in the old city of Sana'a in the largest caravanserai available.

Trainins programme for product adaptation

137. It is very important for the Centre to give training: in functional design. Design implies methods (the interaction of tools, processes, and raw materials) and needs. The economic, psychological, spiritual, social, technological and intellectual needs of human beings are usually difficult to satisfy.

138. The striving for a more concise statement, involving precision, simplicity, attractiveness and usefulness, is the definition of industrial design. This has been the definition of handicraft products since the beginning of time.

139. In every Arab country there are handmade objects 'that are still being used trad%tionally, some of. them since time immemorial, in the everyday scene, such as the fambiya.

140. It is necessary to adapt these products to suit the tourist market so that they will meet the requirements of the ways of life of the industrialized countries.

31

141. The aim is to preserve the authentic, traditional designs as a means of enriching the social development of every country. By the creating of new handicraft methods, new traditions are also created and culture is generated (for example, the rugmaking work of the Bait Mutahar women's sector activity).

142. The courses at the Centre should enhance the cultural values of each country. They should contribute to improving the professionalism and the quality of handicraft objects while preserving the culture of the people.

143. The products of the craft sector are very special: they are utilitarian and decorative, they include gift items and artefacts, etc. Craft objects are generally not essential products (industrial products). It is extremely important to have a training programme for product adaptation, involving the organizing of seminars devoted to specific subjects, such as the use of various and new raw materials (research into and compilation of data on raw materials, tools, equipment, and technical literature).

144. Through the workshops, technical research should be performed on the sundry raw materials and technologies employed by the individual countries. Each instructor would enjoy the possibility of creating jobs for at least two persons in his own enterprise.

145. The Centre will be able to investigate the following:

a) The planning and establishment of regional continuous training centres for each type of craft activity geared to inter-disciplinarity, bringing together craftsmen, artists and architects without distinction between status and without regard for economic and social barriers.

b) The handicraft development programmes of international, governmental and non-governmental organizations.

All research should be carried on in. co-operation with specialized national or regional institutions.

146. Qualified craftsmen from the Arab countries concerned will be able to participate in such seminars, where they will learn newtechniques, new production methods, and new ways of designing objects.

B. Promotion and commercialization

147. In addition to the training in design andmarketing provided by the Centre, it is proposed that business administration be included (pricing, costing, bookkeeping, taxation, business law, etc.). This would give the participants a thorough grounding in business activities, and would be a foundation for successful careers.

32

148. The Centre will organize the training of sales staff: training in the psychology of handicraft clientele, in the various kinds of crafts, in their sundry techniques, and in customer contracts, selling, promotional materials, impactful displays, exhibits, the organization of trade fairs, etc.

149. A permanent showroom is an absolute necessity. It must be controlled by the Centre. The emergence of displays of approved items for the tourist market will be the result of its work of training and selection.

150. An extensive array of products can be displayed in such a centre, including all kinds of furniture, woventextiles, printed fabrics, embroideries, wearing apparel - featuring all kinds of T-shirts - ceramics, pottery, glassware, kitchen utensils, carpets, rugs, tapestries, toys, lampshades, etc.

151. The courses given at the Centre should enhance the cultural values of each of the Arab countries. The choosing of objects should be done by a carefully appointed committee. The members of the committee will judge entries on the basis of the following criteria: design, quality, competitiveness of price, excellence of finishing, and originality of Arab features.

152. In the showroom, objects should be displayed on the basis of their utilitarian functions: for example, there is the matter of the lighting of various raw materials (wood, bamboo, pottery, etc,) and of various shapes (round, glabal, table lamps, bedside lamps, etc.). For each object there should be a display card stating the relevant information, including country of origin, craftsman's name, raw material(s) used, price, quantities available, shipping costs for importers ( f . 0. b. prices) , etc. The showroom should be reserved on a priority basis for the retailers and wholesalers in the local, regional and international markets.

153. Such a centre can also be a feature attraction for tourists interested in purchasing good quality products coming :from throughout the Arab region.

154. The shop would be experimental (for the testing of new products) , and there would be issuing of an Arab countries label (quality control). Possible courses of action for development include the setting up of chain outlets that have a pleasant atmosphere, are well stocked, and are specialized in a range of good quality products. Leaflets and catalogues could be compiled for distribution at strategic locations (hotels, airports, etc. )-.

C. Documentation centre

155. The documentation centre would gather data on rawmaterials, tools, small machines, design, etc. It would build up a technical library containing photocopies of specialist books for workshop instructors (with photographs and descriptive literature). Under the heading of its administrative functions, this documentation centre would do the following:

*

33

Recruit specialized instructors (teachers, craftsmen, artists, architects, etc.)

Organize updating training

Plan training curricula

Organize the permanent showroom (displaying items approved for the tourist market as the result of its work of training and selection).

D. Budset estimates

The estimated budget for setting up the facilities of the Arab Countries' Handicraft Centre is as follows:

Space requirements:

Pilot workshop for training Showroom Documentation centre Administration

5 0 Om: 500m loom2 loom2

Total 1, 200m2

Cost of restoring buildings in old Sana'a Equipment: furniture, spotlights, tools,

small machines, office supplies Equipment of documentation centre Building maintenance during three years

600,000

100,000 100,000 100,000

Total 900,000

Cost of training programme: Short-term training, 3 months (10 trainees),

12 modules per year (total of 120 participants per year) for 3 years: 100 x 3 300,000

Total

a) After three years, budget functioning will be ensured by the organization of the training courses and by commercial profits, as well as by the existence of a retail outlet.

34

b) The cost for each participant would amount to approximately $850; the cost for 360 trainees for three years would be $300,000.

c) Upon completion of his training, each participant would have at least two jobs (Feydeau statistics). In five years' time, 120 x 5 = 600; this would create 600 x 2 = 1,200 new jobs. The cost for each job is quite low compared to that for other sectors; 600 trainees + 1,600 new jobs = 2,400. Global cost: 1,000 x 5 years = 500,000 approximately for each $200.

157. The estimated budget for the travelling exhibition project for four countries (Egypt, Syria, Iraq and the Republic of Yemen) is as follows:

a) In each of the above countries, it is possible to select an array of 50 exportable goods items: 50 x 4 = 200 products that could be merchandized through existing or potential commercial channels.

b) Well-designed displays (colourful and well-lighted) would be necessary in order to attract buyers.

c) The cost would be about $50,000 per country, or a total of $200 , 000.

d) The budget estimate includes the following:

i) Assistancethatmightbe providedby international organizations for the handicraft development programme (transportation costs, exhibition catalogue)

ii) Assistance from each host country to ensure proper arrangement of the showroom (150 to 250 m2)

iii) The participation of the several countries, each of which must be responsible for the organization and for the competitive selection of 50 products for display.

e) Objectives :

i) During six days of exhibition time, each country would devote four days to trade-professional buyers and two days to the general pubqlic for- viewing

The promotion of high quality Arab handicrafts on two levels, cultural and economic: to this end, whenever the exhibit is staged in a given country, there should be accompanying events designed to involve the media and to gain publicity (on television, on the radio, in newspapers)

*

ii)

35

iii) These exhibits should be preparatory steps designed to incite the craftsmen in all the Arab countries concerned to do their utmost to produce objects of outstanding quality and originality

iv) To facilitate efficient selection, competitions could be organized in each country.

f) Proposed timetable:

i) In Sana'a, a meeting organized by the Republic of Yemen bringing together the ministers in charge of handicrafts

ii) Approval of the programme proposed (handicraft centres and travelling exhibits) and obtaining of financing

iii) Investigation of means for protecting handicraft wares and of containers for shipping goods (this work should be assigned to a decorator-designer)

iv) Holding of contests in each of the countries concerned designed to enable selection of the fifty best products representing all the techniques

v) Submission of the winning products, together with the relevant shelf-display units and recipients, as well as copies of the show catalogues

vi) Staging of shows in the several countries, accompanied by press releases (attendance at show openings would be by invitations sent out two weeks in advance)

vii) Returning of containers to their countries of origin from the country last visited

viii) Within one year following the itinerant exhibit, its participants will take stock of the long-term results achieved, i.e. post-exhibit sales records, orders on the books, etc.

Conclusions

158. The Arab Countries' Regional Action Programme (design centre and travelling exhibits) was developed jointly with each country's national representatives on the basis of the following criteria:

a) Regional action cannot be substituted for national action (pilot workshops, national showrooms, etc.). What is feasible at a regional level is not the case at the national level. However, national action would undoubtedly benefit from the by-products of regional action.

36

b) The homogenization of handicrafts is disastrous. Each individual region and country owes its strength to its own specific technical and cultural diversity.

VI. NATIONAL PILOT WORKSHOP PROGRAMME IN THE PROPOSED HANDICRAFTS CENTRES

159. For all the pilot workshop objectives, there must be training, the adaptation of products, the creation of new products, and marketing promotion. Without a coherent handicraft policy, this evolution and development would be impossible. ,

160. Handicrafts account for 3.5 per cent of the material output in most of the developing countries. In India, handicrafts account for 18 per cent of that country's export figure. .

161. Handicrafts are hard to market because they are not standardized, not needed, not well-known, and their prices are not competitive. They represent almost the exact opposite of most of the modern industrial products. This is the major problem in the Republic of Yemen. It is of utmost expediency for Yemeni craft products to be updated in order to justify their high prices.

162. The eight handicraft centres proposed are extremely important for several reasons, including for ongoing economic development and because of the need to create a wider range of products and new products. Specific problems would be dealtwith in each specialized workshop.

Adaptation of products

163. The organization of elements and relationships should focus on a purpose: however, creativeness is the essence of design in relation to a natural or a created environment.

164. In the Republic of Yemen, handicraft products, especially those aimed at the tourist market, must be adapted to cater to the more unobtrusive tastes, uncluttered styles and utilitarian needs of another clientele. They should display the proper degree of ethnicity and typicalness without the latter detracting fromthe quality of the products, their range, their authenticity and their natural identities.

I

gualitv of products

165. Observers have criticized certain existing products as being I

gadgets in poor taste, marred by a .lack of authenticity or originality. Thanks to expert creative designers and the fast growth of industrial designing, mass production is on the upswing, and dealers have duly noted the fact that mediocrity no longer exerts eye-appeal.

37

166. What makes the difference between a successful and an unsuccessful handicraft product is usuallythe quality of the raw materials used, the object's practical purpose, its elegance and its cultural characteristics (as in the case of the jambiya, for example).

Ranae of Droducts

167. In contrast with the worldwide prevalence of functional industrial patterns, handicrafts emerge as standing against the mainstream of the trend toward uniformization.

168. The shaping of product policy must be accompanied by an awareness of diversification, of the individualization of the objects selected and of multiplicity of choice. In Yemen, for each type of product, it would be possible to vary the range of colours, sizes, shapes and purposes: for example, with a basket from Saada, the basic colour can be changed - only red, only yellow, etc. - and it would also be possible to produce three basic shapes (circular, oval or square) and to have three different sizes, yielding nine different models designed for different uses.

Authenticity of products

169. Worldwide, amongst utilitarian objects (baskets, pottery, textiles), those that are the most successful commercially are those that are authentic and traditional.

170. In Yemen, embroidery is the fruit of an ancient cultural heritage, and it has achieved a high level of originality. In order to ensure the survival of this traditional skill, it is important to develop and spread this cultural knowledge with the help of embroidery machines, which loom as the only solution.

171. For the tourist market, which grows bigger each year in Yemen, the existence of data cards listing the characteristics of the several crafts would confer enhanced identities on individual products and would stimulate sales.

172. The serious handicraft customer is interested in learning the origin of an object, the raw materials and components that comprise it, and the geographical reasons or historical background that yielded its shape and/or colour. It is important to upgrade the Yemeni cultural heritage.

The training programme

173. For the pilot workshops, the module-base training programme is fully flexible and adjustable to suit specific requirements.

174. The module system, applied through an informal skill- training project, is derived from a module of employabl-e skills (M.E.S.) developed by the International Labour Organization. Each module is designed to last three months; specific training

38

rnadules last from six to nine months. An example is the coiled basketry technique learning module, which includes the following

a) Materials: identification, preparation, cutting, cleaning,

b) Products: the various types of baskets possible with this

drying, splitting, dyeing, etc.

technique, their shapes, range, sizes and uses

c) Design: the creation of new products (variations introduced by the way in which the thread is stitched, depending on the basic fibre used, trimmings, colours, and patterns)

d) Improved quality control: label

e) Price computation: determining the cost of materials and labour for the finished product, bookkeeping of the profit- or-loss marketing of the product.

175. This programme will enable the integration of different levels of training, including the ancient craft skills and instruction in contemporary design (for the creation of new products). Each technique requires a special designer and each training module contains a design section.

Budqet estimates

176. The budget for the training programme with the proposed module system includes funds for a specialist instructor (local or foreign), the purchase of training materials and equipment, craftsmen's travel costs and secretariat (office costs).

177. Costs of board and lodging would be defrayed through scholarship grants with the assistance of the international organizations concerned.

< 178. Each module would last three months and would train ten people. For thirty trainees per day in each workshop at the rate cif three modules per quarter, the following are necessary:

3 modules x 4 quarters = 12 modules per year 12 modules x 10 trainees = 120 trainees per year per workshop

Cost of one module (with foreign instructors) = $8,400 12 x $8,400 = approximately $100,000 Cost of instructors over a: 3-year period: 120 x '3 = 360 instructors ./

$100,000 x 3 = $300,000

39

179. The estimated budget for each pilot workshop is as follows:

Restoration of buildings 300,000 Equipment 100,000 Building maintenance, small machines, tools, furniture, for 3 years 60,000 Training programme (12 modules pes year = 120 trainees) 300,000

Total 760,000

180. There are eight handicraft centres. For a minimum-sized centre, the estimate is as follows:

360 trainees x 8 = 2,880 trainees $760,000 x 8 = 6,800,000 Arab Countries' Handicraft Centre Project 1,200,000

Total 8,000,000 (for three years of training)

181. The cost estimates include building restoration, building maintenance, staff training, and teaching materials.

Results anticipated

182. This programme would result in the upgrading of 2,880 trainees over a period of three years. Experience in other regions has shown that this upgrading would lead to the creation of 5,760 new jobs.

183. The cost per trainee amounts to approximately $850. It is anticipated that when he completes his workshop training, each participant will lead to the creation of at least two jobs. With 2,880 potential trainees (three years), this would mean the potential creation of 5,760 (2 x 2,880) new jobs in the Republic of Yemen.

184. The total cost of a three-year training programme would be: $300,000 x 8 workshops = $2,400,000 for 2,880 + 5,760 = 8,640 craftsmen (approximately $350 for each new job, a figure that is very low compared to the figures for the economic sector).

185. After a three-year period, budget functioning would be ensured by the instituting of a training course organization for each of the countries concerned and by business profits, permanent showrooms, and retail outlets in each country.

40

VII. ECONOMIC JUSTIFICATION OF THE PROGRAMME

186. The creating of jobs is a matter of top priority for the Yemeni Government. In this context, the handicraft development programme would contribute to the effort devoted to solving the unemployment problem: each pilot workshop = 360 trainees for 3 years x 8 = 2,880 trainees.

Situation of the local tourist market

187. The statistics for tourism in the Republic of Yemen are very important, as shown by a study of the possibilities of handicraft development (figures from the Ministry of Information and Culture, General Tourism Corporation, Department of Planning and Statistics).

1987: total visitor arrivals per year: 46,581 total visitor expenditures: $16,303,350

1988: total visitor arrivals: 49,611 total visitor expenditures: $17,363,850

188. The years 1984 to 1988 witnessed a fifty per cent increase in tourist arrivals. In 1989 there were 53,100 visitors.

189. The international experts for the Caribbean area have devoted investigation to the matter of the average tourist's expenditures for gift purchases. Their statistics are not available, butthe consultant's estimates put the figure at about $25.00 per capita per stay.

In 1989 : $1,327,500

Another proposal:

10 per cent of total visitor expenditures for qifts and handicrafts: 10 per cent of $17,363,850 = $1,736,385.

Statistics

190. A comparison between the local situation and that of the Indian Ocean area shows that in the latter, in 1987, the average expenditure per tourist amounted to approximately $60.00 per stay, because, in that region, the handicraft sector is highly developed and the products are designed to cater to the tourist market (good quality and competitive prices). In,the Republic of Yemen, the tourists are dissatisfied with the limited range of products proposed. 1

191. The potential for handicrafts is tremendous. The introducing of new crafts and the production of a variegated array of commodities could have the simultaneous effects of, on the one hand, increasing outlays for local goods and, on the other hand, reducing handicraft imports (belts, embroidery,

41

Indian blankets, etc.), thereby helping to improve the balance of payments. With 60,980 tourists expected in 1991, and on the basis of an average per capita expenditure of $40.00, the development anticipated for handicrafts is $2,796,000.

192. In addition, handicrafts would play a significant part in the quest for a Yemeni cultural identity, which would in turn be an incentive for creative design. Socially, this would constitute a complementary occupation for the Yemeni women.

VIII. CONCLUSIONS

193. Creative handicrafts have played a steadily growing part in economic, social and human advancement in all the national communities. With the technical assistance envisaged in the global programme survey (training, product adaptation, marketing), the currently existing problems should be solved within five years. Handicraft development programmes create jobs (5,760 of them in the present case) and enable rural craftsmen to earn extra money. These programmes also slow down the exodus of young people to the big urban centres.

194. Once the local and tourist markets have become efficiently organized, the new products could then be exported and would bring in substantial amounts of foreign exchange currency. This is the reason that it has been repeatedly claimed that utilitarian handicrafts should increasingly obtain technical and financial resources from governments and from the major international organizations.

42

ANNEX

PhotoqraDhs of Existincl Handicrafts

A. Sana'a and around

1. Suq a1 Jambiya 2. Jambiya with belt 3. Old houses of Sanala for the tourist market 4. Traditional ground loom

B. Oriental Plateau - Half desert 5. Weaving work - Province of Mareb and Al-Jowf

(50 weavers working in the area)

6. 7. 8.

. 9. 10. 11. 12. 13.

14. 15. 16.

Baskets made by women - Province of Saada Bread and food baskets Local pottery Utilitarian products

II II

II II

Workshop for boat making - Khawkhah Cotton blanket in llBayaderell - Bayt-al-Faqih (6 weaving workshops) Camel muzzle Straw hats

11 I1

43

ANNEX (Contld)

r

1

2

44

ANNEX (Contld)

3

. " . #.

. , , . '.

4

45

ANNEX (Cont'd)

5

6

46

I z

ANNEX (Cont'd)

8

7

4

I,

47

ANNEX (Contrd)

9

. . " " . -

10

48

ANNEX (Contld)

1. 2

11

49

ANNEX (Contld)

13

14

50

ANNEX (Cont I d)

I

15

16