Kattara for comments

[kahnjar1]

Originally Posted by Ibrahiim al Balooshi

Salaams, No not at all Mendingo; The sword at #21 carried by the great slave trader Tippu Tip and photographed in the 1860s is a long Kattara hilt on what some people may call a curved kattara but which is also called a Sayf in Oman. Although we cannot see the blade it can be seen that the scabbard is curved and that it has rings so that it can be slung in the low mount thus favoured by VIPs even then as a badge of office. I can see the hole in the pommel on photo one at # 21.

What I suggest is that perhaps :

1.Such was the influence of Oman in the east of Africa that some effect may have occured to sway the design of African swords e.g. from the Omani Kattara hilt to the Mendingo hilt. This is based on the slave trade control by Omani traders over huge swathes of Africa etc.

2. The African hilt "at some point" swayed the design of the kattara Omani hilt ~ something I find difficult to believe.

3. That there was no influence from anywhere on the Omani Kattara design and the Omanis dreamed up the design of hilt, blade and buckler plus the war dance "The Razha" independently.

I have to say that I am sold so far on point 3 but I am open to ideas !

On the point of colonial power; it is true that European influence did inspire a lot of African swords however not many of, for example, the typical swords of Ethiopia imported from Germany, appeared in Oman because they were rigid and pointed... The Omanis used, were brought up with and favoured the Kattara system. Luckhouse and Gunter straight german blades were useless with a Buckler and even cut back would not have found much use perhaps as ships swords opposed to the shaska style also adopted in Oman... not in Oman anyway. In Ethiopia however the full length import was ~ superb!
I have two Luckhouse and Gunters mounted on Tulvar handles but Ive seen no Omani variants yet !!

Regards,
Ibrahiim Al Balooshi.

p.s. The chap wearing the Khanjar and sword is Sultan Barghash of Zanzibar. Yes that khanjar is the family traditional "Al Bu Saidi".

..........so taking your Point #1 above....it IS possible then that ARCHERS sword IS a Kattara??

[Ibrahiim al Balooshi]

Originally Posted by kahnjar1

..........so taking your Point #1 above....it IS possible then that ARCHERS sword IS a Kattara??

Salaams, Not in my book.. Theres just no proof. It may all be so wrapped up in historical time much of it frozen in Oman that getting to the bottom of this may take a while and some dedicated research. I would need to be convinced that mendingo warriors used the shield and sword and danced the same Razha... thereby using a same same fight technique and that does not seem to be the case.
My money is on number 3. Omani 100% and unrelated to any other area. Kattara and Terrs. It is a unique fighting system and I believe much earlier than first thought... Not 17th or 18th Century... more like 9th !

[Jim McDougall]

I really dont think that the African hilts from either Mali or anywhere else influenced the Omani hilt, as I had mentioned earlier, in my opinion the simple cylindrical style hilt without guard seems more likely applied in Africa with the diffusion of the Omani swords worn by traders.
As far as the 'style' itself, of the long kattara.....it is not as far as I can see and actual 'development' but a reduction in style from the more structured form of the kattara with quilloned guard.

An analogy, if I may, would be for example if considering colors, black is complex, actually an amalgam of colors, while white is actually an absence of color. In this case, developed structure has given way to simpler form more as a matter of convenience and viability in adapting the now available trade blades. While by no means am I discounting the simple attractiveness of the 'long kattaras' , it is just viewing thier development pragmatically.

Naturally, this 'design' would be suitably embellished and adorned in the case of the extremely status and image conscious merchants, and influenced other imitators accordingly.

With the 'gurade' or European style sabre in Abyssinia/Ethiopia, it was not a case of these people adopting the style influentially as much as it was that these swords were produced in entirity for the forces of Abyssinia. Again, it is a matter of availability and opportunity, as well as admittedly in degree that Westernization of many armies colonially and globally, was becoming well known by the mid to latter 19th century. Though the 'gurade' was indeed supplied to the Abyssinian military as produced by German manufacturers, the blades of sabre form produced in England and Germany were still mounted locally in the rhino horn hilts of the favored ancestral swords, the shotel.

The fact that many of these British and German blades are known to appear on swords often hilted in Yemen, and if I recall correctly from earlier discussions, often ended up there more for the rhino horn hilts than anything else...the blades being remounted locally there. These are typically recognized by of course the familiar Abyssinian 'Lion of Judah' and Amharic script (ge'ez) on the blades.

I am inclined to think that the style of fighting with sword and buckler of course, in itself, dates far into antiquity, and cannot be relegated to Omani invention, though thier practice of it certainly became as well known because of the described 'dancing' and exaggerated performance of martial skills.
As I earlier noted, this same type of crouching, leaping and parrying is well known in many other regions outside Omani influence, and developed probably in similar fashion. Different characteristics of course would likely be seen, and naturally the terms describing it will vary somewhat, but basically it will be the same type of technique.

All best regards,
Jim

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

I really dont think that the African hilts from either Mali or anywhere else influenced the Omani hilt, as I had mentioned earlier, in my opinion the simple cylindrical style hilt without guard seems more likely applied in Africa with the diffusion of the Omani swords worn by traders.
As far as the 'style' itself, of the long kattara.....it is not as far as I can see and actual 'development' but a reduction in style from the more structured form of the kattara with quilloned guard.

An analogy, if I may, would be for example if considering colors, black is complex, actually an amalgam of colors, while white is actually an absence of color. In this case, developed structure has given way to simpler form more as a matter of convenience and viability in adapting the now available trade blades. While by no means am I discounting the simple attractiveness of the 'long kattaras' , it is just viewing thier development pragmatically.

Naturally, this 'design' would be suitably embellished and adorned in the case of the extremely status and image conscious merchants, and influenced other imitators accordingly.

With the 'gurade' or European style sabre in Abyssinia/Ethiopia, it was not a case of these people adopting the style influentially as much as it was that these swords were produced in entirity for the forces of Abyssinia. Again, it is a matter of availability and opportunity, as well as admittedly in degree that Westernization of many armies colonially and globally, was becoming well known by the mid to latter 19th century. Though the 'gurade' was indeed supplied to the Abyssinian military as produced by German manufacturers, the blades of sabre form produced in England and Germany were still mounted locally in the rhino horn hilts of the favored ancestral swords, the shotel.

The fact that many of these British and German blades are known to appear on swords often hilted in Yemen, and if I recall correctly from earlier discussions, often ended up there more for the rhino horn hilts than anything else...the blades being remounted locally there. These are typically recognized by of course the familiar Abyssinian 'Lion of Judah' and Amharic script (ge'ez) on the blades.

I am inclined to think that the style of fighting with sword and buckler of course, in itself, dates far into antiquity, and cannot be relegated to Omani invention, though thier practice of it certainly became as well known because of the described 'dancing' and exaggerated performance of martial skills.
As I earlier noted, this same type of crouching, leaping and parrying is well known in many other regions outside Omani influence, and developed probably in similar fashion. Different characteristics of course would likely be seen, and naturally the terms describing it will vary somewhat, but basically it will be the same type of technique.

All best regards,
Jim

Salaams, It could be true that the Omani Kattara developed either independantly or with some ripple influence one or both ways from African styles but it cetainly hasn't been proven yet. It may never be. None of the African variants, however, have the same system. This was not a Zanzibari invention as only the Omanis did the Razha ritual dance. They still do it.

I liked your analogy of the two colours. It could be that a long blade needs a long hilt and pommel and to lighten the blade it needs fullers then it is a short step to the shape of the Omani Kattara. Maybe.

The indicators I have suggested place the Omani Long Kattara early possibly 9th Century because it has the terrs shield and is a system with a traditional dance. Tradition takes a long time to imprint thus my suggestion of a far earlier timeframe for the Kattara.

Oman was at war with itself for many centuries (Interior versus Coast) and it is easy to see how the interior used a different sword to those on the coast. The interior were staunch Ibathi followers and I suggest the Omani Short Battle Sword froze there for many centuries. The coast on the other hand was raked over by many invaders and extensively open to trade so change and influence would have come faster... I believe the straight kattara was adopted by the coastal half of Oman and later by the Swahili, in particular the slave traders, who fitted the long handle with slightly curved Sayfs. My previous picture shows the Tippu Tip slave trader with that setup. In that form it didnt need a shield. By the way I believe that makes it a different sword! The Omani Sayf.

What appears to have happened is that both the Omani Short and the Long Kattara were at some point used together as the country became more united and the Omani Short, The Straight Kattara and the curved variant on long hilt(Sayf) additionally became icons worn as badges of office by VIPs. The different swords overlapped. My previous picture shows a sketch of a Omani Short being worn in the late 19th Century by Sultan Bargash.

It has certainly been an interesting discussion and I thank you for your excellent replies. Yaa Ustaath !! (Oh Master !!)

Regards Ibrahiim Al Balooshi.

[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

[Ibrahiim al Balooshi]

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.

[Jim McDougall]

Hi Ibrahiim,
I agree that we have pretty much reached the point where we obviously need more key information that would offer clues to enable our moving further, but I am really glad we have been able to move this far. You;re right that information from either museums or academic institutions in Oman, Zanzibar and Mali might have more revealing data.

I agree also that the Razha is strongly associated with the long kattara and that the spatulate tip is indicative of the type of sweeping, slashing cuts used in wielding these swords. I have always thought it interesting that this feature is characteristic on the takouba of the Sahara, while its cousin, the broadsword kaskara in Sudan uses a spear type point.

More needs to be learned on the chronological history and development of the Razha, and if it can be determined culturally where it is likely to have come from. Burton suggests the Thracians, but then, was this the same type dance? More research needed as always, but very much enjoying discussing this with you!

All the best,
Jim