I would like to clarify something here......my last post as I indicated at the beginning of its text, were 'my own perceptions' concerning various elements of our'discussion. The very reason it was not addressed to any specific participant is that is was its clear intent, to state my own positions, not anyone elses. I emphatically resent the implication that I favor any party in, or do I want any part of personality charged debate between members. Here I will also emphatically note that these discussions will leave out personal issues between members and hold to presenting information or opinions and observations without unnecessary comments or remarks.
We are better than this guys, and we are here to advance knowledge..it is not a contest.
This thread has been an excellent foray into the deeply clouded history of these fascinating swords, and I very much respect the field work being undertaken by Ibrahiim in Oman, as well as the cultural knowledge held by Lofty who is situated in Kuwait. I have learned a great deal thus far in these proceedings as I have been inspired to dig deeper into my own notes and resources augmented by the great information presented by them and others who have participated here.
As has been noted, myself as well as other forum members do respond to material presented and well supported and the very purpose of our discussions which indeed does often result in changes of opinion and revised data.
I think that the idea of dance swords being separate from combat swords is of course quite likely in modern times and with the well known production of swords for the souvenier markets. However, I believe that swords of the classification 'kattara' as generally held in term, but as we have determined are often called by the collective term sa'if, were in earlier times capable of the dynamics used in both combat and dance.
In "Arms and Armour of Arabia" (Robert Elgood, 1994, p.16), he notes, citing J.R.Wellstead ("Travels in Arabia", 1838) large groups of men performing the war dance, and they parry neither with sword nor shield but avoid blows by leaping or bounding backwards. The blade of thier sword is three feet in length, straight, thin, double edged and as sharp as a razor. As they carry it upright before them, by a peculiar motion of thier wrist they cause it to vibrate in a vary singular manner, which has a singularly striking effect when they are assembled in any considerable number.
Op.cit.p.16, the author James Fraser ("Narrative of a Journey into Khorasan in the Years 1821 and 1822", repr Delhi, 1984) cites a visit to the Omani garrison at Ormuz. The troops had a broadsword and target similar to those of Highlanders, ..."some made in Yemen, but greater part are procured from Egypt, whither they are brought from different parts of the Meditteranean. Many are seen with the Solingen mark, many with Andrea Ferrara marks.
These swords are sharp and thin and previous to making use of them in attack, they make them quiver and ring in the hand with a jerk, while held in an upright position and then charge with loud shouts".
Here I would point out that the swords from Egypt are likely those used in kaskara and takouba variably, and from my understanding many of these blades are remarkably flexible. I think that the degree of vibration with different blades of course may cause variation in the effects audibly, but the larger number would be capable of the desired vibratory effect somewhat.
In Elgood (fig. 2.16) a 'long hilt' Omani sa'if is shown and noted to have a locally produced blade of 18th-19th c. which strongly resembles the German type imports.
On p.33 (op.cit.) author B.Thomas ("Arabia Felix" , 1938) notes that "...the Omani use thier swords in tribal dancing and make the blade quiver. The so called 'halab' blades are best for this".
It is further noted in this reference that the author attended the Razif in Doha, Qatar held to celebrate victory in Gulf war and noticed many tribes from other areas of Arabia did the same.
I think that it would be productive to continue the discussion using these reference notes as observed and cited by the respected arms author and historian Robert Elgood along with the material assembled thus far, and perhaps look into further descriptions of the noted 'halab' type blade.
Lets take this thread to its full potential in establishing the history, development and understanding of these important swords and leave behind the unnecessary positioning OK guys?
Thank you so much, and with respect,
Jim
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