Ethnographic Arms & Armour - View Single Post - Zanzibar, Saiid The Great and his influence on Omani swords and weapons.

Jim McDougall · 13th November 2022, 06:04 PM

I think one of the most confounding problems for arms historians beyond the semantics in describing weapons verbally is the introduction of the CDV (=carte de visite) which was a French convention , sort of forerunner of the post card. Photography was a way to dramatize visually the figures in places, events, and often of course ethnographic persona.

One of the most colorful anecdotes on this I recall was a film maker (the later movie making version of this) during the time of Pancho Villa. He wanted to film, in real time, an actual attack of his men against the Federale forces.
He did so, but declared the film useless because the 'action' was too boring.

These images of soldiers, warriors, etc. are almost typically staged by photographers of the time who often carried weapons in their 'kit' to be used as props, or assembled weapons at hand which would add impetus to the image.

In the case of this Omani warrior, he looks intimidating, but while the Martini-Henry was of course quite likely in the hands of every warrior, as this was their primary weapon of the time. It would be unusual for the rank and file warrior to have an ivory hilt khanjhar, and this sword of course was handy for a photo op.

It is clear that visits by travelers, writers, or diplomats were presented with performances staged with these swords, and these were described by those early visitors like Fraser and Wellstead in the years nearing mid 19th c.
The fact that there were 'long swords' such as the well mounted examples of these swords present in degree among the Omani's of course would cloud the form itself between the performance types and those swords of office with trade blades.
Just as with the CDV, diplomatic performances, and travelers narratives, it is about effect, and as seen, often compelling.

13th November 2022, 06:04 PM	#10
Jim McDougall Arms Historian Join Date: Dec 2004 Location: Route 66 Posts: 9,767	I think one of the most confounding problems for arms historians beyond the semantics in describing weapons verbally is the introduction of the CDV (=carte de visite) which was a French convention , sort of forerunner of the post card. Photography was a way to dramatize visually the figures in places, events, and often of course ethnographic persona. One of the most colorful anecdotes on this I recall was a film maker (the later movie making version of this) during the time of Pancho Villa. He wanted to film, in real time, an actual attack of his men against the Federale forces. He did so, but declared the film useless because the 'action' was too boring. These images of soldiers, warriors, etc. are almost typically staged by photographers of the time who often carried weapons in their 'kit' to be used as props, or assembled weapons at hand which would add impetus to the image. In the case of this Omani warrior, he looks intimidating, but while the Martini-Henry was of course quite likely in the hands of every warrior, as this was their primary weapon of the time. It would be unusual for the rank and file warrior to have an ivory hilt khanjhar, and this sword of course was handy for a photo op. It is clear that visits by travelers, writers, or diplomats were presented with performances staged with these swords, and these were described by those early visitors like Fraser and Wellstead in the years nearing mid 19th c. The fact that there were 'long swords' such as the well mounted examples of these swords present in degree among the Omani's of course would cloud the form itself between the performance types and those swords of office with trade blades. Just as with the CDV, diplomatic performances, and travelers narratives, it is about effect, and as seen, often compelling.