Young Craftsman Revives Omani Cane-Making

In Oman’s mountains and valleys, trees do not grow alone; people’s stories grow with them. In this landscape, Mahmood al Shuraiqi learned to see a branch not merely as wood, but as a piece of history. He studies its curves, reads the age of the tree through its colour gradients and imagines the cane that could emerge from it.
Mahmood did not inherit the craft directly from a father or grandfather. Instead, it was the environment around him that nurtured his interest.
“I was born in the Wilayat of Al Awabi, close to valleys and mountains such as Al Jabal Al Akhdhar and Wadi Bani Kharus. This naturally instilled in me a curiosity about local woods and trees”, he said. “The craft of cane-making has existed since ancient times. Only a year and a half ago did this passion begin to turn into real practice”.
For Mahmood, choosing wood is never random. The most popular types are Mais and Outum, both long-lived and rare trees in the Sultanate of Oman.

“I prefer Mais and Outum wood because of their hardness and because they carry age-related details, shown through the natural gradation of their colours”, he said.
Finding the right piece of wood can be harder than crafting the cane itself. Outum wood is found in areas such as Al Jabal Al Akhdhar and Jabal Shams, while Mais wood is usually extracted from Oman’s valleys. Before work begins, the craftsman must ensure the wood is completely dry.
“Finding a dry piece of wood is not easy”, Mahmood said. “If it has high moisture content, it can sometimes take more than a year to dry and become workable”.
Once the right piece is found, shaping begins. The process can take two to five days, depending on the wood and whether it comes from a branch or trunk. Trunk wood is cut into boards before the cane and handle are drawn and shaped. Branches are trimmed and smoothed for work.
When bending or warping appears, Mahmood straightens the cane using fire, then fixes it to a flat surface until it takes the desired form. After shaping, the cane is dried, sanded and coated with oil to protect the wood and highlight its natural beauty.
Mahmood prefers flaxseed oil because it preserves the cane’s natural appearance while offering protection “without compromising its authentic character”.

Yet what the craftsman needs most is not tools, but patience. Finding suitable wood can take time, smoothing it requires precision and waiting for it to dry is a true test.
“This craft teaches a person patience, precision and mastery”, Mahmood said.
He noted that cane-making in Oman is deeply rooted in history and has been passed down through generations, with Al Rustaq and Nizwa among the wilayats most known for the craft. Although modern tools have improved accuracy, the craft still depends largely on the skilled hand.
In Omani culture, the cane remains part of a man’s attire at official and national events. Its distinction lies not only in the wood, but also in its aesthetic details.
“The shape of the handle may hold heritage significance or be linked to a specific geographical region or tradition, such as the Saidi cane or the Jarz cane”, Mahmood explained. “Some handles include deer antler or preserved animal bone, while others prefer a simple, classic style”.
What began as a hobby has gradually become a source of income. Local canes range from RO 20 to RO 150, depending on the wood, design, embellishments, production time and colour variations.
Today, from his home workshop, Mahmood markets his work through Instagram at @m.a_wood97, while continuing to share what he knows with younger craftsmen.