Tuesday 24 / February / 2026
Muscat--- The Sultanate of Oman Television, as part of its Ramadan 1447 AH / 2026 programming, presents the highly anticipated Omani drama series “Al-Qaffir,” featuring an ensemble of distinguished Omani performers. The series is adapted from Zahran Al Qasimi's acclaimed novel "Taghribat Al-Qaffir" or 'The Water Diviner' which was awarded the International Prize for Arabic Fiction (IPAF) in 2023.
The narrative unfolds around the profound connection between humanity and water, delving into the daily realities of a traditional Omani village through the eyes of one man bound by destiny to pursue water's hidden paths. The titular role of “Al-Qaffir” — one who seeks water beneath the earth — embodies a vocation that transcends profession, representing an inherited bond with water from the moment of birth. This connection is tragically forged through the loss of his mother, who drowned in a village well while pregnant, and his father, who perished beneath the collapsed roof of an ancient falaj irrigation channel. The series masterfully evokes the memory of Oman’s aflaj systems “ancient irrigation system” and their integral role in sustaining rural life, while weaving together the myths, legends, and oral traditions that have long surrounded these vital waterways.
Directed by Syrian filmmaker Tamer Marwan Ishaq, with associate directors Mukhlis Al-Saleh, Hussein Al-Baram, and Osama Mur'i, and executive direction by Nahla Dourobi and Ali Abdo, the production brings together seasoned talent and emerging performers making their television debut.
Samira Al-Wahaibi returns to the screen after an absence in the role of “Kadhiya,” aunt to Abdullah Jamil (father of Salim Al-Qaffir), portrayed by Mohammed bin Khamis Al-Maamari. The character of Al-Qaffir is portrayed across two stages of life: child actor Firas Al-Rawahi embodies his early years, while Mohammed bin Saleh Al-Siyabi assumes the role in young adulthood.
Abdulsalam Al-Tamimi delivers a compelling performance as Hamed, the village elder, while Zakaria Al-Zedjali portrays Zuhair, the elder's nephew, whose machines form the narrative's central axis of conflict. The series deftly interweaves its primary storyline with intersecting human struggles, creating a rich tapestry of relationships and rivalries.
Noura Al-Farsi portrays Al-Qaffir's mother, who meets her tragic end in the village well during the opening episode while carrying her unborn son. The orphaned child is raised by “Asia,” a village woman sensitively portrayed by Maryam Al-Maamari. Khalid Al-Ma'ani completes the principal cast as the village teacher, whose wisdom guides the community through times of trial.
Through its layered storytelling, “Al-Qaffir” illuminates timeless human conflicts that resonate across generations while celebrating Oman’s cultural heritage and enduring relationship with water.
In this context, director Tamer Marwan Ishaq elaborated on his creative vision: "Approaching this project from a directorial standpoint, and following a thorough engagement with the source novel, I reached an understanding with the author to introduce additional narrative threads, characters, and conceptual elements necessary to expand the work into a 30-episode dramatic arc. Our paramount concern throughout this process was ensuring these augmentations served to amplify the novel's essential truth without diminishing its core integrity. The original work is extraordinary and distinctive; one cannot overlook its innovative concept, its literary resonance both locally and throughout the Arab world, nor the singular stature it has attained in the realm of letters.”
He continued: “As a director, I find myself completely captivated by this novel. I make no secret of my wonder at its depiction of the Omani village and the visually rich intersections teeming with detail that it encompasses. My creative endeavor has been to achieve harmony between the dramatic adaptation, the foundational narrative, the characters who inhabited it, and the prevailing atmosphere. Through this process, I have discovered that life in the Omani village is inextricably woven into documented events and occurrences reaching far back into the depths of time."
He further observed: "Works rooted in heritage hold particular inspiration for me, guiding me toward discoveries about how past shaped their existence to achieve profound harmony with their environment. This is precisely what I encountered in 'Al-Qaffir' as its events progressively unfold. I must also emphasize the remarkable cohesion among the entire creative team; there exists a palpable generations synergy with the artistic vision that will ultimately manifest on the screens of the Sultanate of Oman Television."
Actor Abdulsalam Al-Tamimi, reflecting on his involvement, stated: "I was honoured to be cast in 'Al-Qaffir,' adapted from Zahran Al-Qasimi's prize-winning novel 'Taghribat Al-Qaffir,' or 'The Water Diviner' which garnered the International Prize for Arabic Fiction and achieved widespread acclaim throughout Oman and the broader region. When we speak of the novel's resonance, we must acknowledge a crucial dimension: Oman's cultural sphere has truly absorbed its essence and engaged deeply with its conceptual framework. This is far from a transient work of fiction; it represents a narrative achievement that has firmly established itself in the consciousness of readers and observers alike."
He elaborated on his character: "I portray Sheikh Hamed, a figure embodying the social order and its authoritative presence within village life. His character inhabits a domain uniquely his own, a realm not to be transgressed nor his station usurped. The novelist granted this character a space to which others must defer, notwithstanding the discovered social realities of village existence. Among his notable virtues, for instance, is his eschewal of punitive measures, regarding all villagers as members of his extended familial circle."
Actor Samira Al-Wahaibi, who returns to the screen after an absence of more than 18 years to portray the character Kadhiya, shared her reflections on this artistic homecoming: "My participation in this production marks my return following a hiatus spanning nearly two decades. The script gracing the Sultanate of Oman Television screens represents a cultural heritage narrative of profound significance, authentically capturing the essence of the Omani village in all its timeless, intricate detail. I find myself immeasurably enriched by the character of Kadhiya, who transported me into the heart of the traditional clay-built neighborhood. I developed an intimate connection with her precisely because she dwells among her people, devoting her entire existence to nurturing the orphaned child Al-Qaffir, consecrating her life to his wellbeing."
She continued, her voice carrying the weight of artistic conviction: "What particularly captivated my artistic sensibilities is the masterful interconnectedness binding the characters within this narrative tapestry. Consider, for example, a scene portraying their momentary discord, only to encounter them later in an entirely different context—one animated by fraternal social bonds that transcend earlier tensions, whether gathering around a communal meal or engaging in earnest dialogue concerning village affairs. This nuanced portrayal reflects life's authentic complexity."
She elaborated with evident admiration: "Director Tamer Ishaq has accomplished the remarkable feat of completing this ambitious production within an exceptionally compressed timeframe, demonstrating his consummate skill in orchestrating a professional ensemble with efficiency and vision. We must also acknowledge with genuine enthusiasm the young actors of the emerging generation, who have proven their mettle within this dramatic work, delivering their roles with exceptional maturity and skill. Their performances herald a promising constellation of distinguished artistic talents destined to illuminate Oman's cultural firmament in the years to come."
Actor Mohammed bin Khamis Al-Ma'amari offered profound insights into his portrayal of Abdullah in the series Al-Qaffir, describing a character that transcends conventional dramatic representation. "When I first encountered the script, I recognized that Abdullah is far more than a mere father figure—he embodies living memory itself, plunging into the depths of human reality while walking upon the earth. This character carries within his being the accumulated history of an entire family, engaged in perpetual struggle with a society governed by authority, immutable customs, and the shadow of fear."
He continued, illuminating the nuanced dimensions of his performance: "My embodiment of Abdullah—father to Salim Al-Qaffir—gives voice to an intensely intimate human experience. Here is a man who lost his wife to drowning in a village well, thereby losing his life's companion, yet who refused to permit himself to collapse before his son's eyes. I constructed the character around an architecture of internal silence and the fear residing within a father's breast, navigating the sensation of profound oppression when his rightful claims are stripped away and he is compelled to labour under injustice—all while carefully concealing truth from his son as an act of protection."
Al-Ma'amari acknowledged the significant contribution of director Tamer Ishaq to his artistic process: "Working with Director Ishaq proved instrumental in my approach to this character. His calm demeanor in collaboration and meticulous attention to the smallest details created space for a performance marked by authenticity rather than artifice, allowing the emotional truth of Abdullah's journey to emerge organically."
Reflecting on the source material's broader significance, he observed: "The novel transcends being merely a narrative about water or loss—it serves as a mirror reflecting an entire world. It illuminates the Omani people's relationship with their land, with the ancient aflaj irrigation systems, with the perennial fear of drought, and with the structures of social authority within the traditional neighborhood. The work carries profound ethical and human dimensions that resonate universally, making readers feel as though these characters resemble themselves or those they hold dear."
Actor Mohammed bin Khalfan Al-Siyabi offers profound insights into his portrayal of Al-Qaffir in the post-childhood stage, revealing a character whose dimensions transcend conventional dramatic interpretation. "In my understanding, Al-Qaffir in his essential nature does not struggle with drought so much as he struggles with meaning itself. Water—as I interpreted it within the written text—transcends its function as a mere resource for survival; it becomes the embodiment of identity and certainty. Salim is not simply a man searching for water; he is a human being attempting to justify his existence in a world fundamentally incapable of perceiving what he perceives."
He continued, his words carrying the weight of deep artistic contemplation: "When I began approaching this character, I recognized that his conflict is not dramatic in the conventional sense but rather represents an eternal, almost metaphysical struggle. He inhabits a state of subtle alienation because he alone hears the earth's call while others perceive only its silence. This profound disparity between individual perception and collective consciousness generates within him a persistent, unresolved tension. Do I trust what I feel, or do I surrender to what everyone sees? This existential question guided my approach to Salim as a sensitive being rather than merely a man defined by his profession. I came to see him as one carrying a gift resembling mystical intuition, possessing an almost spiritual relationship with the earth, as if an unheard dialogue perpetually flows between them."
Al-Siyabi elaborated on his artistic methodology with remarkable candor: "On a personal level, I summoned moments from my own life when I believed in something beyond others' perception. Salim draws strength from his faith yet remains vulnerable to doubt like any human being. Regarding performance technique, I deliberately chose to render the conflict internally rather than through spoken expression. I worked extensively on stillness because stillness, in my artistic conviction, represents the highest degree of emotional fullness. I imbued the body with an invisible weight, as if a perpetual question rests upon the shoulders. The gaze does not merely observe the surface but transcends it, searching for hidden layers of reality beneath the visible. Even the voice I deliberately modulated to remain low and unostentatious, recognizing that Salim's essential need is not to convince others but to convince himself. In numerous moments, I permitted silence to articulate what words cannot, for silence sometimes carries greater truth than speech."
He affirmed with quiet conviction: "I believe the character's enduring strength lies not in shouting to prove its existence, but in patient listening and waiting for the water to speak on its behalf. Ultimately, I perceive that Salim does not merely discover water—he discovers the legitimacy of his own existence. Every drop of water emerging from the earth constitutes, in its essence, an acknowledgment that his intuition was no illusion and his struggle was not in vain."
Actress Noura Al-Farsi offered profound reflections on her portrayal of Maryam, mother of Al-Qaffir, describing a character conceived as the embodiment of enduring pain. "My role in this work manifests as Maryam, the bearer of anguish, she who meets her fate drowning in the well—an artistic experience entirely new to me. This character was afflicted with relentless migraine, enduring events and reversals that ultimately conduct her toward death." She added, her words resonating with artistic conviction: "I felt profound harmony with the character entrusted to me, striving earnestly to achieve tangible authenticity in my portrayal. The role of Maryam is by no means transient; it carries significant artistic dimension, for despite her early departure from the narrative, her presence endures as an indelible influence throughout."
Offering a broader cultural perspective on the work's significance, Mohammed bin Abdullah Al-Ajmi, Chairman of Oman Cinema Society, delivered incisive observations on the production's place within Omani cultural expression: "Within the Omani cultural landscape—long distinguished by its social equilibrium and profound historical depth—transformations are rarely perceived as abrupt disruptions, but rather as gradual trajectories shaped organically through memory, narrative tradition, and literature. It is precisely here that the novel “Taghribat Al-Qaffir” or 'The Water Diviner' acquires its singular importance. It stands as a distinguished literary achievement capable of capturing these invisible transformations and transmuting them into profoundly human narrative that transcends mere storytelling, contemplating humanity's essential relationship with place, time, and collective memory."
He continued, his analysis illuminating the work's broader significance: "The novel, through its poetic language and cohesively wrought symbolic architecture, succeeds in transforming local particularities into a bridge toward universal human questions extending far beyond geographical boundaries. Thus, the ancient aflaj irrigation systems, the villages, and the eloquence of daily silence emerge as vibrant narrative elements, not merely static backdrops to human drama. The series likewise achieves the remarkable feat of transforming the Omani setting into an independent visual protagonist, liberated from tourist clichés or superficial folkloric imagery. It presents the Omani village as a richly textured dramatic space encompassing profound human narratives and silent internal transformations of deep and lasting impact."
He concluded with an assessment of the work's cultural significance: "This production, in both its literary source and dramatic realization, represents far more than a successful artistic endeavour. It establishes the foundation for a mature Omani visual discourse founded upon contemplation and uncompromising authenticity, affirming that drama can extend organically from literature rather than merely substitute for it."
Writer Abdullah Al-Shuaibi offered incisive observations on the adaptation of literary works for screen, emphasizing the significance of transforming Omani novels into compelling television productions with adequate creative and institutional support. "This experience," he noted, "demonstrates the considerable potential residing within our literary heritage for thoughtful television adaptation. I believe Omani drama requires a departure from conventional approaches—a fundamentally different mindset in selecting content capable of genuinely attracting viewers. Omani literary novels are abundant and remarkably diverse in their conceptual frameworks; adapting them for television is not merely feasible but increasingly necessary."
He continued, highlighting the singular achievement of the source material: "The novel Taghribat Al-Qaffir by Omani writer Zahran Al-Qasimi garnered the International Prize for Arabic Fiction and multiple translations into world languages, standing as a crowning achievement within Omani literary accomplishment. In recognition of this distinction, it has been adapted into a television series derived faithfully from the novel itself, bearing the same title, and now reaching Omani and international audiences during this Ramadan season."
Al-Shuaibi elaborated on the broader implications for Omani dramatic production: "What Omani drama urgently requires is an intellectual framework that diverges from traditional patterns in selecting works capable of drawing viewers, while simultaneously advancing fresh ideas—as is customary elsewhere—to present productions reflecting contemporary thought. After all, we inhabit the first quarter of the twenty-first century; there is no impediment to allowing both inherited wisdom and modern perspectives to share space within Omani drama, not confined to Ramadan programming but extending throughout the entire annual cycle."
He affirmed the wealth of material awaiting adaptation: "Omani literary novels are numerous, encompassing diverse ideas, visions, and philosophical perspectives. Adapting them for television is not only feasible but necessary and significant. What ultimately appears on screen should emerge as a new and independent creation regardless of its source material, conceived with a mindset that does not merely extend those literary works but builds thoughtfully upon them. This approach allows imagination, visual imagery, and conceptual frameworks to intersect dynamically, producing compelling and distinctive productions."
Al-Shuaibi observed that Oman possesses numerous short stories and novels meriting attention and transformation into visual works through sensitive television adaptations. Such adaptations should utilize literary works as entry points for engaging with television's distinct contextual requirements, ensuring suitability for what will be presented visually to audiences across television platforms, and potentially cinematic venues as well. Literary writing—particularly narrative and novelistic forms—conveys worlds suspended between reality and imagination through descriptive language, deepening its vision of characters, places, and temporal dimensions. Whether through chronological framing or transcending time through fantasy applicable across ages, literature offers readers an imagined vision that, through these intricate details, shapes each recipient's unique imaginative experience. The challenge and opportunity lie in translating this singular imaginative encounter into a shared visual language that honours its source while speaking effectively to contemporary audiences.
Children's literature specialist Fatma Said Al-Zaabia offered profound reflections on the adaptation of Taghribat Al-Qaffir, articulating a vision of literary transformation that extends far beyond conventional adaptation. "The aesthetic achievement in transmuting this novel from literary text into dramatic discourse," she observed, "operates on a plane far exceeding mere narrative translation. It establishes the work as a foundational source within the creative industries, contributing to a broader cultural economy."
She continued, her analysis illuminating the production's deepest significance: "I find that the most resonant anchor point granting this adaptation its profound human dimension resides in the presence of the child Al-Qaffir, who emerges as a symbolic vessel embodying continuity within Omani dramatic expression. Those responsible for the series chose neither to excise nor to circumvent this essential element of the novel; rather, they demonstrated unwavering faith in featuring a young performer who exhibited remarkable capacity to absorb and transmit the complex meanings embedded within the work. His performance conveyed significance transcending mere craft, embodying the rising generation's capacity to comprehend intricately layered situations and navigate them with awareness and emotional discipline. In moments of tension, fear, and anticipation, he appeared capable of reading subtle signals, transforming anxiety into focused attention—rendering childhood itself a lens through which society may be understood anew."
She elaborated on the production's broader implications for cultural development: "I perceive this work, through its representation of childhood consciousness, as approximating an implicit curriculum—the portals of creative industries and knowledge economy toward shaping tomorrow's human being. The child discovers his intrinsic capabilities within authentic cultural contexts where he assumes significant representational responsibility, thereby reorganizing his consciousness of self, his participation, and his cultural and societal presence. What the work achieved through the image of the child Al-Qaffir constitutes nothing less than a successful model for identifying, nurturing, and presenting talent to society at its most exalted station."
She concluded by situating the production within Oman's developmental vision: "I find this meaning aligns harmoniously with the human and society pillar of Oman Vision 2040, which emphasizes an effective system for creativity and innovation contributing to knowledge economy construction. When a work presents a child capable of bearing meaning and symbol, it does not merely showcase individual talent but gestures toward a developmental pathway susceptible to generalization: through early discovery, sustained training, supportive environments, and access to professional platforms. This production thus offers not only entertainment but a blueprint for cultural cultivation."
Thus, the transformation of the novel into a television series becomes an integral component of the cultural and creative industries, reimagining heritage and identity within a national product broadcast through official channels, thereby amplifying culture's resonance within society and reinforcing investment in the human being as both the ultimate objective of development and the essential instrument of the knowledge economy.
Writer Mohannad Al-Aqous, a distinguished Syrian literary figure residing in the Sultanate of Oman, offers incisive observations on the production's deeper significance, noting that the treatment of childhood allows the recipient to apprehend the psychological foundations that subsequently animate and explain character behaviour. He affirms that the presence of a child, with instinctive emotional authenticity before the camera, creates an aesthetic challenge that elevates the work's overall artistic standard.
He elaborates with compelling literary reference: "Can we forget the boy's character in Ernest Hemingway's The Old Man and the Sea? Who among us did not cherish the child's role in Hanna Mina's The End of a Brave Man? The examples abound—immortal literary and dramatic masterpieces whose protagonists were children, whether the child remained a child throughout the narrative or grew to maturity as the pages advanced, carrying us through their transformative journey."
Al-Aqous situates this production within Oman's distinctive cultural landscape: "The Sultanate of Oman stands among the world's most significant nations in preserving cultural specificity, evident clearly in the Omani individual's profound susceptibility to environmental influences from earliest childhood. Consequently, narrative treatment of the childhood stage becomes not merely artistic choice but professional imperative, enabling us to grasp the narrative thread from its primary source and trace its development through consciousness."
He elucidates the director's crucial role: "Here emerges the director's essential contribution—presenting a technically accomplished image without violating childhood's spontaneity or the authenticity of its emotional expression, thereby attracting the recipient toward a vision that contains both the imagination of dreams and the reality of foundational events. This delicate balance distinguishes the work."
Al-Aqous concludes by situating the production within broader cultural policy: "As we celebrate and take pride in Taghribat Al-Qaffir's success as a novel, we must equally appreciate the Ministry of Information's role in encouraging the extension of magnificent Omani novels into wider life through radio and television production. This initiative establishes a unique and distinctive cultural phenomenon in which both cultural elite and general public participate equally, democratizing access to literary heritage while preserving its essential integrity."
