From the kurai one can both make attacks and apply appropriate parries (and blocks). Robert von Sandor proclaimed that one should never meet (block) sword against sword, but sword with sword. This means that cross-blocks are inappropriate and can completely destroy one's own sword. Just like current attacks, our parries are few in number compared to several other sword schools. This is mainly because we assume the use of longer and heavier weapons. In addition, our sword art is based on a constant flow of circular or spiral movement patterns, which makes certain blocks unnecessary.
Mawashi-uchi
We were introduced to Mawashi-uchi in the previous chapter when we discussed attacks. The technique allows for both parries and attacks in the same movement loop. Since the attacks are of the kiri-sage type, the parries are a form of uke-nagashi, where you raise the hands holding the sword above your head in such a way that the sword blade protects against hits to the head and one side of the body down towards the hip (depending on how long the sword is). When we handle swords with blades that often exceed 90 centimeters, uke-nagashi covers a defensible part of the body, but since the sword is narrow, it is vital that you have your body, feet and sword angled correctly so that they protect the angle of attack. Mawashi-uchi is not a sharp block but an evasive maneuver with adapted movement and such well-balanced timing that you preferably do not come into contact with the opponent's sword at all. There is a variation where one initiates with kiri-age against the uchidachi's forearms when he has the sword in a high position (tombo or seiraitō), and in the highest position transitions to uke-nagashi when the opponent responds with kiri-sage. As in all variations of uke-nagashi, the parry transitions to kiri-sage, with hit targets determined by how close one is and which direction one is moving.
Kuraizume
Kuraizume, kobusō or kaboku as they are also called, is a collective name for a variety of parries that cover attacks from high, middle and low positions. Unlike mawashi-uchi, here we always seek contact with the opponent's sword, and preferably hands and forearms, to control his movements and limit his possibilities (shimesu). Where possible, we strive to keep the elbows as close to the body as possible to achieve increased strength and stability. Common positions to start practicing kuraizume from are seigan no kurai in migi-hanmi and the corresponding jokaku-gyaku no kurai in hidari-hanmi. Regardless of whether you step towards uchidachi or walk away, the parry should be performed with the elbows close to the body and with the sword in the center line. Small, collected movements are what matters. You can hold the sword so that the kensaki is higher than the horizontal position and in a way block attacks to the torso, or with the sword tip lower and block strikes to the legs. All of these parries are found in the drill sequences shiai-seihō. A variant of kuraizume is achieved from the torii positions and it is just as possible to apply the technique face-high as in the standard variant of torii no kurai or in torii-kuzushi no kurai when the attack is met at torso height.
Hane-uchi
When the opponent is about to launch his attack with a blow from above, one can adjust one's movement so that one steps in and meets the attack at an early stage, before the blow has time to gain force. One meets edge to edge near the tsuba with a slightly springy movement (hane means spring) and after neutralizing the opponent's blow, one can press down his sword (makura) or step diagonally to the side and with a uke-nagashi-like movement launch a kiri-sage. A name that many schools use is uke-dome from the verb tomeru, which means "to stop". Hane-uchi occurs in several sequences in shiai-seihō.
