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Old 25th May 2011, 07:05 PM   #41
Ibrahiim al Balooshi
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Location: Buraimi Oman, on the border with the UAE
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Default Omani Swords ; Origins.

Quote:
Originally Posted by Jim McDougall
Hi Ibrahiim,
In discussions of what we have been referring to as the Omani short sword, with the hilt having drooping quillons, this does seem to carry traditional hilt form values of very early swords, and I think your suggestion on the Abbasid association is quite plausible.

I also agree that these quite likely might have existed for quite a long period and concurrently with the evolving simple cylinder hilt 'long kattaras'. The early form swords were as noted, most likely to have remained in use in the tribally controlled interior regions of Oman, and these regions and tribes were notably conservative. It is interesting that the Omanis from early times did have considerable contact and influence with the Baluchi's in regions of what is now Pakistan. These were people of Iranian origins with heritage from Mesopotamia. It would seem, without entering into the complexities of the previous Abbasid associations, that these connections would add further support for the quite ancient associations to the hilt style.

I believe that Elgood's comments noting the strong ties between Baluchistan and Oman were well placed, as seems to be quite supportable here.

With Muscat being the primary coastal center of power and of trade from early times, it does seem that it was exposed to considerably more influence from foreign powers, and that in later times would have been more inclined to deviate from the conservative forms of the interior tribal regions. While it is known that with the maritime trade, the short nim'cha, cutlass type sabres which seem to have come in from Yemen in many cases would of course have been well known aboard the vessels, it would appear that the developing variety of 'long kattara' was favored by persons of standing, particularly merchants.

As previously noted, these were likely a simplified version of broadsword using readily available trade blades which were quite present in these trade routes. With the Portuguese presence in Muscat, it is worthy of note that many of these blades in the 16th and 17th centuries were German produced, and quite present in India as well. In India, in fact, the term 'firangi' used for many straight blades used on the swords of khanda and pata type is believed to transliterate to 'Portuguese' and loosely 'foreign'. The trade with India's western Malabar Coast, as well as with the northern areas including Baluchistan might well account for not only the arrival of these blades initiating the newer and simpler hilted kattaras, but might well be the source for the swordplay and dance, which is mentioned in Burton (1884).
He notes on p.163, "...the swordplay of North Africa is that of Arabia and India, apparantly borrowed from the original sword dance". He references the'sword dance' having been Thracian, and describes high leaps and circling performance which included feigned wounding etc.

Similar type swordplay is noted by Halliburton (1935) who went into remote tribal regions high in the Caucusus in Georgia, where the Khevsur people duel with similar actions. The fighters crouch with one knee near the ground. They use small light shields to parry, and they jump about with amazing agility, in circles and trying to outmanuever and exchange blows with thier swords.
In studying the arms of these regions, there seem to be distinct influences from India, as well as of course from Islamic oriented sources, though they are animists and in Orthodox Christian areas in Georgia.

Getting back to the variants of the simple cylinder hilt kattara, again, this is just basically a hilt form which may have evolved as previously noted, as an easy to produce style adjusting to the blades becoming available through trade. With the curved sabre blades, the primary association with the shashka is that in many cases the same type trade blades were used. These same blades turned up on many sabres in many countries. Similar blades are seen on tulwars, Syrian shamshirs, and virtually throughout areas with ports of call visited by these traders. The sabre became more popular through the 19th century with European colonial contact and more availability of these kinds of blades.

I would like to thank you as well for such well placed comments and observations, and am most humbled by your kind compliments, thank you so much,

All the very best,
Jim

Salaams ~ Thank you for your superb reply.
Whilst we may have to some extent refined the origin of the Omani Short Battle Sword (turned down quillons) and to some extent the shaska and european influence plus some inroads into the long curved sayf; the question on Omani Kattara still lies unsolved. On this subject I think I am ready to lay down my pen until such time as a suitable reference is discovered either by another forum member or by us perhaps from one of the Omani museums or cultural institutions.

I admit to running out of reference material at this point, however, I believe the Razha hold the key, though I also think Zanzibar, whilst fascinating in many aspects, is a diversion along with the entire African sword development history which I think has no bearing at all on the Omani Kattara ~ The Straight Omani Long flexible two edged spattula tipped sword with the conical handle. However the entire subject of African weapons is extremely interesting and fascinating a subject that I have ever studied.

Both in support of your letter and in defence of mine I offer a small reference from the web (From Wikipedia, the free encyclopedia.)

"A war dance is a dance involving mock combat, usually in reference to tribal warrior societies where such dances were performed as a ritual connected with endemic warfare. Martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music, especially strong percussive rhythms. Examples of such war dances include: is a martial art traditionally performed with a dance-like flavor and to live musical accompaniment";
* A'rda - In Kuwait.:* El-Tahteeb in upper Egypt:* Buza - From Russia.:* Panther Dance - Burmese Bando with swords (dha):* Gymnopaidiai - ancient Sparta:* European Sword dance or Weapon dance of various kinds:* Haka - New Zealand:* Indlamu (Zulu):* Khorumi - Georgia:* Sabre Dance - depicted in Khachaturian's ballet Gayane:* Maasai moran (warrior age-set) dances:* Aduk-Aduk - Brunei:* Ayyalah - Qatar:* Khattak Dance - Afghanistan and Pakistan:* Brazil's Capoeira, as well as some similar Afro-Caribbean arts:* Dannsa Biodag - Scotland and Scottish sword dances:* Hula & Lua - from the traditions of indigenous Hawaiian:* Combat Hopak - From Ukraine:* Yolah - From Oman/UAE"

(the following added by Ibrahiim) And specific to Oman The Razha.

The question isn’t so much on comparison between different countries dance but when in the case of Oman did Razha start? If that can be discovered then the story of the Omani Kattara can be better understood. The indicators are that since Oman was largely a closed society at war with itself and isolated because of mountains and deserts and to some extent sea… external influence was very reduced. Oman only really emerged from the middle ages in the mid to late 20th century. It is suggested that here the effect of systems / weapon freeze was very much in evidence. It is in precisely these conditions that folklore and cultural tradition flourish.

I shall try to uncover more facts about the Razha whilst maintaining my suspicion (unproven) that it entered Omani folklore in about the 9th century.

Regards
Ibrahiim Al Balooshi.
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