Shibari You Can Use: Japanese Rope Bondage and Erotic Macramé

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PDF — ISBN 978-1-942733-88-1 Collector’s Edition – ISBN 978-1-942733-89-8 Previous/Chinese Language 繩縛本事 978-986-6474-45-3 Attention: Lark’s head knot will get tighter as you pull on it. In the kinbaku play of this chapter, both parties frequently change their postures. Do not use this to hold the wrist for a long time, and do not pull hard on the Rope Bottom’s arm. For longer play, use the single column tie as introduced in the next chapter. Wrap the rope around the Rope Bottom’s body. The speed and force of the second wrap can be different from the first wrap, and the third wrap can be different from the second wrap. Practice expressing your emotion as you wrap, using your rhythm, force, breathing, expression, and exchanging looks. One wrap can convey closeness and love, but you can also use a different wrap to express a strong longing and desire. It can be used to express joy, or wrath. Let these emotions be Storage of Rope The best way to store rope is to fold it and hang it in a cool, well-ventilated place, while keeping the rope straight. If living conditions do not allow the rope to be hung, then we have to bundle it to be stored. During travel and before performances, ropes should also be bundled to be later undone one by one. Storing rope often starts with the rope tail, so that when undoing the rope, the rope head may be immediately located. The following introduces a rope storage method. Use the Tiger Mouth [the web between thumb and index finger] of the non-dominant hand to hold the rope tail, such that the rope tail is situated at the palm Continue wrapping in one direction, until the rope head end has about 20 cm (7.5 inches) left. Wrap one last time, over the thumb of the non-dominant hand. Pull out the thumb, thereby forming a small opening under the last wrap. Stuff the rope head end through this small opening, and pull tight. When using the rope, pull out the rope head, and the rope will become unbundled. I remember being a beginner. I had so many questions: How do I learn to tie? What rope should I get? How much rope? How long?

kept for interest of the reader, while others have been modified – with author permission – to open the topics to a Western audience. Some safety ties have also been expanded for awareness that may have been previously understood by his original audience. In doing all of this play, please remember that one of the basic tenets of shibari is that it requires active informed consent between adults. This includes awareness of personal safety and discussing the needs, wants, and desires of all parties. It is wonderful to have a rich text like this one to share, but understand that all ideas, techniques, and notes on safety and technique are from but one perspective, and there are others out there. We encourage readers do their own research and look into other works, as well. We hope that you will enjoy this work as much as we do, and dive into the beautiful world of kinbaku with Shin Nawakiri as your guide. Yours in rope and joy, David Z. and Lee Harrington is being manipulated and is moving. Only under rare circumstances (often at the beginning of the tying) are both the rope head and the rope tail ends simultaneously manipulated. At such a time, we will use the term “rope head end” and “rope tail end.” This book uses the terms “end” and “section” interchangeably, with the former term emphasizing a point, and the latter term emphasizing a rope segment. Dominant hand, non-dominant hand: When explaining some detailed techniques, we will try to accommodate both right-handed and left-handed readers. We will refer to the right hand of a right-handed person as “dominant hand,” and the other hand as “non- dominant hand.” SHIBARI FOR BEGINNERS: SHIBARI FOR BEGINNERS A picture guide on everything you need to know about shibari and how to master the art of tying So you have to develop eBooks SHIBARI FOR BEGINNERS: SHIBARI FOR BEGINNERS A picture guide on everything you need to know about shibari and how to master the art of tying rapidly if you wish to get paid your dwelling in this manner I realize I'm both the guy selling you the rope and also the guy recommending you buy more rope. However, I'm writing kink books and selling rope out of love, not for money. If I wanted to get rich, I'd have written a fad-diet book. Editor and Translator’s Notes It has been an honor to get a chance to bring Shin Nawakiri’s book, Essence of Shibari: Kinbaku and Japanese Rope Bondage, to an English-speaking audience. Ever since I saw the book, I knew it was something special, and set upon an almost two year quest into making it happen. This book offered unique challenges in that it was written in Chinese, by an author from Taiwan, about a topic (and teachings) originating from Japan. The author cited works from teachers that speak English, Italian, and Spanish – providing additional hoops for confirming correct translation of their quotes. We chose to list all of the above languages in English for the book: Japanese-language concepts that were listed in romaji (roman letters) with translations listed as [translation] after them; and Chinese-language specific terms listed as the English translation followed by the original Chinese characters. Another choice we debated were the words ‘kinbaku’ and ‘shibari’. In Chinese, these words get used interchangeably, as was the case in classical magazines such as Kitan Club from the 1950s. In current English vernacular, shibari often gets used to refer to Westernized Japanese aesthetic ropework, while kinbaku is used for Japanese work done in Japan. However, both terms are used in Japan at this time. We have chosen to use both terms interchangeably in the early parts of this book, shifting later in the book to kinbaku to reference the style and tool, and shibari to reference specific ties. One of the reasons that Nawakiri’s book was specifically of interest to us at Mystic Productions Press was that it features both male and female bodies being bound. That is not the case in the work of all authors, who tend to feature a specific aesthetic of the female body. When a he or she is referenced in this book, it is referring to the gender of the person in the images, not a tie being limited to a specific gender. Though the book features Taiwanese models, these ties can all be modified for diverse bodies, and Nawakiri says that no reader needs to feel excluded from the ties, even if not all body types are directly shown. The original text features a number of Taiwanese-specific references. Some have beenBegin your Shibari journey by tying your partner’s wrists and ankles. This foundational practice allows you to establish a sense of comfort and trust before moving on to more complex ties. Additionally, consider using “columns”– tying your partner to a chair or a piece of furniture. Look around your bedroom with a rope master’s eye to find suitable anchor points. Safety later, he would, under the nom de guerre of Ito Seiu, become a kinbaku painter, photographer, and research investigator. He published the first photo-book of kinbaku in Japan named “Seme no Kenkyu” [Study of Torture] in 1928, and organized theater shows. Eventually, he became recognized as the father of modern Japanese kinbaku. “Gion Sairei Shinkou Ki” [Tale of the Gion Festival] Snow Maiden as acted by Nakamura Jakuemon IV. November, 1997. National Theater. It is worth noticing that “Seme no Kenkyu” is a study of torture. The terms “sadism” and “masochism” only became widely used in Japan in the 1950s. The term BDSM – acronym for bondage, discipline, sadism and masochism – was only invented in the West in the 1980s. It stands to reason that, before these terms became widely known there, the Japanese interpretation of BDSM was based on torture. This is “beauty in suffering” that is deep-rooted in Japanese style esthetics, depicting a release of emotion in a poignant and cruel context. It is a tradition that is different from the BDSM culture in the West. Kinbaku is one of the various torture methods. Tying up someone not only prevents escape, but can also be used for humiliation and torment. Suspending, pulling, or contorting the body and muscles can all cause pain and suffering. Nowadays, there are those that take the words too literally, and classify kinbaku under bondage and discipline of BDSM. In fact, the two practices have different threads of thought, and are difficult to discuss under the same framework. The postwar ’50s and ’60s is the heyday of the magazine Kitan Club [Club of Strange Tales]. This magazine often used sex, torture, abuse, and exotic customs as its main themes, with occasional detective stories or even science fiction. It subtly pointed to some alternative styles of taste and preference, but is difficult to classify and generalize according to today’s rigid approach. From today’s point of view, this magazine can be regarded as a precious historical representative of the formative period of Japanese SM culture. In addition, Kitan Club also acted as a promoter of kinbaku culture. Suma

also protects the rope Top’s fingers. One way to apply oil or soft wax is to grab a section of rope about 60 cm to one meter (2-3 feet) long, use your toe to grip one end of the rope, spread the oil or wax on your palms, and use both hands in turn to wipe it onto the rope. Then move onto the next section. Choices for use include horse oil, baby oil, hemp oil, mink oil, tsubaki oil, coconut oil, jojoba oil, or beeswax. It is not necessary to over-lubricate the rope. After several uses, the rope needs to be oiled and waxed again. Flower and Snake (1974), distributed by Nikkatsu. Written by Dan Oniroku, directed by Konuma Masaru; Kinbaku direction by Urado Hiroshi With the advent of VHS tapes in the ’80s, adult videos gradually replaced adult films. Nawashi such as Nureki Chimuo, Shima Shikou, Akechi Denki, and Arisue Go not only assisted in the kinbaku production of adult movies, but also became a new generation of celebrities. In addition to granting appearances and demonstrating kinbaku techniques, these community celebrities also had opportunities to get vocal on issues. They appeared in movies, speaking with fervor and assurance, talking about what rope means to them, their emotional connections with their models, and the true meaning of SM as they see it. These words by the nawashi have come to nourish generations of Japanese SM enthusiasts, and have exerted an important force to influence and shape the SM culture in Japan. There are only a few techniques used in kinbaku, but these basic ties each require memorizing the way the rope moves. In addition, a student will need to learn how to apply force when tying, and become comfortable with the rope in their hand. Kinbaku students will inevitably get caught up in the techniques and become lost. Paying too much attention to the techniques leads to neglecting your partner – effectively “seeingUnprocessed rope (bottom of the image) and jute rope that has been flamed and oiled or waxed (top of the image). Several commonly found oils and waxes: Horse oil: made with animal fat and sold in drug stores. Originally a personal care product to protect hands against dry climate, it is now regarded as the best product for rope lubrication. However, it is quite costly. Hojojutsu is the grandfather to modern shibari. Many of the techniques from hojojutsu make you a faster and more effective shibari artist. Shibari, a form of bondage, is a beginner-friendly kink that allows you to explore your creativity and attitude with minimal risk and a low budget. In this guide, we’ll cover the essentials of Shibari for beginners, helping you embark on this exciting journey. Ropes If you can afford it, please get enough rope so you can be the rigger you want to be, not the rigger you are right now.