Kattara for comments

[Ibrahiim al Balooshi]

Originally Posted by freebooter

Thank you Ibrahiim,

There is not enough 18th and 19th century evidence to consider the straight form as a dance sword only.

The sword was the high symbol of the warrior. I am still not convinced that by form alone, curved vs. straight that one is separated by use from the other, more so when they both share the same hilts and scabbard types and the straight ones are seen in much higher numbers than the sabres. And why do they all have a sharpened edge in straight form, not something required of a dance sword.
By design, I think it would have been personal choice of what type was wanted and I wouldn't be surprised if W. H. INGRAMS failed to note curved types in the dance fray too.
To consider this is only a dance sword, to me would be like saying Jian and Dao or double edged vs. singled edged Khanda hilted sword have separate purposes.

If I was to follow the thought that straight sword is dance only, I add, when considering the ratio of straight vs. curved types that there was very little adventuring being done by the Omani and they were too busy dancing, something history says is the opposite off.
Also, when the straight form pushed so far west in to Mandingo dress and dress of other regions, that the sword was used and displayed to these western cultures as weapons as I am sure they didn't just dance with them after being in touch with traders.

I again return to the original TVV thread that I would suggest your post in that thread in post #6 is a correct way of viewing this sword, fighting, with a shield. Do not mistake flexibility for weakness, but an advantage when used in this manner with the flexible sword for cutting and the shield for defense.
I think the W. H. INGRAMS notation in post #18 is not it's sole purpose of the sword but important a cultural observation of the time with a more common sword used in the dance observed, one that has continued today as a matter of ceremony and importance...in much the same way the revered Jian is both used for fighting and also a spiritual weapon in Taoist ceremony and dance. To dismiss the form alone in its national dress as a dance sword is not supported but each sword I would suggest be inspected under it's own merit.

Regards

Gavin

Salaams Gavin I missed a few points on this but will pick up on them on this post... You are right about the high warrior status symbol but status of the forefathers rather than the warriors dancing though they too feel very proud..

I also think that the blades are from two entirely different places and are thus unrelated except by the same hilt .

Many of the curved swords are European made but all the dancing swords Ive ever encountered have been locally made.

I believe the hilt was a simple sensible choice for both blades as it fitted easily and comfortably inside a waistband or sash... or carried at the shoulder in the case of the straight blade.

The reason why there are lots of straight swords is because nearly all males in Oman have them and when they turn out mob handed at national day thousands gather to do the march past all carrying / weilding their pageantry swords...

I am not sufficiently knowledgeable on the Mandingo form to give an opinion on any influence or direction it may have taken. Some indicate the movement of Islam in that direction may have taken sword technology along with it but I am not sure.

I would normally agree about your take on dance form except that in Oman it has another level not obvious to outsiders... The Funoon. Its a big subject but in short it is the unwritten traditions from the beginning handed down through music, dance, and poetry as well as a sort of Pantomime enactment that never changes. In this way they record many events mimicking camel trains, ships trading chests of silver and gold and of course war all set to music drum beat or poetry and singing. For the sword enactments we see the Sayf and Terrs being used but that only took over from the old sword as I say in the mid 18th C. The Funoon goes back to the 8th.

Regards,
Ibrahiim al Balooshi.