Kurai in Japanese swordsmanship encompasses the physical and mental stances that the swordsman adopts to prepare for and respond to various combat scenarios. The term, also known as kamae, literally translates to “posture” or “stance,” but its meaning extends far beyond mere physical alignment. In swordsmanship, kurai serves as the foundation upon which all techniques are built. It is the starting point from which the practitioner initiates an attack, defends against an opponent, or transitions between different movements. A good kurai provides the necessary balance, stability, and structure that makes the technique effective and successful. It also allows the practitioner to maintain a strong sense of alertness, allowing them to adapt to changing circumstances and act accordingly. The first and most obvious key component is the physical stance, which typically involves a wide, stable base with the feet wide apart. The knees are slightly bent, and the weight is evenly distributed on both legs. The stance provides the necessary balance and stability to support the body's movements. By paying attention to how the balance point shifts with changing distances between the feet, as well as by stretching the back or front leg, the practitioner learns how to smoothly and easily "sneak" from one position to another. The second essential component of kurai is the alignment of the body's central axis, called the seika-tanden. This axis runs vertically through the center of the body, from the crown of the head to the soles of the feet. Correct alignment of the seika-tanden is crucial, as it allows the practitioner to maintain balance, generate power, and execute techniques with precision and control even when in some of the extreme positions of foot and leg punches.
The third key component of kurai is the swordsman's mental state, often called zanshin. A strong zanshin is crucial in the martial arts, as it allows the practitioner to remain focused, calm, and adaptable to whatever occurs in battle. A bushi with a strong zanshin is better equipped to anticipate and respond to his opponent's movements, making him a more formidable warrior. In addition to these physical and mental components, kurai in swordsmanship also involves a deep understanding of the principles of strategy and tactics. A swordsman must be able to read his opponent's kurai, anticipate his intentions and possibilities, and prepare the right strategy accordingly. This requires a genuine sense of his opponent's strengths, weaknesses, and tendencies, as well as the ability to adapt to changing circumstances. There are several different types of kurai, each with its own unique characteristics and applications. One of the most common is mukei no kurai or “position of nothingness”, which is characterized by a relaxed, upright stance with feet shoulder-width apart. This stance is used in the initial stages of technique sequences because it allows the practitioner to choose from a large number of movement combinations without announcing which one. One is completely neutral and is not perceived as being either offensive or defensive.
Another common type of kurai is the seigan no kurai, which is characterized by a wide, stable base with the feet wide apart; often with the back leg extended and the front leg bent. This stance provides the necessary stability and balance to block and parry blows and thrusts from all positions, from jōdan, chūdan and gedan. That is, attacks from above, from the front and from below. In addition to these, there are several other types of kurai, including the tombo no kurai or “dragonfly position”, which is characterized by a stable base with the feet and body turned at a 45 degree angle with the sword held above the shoulder. The tip of the sword points straight up towards the sky. This stance allows the practitioner to quickly respond to attacks from all directions and is the most common starting point for delivering an attack in Sangaku. Kurai is not only important in swordsmanship but also has applications in other martial arts and even in everyday life. The principles of balance, stability and awareness that underpin kurai can be applied to a wide range of activities, from sports and fitness to business and personal relationships.
Kurai are often the illustrated figures found in several densho scrolls. An important principle in Sangaku is matsukoto. Matsukoto is described as the “principle of waiting”, waiting and therefore allowing the opponent to attack first. This defensive position is considered to illustrate katsujinken, which translates as “the sword that saves life”. Its opposite is satsujinken, “the sword that takes life”. There is also the principle of marobashi, striving to achieve an “empty mind” and not expecting any specific action from the opponent or to act with any predetermined technique yourself, but in a state of “nothingness” to maneuver spontaneously through all phases of the fight and act in unison with the opponent. Marobashi is not without offensive features, in fact it offers two states that have their absolute equivalent in the principles of in and yō. Which is illustrated by “when the mind is offensive, one takes a defensive position and when the mind is defensive, one takes an offensive position.” One balances one's in-yō with the opponent's, so that with every decision he makes, one eliminates the effect of it.
Tombo no kurai
Tombo no kurai, also called tombo-kamae, hasso-kamae or in-no-kamae, is a position taken by standing in hidari-hanmi (left foot first). The sword should be held vertically over the right shoulder. Different styles have slightly different appearances of the position; the sword can be held at different heights, tilted more or less; and even held with the sword tip pointing backwards. Our tombo is high with the lower hand at eye level. In this position, the tip points slightly back from the vertical plane and slightly outward to the right. The pose must be relaxed so that at any time you can deliver a quick and powerful blow either forward with menuchi or downward towards the arms, kobouchi. The sword edge is facing forward. This kurai is not only a position for waiting for the opponent's move but also useful for both attack and defense. Tombo means dragonfly in Japanese. You can also stand in migi-hanmi (right foot first) and hold the sword over your left shoulder. This is called gyaku-tombo no kurai. Some keep the same grip on the sword hilt, while others prefer to change grips so that the left hand is held closest to the guard. In our Sangaku, it is mainly the uchidachi in the forms that advances and attacks from tombo no kurai, but there are waza where both shidachi and uchidachi meet in tombo, and those where the shidachi is the one who initiates the attack.
Basic form: from mukei no kurai, advance with the left leg to hidari-hanmi. Raise both hands with kensaki pointing upwards on the right side of the body. The left hand is usually at the height of the right armpit, but can be held higher, all the way up to the right temple.
Seiraitō no kurai
Seiraitō no kurai means “sword of lightning” and belongs to a group of positions commonly known as jōdan no kamae. In the most common jodan position, the sword is held above the head with the tip pointing backwards, but in seiraitō it is almost vertical. Seiraitō can be assumed in both hidari-hanmi and migi-hanmi. The hands are raised so that the lower hand is higher than the forehead, and it is believed that the position developed this way because the warrior wore an ornamented helmet, which prevented the sword from being held horizontally above the head. Seiraitō is an offensive position and is a preparation for an attack. From seiraitō no kurai, the sword can be turned either to the right or left while the tip is lowered so that the blade approaches a horizontal position. When the tip of the sword points to the right, the position is called yokoraitō no kurai and the corresponding punch directed to the left is called shitekisei no kurai.
Basic form: from mukei no kurai, advance with the left leg to hidari-hanmi. Raise your hands so that your left hand is at the height of the upper part of your forehead and with the sword tilted back slightly but leaving room for the kabuto (helmet).
Massugu no kurai
Massugu no kurai is a position that is held equally well in both migi-hanmi and hidari-hanmi. The tip of the sword is held towards the opponent's midriff. Avoid having fully extended and thus stiff arms. The back hand is held so that there is a distance of about 10 cm from the body. The sword is angled slightly so that the edge leans slightly to the left. The position does not open any openings for the opponent to attack and works well for both attack and defense. Massugu no kurai belongs to a group of positions that go by the name chūdan no kamae.
Basic form: from mukei no kurai, advance with the right leg to migi-hanmi and raise the sword so that the kensaki is at the height of the opponent's midriff.
Mukei no kurai
This kamae is available as both migi-mukei and hidari-mukei, depending on which foot is first. The sword is held in front of the body in a low position so that the tip points to a point below the opponent's knee. Be sure to keep your gaze directed forward, not downward. It is an excellent position for attacking first but also as a response when the opponent attacks. Mukei no kurai belongs to a group of positions that go under the concept of gedan no kamae. In Sangaku, mukei no kurai is a basic and important stance as all other positions can be assumed from this in one movement.
Basic form: a position with the feet relatively close together and with kensaki directed between the opponent's feet and shins. From this neutral stance, one can reach all other positions without hindrance.
Sha no kurai
The name sha means “wheel” and belongs to the group of positions known as waki no kamae. It usually starts from hidari-hanmi with a fairly wide stance and lowered hips. The sword is held horizontally on the right side of the body, the tip of the sword is directed backwards and slightly downwards. This stance is an “observing position” that is often taken when one has to pull the sword away to prevent an attack on the arms. When the sword is held against the right hip it is called junsha no kurai. It can also be taken on the left side with the right foot first and is then called gyakusha no kurai.
Basic form: from mukei no kurai, step back with the right leg to hidari-hanmi and raise the hands so that the left hand rests on the right hip. Both hands at the same height, the sword is held parallel to the ground with kensaki backwards.
Torii no kurai
Torii no kurai is performed with the feet in line and with a fairly wide stance with the hips lowered. The sword is held in front of and above the head, parrying an attack to the head. The point can point either to the left or right, depending on which hand is gripping the rolling pin. The free hand supports the mune, the back of the sword. The position is often combined with a step in the direction the sword point is pointing, and the opponent's sword is controlled while its power "runs off". If the position is taken low so that the sword is held on the right side at hip height with the edge pointing down and the point forward, it is called torii-kuzushi no kurai. When one instead assumes a reverse position with the right leg in front and the sword on the left side with the edge pointing down and the point pointing back, it is called gyaku-torii-kuzushi no kurai.
Jokaku-gyaku no kurai
The jokaku-gyaku no kurai position is based on the hidari-hanmi stance with open hips and a deep stance. Both arms are crossed near the solar plexus and the tip of the sword is pointed towards the attacker's chest, the blade pointing upwards. Jokaku-gyaku is a position from which one can parry and control the opponent's attack. The position is also known as kasumi no kamae. If the sword is raised to a height above the head with the tip pointing forward, this position is called noki-hagakure no kurai.
Seigan no kurai
Seigan no kurai is, together with tombo no kurai, one of the most commonly used positions. It starts from migi-hanmi with open hips and a deep punch. The sword is gripped just like in massugu no kurai but on the left side of the body's centerline and with the tip directed towards the opponent's eyes. With a long sword, the handle has contact with the left hip and the blade covers all attempts to attack from the front and from the left. Just like for jokaku-gyaku no kurai, it is a position that can parry and control the opponent's attack. Seigan no kurai in other styles is often held further from the body and is then reminiscent of a chūdan no kamae. When the sword is raised to a height above the head and with the tip directed forward, it is called jokaku-jun no kurai.
Basic form: the feet are usually further apart and the punch deeper than in massugu no kurai. Kensaki is directed towards the opponent's eyes.
Toradake no kurai
Toradake no kurai is an offensive position where the sword is held with the kensaki pointed diagonally downwards towards the attacker's midriff. The sword is supported with the hand against the back of the blade. From toradake no kurai one can either continue offensively by attacking first or straighten the body when the opponent attacks. From the seemingly defensive position that then arises it is possible to counter successfully in all directions, since one is well centered and has a large arsenal of possibilities at hand. Toradake no kurai can also become a torii no kurai or torii can become a toradake.
Kage no kurai
Kage no kurai is a position similar to junsha no kurai with the difference that the tip of the sword is lowered diagonally to the ground and held in a line that hides it when viewed from the front. Kage here means "diffuse" or "hidden" and aims to ensure that in this position one neither reveals the properties of one's sword nor one's intentions. It is used to advantage when holding a long tachi and is less common with shorter swords. Together with tombo no kurai it was a common position during the Muromachi period.
Basic form: resembles sha no kurai but the sword is not held parallel to the ground but diagonally so that the kensaki points obliquely backwards and downwards.