Fascinating discussion, and it is great to see this kind of input!
Very well said Ibrahiim, on all points . It is indeed important to note that the Omani sayf has indeed long stood as a dynastic leitmotif as a rather heraldic device, and its ceremonial properties are but one instance in its overall historic character .
I believe we established some time ago that while swords of this form were indeed with particularly flexible blades locally produced were used in the key dance events, there were certainly many with quite sound blades which found use in ersatz circumstances as weapons. These were often with many of the trade blades of German origin .
These sayf were also well established as important accoutrements of status worn by the merchants and though often ostentatious, in the same manner as court and dress swords certainly could be used as formidable weapons if need be.
Regarding the note on what Ariel had observed concerning the pamor in the keris, I believe he had specified that this feature in these blades was 'technologically' useless...an entirely different analogy. The spiritual and metaphysical properties of the keris are well known and respected of course, and the point he was making was directed toward the more physical characteristics.
Mark Eley also made a very good point concerning the miniature weapons which often served as models or examples for merchants and makers as samples. Miniature arms have long been produced as novelties and testament to fine craftsmanship which were much favored by nobility and court figures as well as gentry. I recall when RDC Evans (author of"The Plug Bayonet"), who had long become a well established authority on all forms of bayonets sold off his huge collection to pursue the study and collection of miniature arms. While these would certainly not be of use combatively, their place as keen representations of actual arms has created a dynamic interest in them as collectibles.
It has long been established here that the miniature arms in many panoplies of weapon forms of various regions in Asia and Indonesia are much sought after collectible items.
It is important to recognize here as has been well pointed out, these examples of piha kaetta are clearly stamped and do not purport to in any way deceive or diminish the cultural properties of the weapons they are fashioned from. They are artistic impressions of the weapon seen more as a tribute to them, and certainly well placed examples of ethnographica in that respect.
The position attempting to compare them categorically to the originals and classify them as copies in the sense of deceptive reproductions is of course entirely specious, however the discussion that has developed has brought fascinating perspective to these kinds of arms.
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