Dha Use
Richard F. Burton famously wrote in the opening sentence of The Book of the Sword, “The history of the sword is the history of humanity.” Although Burton never reached past a brief mention of the dha in his writing (tantalizing promises of further discussion in the never-published second volume notwithstanding) proof of his sentiment can be found in continental Southeast Asia, where warfare was endemic. Like many cultures worldwide, the peoples of this region have a rich tradition of sword use, ranging from obvious martial applications as a weapon to more mundane functions as a tool. And like swords everywhere, the dha has also played important status and ceremonial roles. The vast array of shapes, sizes, materials and ornamentation is testament not only to the wide geographic and cultural diversity of dha users, but also to the fact that these swords are used in many different ways.

As the peoples that make and use these weapons diminish, so does our understanding of them and their significance. However, while the modern, urban residents of the region move inexorably away from dha use, rural tribesmen and martial artists maintain some of the traditions.

Despite intense and often heated argument to the contrary, a “perfect” sword really doesn’t exist. Swords develop to suit the environment and user. It cannot be seriously disputed that the primary purpose of a dha is as a weapon. Some hints as to how these swords were used can be found by looking closely at construction and design. The peoples of continental Southeast Asia did not, historically, have to contend with heavy armor or thick, dense textile clothing. As a result, dha are generally light weapons with short spike tangs and a center of balance located close to the handle. A design well suited to cuts against unprotected flesh. Notable exceptions do exist, including some large, massive examples that probably filled niches occupied by cavalry sabers and short pole arms in other cultures. To the casual observer, most swords in the category would appear to favor single hand techniques with an emphasis on slashing and “draw” cuts. This is particularly true of the “Shan” and Thai style weapons. The swords used by some Kachin and “Montagnard” tribesmen are often heavier and seem better suited to a chopping technique.

Real-world data is important when discussing sword use, as the tendency to draw conclusions based solely on speculation is all too tempting. Accordingly, the authors tested a wide array of dha, including antique examples of most known forms, contemporary examples from Thailand and custom swords made with the finest of modern materials and techniques. The test sample numbered approximately thirty sword-length weapons and, while the sample size tested was small and the tester largely inexperienced, some useful information was realized.

Test cutting with a variety of different cutting media (including foam pool “noodles”, rolled beach mats, water-filled plastic bottles and rolled newspaper) yielded impressive but largely expected results. All forms of the sword, antique, contemporary and custom alike, cut all media well. The Kachin and Montagnard variants were, indeed, better suited than their Shan and Thai counterparts to a chopping technique, but cut surprisingly well with a slash or draw-cut. The informal tests revealed that the dha is well suited for its intended purpose: cutting.

One of the pre-test concerns was the stability of the handle/blade junction. With the exception of some truly old swords with deteriorated pitch fixation material, even poor technique did not cause any remarkable failure. The few full-tang swords tested included both peened and threaded pommel examples, and this feature appeared to contribute more to weapon balance than cutting ability. Further in this regard, most dha favored single-hand techniques, despite the frequent occurrence of lengthy handles. Held close to the blade, the long handles on most examples provided an excellent counter-balance to the blade, making for a fast “feeling” weapon. Notable exceptions were encountered, and the longer Shan and Thai swords welcomed two-handed use. Similarly, some of the Montagnard swords had handles equal or longer than the blade, and these were unwieldy if not used with two hands, similar to a short pole-arm.

That the dha has long seen dual use as a weapon and tool is unsurprising. Many of the tribesmen indigenous to the region carry dha as a general sidearm and tool used to satisfy a variety of cutting needs. For instance, members of the various Kachin (Jinghpaw) tribes are unlikely to be seen without a “hunting” sword at their side, often decorated with tiger teeth or sections of tiger jaw to illustrate their hunting abilities. Diran (1997) During World War II, Kachin tribesmen were recruited by the allies to defend the “Burma Road”. The British found the local weapons particularly suited to the environment and, for a short time, issued military-grade dha for use by some British troops, much as the U.S. and other forces employed machetes.


One way to obtain information about any weapon is to examine the martial arts that utilize it. This is far from perfect, however, as most modern weapon arts have necessarily moved away from their original martial applications. Moreover, it is not uncommon in the martial arts community, for different schools, organizations and instructors to hold radically different opinions on the origin and techniques of a particular art. However, this introduction is not intended to comprehensively explore the various martial arts that feature or include dha in their systems, and a brief examination can be edifying.

Although most modern martial arts shy away from “live” blades and a certain degree of dilution is usually encountered, the treatment given to tradition, technique and form is important. Fortunately, the dha is featured in some of the formalized modern martial arts of Burma and Thailand. In Burma, the term Thaing (“total combat”) is often used to refer to indigenous martial art systems believed to descend from ancient Burmese arts. Green (2001)
In Thailand, Krabi Krabong (“sword and staff”) refers to various weapons systems influenced and based on hundreds of years of warfare. Draeger & Smith (1969).

Different styles of Thaing are occasionally associated with specific Burmese ethnic groups, including Burmese, Chin, Chinese, Kachin, Karen, Mon, Shan and Talaing. Draeger & Smith (1969) and Green (2001).
Accounts of centuries of warfare between some of these groups date back hundreds of years to the Pagan Empire (11th Century C.E.) under King Anawrahtar, and some modern practitioners claim their particular arts descend from systems developed during these periods Green (2001). It is believed that, during the Pagan era, martial arts were one of the eighteen subjects to be mastered by the aristocracy, giving rise to a rich martial tradition, which ultimately included the dha. Green (2001). Coalescing under the armed sub-style of Banshay, likely derived from Indian and Chinese arts, some modern dha practitioners combine dance with weapons practice. Draeger & Smith (1969).
In 2003, the world was treated to a rare exhibition of modern Burmese martial arts in the 1st Kachin Martial Arts Exhibition held in Northern Myanmar. The video documentary of this historic event showcased the rhythmic intertwining of dance, music and weapons. While unlikely to be representative of actual fighting, the Kachin demonstrations did provide insight into the rapid, smooth techniques these weapons are so well suited to. The dha routines demonstrated by the exhibition’s participants featured circular strikes and blocks characterized by slashes and draw-cuts. Some two-handed exercises were evident with large swords, but single-handed forms with either one or two weapons predominated.

Unlike Thaing, Krabi Krabong is an essentially homogenous style of fighting with the daab and other weapons. Differences exist between different schools and teachers, but the basic themes remain fairly consistent due to official sanction by King Rama IV (r. 1851-68 C.E.) and later formalization in 1936 as part of the curriculum of the Thai College of Physical Education. Draeger & Smith (1969). The actual origin of the art is the subject of some debate, but roots in Indian and Chinese arts and later influence by Japanese mercenaries are likely. Draeger & Smith (1969).

One of the characteristic Krabi Krabong drills involves the use of twin daab, one in each hand (“daap sawng meu”), a style of fighting purportedly traced back to the Ayutthaya period (1350-1767 C.E.). These swords are usually of the short bladed/long handled type and held close to the guard. Like most drills and training in modern Krabi Krabong, the use of twin daab includes ritual dance and mock fighting, with emphasis on pre-arranged drills wherein the participants attack and defend in turn. Draeger & Smith (1969).

The rich ornamentation of some dha, often featuring use of ornately carved ivory and lavish decoration with silver, gold, copper, brass, enamel and, occasionally, precious stones, is evidence that, like the swords of other cultures, dha were historically symbols of power and status. Codified rules governing the form and materials of dha decoration are found in the historical laws of both Burma and Thailand. Examples exist with handles of ivory so intricately carved and pierced that they resemble sugar confections, and could not possibly be intended for fighting or actual use. Still other examples have entire “blades” fashioned from the tusks of elephants. It is speculated that such swords were carried by the aristocracy, perhaps to comply with a prohibition against bringing “live” blades into the presence of a king. In any event, it cannot seriously be disputed that such items are useless as actual weapons and, instead, serve as potent symbols of wealth, status and power. Today, knives and swords ornamented with silver and ivory remain important status symbols among many tribal men of the region. Lewis (1984).
Ceremonial use of dha is established by anecdotal evidence gathered from those who have spent time amongst the various ethnic groups in Thailand and Burma. The Mien, a Taoist tribe in Thailand, have complex “ordination” ceremonies in which participants climb a ladder constructed of wooden “swords”. Lewis (1984). Mien priests also perform burial ceremonies with knives and wooden swords, to drive away evil spirits. Lewis (1984). Similarly, Kachin tribesmen perform traditional dances and ceremonies in which their ever-present swords play a prominent role. Other ethnic and religious groups use dha in various Buddhist blessings and ceremonies and swords with blessings etched into the blades are seen (catalogue no. 245), in addition to the ubiquitous “temple” swords that vary in quality and size.

Finally, dha have been used as presentation gifts to commemorate auspicious occasions or honor the recipient, and examples with dedication plaques affixed to their scabbards are not common, but do appear from time to time carrying invaluable provenance. Presentation dha vary in quality, but are usually finely decorated and well made, commensurate with the importance of the recipient or occasion. E.g., catalogue no. 217.

Conclusion
Due to the lack of written material available, the study of these weapons can be as frustrating as it is fascinating. In fact, it is likely this very lack of information has fed the desire to learn more about dha and the cultures that use them. Fortunately, our knowledge about these wonderful weapons grows daily, and causes us to frequently change the way we think about and study them. For the casual collector, the seemingly endless variations of dha present ample opportunities to obtain genuine, often luxurious weapons to have and enjoy. For those who crave greater “immersion” into the form, dha represent a rare mystery in the world of arms and armor ripe for exploration and discovery.

References

• Catalogue de la Collection D’Armes Anciennes Europeenes et Orientales de Charles Buttin, Rumilly, 1933.
• Bell, E.N., A Monograph on Iron and Steel Work in Burma, Superintendent of Government Printing, Burma, 1907.
• Boyd, Francis, Blades of Bangkok, Blade Magazine, March, 2000, pp. 136-143.
• Burton, Richard F., The Book of the Sword. Dover Publications, Inc., 1987.
• Diran, Richard K., The Vanishing Tribes of Burma. Amphoto Art, 1997.
• Draeger, Donn F. and Smith, Robert W., Comprehensive Asian Fighting Arts. Kodansha International, 1969.
• Egerton (Lord Tatton), Wilbrahim, An Illustrated Handbook of Indian Arms and Those of Nepal, Burma, Thailand and - Malaya. 1880 (reprinted 1981).
• Ferrars & Ferrars, Burma. Sampson Law Marston & Co., London, 1908.
• Fraser-Lu, Sylvia, Burmese Crafts. Oxford University Press, 1994.
• Garnier, Francis, Further Travels in Laos and in Yunnan : Volume 2 of the Mekong Exploration Commission Report (1866-1868), reprinted by White Lotus USA, 1996.
• Ginsburg, Henry, Thai Art & Culture: Historic Manuscripts from Western Collections. Universtiy of Hawai’i Press, 2000.
• Green, Thomas A., Martial Arts of the World: An Encyclopedia. ABC-Clio, Inc., 2001.
• Lewis, Elaine and Lewis, Paul, Peoples of the Golden Triangle: Six Tribes in Thailand. Thames and Hudson, Ltd., 1984.
• Lintner, Bertil. The Kachin: Lords of Burma's Northern Frontier, Sollo Development Limited, 1997. ISBN 1-876437-05-7
• Stone, George Cameron, A Glossary of the Construction, Decoration and Use of Arms and Armor in All Countries and in All Times. Brussel, New York, 1934 (reissued 1961).