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Tying techniques: Part IV

Becoming fluent in the language of shibari

In the fourth part of 'Tying techniques', we will develop the skills and discover how to use the 'ingredients' from the preceding classes. You will learn how to produce your desired results, by using them coherently according to the situation and with fluidity. Rope is a language so, to communicate effectively, fluency and nuance is essential.

In this class, you will move from the constraints of set ties towards creativity or, to put it another way, 'joined-up tying'. In linguistic terms, graduating from stumbling through a phrase book to being able to express yourself fully.

In the demonstrations, you will see how kinbaku is more about 'kokoro' (heart/passion) than a specific way of tying and, even, that it does it have to be limited to rope. We'll explore not only the use of various type of rope from nice to nasty but also show you what alternatives can be used and those to avoid.

To make this more accessible and to give you some ideas, I'm tying to chairs, rather than any fancy kit, to illustrate how to achieve your intent. Simple variations will help you understand how intent will determine how you tie, whether your purpose be exposure, sex, SM, access or interrogation. Intent is important since you need to know where you are going in order to find the best route or even get there at all.

As our model, Sophie, is quite masochistic, you will pick up quite a lot of semenawa (SM rope) techniques, a couple of which I learned from Kinoko Hajime and Kazami Ranki. That said, you'll also find a lot of the softer side.

You'll be surprised how much you can do with a few wraps, single and double-column ties and some basic frictions. Even more opportunities are afforded if you can throw in simple floor-based suspension. Don't worry if you haven't got a suspension point as I show you a safe way to improvise for around $10.

Take the next step in becoming fluent in rope.



Your Instructor


Esinem & Nina Russ
Esinem & Nina Russ

Esinem

Esinem is a Japanese style bondage (shibari/kinbaku) artist who regularly appears at UK and international events such as Pride, Torture Garden, Erotica, Rubber Ball, Wasteland, Boundcon, Nuit Demonia and recently represented the UK at Japan's first international kinbaku event, Toubaku. He is also known for his teaching both in the UK and internationally and as co-organiser of the London Festival of the Art of Japanese Bondage and BOUND, Europe's premier monthly shibari event.

Over the last few years, he has been improving his skills in Japan with the help some of their best known and respected kinbakushi, Arisue Go, Osada SteveKinoko, HajimeKazami Ranki and, grand master of newaza, Yukimura Haruki. Whilst drawing from classical methods, his style is distinctive and epitomizes the art of communicating with rope, often departing from the typical serenity of shibari shows and flying in the face of tradition to produce some striking and unusual performances.

In addition, he has worked on various videos, e.g. Primal Scream's 2013, artistic collaborations and photo shoots both on and off camera. He has been involved in projects providing inspiration for Tom Ford's 2013 collection and, Raqib Shaw, an acclaimed artist who has exhibited at the Tate, Metropolitan and White Cube galleries.

He contributed to Rope, Bondage & Power, edited by Lee Harrington and is currently involved with a number of documentaries on kinbaku. He is also author of the first English language tutorial DVDs: 'Japanese Rope Bondage: Tying people, not parcels' .

Nina Russ

My attraction to bondage started 10 years ago, when I discovered the BDSM community. Until 2 years ago, my exposure to shibari was limited to pictures, videos and discussion. Then, thanks to Stefano Laforgia, rope artist and BDSM educator, who led the first Italian bondage school, Itoh Seiyu; I had the good fortune to become a shibari model and I fell in love with it.

In 2011, at LegArti, a PR exercise in Rome to present shibari, I modelled for Esinem, a very well know name in these circles. After our performance, a beautiful friendship was born and convinced by my passion and ability for rope, he has taken me as his student and model.

Since then I have attended classes with Ranki Kazami and Hajime Kinoko, Yukimura Haruki, all highly respected Japanese nawashi. Of course, being Esinem's model and student, I attend all his lessons and assist with many of them.

My passion for rope has lead to obsessively collecting all sorts of bondage photographs, especially those by my idol, Suguira Norio; his photography features Japan's most respected artists perfectly capturing my vision of kinbaku. Videos of Masato's tutorials, Yukimura's sessions and Osada Steve's stage shows have been a major influence. Of course, my experience as a model has been extremely useful in building an appreciation of exactly how rope should feel and many hours of practice are shaping this into practical application with the help of Esinem. Of course, being one of the organisers of BOUND, the UK's first regular shibari show night, involves a lot of practice on both sides of the rope. I perform internationally, both as a rigger and model, at events which have so far included:

– London Festival of the Art of Japanese Rope Bondage – twice
– Torture Garden (London)
– Fetterati (Madrid)
– Boundcon (Munich)
– Kinky Salon (London)
– Club Rub (London)
– Pedestal (London)
– Rope Fest (St. Petersburg) -twice
– BOUND Shibari Night (London)
– Cirque le soir (London)
– Sh! (London)
– Coco de Mer (London)


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