Gentlemen, I would like to thank you for maintaining objectivity and composure as this complex discussion continues. As well noted, often discourse can become somewhat volatile as reactions to certain ideas and observations are presented, but what is important is to remain objective in any contesting and of course include as much proof or support as possible in rebuttal.
These discussions are far too important for personality issues, and personally I am more than impressed with the knowledge and perspective all of you have on these esoteric topics and which you impart here.
I must add that it seems well established that there are of course many older reflections, misperceptions and notations which have certainly given us a degree of distortion in developing useful material concerning these arms.
As well noted, particularly in 19th century as photography developed, the use of props, staging and other false impressions are notable hazards in our research.
Even in the woodcuts and other images representing these times and events, the artists license becomes a constant concern.
In my opinion I have always felt that slavers, in these cases as well as in Darfur in the Sudan, the drivers and bosses certainly would have used a bit of drama in their chosen accoutrements. I think of the kaskara types with full crocodile anatomy in their mounts, some I have seen with the hilt composed of entire foot as well as the scabbard entirely scaled hide. I met with the usual arguments that these were 'tourist' items, but my opinion remained firm as I found similar items in provenanced collections among other combative arms as well as personal discussions with an acquaintance who was a tribesman from Darfur. Naturally these do not comprise 'admissable' evidence, however they remain compelling.
In the case of the dancing swords themselves, I would submit that the concept of using actual combat swords in the form of ceremonial display here discussed as the Funun seems quite likely. Clearly much of this is tradition which developed out of martial hubris and eventually became a recognized celebration, and as well noted, the practice of sound in vibrating the sword blades would well dramatize the events. The 'sword dance' itself is well known in many cultures, I think of course of Scotland, but there are many others.
The field research shared here by Ibrahiim seems to reflect the instance where of course little actual documentation exists, though the standing tradition remains profoundly in place. To set hard and fast dates and regulation types of weapon to be used etc. would be it seems unlikely in these kinds of investigations, and I perceive most of what has been asserted here to in essence a 'working concept' to serve as a kind of guideline .
It seems fully conceivable that blades intended specifically for these events would have eventually been produced, and that actual weapons used in combat in early times or even later using arms mounted with the ever developing influx of trade blades, would have existed contemporarily.
As with most situations, especially in ad hoc circumstances, the use of these forms could certainly have interpolated. The planned or traditional events of course would likely have used the specifically produced weapons.
In more recent times, as the commercial aspects of weapons sales for collecting has advanced, and with the virtual opening of Oman to outside activity, naturally innovation has set aside any kind of adherence to such traditions and amalgamated the use of materials at hand.
It is well established that the trade blade phenomenon has monumentally complicated the study of ethnographic swords, developing conundrums which remain at best, speculative in attempting to find answers. Those of us who do engage tenaciously in attempting to do so regardless of the dangers of course feel profound frustration, anxiety and disappointment as regular emotions so adverse reactions are rather expected. However, we must remember we work here as a team, and one in my opinion the best in the business' as it were.
OK, off my soap box
As always,
Jim