Considerations on what constitutes the matter of kinbaku from Riccardo Wildties and RedSabbath

I've been extremely lucky to have recently participated in an unforgettable workshop, Xtreme Xclusive: Matter from Wildties and RedSabbath, as a model of one of the most talented riggers and amazing people that I know, Soptik. I don’t think that there is a need to add how huge influence it had on me and my development as a kinbaku model. Enormous.

Even though I’ve been worried about not being able to follow it, because of an arm injury that I’ve experienced at Eurix a week earlier, I survived all the challenging ties without a scratch (oh well, maybe a few) and had an amazing experience.

There are a couple of important realizations that arose from that workshop, that either have been shared by the teachers or other participants or just came to my mind, that I would like to talk about here.

Riggers

You learn the rules in order to break them at the right time

It was really fascinating to listen to Riccardo telling his students to break almost all the rules that he had taught them before. In his other workshops, he teaches how to execute Naka style ties perfectly. He explains each position and placement and teaches the standard way of tying that tie. Here, he was showing how to get out of the standard and break the perfection in order to express the mood and intensify the connection.

Because perfection is not what kinbaku is about. It's actually about the opposite. By breaking the rules you show your personality, make the tie yours. But you have to know how to apply the rules before you can break them. Otherwise, you are just ignorant and what you are doing is not showing personality but incompetence.

But when the time is right and when you reach the level of mastery that can inform your choices, sticking to the rules of a style religiously will prevent you from truly expressing yourself and the mood of the moment in your tying.

One tie does not rule them all

People in the West tend to learn a pattern and apply it thoughtlessly to every model, without consideration of how he or she is looking in the tie. Riccardo kept challenging the riggers to go beyond that habit and really look at what they've created so far and at their model in ropes and put the rope where they feel and not where they think it should be.

This created an entirely different experience. Both aesthetically, as it created more beautiful ties, but also mentally for us, models. You could feel that you are a part of the creative process of the rigger, instead of just being the means to his goal of putting your body in a certain position, that he is working with you and not despite you.

If you want your ropes to be clean, you need to clear your mind first

Riccardo kept saying that the riggers have to become more Japanese in how they are tying. It wasn't about conceptualizing the Japanese aesthetics, though, but about clearing your mind, so that you can let the inspiration flow through you.

There are certain standard ties that Europeans are able to tie in a Japanese way because they know the pattern well, but any time they try to deviate from the norm and change something, they become, as Riccardo calls it, ‘gothic’. That's because they think too much about the ropes, instead of observing and feeling them.

In Japanese aesthetics things are never perfect, there is always something unfinished, asymmetric, breaking the pattern. At the same time, those changes are very subtle. No big deviations, but rather small imperfections are what make the tie yours without losing its initial form. But only having a clear mind will let you see and feel the subtleties.

Using the right tie to evoke the right emotions in the model has everything to do with technique

I think that this was one of the most interesting concepts of this workshop because it's a paradigm shift for many riggers. People usually equate rope technique with their command of rope. The more ties you are able to execute, the neater they are, the faster you are and the better your rope handling skills are, the better your technique. It's partly true, but Riccardo shifted the focus, by saying that what good technique ultimately is, is being able to evoke the right emotions in your model at will.

Just as a brush is a tool for a painter, the rope is a tool for the rigger. And just as a painter paints with colours, the rigger paints with the emotions of the model. For a painter, knowing which brush to choose is a part of his technical skills in the same way as for the rigger is choosing the right tie.

I love this approach because it shifts the focus of the riggers from their ropes, which is a mere tool, to the models, which are the canvas. And that adds so much depth to the experience.

You should tie for yourself and not for your model

This concept might be a bit controversial, but I fully agree. I've heard it for the first time expressed by Soptik in his workshop 'Soptik's rope' during the Prague Shibari Festival last year. In the workshop, he had an exercise in which he was encouraging the riggers to tie something that they've always wanted to do, but they've never done because they thought that the model will not like it. He was asking the riggers this one time to tie for themselves and not for their models. To do whatever they feel like and see how it changes their experience.

A similar attitude was indicated by Riccardo during this workshop. He said that he always ties what he feels like and not what he thinks that his model (or the audience) wants. Only then he can deliver at his best. Even if it means tying the same tie over and over again, he will do it, because deviating from it will result in something suboptimal.

I love this approach because it intensifies the D/s dynamic enormously and it's very fulfilling for me as a submissive. The rigger has the power to do whatever he wants to do and he is executing it. He is in control. As a submissive, that's exactly what I want. If the dominant is focused on my comfort or pleasure, then the power dynamic is lost, because it is me who becomes a more important part of the equation. The balance is reversed.

If he ties for himself, I can feel that he is truly enjoying himself thanks to me. And that's extremely fulfilling and ultimately more enjoyable then if he would care for my pleasure directly. Also, it makes it more worthwhile to suffer through difficult ties. I make it for him and not for myself. And that makes all the difference.

Models

Surrender is not the same as dissociation

At some point, there was a question from one of the participants about how the surrender actually looks like, and why Japanese models are often so squirmy while in surrender, and Western models usually calm down and become less reactive in the same state of mind.

An immediate response that popped into my head and that was spelt out by NawaTaNeko seconds later was that surrender is not the same as dissociation. The models in the West often dissociate instead of surrendering, meaning that they distance themselves from their internal experiences, which often results in a freeze response, while surrender is actually opening up and letting all the experiences in. Surrender is an acceptance of your inner experience instead of its denial and that often leads to a strong external expression, which you can observe in Japanese models.

Another point that Riccardo raised was that in the West riggers are often not able to be there with the model if she is expressing her emotions. Squirming or screaming often leads to ending the scene. Therefore, models teach themselves to go more inwards, because they do not want to worry the rigger. Which is a shame, because by silencing themselves they might lose part of the experience.

Of course, every model is different and expresses herself differently. Some models naturally go more inwards. I, on the other hand, tend to be very expressive, which I used to treat as a sign of weakness, watching other models being so peaceful and calm. I even felt like my squirminess and being loud might be treated as a sign of disrespect towards my rigger. Like it might be taken as a complaint, which it definitely isn’t.

But watching more and more amazing models, like RedSabbath or NawaTaNeko, suffering and expressing themselves during semenawa sessions, I realized that there are power and beauty in strong self-expression. Being expressive means that I am not afraid to open up and to show what I am going through and that I want to incorporate the rigger in my experience. I am not expressing my feelings because I'm not able to take the tie otherwise. I am expressing them because I am fully open and I let everything spill out of me. I have nothing to hide. I am fully surrendered to my rigger and to the experience that he is giving me. And I trust him that he will stay there to witness me in it.

Showing true surrender inspires more than a thousand words

During the workshop both Ale and Riccardo were very tired as they've just come back from almost a month-long tour around the world. Partly because of that and partly because it's not her style, Ale was not talking much.

Two times during the workshop Riccardo asked her to describe her experience. Both times her descriptions were brilliant and so on point (I wish I was so articulate when my partner asks me to describe my experiences… I usually just say "It was tough, I thought that I can't take it, but I could."). But still, my impression is that according to the current standards of model involvement in a workshop, that's not a lot.

Even if she didn't talk at all, though, her presence and how much she was giving of herself was the best inspiration that I could get. It was amazing to see her take everything that Riccardo was putting her through, to see her break in relief after a difficult tie, to have her showing us her bare emotions. I can't imagine a better example of true surrender. The moment you see something like that, you think "I want to be so beautiful and strong for my rigger as well". And you are.

There is somehow this misconception nowadays that there is not enough verbal content for the models during the workshops. That 'modelling skills' should be talked about almost as much as ‘rigging skills’. Surely, there are certain technical skills that help in being a rope model. And surely, they are more or less important depending on the style that you're being tied in. But I refuse to acknowledge that the only valuable content that a model can bring to the workshop is verbal content. That if 'modelling skills' are not being talked about, then there is no modelling content in the workshop.

Not everything needs to be talked about. Being a rope model, especially for semenawa, is such a strong internal somatic experience and it's so individual that observing someone else in it might actually be much more powerful than having it being explained to you. Because it's all about the feeling, about getting out of your head and into your body, into the experience. And having your head busy with analyzing whether you are activating the right muscles only gets in the way sometimes.

Respect your models because without them you wouldn't be able to tie

I loved how much emphasis Riccardo was putting on being grateful to Ale and all the models for giving themselves to their riggers. I have a feeling like this aspect is often missed, as the role of the model in Naka style seems so passive that we sometimes forget how much it takes to do these things. And it's not even so much about our technique or physical strength, but about our mental power and endurance. Even though we are not learning any technical skills, we allow the riggers to use our body and we train our minds to be able to take more and more so that they can become better in what we both love.

There was a very touching moment, after one of the emotionally very challenging ties when Ale was coming back to her senses, and some people started chatting loudly without respect for what had just happened. It must have been difficult for her, as it might make her feel like people didn't care about her experience when she was at her most vulnerable. Riccardo immediately took notice of it and asked people to be quiet and respect her headspace, which they did. I think that it was really beautiful and showed how much he cared about her. He did understand how much she was giving of herself, even if others didn't.

Of course, I know that a workshop is a special circumstance and as teachers (and as participants) you can't give each other as much care as you normally would if it was a session. But still, it's important to remember that, especially in semenawa, the emotional toll on the models is really high. We are tough and we can take it, but even small signs of appreciation really make a huge difference. The fact that I almost cried when at the end of the workshop Riccardo thanked all the models for their dedication is a good indication of that.

Showing appreciation for my suffering and letting me know that he sees my efforts is exactly what Soptik was doing during the entire workshop. Thanks to that I was able to take more for him than I would ever have thought I could and really surrender to all the experiences that he put me through. And I am really grateful to him for his support and recognition even amid the most technically challenging exercises. I felt truly seen.

I had already been in love with Naka style, but this workshop had made my love even stronger. Even though it was supposed to be a very technical workshop, it evoked a lot of strong feelings in me, because it’s impossible to fully separate the matter from the spirit in kinbaku. And the ability of Riccardo WIldties and RedSabbath to explain and make us understand something as esoteric as kinbaku is truly extraordinary. We need more teachers like that.

Last but not least, I have to mention this unforgettable quote from Riccardo here because we need not forget that in the end, kinbaku is a perverted art invented by dirty men wanting to do dirty things to innocent women:

Explaining his tie, ‘fucked up Gyaku ebi’, “You want to see the boobs, the ass and the face of the model all at the same time."

Isn't that poetic?

Lessons from the Masters of kinbaku, Akira Naka Sensei and Iroha Shizuki

Disclaimer: I am going to refer to the rigger in a male form and to the model in a female form throughout this writing for the ease of formulating my thoughts, but of course the gender has nothing to do with the role and I am not trying to imply that it does.

Recently, I had the privilege to take part in a kinbaku workshop from Akira Naka Sensei and Iroha Shizuki for the first time. I can’t even express how grateful I am for being able to see and experience Naka-san and Iroha-san live, and to be immersed in the beauty that they created together during those three unforgettable days. I am sure that I won’t be able to put into words everything that I’ve learned during the workshop, but there are certain things that were really impactful for me, and I want to preserve at least those here.

Kinbaku is about climbing the mountain together

I think that this was the most important and beautiful message that I took from this workshop. Kinbaku and semenawa are really about going through the hardship together. It is not about torturing the model with your ties, but about evoking the beauty that is in her, using your ropes, and feeling with her.

It was really beautiful when Naka-san shared with us how difficult it is for him to hurt his models, how compassionate he is for them and how he is suffering together with them. Semenawa is not about sadism. The point of it is not to hurt your model. You can do it in many other ways. The point of semenawa is to experience the suffering together with your partner, in order to come out of it stronger. It is about being there for each other, both partners willing and open and vulnerable. Both attuned to the needs of the other. Both fulfilling different, but complementary roles.

Of course, when practising semenawa, the rigger inflicts pain and suffering on the model and they both must be enjoying that aspect as well. But it is about more than that. I think that the point of Naka-san was that even though it's all consensual and they both enjoy it, it doesn't make it less difficult to cause another person pain. You need to have compassion for the person that you are hurting, you need to be able to read them and get into their skin. Otherwise, you will simply abuse them.

During the performance of Iroha-san and Naka-san, you could really see that they are giving everything to each other. And how that moment makes them stronger. The moment when the suffering ended and Naka-san took Iroha-san in his arms was one of the rawest and loving gestures I’ve ever seen. I truly appreciate how open and vulnerable they were with us. They didn’t withhold anything. And I think that this is what makes them so unique.

It was really special, when the day after the performance, Naka-san was telling us how much he feels for Iroha and how practising kinbaku makes his love for her even stronger, and you could feel that he was actually insecure when talking about it. He really opened up to us, and even for him, one of the most respected masters of kinbaku, it was a difficult moment. To me, it was really touching and proved his honesty.

It’s not about the patterns, but about extracting the beauty of your model in every moment

In each exercise, Naka Sensei repeated that the point of the exercise is not to replicate the sequence that he tied, but to get inspired and then adjust it to your model. Every person and every body is different. He wanted riggers to learn to look at their models, get the pattern out of their head and really be there with the model, with her beauty, feel what this moment needs to make it special.

He did create patterns for the purpose of the workshop but in general, he doesn't think in terms of patterns. After the initial position was finished, it was really fascinating to see how he moved from there, observing Iroha-san, adding and changing lines, each time accentuating her beauty and only moving forward when he felt like what he created was the best what he could do in this moment.

I think that riggers often get carried away in their pursuit of a certain position. They focus on the tie itself and forget about the person in their ropes. They are more driven by the end-result then the process, missing the beauty of the moment and the unique opportunities that each model and each moment gives them.

Naka-san repeated endlessly not to force anything. He was asking riggers not to let their ego get in the way, but to tie to their abilities, as it will create a much better experience, both for the rigger and for the model. Also, Iroha-san mentioned how unfair it is that the riggers often make models feel guilty if they can't take certain ties that Naka-san created, while they definitely shouldn’t feel guilty. They are there for the riggers, willing to give them their body and to suffer for them. The riggers should appreciate it and make the best out of it. Especially because usually if the model can't take something, it more often than not is because of the riggers technique lacking. Therefore, they should be humble and look at themselves first, before judging and blaming the model.

There is no one definition of kinbaku

Naka-san stressed that for him kinbaku is very individual. Each person has their own approach to it and their own point of view. He ties what feels natural to him, but he doesn’t think that his way is the only true way. He might not understand or have a feeling for what other people in rope bondage are doing, but it doesn’t make it any less valuable. In the end, each scene and each encounter are unique and should be treated as such.

Another thing that he mentioned, and that was very interesting, is that there is no final destination in kinbaku. It is a never-ending process. And for each person the path is different, and the point where they will end up will be different. For him, as a professional, the road will definitely not be the same as for someone who does it as a hobby. And it is fine. Each person chooses their own path and should not try to get ahead of himself. It is better to enjoy the process.

Both the rigger and the model should be grateful to each other and respect each other

It's really amazing how humble and appreciative of the model Naka-san is. He kept repeating how the riggers should appreciate and be grateful to their models for letting them tie them up. That the models are not their slaves (even if sometimes they like to play that they are). They give themselves to the rigger out of their free will and they deserve respect and gratitude for that.

Iroha-san was also saying that the models should feel free to communicate to the riggers anything that feels wrong or puts them in a position that they don't like. They shouldn't force themselves into things that they don't enjoy, just to please the rigger. They should like what is happening to them. Otherwise, they will start to hate kinbaku after a while. As a model, your body and mind are in some way being abused and if you don't enjoy it in some way, then it might quickly turn into a trauma. Without open communication, there is no kinbaku. It's simply an abuse.

One time, when Naka-san was putting the first wraps of the TK on Iroha-san, he revealed that it's one of his favourite moments because he can be so close to the model that he can almost hug her. Then he started joking that maybe while for him it feels amazing, the model suffers, thinking that she wants that perv away from her. Then he told the riggers that they need to stay healthy and clean, otherwise, their models will really feel like that and will hate them. It was a joke but it shows how self-aware and humble he is. Even though he is one of the best riggers in the world and there are tons of girls who dream to be tied by him, he still cares about the impression that he makes and the comfort of the model.

Kinbaku can be a risky art and you should be conscious about the risks that you are taking

One day, Naka-san told us a story of the rope that he is using. How he was looking for weeks with different sellers to find the right kind of rope for kinbaku. How he finally found it with Ogawa, and how they became popular thanks to him. How some people are complaining about its smell, and that it's not suitable for tying people. How nowadays you can buy rope that is specially made for kinbaku. And how in his opinion the people who buy this kind of rope are missing the point.

Because kinbaku is not supposed to be normal. You use the ropes not what they were created for, and it's an essential part of it. You do something perverted, dirty. You transform ordinary ropes into your tool of torment for the model. In this way you build their history, you make them special because of the way you use them. You will not obtain the same feeling with ropes that are made especially for kinbaku. They are too proper, too ‘clean’.

There is no lying to ourselves, kinbaku and semenawa are perverse and they bear risks. More than that, the perversion and the risks are what makes them exciting and beautiful. They are at the core of the practice. If you tie in a way that is safe and comfortable then the spirit of kinbaku is gone. Because it should be difficult and painful. Your ropes should be abusing the model in some way. In the end, kinbaku is a D/s practice.
And sometimes you take risks for the sake of beauty. You tie less safely because it is more aesthetically pleasing. It happens and it's perfectly fine. But when it happens, both the rigger and the model should be aware of what they are doing. It should be a conscious risk-aware decision of both partners. And until you are able to assess all the risks, you should put safety first.

As a model, you surrender to the tie and the rigger

Semenawa is not a power struggle. Rather, it is an expression of the model's surrender. The moment you let the rigger tie you, you already belong to him. Once in ropes, all you can do is to accept your faith and to do it gracefully.

The ties in Naka-san style are difficult and painful. They can also be exposing and objectifying. It is not a kind of rope that you would do with everybody, the same as you wouldn't enter a D/s dynamic with everybody. If you (as a model) decide to tie in this style, you need to be willing to suffer for the other person, to give yourself to them. And for that, you need to trust that they are going to respect your gift and care for you.

In almost any form of rope bondage, the model is in the power of the rigger. She can struggle, but in the end, the rigger has all the control. But I think that the difference between overpowering rope and semenawa is a bit like the difference between doing CNC and D/s. In both cases, the bottom doesn't have any power. But while in the first case it's being taken away from her, in the other she hands it over willingly.
And this is one of the things that makes Naka-san’s style so alluring to me. It is such a beautiful and deep expression of a D/s dynamic that exists between the rigger and the model. It’s a kind of rope that you can’t do casually. It requires an absolute devotion from both sides. And an immense amount of trust.

Semenawa ties are meant to be really challenging. They are asking the model to give everything of her. Personally, I am not able to go so far if I am doing it for myself only. If I tie for the sake of beauty or to challenge myself, I can only go so far. But when I am doing it for someone else, when I'm suffering for my rigger, only then I can overcome my limits and truly surrender to the tie. The fact that I am doing it for someone else, gives me an additional strength to persevere and to enjoy my perseverance.

Lots of lessons learned during this workshop. It's so inspiring to see how one of the biggest masters of kinbaku and his model approach rope. The way they talk about it made me see many things more clearly and put others in a completely different light. Especially, because kinbaku is a part of Naka-san and Iroha-san's culture, seeing them and hearing about their approach really changed my perspective on this beautiful art.

I'm not Japanese and I will never experience being tied in a way that a Japanese person does. And that's ok. But still, I feel like one of the keys to understanding what it is that draws me so much to kinbaku is understanding the culture that it comes from. Therefore, I'm so grateful to Naka-san and Iroha-san, not only for sharing their approach to rope with us but also for being so open and vulnerable and sharing so many beautiful stories. This experience was definitely a milestone on my journey.

Lessons on kinbaku and semenawa from Wildties, RedSabbath, WykD Dave and Clover

In September 2018 I participated in a unique workshop from Riccardo Wildties, RedSabbath, WykD Dave and Clover. It was a really unforgettable experience as it's in general unheard of to have two such great riggers teaching together and comparing their approaches in front of the students. I want to share my story of that experience, which contains both the knowledge that the teachers shared with us as well as my interpretation and loose thoughts on it.

The goal of the workshop was not to learn particular ties, but to understand better the language of kinbaku and to find your own voice in it. I loved everything about it. I loved how they were trying to explain and show what kinbaku is to them. I loved the abundance of concepts and the depth of thought that was presented. And I loved how open and honest the teachers were.

There is no kinbaku without fluent technique

The first day was all about technique. But not in the sense of learning complex technical ties. It was rather about the importance of perfecting your basics. And I couldn't agree more with the teachers.
Both Wildties and WykD Dave were stressing how everything starts with the basics. In Europe people often like to learn a lot of complicated patterns, thinking that it's an indication of how good they are. But copying the pattern without understanding it and being able to use it to evoke feelings is pointless. At least in the sense of kinbaku.

Kinbaku is not about rope. It's about using the rope as a tool to evoke sensations and emotions in the model. And to be able to do that, you need to have a perfect command of your tool. You have to not only know what you are doing but also why are you doing it. You have to understand the reasons behind every movement and placement of rope and perfect it so that you can apply it intuitively.

Of course, this way of tying requires a lot of devotion and practice. Real methodical relentless practice, where you repeat the same movements over and over again. Just applying the patterns that you've learned in play is not enough. You need conscious lab time when you tie the same thing repeatedly and analyse it.

As a model, I agree wholeheartedly. There is something very special about the way that the rope is used by the most experienced riggers that I’ve tied with. And it is not at all about the ties that they put me in, but about the fluency and deliberation with which they do it. The level to which they can control the rope. It almost feels like the rope is just an extension of their body. Their entire attention is on me and not on the tie. The level of connection that it creates is one of the best things that I’ve ever experienced in play.

This workshop made me realize that in order to be able to experience that, I, as a model, need to give space and opportunity for my riggers to practice. I am usually all about play and I might sometimes put pressure on people to always make it playful when they tie with me. I also am very fortunate to tie with amazing riggers who are at a level when practice is usually also play for them. What they are perfecting now is the communication through rope, even when they tie complex things. But still, after listening to Wildties and Dave, but also Clover and RedSabbath, I realized that the best thing that I can give to the rigger is my attention and honest feedback. And for that, I sometimes might need to tune down the play mode. I'm ready to do that if that means that it will lead to even more connection and better play in the future. So, my dear riggers, please tell me when you would like to tie with me for practice and feedback. I'm all yours also for that.

Fundamentals of kinbaku

After we discussed what you need to practice in order to make the rope a means instead of it being an end, we went on to talk about the actual end.
What is it that you want to communicate with your partner? And how can you use rope in order to achieve that? Rope is very versatile and the things that you can express with it are almost endless. But there are certain emotions and concepts that it is basically made for communicating. And these are at the core of kinbaku.

Distance and space

Space is very important in Japanese rope bondage. You can express a lot using it. Your model will experience different things depending on whether you are near or far, in front or behind her, but also above, at the same level or below. All these factors have also different impact, depending on how strong the dynamic between you and your model is. If it is strong, you can move further away and the model will still feel your presence. There is more trust in her that you won’t abandon her and you can play more with the subtle changes. If she doesn’t trust you yet, already a small distance can have a big impact.

So you can say something by distancing yourself from your model. But you can also use staying in touch to send a different message. By keeping the tension on the rope the entire scene, your model can feel your presence, which is both reassuring and asserting control. The moment you lose tension in the rope, you create distance. You should keep it in mind when tying, that anything that happens with the rope has an impact on your model. Dropping the tension is for the model like losing touch with the rigger. It can be a very powerful experience, which is not necessarily bad, as long as it is intentional.

Timing

You can express feelings using tempo, meaning both speed and rhythm. The same tie in a different tempo will have a very different feeling for your model. The change doesn’t have to be big. A subtle change can have a big impact if it is executed with care and your model is attuned to you.

Another aspect of timing in rope is using the pauses and acceleration. Everything that has a beginning also needs to end. It is especially prevailing in Naka style, because of the fact that you don’t extend the ropes, meaning that adding every new rope has a clear beginning, acceleration and end. The end is the moment for you to enjoy the tie and for your model to contemplate what is happening to her. Both you and the model need time to realize what is happening between you. Otherwise, things keep happening, but neither of you has the time to actually feel and enjoy them.

The end moment is not an end in the way that Westerners usually understand it. It is far from nothingness. It is rather a pause before the next part starts unfolding.

Even though each rope is a complete piece, one should always keep in mind that it is a part of something bigger. One rope is a part of a TK, a TK is a part of a tie, a tie is a part of a scene, a scene is a part of a sequence of scenes, and so on. Every single part is complete, but it is also a part of something bigger.

There is this concept of a buildup, they all add up to something bigger, each part more and more intense. The acceleration is happening not only in a single piece, but also throughout the entire scene, each rope being more intense than the previous, adding to the experience, but at the same time being a complete part on its own.

Progression

There is nothing worse than a flat rope scene. Therefore, there should be a progression in everything that you do. Every wrap that you put on the model should have more intention than the previous one and assert more and more control over her. The way to do it is not necessarily through more tension or force in the rope, but rather in you becoming more and more focused on the model. Each movement causing both of you to further immerse yourself in your bubble.

Apart from the progression of connection and intention, there is also a concept of progression throughout the scene. The tie keeps building up to something bigger and more intense. To make it even more interesting and at the same time more sustainable for your model, you should step back from time to time though.

Progression does not have to be linearly increasing. In fact, it's better if you step back sometimes, allowing your model to catch a breath. This way, the next time you strike, your model will be able to take more. Otherwise, if you keep striking hard without a break, she can easily be overwhelmed. In the end, you want her to take as much of your torture as possible. Therefore, it is better to give her some time to adjust, see where she is compensating and slowly take it away step by step.

Interaction

Kinbaku is not only about applying the rope on the body of your model but also using it to move your model and to control her. You want to talk to your model through rope, every move that you make should be intentional and have a meaning. You should also pay attention to whether your model actually understands your intention. Read her. Her body language will tell you a lot.

You should be able to control the movement of the model in every moment. Not using force, but because of her submission to you. She shouldn't change her position on her own accord. If she does, then it means that she is not yours yet.

Dominance and submission

Kinbaku is a D/s art, but a very subtle one. It is about seduction. You don’t want to force the terrible things that you have in mind onto someone. You want to seduce them into believing that this is what they want. Only then it is a real submission. In order to achieve that, you need to listen to your model and to the signals that she is sending you. If you are focused on your goal and not listening to her, she won’t submit. You will just force your will upon her, but she won’t be yours. And you want her to be yours. You want to control her experiences and create a bubble where all that she is thinking about is your next move.

Tying someone up is a way to show control. To make the other feel helpless and captured. But also to lull them into a false sense of security. You don’t want your model to keep fighting with you. You want her to feel good under your control. And to do that, you need to listen to what does and doesn’t feel good for her. Otherwise, you will only control her body, but it's her mind that you really want. And once you have it, it's up to your imagination what you want to make her feel. She is your playground and all the other kids are gone. The fun is all yours.

Where is the bottom in all that?

The workshop was amazing, but it seemed like it was all about the riggers. It made me think a lot about kinbaku and my role in it as a bottom. On the first sight, it seems like the role of the rigger is way more prominent and the model is a mere receiver. The importance of the skills of the rigger is definitely more visible and the skills itself are in a way easier defined. And they are very different from bottoming skills.

I think that the rigging skills are more tangible and standard, therefore easier to teach, in a way. I love following rope workshops and listening about tying, even though I have no intention of becoming a rigger myself. I still find hearing about the process fascinating. But I also often feel kind of strange during rope workshops as I'm very dependent on my rigger and there is no way that I can perform well if he doesn't.

I tend to be very ambitious and I am always striving to perfection. And that's why I sometimes find it difficult to be so dependent on my rigger in my development as a model. Because I feel like until he perfects his skills, the only thing that I can do is to give feedback. And to use what he is giving me at the moment.

I'm not saying that the role of the bottom is not important. But I feel that I can only start to create when my riggers give me space for it. And that comes with their skills. Because only once they have a good command of the ropes, can we start to play with our dynamic. That's when I can really express myself and grow. Before that, I need very different skills to help my rigger develop. I need to be able to analyse what is happening with my body and be critical about the experience. And I need to be able to give him constructive feedback. I used to not see it as ‘true’ bottoming skills and something that I want to develop. I used to just want to get lost in the experience. But I'm changing my mind.

And it were the partners of Dave and Wildties who made me change the way I think. When I asked Clover and RedSabbath how they feel about their role as rope bottoms and if they don't feel very passive sometimes, they gave me very interesting insights.

RedSabbath mentioned that for her the most crucial role of the bottom is to be the critic of the rigger. Really being honest about how they make you feel and what they can improve on. Conscious lab time, when you are really focused on tying is very important if you want to help him develop. In the end without you, the rigger can't improve. Without your feedback, he can only guess how he makes you feel. With your feedback, he can really grow and learn from his mistakes. You shape his awareness. Without you, there is no kinbaku.

Clover on the other hand explained how she feels very active in creating the scene as she is the one who is receiving riggers input, feeling it and communicating how it feels. When being in rope, she is developing her ‘bondage persona’, learning about her strong and weak sides and what feels good to her. In this way, they work very much together to create the best possible rope experience. There is a lot of self-discovery and learning for the bottom in that process. But that happens when the rigger overcomes the ‘technique’ obstacle and when the rope practice becomes a question of ‘what’ and not ‘how’.

Listening to all this, I realized that even though my role is very different than rigger’s, I still have many things that I can work on improving. I can work on giving feedback and being more conscious about what is happening with my body in ropes and how particular ties and behaviours of the rigger make me feel. I also realized that what I want to perfect is being beautiful and strong in ropes for my rigger. I can practice giving the best possible experience on my side and being grateful to the rigger for all the energy he puts into learning this difficult art.

At the same time, I also want to learn more about the Japanese culture, understand better where kinbaku comes from and what are its underlying principles in order to be able to better tune in this beautiful art and its aesthetics.

Finally, sometimes I just want to let go and give myself fully to the rigger. Let him play me like an instrument and take out all the beauty that is in my emotions and in my suffering. Because that is what we are ultimately striving to achieve.

I can’t do casual, is that ok?

I am writing this because it’s a topic that I am struggling with for a while and I really feel like I need to hear some honest opinions about it. For those who don’t like long writings and are not interested in my personal struggles, you can skip to the questions at the end and a summary of the comments that I have received.

My struggles

Being in a kink community for a short, but intense while, I grew to realise that I am not really able to play casually. Or to do anything casually for that matter. I love the intensity and I hate mediocrity. In myself that is. I don't care what other people are doing. It's their life and their interactions. I think that everyone should do what makes them feel good. But I simply can't do things in a casual manner.

And right now I'm in a phase of deciding whether I think it's fair to expose others to my play. At least when it happens at more casual environments. Like rope jams. Because the moment that rope touches my body, I am lost. Especially when the scene is flowy, the rigger skilled and we have the right ‘click’. Then I become shameless in expressing my emotions. And there are lots of them usually. No matter the setting, I just can’t help myself. Everything else disappears and I stop having boundaries of what is ok and what is not. At that moment only the connection between us matters.

It's actually not only about rope. I have the same thing with tango for example. I don't really dance casually. The only time when it happens is when I make an unfortunate mistake when choosing a partner or when I am fulfilling a social obligation. And it always leaves me kind of disappointed. I just don't see a point of doing something without intensity, when there clearly is a space for it. It doesn't mean that I always put my entire self into what I'm doing. I do it only when my partner goes with it. When I feel that intensity is what he/she wants as well. If it’s not what they want though, then the chance of us playing again is low.

Coming back to the main topic. I can't do casual. Everything that I do needs some level of emotional intensity to keep me interested. Something that I can hold on to and build a story around. Something that will make me feel. And I need seriousness. I don't really like when things are funny and relaxed and playful. I need drama. And that's what I create when I interact with people. I realise that not everyone wants to be an audience to my spectacle. When we are together in one space though, they often don't have a choice. Any event that I take part in, you will see (but mostly hear) me moaning, gasping, squealing and screaming (if it comes to it). You will have to witness my joys and my struggles. And I realise that for a rope practice event, it might not be what people sign up for. I realise that for some it might be too much.

So I've been thinking… Should I stop going to casual social events and only stick to play parties? Is the way I do rope appropriate for a rope jam? I tend to be shamed quite a lot for how I react when in ropes. Usually, it's jokingly, but when you hear the same joke over and over again, you start thinking that maybe there is something else that people try to communicate to you, but are not comfortable saying it openly. For me tying is about sensuality and play. About the flow and emotions. You can incorporate it in basically every session and for me, it should actually be something that people practice. One thing is to learn to execute a tie correctly, another is to execute it while staying connected to your model and keeping the flow of the scene. But it's not what everyone is looking for in rope. Some people seek beautiful shapes or relaxation. Some people seek fun. Or something else that I have no idea of.

I would like to believe that it is possible that we can all co-exist in one space. Everyone doing their own thing that makes them happy. But maybe it is not the case? Maybe some ways of tying are just not compatible and should not be practised together? Maybe some people don’t want to be exposed to someone else’s suffering or arousal? And some people don’t want to be taken out of their rope space by a couple next to them explaining things to each other and laughing?

I enjoy going to rope jams, because I love to meet other people who are into rope and to share experiences. I enjoy having fun with my friends and I enjoy showing other people what I am going through in ropes. But maybe rope jams are not the right place for it? Maybe I should just stay away from those low key events and stick to play parties?

Questions that I need to ask

I truly am curious about honest opinions. And not only for myself but for other people who might be struggling with the same doubts.

• What is and what is not ok at a rope jam in your opinion?

• Is play an intrinsic part of every rope session for you?

• Can you and do you enjoy rope without a play element?

• Are you bothered by other people having a play session next to you (within reason) when you are having a casual practice time?

• Do you think there should be more or less play at rope jams in general?

• Why do you do rope?

I would love to and I hope to hear on these topics either in comments or in a PM. I would also love to hear on anything related to this writing that did not end in the questions list. And I hope to hear all kinds of feedback, not only reassuring stuff. I will try to summarize the comments and add it at the end of this writing so that other people can get access to it easily as well.

Update: Answers and comments

I’ve got a lot of feedback in comments, private messages and conversations, which is really great and I am very grateful for it. I tried to gather all the thoughts together in a summary and here it is:

• You are in a public space at a rope jam, so try to evaluate as good as possible the kind of people that you are sharing the space with and adjust the intensity of your play accordingly. Of course, keeping the rules of the place as a baseline.

• When there are more people who are new to rope at a rope jam, you might want to decrease the intensity of your play a bit. At the same time, some say that you should not do that too much, as then you attract people, who in the long run might not be the right match with the community. Not all newbies are scared by the intensity. Some are attracted to it.

• Mistakes happen inevitably when you interact with others. Especially when doing rope, which is very personal and can be intense, but at the same time, you share it with a lot of people in one space. As long as you try to minimize invading other people space and communicate, you are good.

• Tying in a space with other people around is not the same as tying at home. Sooner or later you will be bothered by others. Try to stay cool with it and minimize your disturbance and if you really find it too much, give feedback.

• Most of the people think that some play during tying is ok, some think that it is inevitable. As long as it rope-centered and not interrupting other people’s session.

• People approach rope differently, some enjoy the technical aspect more, some enjoy the play more, some both, depending on the circumstances. People also approach rope jams differently, some prefer to reserve play for private space and focus on practice and learning during rope jams and some want to practice their ties while being playful at the same time. In either case, they don’t mind others doing things that are more intense, as long as everyone is mindful of others.

• There is no one way of doing rope and seeing different people approaching it differently is inspiring and fun and desirable.

• Some people see the practice as being technical and rope-focused. Others want to practice connection and leaning in the experience. Tying your partner, while staying connected is an important skill that takes a lot of practice. That is one of the reasons why some always ‘play’ when doing rope. It requires a certain level of skill.

• As long as you communicate well to your partner what your reactions to rope are, it is more the responsibility of the top than the bottom how intense the session becomes. You should communicate beforehand if you are uncomfortable with something (like disturbing other people) but during the session, you have little control over your behaviour if the rigger knows how to trigger you. Keep that in mind during the negotiations, but don’t feel like it is your responsibility during the session.

• In general, the balance between play and no play at rope jams is usually good.

Most importantly, rope is amazing for a trillion different reasons. Keep enjoying it in your own unique way.

Lessons on pain, suffering and humiliation from Soptik and EisEve

Last weekend, Soptik and EisEve gave a performance followed by a 2-day intensive workshop at Ellipsis in Rotterdam. I attended both with high hopes and was not disappointed. In fact, I've learned way more than I expected.

The performance

Their performance left me speechless. I’ve heard that Soptik is a real sadist and I was prepared for an hour of enjoyment mixed with embarrassment while watching EisEve being tortured in his ropes. What I have seen was nothing like what I have expected. True, she was suffering for most of the performance, but mostly it was a spectacle of humiliation and objectification and a show of an intense D/s dynamic. And it was beautiful.

He started strongly by cutting open EisEve clothes and putting her in a partial involving only a neck rope, causing her to tiptoe and struggle for her life while he was tying a TK. He then put her in a series of transitions, each one slightly more difficult and exposing than the previous. She took them all gracefully. What was amazing to me was how intensely Soptik was focused on his model. He barely watched his ropes. His eyes were almost constantly fixated on her. And he was taking his time. He wasn’t hurrying from one position to another. Each position was a feast on its own and he was delighting in every little drop of EisEve suffering.

And she does suffer beautifully. From the first till the last moment of the performance, she was completely surrendered to him. You could feel that she would let him do anything to her. She was there at his disposal, surrendering completely to his ropes, with her eyes closed and her body relaxed. At the same time, she wasn’t lifeless. She was truly present and you could feel the intense emotions that she is going through.

At some point of the performance, Soptik gagged her with her own panties, which he previously cut open, and tied a white cloth around her mouth and eyes. Then he proceeded to draw a smile and a pair of eyes on the fabric. This was a powerful message of objectification. For me, it was like saying ‘Look at her, she is all mine. She will let me do anything to her. And I will execute this power.’ That really touched me. I rarely see such expressions of submission in rope performances, and at the same time, they are something that I really look for in kinbaku.

On top of everything, Soptik is an extremely skilled rigger. His moves were confident and fluent and each position that he put his model in was executed with great care and seemed simple, but was actually very complex. He was deliberate in creating shapes from EisEve body. And the shapes that he was creating were not always making his model beautiful. She was a material that he was forming according to his desires. And his desires were often to expose and objectify her. He ended the performance with a single point TK suspension, which was a very dramatic position, making the model resemble a hanged person. Another powerful message.

For me, the entire performance was comparable to that of Bingo, that I’ve seen in Paris, in terms of the intensity, skill and the qualities of kinbaku and D/s that it displayed. It left me extremely excited for the workshop.

The workshop

And the workshop didn’t disappoint. There was lots of pain and suffering, but most necessary, it was not without a reason. I think that the most important lesson that I have learned from it is that as a model you want to suffer in ropes for someone. If you see your rigger paying attention to you and enjoying what he is creating, it really makes it worthwhile to go through all the pain and discomfort.

Soptik kept repeating that for him every moment of the scene is important and that he wants to enjoy the model in his ropes as much as possible. Therefore, it is really crucial to pay attention to your model by learning how to minimize the amount of time that you look at your ropes when tying. You want to enjoy the model and the feelings that you evoke in her and for that, you need to pay attention to her, not the ropes that are on her body. They are just an object, they don’t have feelings. But your model does. And that is what you are after.

For me, it really does make a difference, because I treat my scenes as an emotional journey. I go through a spectrum of emotions when being tied and if the rigger does not appreciate them then I miss the point of doing it. I know that there are different reasons why people tie and this is not the only ultimate one, but it is for me. That’s why Soptik teaching resonated so much with me.

Another thing is that as a model, once I decide to tie with someone, I should be willing to suffer for them. That also means that I should try to overcome small nuisances, like a pinching rope, as long as they are not dangerous. In that way, I make sure that we can enjoy the scene and its flow with minimal disturbances. I learned that any time that I communicate to the rigger, I take us out of our headspace and we have to make a big effort afterwards to get back in. Therefore, it makes for a way better scene if I suffer through small discomforts, even unintentional, and only communicate things that I really important.

Finally, watching Soptik tie and interact with EisEve completely changed my views on D/s relationships. Throughout the workshop, he kept exposing and humiliating her, by for example casually exposing her breasts and crotch. Not for a moment though it made me think of her as weak or less a person than he is. (And that is how I usually feel when someone does something like that to me.) On the contrary, I thought that she is very strong and brave for being so vulnerable to him in front of us. I could also see how much she means to him and how much he appreciates her and I understood that even though there is a power imbalance in their relation, it does not mean that either of them is less valuable.

Some of you might say, ‘Duh...’, but for me, it was quite an eye-opener. So far, I’ve rather seen myself as showing weakness when expressing my submission to my boyfriend in front of other people. And now, when I saw how it might look from the outside, I don’t think of it as appearing weak anymore. I think that it is touching and beautiful. And both sides show strength by expressing it.

Our scene

As a culmination of this weekend, I experienced Soptik’s tying myself. And it was again both different and better than I expected. He asked me to tie because he really liked my expressions of suffering in ropes and I agreed because I could see that we have many common kinks and I expected that he would put me through an amazing journey. And he did.

I think that I have never experienced so much pain and humiliation at once given with so much intention and enjoyment. Especially by someone who I barely know. The way he was hurting me and the emotions that he was able to evoke in me by giving me pain made me re-evaluate how I see myself as a masochist. For a while now I have thought that I prefer emotional masochism over the physical one. And partially it is still true. Soptik made me realize what you can achieve when you combine the two. A mind-blowing experience.

I guess that there are not so many things that can make one as panicky and vulnerable as experiencing pain from which there is no escape. I am a masochist and I like pain, but only to a certain degree, and I am not even sure if my pain tolerance is that high. I can take quite a bit, but not without strong reactions and I only experience mild levels of very specific kinds of pain as pleasurable. The pain that he was giving me was definitely above my limits. But he overpowered me mentally and physically and made me feel like there is nowhere to go from it. He made me submit to the pain and to him and accept whatever he is giving to me. And that really changed my perception.

At some point, I started enjoying way more than I usually do. It seemed like because there was no escape, my mind decided that it is better for me to think that it is what I truly want. And then, for a submissive, there is something really special about letting someone torture your body and seeing them enjoying it. And he definitely was enjoying torturing me. It made me very confused because, on the one hand, I wanted the pain to stop, but on the other, you wanted to keep pleasing him. Also, he kept humiliating me. He twisted my body and exposed me. He tied my face and made me drool on myself and then smeared the saliva over my face. He slapped me and beat me and stepped on me. At some point, it turned me into a needy wimp and I just wanted him to be nice to me and caress me, but he kept only hurting and degrading me. That made me only more miserable and more submissive.

I was truly amazed by how much I can take from a complete stranger. He was my teacher for two days, I have seen him tie and we talked a bit, but there was not much more that I knew about him. I have always thought that degradation and humiliation are something that I can only do with someone that I have a deep relation with. But it turns out that it is not necessarily the case. I think that because I could see very clearly that it is something that he enjoys, I felt safe to enjoy it as well. To show my real self to him and let him take us on this journey.

At the same time, it was very different from what I experience with my partners that I have a deeper relationship with. I think that there was not so much emotional depth behind it and because of that, it was less (emotionally) dangerous. It was a very strong and pure D/s power exchange, but at the same time did not have the emotional loading of humiliation play that I have with my boyfriend for example. Having a deep relationship with someone definitely changes the angle of play, because he can hit you in more emotionally vulnerable places. And that requires way more aftercare that I felt like I need after this scene.

Here, I felt like a victim, first caught and overpowered and then slowly, by means of torture, turned into an obedient pet. It was really amazing and intense and at the same time very contained within the scene. I feel like rope is a great tool to create this kind of emotions. It makes you powerless and vulnerable and can cause a lot of pain. At the same time, it's not like cuffs or straps that only immobilize you. Your partner keeps on making you move, reminding you of the power that he has and at the same time putting you in a kind of trance. It's also very theatrical in a way which for me works great in putting my mind on an emotional journey. Since it is a non-verbal tool, the flow of energy is in a way purer and therefore might be stronger than when you use words, even though the exchange might be less intricate, as I feel like only more basic dynamics can be expressed without verbal communication. Still, you can achieve the intensity and experience emotional journey that is really special and hard to come across otherwise with such minimal tools.

My lessons

I can already see my boyfriend laughing at this one, but I think that I can safely say that this weekend was a life-changing experience for me. Or at least, it changed the way I look at many things.

First of all, I strengthened my conviction that what I am looking for and want to experience in rope is an intense D/s dynamic. I want to see suffering and submission. I want to see humiliation and eroticism. And finally, I want to see simplicity and beauty created by using the model as a canvas. And that is exactly what Soptik and EisEve showed in their performance.

Secondly, I’ve learned that the intention of both the rigger and the model can make or break the scene. On the rigger side, it is extremely important that he enjoys what he is doing to the model. And for that, he needs to pay attention to her. He should maximize the time that he looks and reads the model and minimize the time that his attention is on the rope. From the model side, she needs to have the intention to suffer for the rigger, to give herself to him for his enjoyment. That also means that she should try to not break the scene with every little pinch of rope on her skin. Sometimes it might be better to suffer through the discomfort, also unintentional, and see where the scene goes than to break the flow.

Thirdly, I learned to appreciate and respect the submissive role way more. I realized that it requires strength and vulnerability to be able to submit, but that the same goes for the dominant. Even though there is a power imbalance in a D/s relation, there is no value assigned to either of the sides. They are both equally strong and brave and beautiful. And there is something truly magnetic in observing a couple with a strong D/s dynamic. Like watching two elements both fighting and needing each other to exist.

Finally, I’ve learned that rope is a perfect tool for creating intense and complex D/s scenes, even between people who don’t know each other that well. You can degrade, scare, torture, humiliate, give and take hope, caress and evoke many more feelings, using only rope. At the same time, the dynamic is very contained within the context of the scene and the strong power exchange that you experience does not have to exist outside of it. This made me appreciate rope even more and it might have made me more open to tie with new people.

Thank you Soptik and EisEve for teaching me so much about rope, D/s and myself. It was a truly deep experience and I can’t wait to learn from you again.