Kattara for comments

[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

[Ibrahiim al Balooshi]

Originally Posted by 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

Jim McDougall.
Salaams,
I have almost completed my initial research on Omani Folklore and have unearthed some fairly spectacular information. I propose to publish this to you as soon as I can and certainly inside the next few days. Not to put too fine a point on it (no pun intended) most people would fall over laughing if someone suggested that the Omani Kattara was 10th century and folks would fall off their chairs if it was shown to be 7th .... The implications of such a story and the potential relationship with the Omani Short Battle Sword are mind boggling.
Please allow me a few days to generate the paper.

Ibrahiim Al Balooshi.

[Jim McDougall]

Originally Posted by Ibrahiim al Balooshi

Jim McDougall.
Salaams,
I have almost completed my initial research on Omani Folklore and have unearthed some fairly spectacular information. I propose to publish this to you as soon as I can and certainly inside the next few days. Not to put too fine a point on it (no pun intended) most people would fall over laughing if someone suggested that the Omani Kattara was 10th century and folks would fall off their chairs if it was shown to be 7th .... The implications of such a story and the potential relationship with the Omani Short Battle Sword are mind boggling.
Please allow me a few days to generate the paper.

Ibrahiim Al Balooshi.

Hi Ibrahiim,
This is most exciting news, and I know you have been probing this subject deeply. As you note there may be some consternation with assessing such early period for these swords mostly associated with relatively modern times in the Omani sphere of influence, however supported theory can be very compelling. It is wonderful that you have taken such a serious approach to the study of the development of these fascinating weapons, and I am really looking forward to your work !!

All the very best,
Jim

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

Hi Ibrahiim,
This is most exciting news, and I know you have been probing this subject deeply. As you note there may be some consternation with assessing such early period for these swords mostly associated with relatively modern times in the Omani sphere of influence, however supported theory can be very compelling. It is wonderful that you have taken such a serious approach to the study of the development of these fascinating weapons, and I am really looking forward to your work !!

All the very best,
Jim

Jim McDougall.

Salaams,
By way of introduction I intend to show the origin and date of the Omani Long Kattara and the relationship with Omani Short Battle Sword. I intend to prove that both weapons stem from the same concept and that the two are branches of the same sword from the late 7th Century AD. In so doing I also intend to show that the original Long Kattara was exported to Saudia where it froze as a design and can in fact be viewed at Michael Blalocks excellent pictures of it in a Riyadh Souk and at a Yemeni Museum on Arabian Swords #1.

My main research into Omani Folklore; specifically focusses upon the traditional music, poetry and dance of Oman and my main reference is www.octm-folk.gov.om/meng/rhythem.asp I have avoided putting it as a footnote as it runs on to many pages.

Oman adopted Islam in the late 7th century and within a very short term had modified its style following that of the Ibadi Islamic structure. Religious linkage with traditional Omani music is well known and the first layer or strata of music(the most important) and dance celebrates this. This "genre" of music at the start of Omani Islamic adoption is called the FUNUN.

In celebration of the memorable annual dates in the Islamic calendar, in particular the two Eid periods and at weddings, certain fixed ritual music and dance patterns emerged. One group of dances accompanied by music, especially drums, was the Razha. "The Sword Dance".

There are several subcategories of Omani Long Kattara sword dance display. The first is with the swords (without shields) paraded in front of the onlookers. Performers swagger to the drumbeat occasionally tossing their swords high in the air and catching them clean by the hilt whilst others leap in the air causing the swords to buzz by clever flick of the wrists. The second form is where two performers mimic a swordfight using Kattara and Buckler Shield urged on by the drums ..The aim being to touch the opponents thumb though in the event of no result a third referee cuts the air between the opponents with his sword to end the set.

The importance of music dance and poetry cannot be over emphasised since it has grown to scores of different performances reflecting sea exploration, trade and war with far off lands~ indeed Oman was trading with the Chinese in the mid 7th Century and later with the west coast of India (Malibar coast) and Africa as well as Persia and its close neighbors. The different genres within traditional music dance and poetry of Oman reflect these occurences and the different beat and tone as well as the dance indicate the provenance like a fingerprint so that you can see where the influence is say, Portuguese or tribal African or a seagoing episode or camel journeying. Each belongs to a separate volume, strata or genre but vitally they are all passed down from generation to generation illustrating the history and lives of Oman before. What is peculiar about the forms is that each has a totally different beat like a fingerprint which makes each performance traceable as each set of music is so unique. Music is after all a mathematical sequence. Different regions Mussandam or Salalah for example have separate genres like tha Jebali Khanjar dance for example.

However The Razha is in the Funun and the Funun was the first and most important of the music and dance traditions cemented around the newly adopted Islamic religion in the late 7th Century. The sword and shield used in the Razha are the Long Kattara and Terrs.

This traditional body of work of Omani poetry, music and dance are very much alive today having been passed down the line for 1300 years.

Please view Michael Blalocks excellent pictures of a sword in a Riyadh Souk and at a Yemeni Museum "posted on Arabian Swords #1".
You may also wish to see the pictures previously put by me of the Omani Short Battle Sword to compare hilts. Plus you may also note the rounded spatula tip in Michaels picture. Could this be related?

In my previous script you will note that I attached the Omani Short Battle Sword as a development of the Abbasid sword being used against Oman in the 7th and 8th Centuries by the Garrison from Baghdad in Oman. In that post I pointed out that the hilt was a celebration of the adoption of Ibadi Islam and I believe it is almost identical to the Long hilt in #1

I believe that there were two swords and both evolved with a similar hilt but with different blades at about the same time. The Short and The Long. Two different swords for two different purposes The short for close infighting possibly with a big shield (now lost)... and the Long for use with the Terrs . Interestingly the Omanis still call both swords by the same name (Kattara). I believe that the Long Kattara eventually superceded the Short simply because it was more popular in its secondary role in traditional celebrations..though it can be proven that both weapons(and others) were iconic badges of office until now. Anyway there were plenty of places the short weapon was good for.. on board ship... in fortresses and amongst fortified villages...The long sword better in the wide open spaces.. The two swords continued to be used for many centuries side by side.

It has to be remembered that for centuries Oman was essentially two countries or one country at war with itself i.e. The Interior versus the Coastal Belt. Even in the mid 20th Century it was still known as Muscat and Oman ! Muscat was capital on the Coast whilst the seat of power in the interior was at Nizwa which as it happens was also the centre for Ibadi Islam.


Trade from the interior was with the rest of Arabia etc through the empty quarter in what is now Saudi Arabia, though then, in the early days, it was all one big massive tribal jigsaw puzzle. Trade in swords, slaves, dates and other products from Nizwa to Arabia by camel caravans would have been standard practise as no trade would have been possible with Muscat. Export and technical freezing of the original Long Kattara as seen at the reference could easily have happened and what we see today in that photo is I believe the Omani Long Kattara in near original form.

So what happened to the Long Kattara hilt? It evolved.. not in Saudia but in Oman. Perhaps the jolting in both its uses as a dance weapon and as a fighting weapon the old handle was prone to breaking apart. Certainly the degree of vibration up into the cruder handle on the #1 Long Kattara would be substantial and as sword making became more modernised the technical ability to make a sword tang and pommel as one piece simply hatched. Timescale?.. The transition to conical hilt? I have no idea but even as late as the introduction of European trade blades.. and so the old handle was simply superceded.

In conclusion I argue that both the Omani Long and Short Kattara are two branches of the same weapon which evolved in the late 7th Century and used in the interior (Dhakiliya) against the Coast of Oman and in support of the Ibadi religious seat which retained the music and Ibadi dance traditions until today. The Razha ( Sword Dance ) is part of the Funun and the two can be date matched to the start of Islam in Oman. I further argue that the virtually identical sword hilt at #1 to the Omani Short speaks volumes and that it is the original Omani Long Kattara frozen in time having been exported centuries ago.

Regards,

Ibrahiim Al Balooshi.