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Old 11th June 2011, 03:00 PM   #58
Ibrahiim al Balooshi
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Join Date: Jul 2006
Location: Buraimi Oman, on the border with the UAE
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Default 0mani Sword Origins.

Quote:
Originally Posted by Jim McDougall
This is an absolutely outstanding synopsis of the hypothesis established to date, and it is wonderful to see how analyzing the various historical events extending to the earliest times of Islam in these regions form a key part of understanding the development of these swords.
Also an important facet of this analysis is the importance of the connection between the Razha (sword dance) and the martial arts application of these 'long kattara' in the preservation of the traditions of these forms of the sword.

It really is quite amazing that such an approach has not been pursued sooner. though clearly the questions have been there (as seen by the 2006 posts by al-Anizi. It has long been clear that the connections between Oman and trade centers in East Africa were reflected in the appearance of these long kattara in those regions. The advent of German trade blades entered into the sphere from 17th into 19th centuries in notable degree, which of course has long suggested that the Omani 'long' kattara was a relatively recent phenomenon. One of the greatest problems in establishing developmental lineage of various ethnographic sword forms has been the lack of chronologically provenanced examples. This is a case where a plausible theory is supported by the relative seclusion of these inner regions of Oman versus the more dynamic trade connections of Muscat, and how these earlier sword forms might have weathered these influences remaining in place for over a millenium.

As mentioned earlier, the existence of 'sword dance' is hardly unusual as a concept ethnographically, and the dramatic representation of combat and events seems a quite understandable manner of maintaining tradition in mankind in general. Such practices were even in degree practiced by early man and dancing as a development of shamanic ceremony was probably part of the formation of early religion and temporal perception of his surroundings.
There are however certain peculiarities it seems in these representations in vastly separated cultural spheres which have no apparant direct contact with each other. It does seem that the roots of the Razha must be shared with a number of other versions of this particular dance style, but though I believe the details are similar, for example with the crouched position in opening to the exaggerated leaps and wide blade sweeps to the Khevsur 'duels' in the Caucusus, there are a number of aspects that seem dissimilar. If I understand correctly, one of the elements key in the Omani performance is the undulating of the long blade to produce sound, which requires a longer well forged blade of strength and thinness.

Extremely well written and nicely presented Ibrahiim! Thank you so much for sharing this here, and again, it is fantastic to see this kind of research followed in the study of weapons. It is inspiring to see this, and gives us hope that equal attention will be afforded the many other weapons whose developments have remained clouded in mystery for so long.

With all very best regards,
Jim
Salaams Jim,
Thank you for this and all your inspiring replies. Your masterful approach has helped so much in finally examining this clouded issue which has puzzled experts for too long. Thanks to you and this forum we have at last got much closer to understanding these Omani Swords.

Regards,
Ibrahiim al Balooshi.
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