Ashes of the Arabian’s Pearl

On January 10, 2020, the Sultanate of Oman mourned the death of Qābūs Bin Sa‘īd ĀlBūsa‘īdī, a beloved and cherished monarch whose fifty-year reign was marked by longevity, an absolute record in the Arab world. Throughout these years, Sultan Qābūs had shaped himself into a founding figure of modern Oman, dedicated to rapidly developing the country through oil wealth and inspired by the myth of the “nahda” or “renaissance”. Now, it falls upon his cousin, the current Sultan Haitham Bin Tariq, to carry on the development policy, Oman Vision 2040 initiated by Qābūs before his death. Between the end of a successful reign for Sultan Qābūs and the commencement of Haitham's era, Ashes of the Arabian's Pearl embarks on an odyssey through a realm of intertwined destinies. This project explores a period of interconnection, a chrysalis of monarchic transition, and the pressing need for economic diversification as the oil and gas resources dwindle. From 2020 to 2023, this documentary project was born of a desire to closely observe the dynamics of economic development and the subjective future of this Gulf monarchy. In that spirit, Ashes of the Arabian's Pearl cultivates a metaphorical conversation between two distinct demographics: those in positions of employment and those who serve in such roles. The documentary illustrates the lifestyles of numerous men, specifically the skilled artisans who craft the dreams of the nation, largely hailing from India, Pakistan, and Bangladesh while contrasting their experiences with those from Omani entrepreneurial families. This photographic research summons the whispers of the past - the imprint left by Qābūs - by mobilizing a concept from urban geography, “the tomason” as a scientific tool to designate a unique category of objects, spaces, and buildings that intrigue us because they seem out of place, known to be remnants of the past, forgotten, sometimes broken. But what past? Why are they there? What were they used for? How long will they remain? These memorative signs refer to the connection between space - that of territorial development - and time - that of Qābūs' glorious reign - in nostalgic and memorial processes. These vestiges seeped in memory, underlining the tapestry of Qābūs' radiant reign, etched in the folds of reminiscence. Much like the Sultanate of Oman itself, this project resides at the crossroads of dual temporalities, serving as a poignant bridge between the past and the present. 

Valentin Joseph Valette