At the Palm Centre in the Wilayat of Rustaq, entrepreneur Hiba Al-Hattali has launched a remarkable initiative to transform agricultural waste—including palm fronds and banana leaves—into high-quality natural paper suitable for calligraphers, artists, and educators.
Driven by a passion for sustainability and environmental preservation, Hiba's project has evolved into a pioneering model that blends creativity with authentic Omani craftsmanship. Her inspiration stemmed from her experience at the centre, where she attended a specialised workshop on making paper from palm fronds. After two years of intensive training and experimentation, she successfully expanded her techniques to include banana leaves, ultimately producing paper with a natural texture and an appealing earthy tone, which has become highly sought after in artistic and educational circles.
Hiba emphasises that her paper not only provides a sustainable alternative to tree-based options, but also stands out for its exceptional quality. Her growing enthusiasm for the craft led her to focus solely on this field. Through her participation in various exhibitions, she realised that the market demands more than just traditional palm products; there is an increasing interest in raw, locally made paper. This revelation encouraged her to specialise further.
In addition to production, Hiba obtained a certified trainer licence in paper-making and began passing on her skills to women and girls in Omani women’s associations and schools, aiming to raise awareness about recycling and the value of natural resources.
She notes that while the paper-making processes for both palm fronds and banana leaves are similar, each material possesses distinct characteristics. The process begins by cutting the fronds into small pieces and boiling them for six hours. The mixture is then blended or pounded by hand before being placed into moulds and left to dry for 24 hours. In comparison, banana leaves require only one hour of boiling but yield a smaller quantity of paper.
During the cooking stage, a softening chemical is used, though the fibres are thoroughly washed afterward to remove any residue. Natural materials such as egg whites, starch, and alum are employed to preserve the paper’s quality and extend its lifespan after the polishing process.
Hiba categorises her paper into two main types: polished paper (ideal for calligraphy) featuring a smooth surface suitable for writing, and unpolished paper preferred by artists for drawing, laser burning, embroidery, and crafting various paper-based products.
Regarding pricing, a polished A3-sized sheet is sold for approximately 7 Omani Rials. Smaller, unpolished sizes are also available, but demand is highest for the larger format. She observes that banana leaf paper currently surpasses palm frond paper in quality; however, she continues to refine her techniques to elevate palm-based paper to meet the expectations of artists.
Despite her achievements, Hiba faces significant challenges—primarily the limited space in her family home, which lacks a suitable workshop. This constraint complicates the cooking and drying processes, especially given the strong odours emitted during fibre softening. Additionally, her reliance on manual tools restricts production capacity, compelling her to explore technological solutions.
During a visit to the National Records and Archives Authority, she had the opportunity to test a specialised paper-making machine, which significantly improved the quality of her product. However, acquiring such machinery comes at a steep cost, ranging between 5,000 and 10,000 Omani Rials, prompting her to seek financial support to realise her dream of establishing a fully equipped natural paper factory in Oman.
Hiba asserts that the factory would not only enhance quality and productivity but also create job opportunities for Omani women. She plans to broaden her product line to include book and manuscript restoration, as well as the production of book covers, magazines, and Qur’ans—ultimately positioning Omani paper as a competitive and eco-conscious alternative in the market.
Hiba relies on exhibitions as her primary marketing platform, connecting directly with calligraphers and artists who champion her products. She also leverages social media to reach a broader audience and participates free of charge in exhibitions supported by the Small and Medium Enterprises Authority, covering the costs for other events herself.
Hiba Al-Hattali’s story is not merely one of personal success; it serves as a powerful example of how creativity can arise from palm trunks and banana leaves, transforming waste into premium paper that embodies the spirit of tradition and a vision for a more sustainable future in Oman.
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