MUSCAT: Omani folk poetry remains an important expression of the country’s cultural identity, but writers and poets say it needs more rigorous literary criticism, greater institutional support and renewed engagement with younger audiences to sustain its creative growth.
As literary platforms and audience preferences evolve, critics have a crucial role in identifying emerging talent, analysing poetic works and encouraging innovation while preserving the distinctive character of Omani poetry.
Omani writer and poet Mohammed al Salehi said Omani literature had undergone significant transformations since the 1970s, with changes in society and the expansion of print, audio and visual media helping writers reach wider audiences. However, he noted that criticism had not developed at the same pace.
He argued that literary criticism requires specialised knowledge and should go beyond personal impressions to examine a work’s historical, structural and human dimensions. Such analysis can help readers discover meanings and artistic qualities that might otherwise remain unnoticed.
Al Salehi also called for greater openness towards contemporary literary forms, including the prose poem, stressing that critics should assess works on their artistic merits rather than dismissing them for departing from traditional conventions.
Researcher and poet Ahmed al Jahfali highlighted the role of criticism in shaping literary taste and sustaining a vibrant poetry scene. He observed that contemporary folk poetry faces challenges, including reduced audience engagement, fewer opportunities for literary discussion and limited support for poetry-related events.
He also expressed concern that the popularity of short videos, reels and social media trends was drawing attention away from sustained reading, research and creative development.
Al Jahfali said critics could help promising poems reach wider audiences by examining their language, themes, imagery and artistic strengths. Without such engagement, he warned, creative works risk disappearing from public attention soon after publication.
Writer Ibrahim bin Said al Hajri called for a broader understanding of Omani folk poetry and its place in the country’s literary history. He said younger poets were producing innovative work, but some remained overlooked because of divisions and limited interaction within the cultural community.
Al Hajri also stressed the importance of documenting folk poetry, noting that its historical record remains incomplete. He argued that popular poetry should not be excluded from literary scholarship simply because it is written in local dialects rather than classical Arabic.
He acknowledged that Gulf influences had shaped Omani folk poetry in language, vocabulary and style, reflecting wider social and cultural changes. Such developments, he said, should be understood in their historical context rather than automatically treated as a departure from tradition.
Poet Abdulhamid al Duhani similarly described criticism as essential to a poet’s development. While rhyme, metre and subject remain important elements, he said a poem’s deeper appeal also lies in its imagery, composition and aesthetic qualities.
Constructive criticism, he added, can help emerging poets refine their work, recognise weaknesses and develop their individual voices.
Together, the writers’ perspectives point to the need for a stronger culture of literary analysis that supports experimentation while safeguarding the heritage of Omani folk poetry. By bringing poets, critics and readers closer together, criticism can help ensure that this distinctive art form continues to evolve and remain relevant to future generations. — ONA
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