Kattara for comments

[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.

[Ibrahiim al Balooshi]

Note to Forum.
Comparison with Topkapi Museum Abbasid Sword and Omani Short Battle Sword under discussion currently and argued by me as 7TH / 8th C.

Salaams,
I happen to be restoring an Omani Short Battle Sword and I realised that I had missed a characteristic repeated on both swords (Abbasid Sword and Omani Short Battle Sword) and placed on the Forum earlier by me outlining 10 similarities in the two swords :

I believe this is similar characteristic~

no 11. Both handles are octagonal in cross section.

Can this vital point be added to my original letter outlining the similarities please perhaps as a footnote or as advised by Moderator Staff.

Shukran,
Regards Ibrahiim Al Balooshi.

[Jim McDougall]

Hi Ibrahiim,
I have been completely intrigued by your writing on this in what I consider absolutely superb scholarship in presenting theory and support concerning these variations of the Omani 'kattara'.
I have also added your excellent observation concerning the octagonal cross section in the hilts on many of the earlier examples to the itemized list of points in your earlier post as requested. I would like to note here that the domed pommel on these is remarkably similar to some minarets as seen in the Mosque of al-Hakim in Cairo (attachment below). One of the prevalent characteristics of hilt construction in many instances is compellingly associated with architectural features of these kinds of religious structures.
Regarding your note on the octagonal cross section, many minarets and elements of structure in mosques have eight sided features.

One of the most pleasing and rewarding aspects of our discourse on studying these swords is that it perfectly illustrates the importance of considering so many ancillary aspects in the way we look at them. With the sword obviously being a combat weapon, many would wonder what in the world would dancing amd music have to do with this? As you have well shown, the anthropology of these dance traditions, and in particular the rhythms with drums that accompany them, not only preserve these traditions, but have well served as martially oriented honing of skills in handling these weapons.

Much in the way that hunting often served not only the important purpose of supplying food, which kepts skills with weapons at optimum levels, these kinds of martial 'dances' were actually a kind of training exercise in my view.
Being familiar with the weight and balance of a weapon, and perfecting instinctively reactive movements using them seems of course well placed, and essential at combat skills. It has long been known how important music and accompanying movements have been since earliest times, even to the shamanistic rituals of prehistory. The rhythmic beat of drums and certain other instruments carrying melodic accompaniment certainly has dramatic impact in psychotropic perspective, as well as chants, singing, etc. and the link to the Omani funun you attached is fascinating.

As I mentioned earlier, it is I think most important to go sort of 'long form' is describing these weapons as we discuss them, although the seemingly more general term 'kattara' of course applies generally. I agree that the short battle sword likely was developed and maintained in the inland sectors of Oman. These regions were as previously mentioned, notably conservative and distinct adherents of the Ibadi sect of Islam, and which appears to have evolved just a short time after the death of the Prophet Mohammed in 632C.E. The Ibadiyya seems to have extended into Zanzibar and regions in East and North Africa

The development of these short battle swords are most likely as you suggest, developed from the Abbasid type swords, but the actual form as far as I have been able to find resources on, seems unclear. In "Islamic Swords and Swordsmiths", (the late Dr. Unsal Yucel, Istanbul, 1986.).. it is noted that no Abbasid hilts are known and he suggests they were probably closer in form to Mamluk/Syrian types of 14th c. (AD). He does note that some of the earliest Arab miniatures (c. 13th c. AD) reflect hilts having downturned quillons.

While trade contact with coastal regions in Muscat would have been prohibitive obviously for the tribal groups of interior Oman, as you note there were trade contacts in place into the Rub al Khali which connected to other parts of Arabia and Syria in network. With considerably more diverse external influences from many countries it would seem likely that the break from the more conservative weapon would take place in this context. The development of the cylindrical, sans quillons hilt it would seem to me would as you note probably be in accord with the Razha tradition as the longer unobstructed handle would lend well to the elaborate movements and catching the sword hilt.

The well established tradition of the blunt tip was from early times, where the thrust was not favored and chopping or slashing moves were used. The short heavy blade sabre forms you have described with the karabela style hilts and resembling cutlasses were of course more inclined to maritime use and the coastal trade regions in Muscat. These trade connections by sea to Yemen were likely how these were received as well as the manner the 'long kattara' form went to Yemen (as seem in Michaels post Arabian Swords 2009). It is indeed most interesting to see the vestiges of the interior (possibly we might designate these short battle swords of 'Nizwa' form?) style hilt on the example in the souk in Riyadh. I am not sure this represents a developmental form or a contemporary hybridization though. If more corroborating examples were found of course it would be more compelling. It is a captivating example and definitely worth following further though.
Seeing the old 'minaret' style pommel grafted to the collared and segmented shaft without the familiar drooping quillons is truly a tempting variation.

Regarding the leather covered examples of the 'shashka' type profile hilt which seem to be found with various blades, I think these are most likely Bedouin examples from varying contact tribes further into the Rub al Khali and along established routes. Through intertribal contact and trade these seem to be of a Bedouin type which extends throughout their territories throughout Arabia and into the Sinai regions.
The use of curved blades of course is favored as they are more pragmatically applied to mounted use.

This is truly a fascinating discussion Ibrahiim, and I hope we can keep looking more into these kattara, and your work is outstanding, Im truly learning a great deal here!!! and I thank you so much.

All the best,
Jim