Akechi Denki: Interview in SM Secret Club (1997)

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Akechi Denki: Interview in SM Secret Club (1997)

In 1997, the magazine SM秘密俱楽部 (SM Secret Club) published an in-depth interview with Akechi Denki.

In 2009, NuitdeTokyo made a translation into English of this interview for Osada Steve’s website TokyoBound: [ http://www.tokyobound.com/blog/?p=245 ]

I have been looking for this magazine for quite some time, and recently was able to get my hands on it and add it to my collection.

I asked NuitdeTokyo and Osada Steve for permission to republish the translation of the interview here on the KinbakuBooks blog, which they generously allowed me to.

Thank you!

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Introduction from TokyoBound

The following interview is from volume 6 of SM 秘密俱楽部 (SM Secret Club) published in 1997. It used to be a relatively minor player within the Tsukasa Shobo Publishing portfolio – ranking behind magazine titles like SM Fan and SM Frontier, that left their mark on Showa era SM publishing.

After a messy change of ownership, Tsukasa Shobo went bankrupt in 2007. The interviewer for the article signs as Tajima Osamu, a fairly common name. An internet search hasn’t come up with any other SM-related works under that name.

Interestingly enough, the article includes mention of Osada Seminar pioneered by Osada Eikichi .

Thanks to NuitdeTokyo (NdT for short) we can bring you now the English translation of this interview. Next to Master K, NdT is probably the most avid collector of Japanese SM literature. In the past, NdT has discovered another Akechi Denki interview (from ca. 1976) and kindly shared it with us here.

For those unfamiliar with the who’s who’s of the Japanese Shibari and Kinbaku world, both Osada Eikichi (長田英吉) and Akechi Denki (明智伝鬼) are considered grandmasters of the art – the former having passed away in 2001, the latter in 2005. The probably last ever interview with Akechi Denki Shi was conducted by Osada Steve (長田スティーブ) for Steve’s own magazine, Fetish Japan, and for SM Sniper, one of the largest surviving SM magazine players, until it folded in January 2009.

Before we now get to the actual story, a few words by NuitdeTokyo:

Throughout the translation I have used the word ‘fetish’ for what the Japanese like to call ‘mania’ because I feel the present usage of the word in Japanese is closer to ‘fetish’ than to ‘mania(c)’. I have also added some notes inside the text (indicated by NdT). The original article also had notes, but I have incorporated their contents in the main corpus.

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Akechi Denki interviewed by Tajima Osamu, in ”SM Secret Club” (1997)

The first magazine specializing in SM and hentai [pervert] material was the highly regarded Kitan Clubwhich started in 1948. Its long-time editor was the legendary Minomura Ko [NdT: please refer to Master K’s excellent book The Beauty of Kinbaku for additional information] who contributed in several ways to this special publication. Alongside with him, many people – some famous, others not – may be called the first generation of post-war Japanese SM. Akechi Denki may then be called part of the second generation.

The first generation was strongly influenced by the war. For example, an enemy ship sank Minomura Ko’s ship and he was left adrift in the Pacific Ocean for many days. It was then, where he promised himself that if he ever made it back alive, “from now on, I will do the things I like”. Also, the author has directly met someone who was working in China as a spy for the communist guerilla, was arrested by the army and subjected to unspeakable torture. The spirit of resistance he nurtured in these conditions blossomed into non-orthodox eroticism. These are people who “have seen” the space between life and death. When compared to the “young” people entering SM from the fashion side, there is a rather wide generation gap.

For the second generation, death was a rare encounter, a seldom seen acquaintance. But obviously, hunger and starvation were there . . .

“At primary school, several levels were crammed into one classroom. When it was time to eat, several students were customarily left alone, as they did not bring a lunch box; they had to do with a glass of water. As for me, it was mainly just rice with a pickled prune on top, but I saw several students in my school year die. At that time, it was nothing strange.”

The family of Akechi Shi was a well-respected family of craftsmen. Thanks to that, its environment was comparatively privileged. But at this time, the term of “war” could still be applied to a food supply situation, which, in an unseen way, was gnawing away at the developing bodies of the young generation. So, several times, Akechi Shi was suspended between life and death. At the same time, as we shall see later, his family was getting closer to financial ruin.

“At the time I was growing. I had an extremely strong interest in the body of women. I had this girl next door to whom I had been close since kindergarten. Together we often played doctor. The fact she did not have a male sex was very strange, as if it had been reduced to a pebble. I did some fairly wild things. After that I was very much attracted to the female bottom. I often peeped into the toilets from the small windows there. I knew in detail all the neighboring public toilets.” (laughs)

While Akechi Shi was already showing in his young years a good deal of lusty curiosity, the encounter with the magazine Kitan Clubtook place while he was in his third year of primary school.

“When I saw this at the old book seller next door, it was an experience I would remember all my life. Flipping the pages, I could see women being tied up, ill-treated, it was shock strong enough to burn my body. As I was clinching my pocket money to purchase the magazine, the shop owner barked at me, “This is not something for kids. What is your name?” and I was forced to write my name and my address (laugh). I was distressed for a moment, and thought of several strategies. A shop close by was not good. And I contemplated asking one of my uncles. Finally, I grabbed my bicycle and went to a book rental shop in the next town and rented a copy of Kitan Club without getting any remark from the shop owner. As soon as I got out of the shop, I started on my bike as fast as I could.”

The young first-time reader of Kitan Club matured rapidly and his first hands-on bondage was in his second year of junior high school. His partner was a younger girl who was living close to the family home of his mother.

“As we had a good relationship, until the third year of junior high school we used to take our bath together. We would play doctor. I would tie her up and make her roll on the ground. But once, we were surprised by her parents and they started chasing me (laugh).”

Be it with a classmate in kindergarten, or with a childhood friend, it appears that Akechi Shi was a “special person” since the youngest of age.

For people who are into fetish, they are doing it as a strictly personal thing, not even disclosing it to their wife or girl friend, and feeling frustrated, can only envy such an early development. Akechi Shi probably has a special gift for attracting women. Even when only doing an interview, this is something you can feel. The black sunglasses, the clothes, very often black, are not a mere show. There are also no complicated conceptual words to try to throw a cloud of smoke at the listener. Akechi Shi tells in a soft voice of its past hard times, stories, which would normally cause people to get very tense. These stories are so interesting that they draw strongly the attention of the listener.

When reading the stories in Ladies Magazine [at that time, Akechi Shi was running a series where average female readers would volunteer to have a first-time SM experience and be tied up], one can only empathize with the amateur volunteer who says, “If it is him, I will let him use my body as he wishes”.

“In SM there is a relation of trust. If the partner does not fully entrust her body with a complete peace of mind that is when accidents do occur. When I am performing shows, I tie rather hard. Of course, I attach the utmost importance to the limits of the partner. As soon as it is finished, I softly embrace the partner while telling her something like “you have been very courageous”. At that time, the thread of the kinbaku snaps, and the model, while shedding big tears, nestles herself against me. At this time, the girl’s expression is really cute.”

Upon hearing this, one can catch a glimpse of the stance of Akechi Shi towards women.

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When Akechi Shi was in high school, he tried to join the Kendo club of the school but was refused after taking a medical check-up. The rheumatic fever he contracted when he was young was not completely cured. Upon reflection, it was a bad omen.

At the same time, the businesses his father was involved in failed completely and his father disappeared. The house was mortgaged and in fact the entire family was dispersed. Akechi Shi himself was forced to enter into apprenticeship as a house builder. At that time, apprenticeship really meant living as a domestic in the house of the tradesman.

“As we were living in, we had to wake up at 6 am. The atmosphere was a bit like being sent to jail. Of course, it was out of the question to even touch the tools. It was really learning by watching only.”

In the construction business, bullying and bad treatments were also the norm. Up to now there is a scar on the back of Akechi Shi’s right hand, the result of a saw strike by a sempai.

Then, suddenly, when he was 19 he suffered a heart attack. The initial rheumatic fever had left his cardiac valves constricted, which meant that blood was sometimes flowing in reverse direction into the lungs, possibly leading to death.

“When I was told by the doctor that I was not very likely to live beyond thirty years, it all became black in front of my eyes. But being sad would not serve any purpose. I had two younger sisters, which had been entrusted to different relatives. From time to time, I received some letters, there was no explicit mention of loneliness or of things being hard, but one could feel it from the general tone of the letters. And I promised to myself to get again a house where all the family members could live together. If I lived each day with double intensity, even though I may die when I am 30, it would be the same as dying when I was sixty. Very simply, the trick was not to sleep.”

So, he worked while allowing his suffering body only 3 hours of sleep every day. He had to learn his work faster than the others. Soon he turned independent, recruited some available workers, and he became himself manager and bookkeeper. At the top, he had more than 100 employees and before he was 30 he managed to build his own house and bring back his mother, his sisters and even his father.

It was at that time that the SM desires started burning again. Using his worn body as an experiment machine, he furthered his studies of shibari by observing and copying.

When doing shibari, where does the weight of the body creates a tension? In Ebi Shibari, up to where can one bend the body? When doing shibari with rubber bands and you want to test the limits, how long can you leave them in place? All this he managed to understand. “I also did tsuri, I also probably did some absurd shibari patterns. I remember that tying oneself creates a strange feeling of psychological intoxication. As such, I think the S and M are two sides of a single entity.”

“Late at night, when the work place was deserted, I also managed to convince a girl working for the company to let herself be tied. As my heart was bad, I was always wearing a sarashi [a roll of white cotton cloth wrapped around the chest] under my clothes. I took it off and used it to tie up the girl (laugh), as the workplace was often a shop or a department store, we used to roam naked among the counters and the mannequins. I devised quite a number of ‘plays’ at that time. Even for the owner of a business, seducing an employee, because of the future consequences did require a certain amount of boldness. I obtained a good understanding of kinbaku.”

Certainly, there is a special mood when Akechi Shi is holding a woman close to his chest. More importantly, for him, at that time, there was no ‘future consequences’.

“Anyway, I kept thinking that I had only 10 years to live. As for me a girlfriend was someone who accepted to die with me. I was only getting 3–4 hours of sleep per week going for long drives with my girlfriend in the middle of the night. Kissing while driving at mad speed along the edge of a cliff. This is one way of trying one’s luck. I was not sure whether this girl would go along. But after, she slipped in the space under the steering wheel to suck my cock while I was driving. While I was getting a blowjob, sleepiness overwhelmed me and before I realized it, I had bumped into a village house. We were both completely naked (laugh).”

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Apart from work and SM another thing was absorbing his attention: billiard. Akechi Shi was playing as a professional gambler and hustler. People were betting like on players the way they bet on horse racing. In that world every evening, tens of thousands of dollars would change hands. If you lose probably someone will squash your hands.

“I had this guy, wearing a soft hat and a muffler, who looked as if he would give you some amphetamine to liven up the atmosphere. As he would be overtaken by sheer energy of the opponent used to increase his concentration power by training bare feet after having spread ice on the ground below the billiard table.”

In fact it was a real world that looked like a movie. Today, billiard is considered a sport. At that time it was supposed to be a gambling activity with a strong scent of underground. “Somehow, it was close to SM,” says Akechi Shi with a wry smile.

Just at that time, Japan entered into its period of high growth. Akechi Shi spent his third decade living at double or treble speed. But this way of living finally exerted its toll.

“As I turned 30, I started spitting blood and was taken to the hospital.”

But when he was fully resting in the hospital, unknown to him, a lot of things were happening. His father who had taken over the management of the company after his son was hospitalized started to quarrel with the employees. Akechi Shi was already married for the first time, but at that time the bad relationship between his wife and his mother and father became apparent. And simultaneously, the business of the company started to turn bad.

“The employees came to the hospital and protested that they could not work under that guy (my father). My father protested. The debts started to accumulate. My wife was crying. Although I was not supposed to receive visitors, there was mayhem around my bed. In the end, my wife left my newborn child in my hospital room and disappeared.”

“I felt obliged to do something which was really beyond my strength at the time; and tottering like a sleep walker, I wandered in the middle of the night around the hospital. Also at that time, I often went through near death experiences. I was floating close to the ceiling of the room. I could even see the top of the heads of the family members in the room.”

Finally through a miracle performed by a very good heart surgeon, Akechi Shi managed to recover. But upon leaving the hospital, his company was bankrupt, he had to relinquish the home he had built.

“My father had again in a hurry entered into dubious speculations. I asked him if he wanted again the family to be dispersed and I started to hit him. But my father, normally stubborn and with strong arms, collapsed on the floor and covered in dirt started to cry. Seeing this I also started to cry. It is only a house. We shall build another one, let’s not worry.”

Akechi Shi stirred himself back into action. It was then the second half of the seventies and at that time he made a fateful encounter.

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Sakurada Denjiro, who was at the time leading an underground theater group named Sekai Gekijo [Theater of the World] had just established GSG Planning to organize SM shows. The year was 1978. Sakurada was a frequent visitor of OSada Seminar, but in terms of SM, he was really an amateur. In short, he was collecting huge amounts of money by enticing people to come and watch a show that was little more than scandalous theater. Seeing this, Akechi Shi was utterly disappointed.

“It was really a bluff. It was only a substitute which could not satisfy people looking for the real thing. At the end of the show I manage to talk to Sakurada. ‘What you are doing is no good,’ I told him. I even sent him a whole bunch of Kitan Club back issues. One thing leading to the other, I ended up joining his theater group as a Shibarishi or supervisor.”

Contrary to expectation, underground theater and SM have an unexpected affinity. Terayama Shuji [head of the underground theater group Tenjosajiki (The Upper Gallery)] used to say that theater is a machine for “physical self-punishment”. In 1970 at the launch party of Kachikujin Yapoo [Yapoo: The Human Cattle] the members of his Tenjosajikigroup staged an SM show [NdT: Kachikujin Yapoo is a very famous anticipation SM novel looking at things from the male sub point of view. Written by Numa Shozo, it was originally published as a series in Kitan Club between 1957 and 1959 and was praised by Mishima Yukio. The first book edition took place in 1970 due to censorship issues and the article refers to the launch party of that edition. There was a French translation in 2007, which received the Sade literary prize in Paris. ISBN 978-2268055664 for volume 1/3. I am not aware of English versions although the book is widely referenced by scholars of Japanese subculture. The term Yapoo has become widely used especially by makers of male sub movies.] Many theater groups also included female actors in gyaku-tsuriand suffering physical punishment as a means of creating performances with a strong visual impact. The Scandalous Theater Group led by Tamai was also one the groups specializing in SM performances. In terms of subculture, it was not, in itself, very surprising that underground theater groups were feeling close to SM as the “front line of sexuality”.

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CSG Planningeagerly introduced many of the plays that Akechi Denki had been imagining over the years. Progressively what had been a secondary project became the main focus. The evenings where, after the theater show, a real shibari show was taking place were very well attended. They became the selling point of CSG shows, starting a tradition that continued until today with Akechi Shi live shows. At the same time, Akechi Shi finally adopted the Akechi Denki name.

“To tie up the very popular actress Kurokawa Mayumi was a really good occasion. She said she really had no M/sub tendencies at all. She was really good looking. As for the shibari part of the shows they did not really have a fixed program, it was more like an ad-lib improvisation based on the feeling of the place, a show where the tying was really constructed live. To show a different tie every time is really, really difficult. But if you feel like doing it, it is really enjoyable,” explains Akechi Shi, reminiscing on his time with CSG Planning.

After the CSG period, Akechi Shi mainly appeared at Tokyo SM, SM Bomber,and SM Suizokan [SM Aquarium]. [These three series of shows resulted from a split of CSG planning.] Among those, the extraordinary performances organized by SM Bomber are still being talked about in fetish circles. There was also an obvious friendship between all these related groups, and Akechi Shi was sometimes invited as a joint guest performer and he could display some rope action of which he was rather proud. In other words, Akechi Shi continued to display energy three times as high as a normal human being, and, given the occasion, he would aggressively deepen his affinity for the fetish world. This is probably a better way of looking at things. Among the fetish people (without limiting oneself to SM) there is often a certain difficulty to act and a feeling of being bottled up which was not at all apparent with Akechi Shi.

If CSG Planning was what made him become Akechi Denki, SM Bomber is the place where he developed and polished his skills.

SM Bomberdissolved itself after 2 years and Akechi Shi could not avoid a quiet period for a short while. But the fans he had accumulated since the time of CSG did not stop there.

“At the time of CSG Planning, there was an Association of the Special Members which was a kind of circle devoted to fetish performances and I took over the duties of that circle. The circle members told me, ‘Please start your activities again,’ and this was the start of the Akechi Denki Kinbaku Photography Club. By the way, many of the members were not so young and could not attend so easily, or had relocated, and there were many setbacks on the budget side. Intended as a way of getting new members and doing live shows again, the Phantom Show was started in 1987. It is the predecessor to the present [NdT: in 1996 when the article was written] Studio Phantom. During the Phantom Shows, I did a number of tsuri-otosu [吊り落とす, suspension drops] which consist in letting the model drop like a stone from a tsurito within a few inches off the ground. When falling, the koshi-nawa bites sharply. When you look at it, it is very impressive. But if you make a mistake, the woman’s head will hit the ground and you have a big accident. The technique requires good timing and full control of the rope tension and not many people can attempt it. There were also times when I would throw bits of concrete at the tied model so she could just dodge them at the last second. The fear-frozen look of the model and the open mouths of the surprised spectators was something I had never enough of. Maybe I went sometimes too far (laugh).”

Although CSG Planningdid close, Akechi Shi did not lose any of his boldness. Right now [i.e. 1996], Akechi Denki and Studio Phantomare doing shows in the well-known SM club called Nakano Queen [NdT: the space still exists today in 2009]. In addition, Akechi Shi is managing five other circles and also takes part in numerous films and videos.

“One of the projects is a collaboration between SM and Noh [NdT: the traditional Japanese mask theater form]. The aim is to show the beauty of Kinbaku in the context of Noh dance. Of course it is a fantasy, as I will not be able to rent the Tokyo National Theater to show my SM, so I have to find a method to make it work. It is still a secret. Please come and see the show.” [NdT: we are not sure to what show Akechi Shi is alluding in that passage.]

Akechi Shi has in the past done joint shows with a pianist. And one can think that those joint performances with a feeling of remix are contributing to open up and expose the possibilities of SM. So we will wish Akechi Shi all the success in his venture.

 

 

Akechi Denki: An illustrated lesson in tying (1997)

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Akechi Denki: An illustrated lesson in tying, in  別冊宝島  変態さんがいく2  (1997)

This publication contains a lot of interesting material, including a report from one of Akechi Denki’s performances at Loft Plus One. For this blogpost, I have chosen to share a rare item: A tutorial by Akechi.

A great THANK YOU to rish for the translation, and to two Danish friends of the blog for their recent donations. To keep this blog going, I ask all readers to please consider making a donation, however small. Details here:

https://kinbakubooks.wordpress.com/2017/07/10/call-for-donations-4/

 

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 Akechi Denki: An illustrated lesson in tying

It’s easy! One can do so much with only seven (?!) meters of rope

A lesson for this magazine by the great expert Akechi Denki

Teacher: Akechi Denki / Model: Shiroishi Yukimi /  Illustration: Sakurai Yukinori / Layout: The editorial department

We most often associate SM with candles and whips, but there is also the world of shibari and kinbaku. Tying [shibari] had many functions in ancient times. The technique of capture-rope [hobakujutsu, 捕縛術] is of course one of the famous capturing arts [torimonochou, 捕物帳]. But in addition to the techniques of tying for capture there is also a tying with the purpose of making the tied-up person beautiful. It may seem strange to call tying people up an art-form, but in recent years Japanese kinbaku-jutsu has even been acknowledged and praised in the West, and some bakushi have been invited to do performances.

The following is a short introduction to this Japanese rope art that has become world-famous. There are tutorials on how to tie [shibarikata] in SM magazines from time to time, but it is very hard to explain only through the pages of a magazine.

This time I will present some basic techniques for couples: the ”hands behind the back tie” [‘ushiro te shibari’, 後ろ手縛り], which can be combined with a ”sitting cross-legged tie” [‘agura shibari’, 胡座縛り], and the simplest one – the ”racoon tie” [‘tanuki shibari’ , 狸縛り]. Tanuki shibari also goes by another name, the ”beast tie” [‘kemono shibari’, 獣縛り], as it was developed by hunters carrying their prey home.

First, you need to get 7–8 meters of rope. You can buy rope at the craft shop. There are several colours to choose from such as red, white, and black and more. I recommend getting rope with a diameter of 6 or 7 mm. However, if you are planning on doing suspensions in the future, I would recommend getting rope with a diameter of 9 mm and with a reinforced core.

Make knots at the ends of the rope, and then fold it in half. These approximately three and a half meters of doubled-up rope is your tool. You should be able to do it if you practice enough.

Tie your girlfriend or boyfriend so that they cannot move their arms and legs, but take care to do it with empathy. Don’t tie the ropes tighter than necessary, because it can lead to blood congestion. If you have done it properly, the ropes will be loose but the tied-up person will not be able to release their limbs.

These ties can also be combined to create the ”prawn” torture-tie [‘ebizeme’]. Once you’ve gotten used to these ties, you can also try ”kikkou shibari”, ”udemakura shibari”, ”teppou shibari” etc, but the basics are what is most important. If you have your partner lie with their face on to the ground while bound in an ”agura shibari” or ”tanuki shibari” you can have doggy style sex. However, it is quite painful being tied up lying with your face down, so it is important to be able to quickly untie the ropes when needed. As the hands and feet are set free, a pleasurable feeling of relaxation sets in. This is a key to SM.

Some concluding words: I have chosen to present these basic techniques for beginner couples that want to experiment. Never use these techniques without your partner’s consent and don’t do anything that could be considered a crime. Do not do any of this if you can’t take responsibility for your own actions.

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Tanuki shibari

  1. Wrap the rope around the left ankle and wrist three times, leave around 20–30 cm of rope.
  2. Take the excess 20–30 cm rope and pass it over.
  3. Chinch the whole cuff.
  4. Gently pull at both rope ends and make sure that it isn’t too loose nor too tight.
  5. Make a knot, change direction and make a second knot.
  6. Pull the longer end of the rope and check that the knot is stable. Tie the other ankle and wrist the same way.

As you can see in the illustrations, ”tanuki shibari” is very simple. You don’t have to tie many knots. It won’t loosen and you will be able to do it very quickly once you have gotten used to it.

 

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Ushiro te shibari

  1. Put the arms behind the back and wrap the rope twice around the middle part of the arms.
  2. Let the long end of the rope hang vertically, and do the wrapping with the short end of the rope.
  3. Next, take the short end and wrap it around everything to make a knot
  4. Take the long rope end and wrap it twice above the breasts.
  5. In the back, pull the rope through like in the illustration and adjust the tightness.
  6. Put your finger between the rope and the upper arm and dress the ropes. Make sure you have not tied too tightly.
  7. Fixate the short end of the rope by pulling it up and wrapping the long end around it.
  8. Adjust the balance between the rope tied above the breasts and arms.
  9. Wind the excess rope so that there is equally much rope on each side (left and right).
  10. Tie off the rope so that the rope ends are of the same length.

”Ushiro te shibari” is a basic way to tie the arms. When well balanced in tension and symmetry, it is quite beautiful. Also, it is a very good exercise for learning how to tie with the right tension just above the breasts.

 

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Agura shibari

  1. Have your partner sit cross-legged and wrap the rope three times around the ankles.
  2. Go around and fixate the cuff. Make sure it is not too tight.
  3. Make a knot. Pull the rope and check that the knot is stable.
  4. Have the knot in front of you and pull upwards.
  5. Pull the rope from the front to back over the shoulder.
  6. Pull the rope through under the knot you made for the ”ushiro te shibari”. Pull the rope to the front of the body again via the other shoulder.
  7. Pull the rope through the cuff you tied for the ankles and use the rope adjust the distance between the legs and the upper body.
  8. Wind the excess rope around the vertical rope to make it pretty.

The combination of ‘ushiro te shibari’ and ‘agura shibari’ is often used in old pictures of ‘ebizeme’. With this technique, you are completely restricting the mobility of the tied-up person. If you up pull up both knees, you can easily make your partner lie on their back, and if he or she is made to lie face down, they are really completely immobilized.

 

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Translated by rish, commissioned and edited by Bergborg / KinbakuBooks

Akechi Denki visiting Europe (1998)

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Akechi Denki visiting Europe (1998)

Japanese-inspired erotic rope bondage is now a widespread subculture in Europe. In the last few years, we have also seen a number of Japanese bakushi visiting Europe to give workshops, master-classes, private tuition and make performances. This has had a huge impact.

In this blog-post I share an article written by Ayano Katsuragi for the magazine SM Sniper (January 1999). In addition to her writing, Ayano Katsuragi collaborated as a model for example with Nureki Chimuo, Osada Eikichi and Yukimura Haruki. You can read more about her here: http://smpedia.com/index.php?title=桂木綾乃

The topic for her article is Akechi’s first trip to the Netherlands that took place in 1998 (July 25th – August 1st). (Akechi returned for a second visit during the De Mask EuroPerve-party in 1999, together with Raika, Randa Mai, Mira Kurumi, Mai Itoh and Kanda Tsubaki. But that is a story for another time.)

I have been in contact with the manager of Club Doma, and some Dutch and German rope-friends, and hope later to be able to add some material from this visit as reported in some European SM-publictions.

A great THANK YOU to rish for her work with the translation.

Enjoy!

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Katsuragi Ayano: Bound up in The Netherlands

Akechi Denki, the top name of Kinbaku stage shows, was invited to go to Europe to perform a Kinbaku session. A session that was even written about in the general press. Assisting him is Katsuragi Ayano, who has written down her thoughts about this experience, accompanied here by Handa Ryosuke’s gorgeous photos.

It’s been a while. It’s Ayano. A while ago, I wrote about my experiences in the column ”Ayano no taikendan”, but it’s been four years since I somewhat mysteriously disappeared from Sniper’s pages. It’ll become too long if I wrote about what’s happened since last time, so I’ll just write about the very interesting things that happened this summer.

It started with a phone call from Akechi-sensei.

‘How are you? Are you doing well?’

It was Saturday afternoon and I was in a sort of in an idle slumber when suddenly, he asked me a question: ‘Won’t you come with me to The Netherlands?’

A model would follow Akechi-sensei to The Netherlands and show what Japanese Kinbaku is.

After some further conversation about the details, it seemed like a very interesting project that would allow me to enjoy SM in The Netherlands.

I said yes right away, because it meant I could go to a famous torture museum I had heard about and become fascinated by. Also, I could be some kind of good-will ambassador. From there it was a busy two weeks with preparations for the trip, and then – on to Narita Airport.

25 July

We assembled at Narita Airport at 8.20 in the morning. Before that, I had no idea who the other people coming with us were, but it turned out I had met all of them in one way or another already. Everyone’s magnificent.

First of all, there were some people from the company that organised this trip – Square Ship (they have produced ”Hana no onnazumou” etc); The producer of a cat fight film, Nakano Tadao; A photographer and writer whose work is featured in this report, Handa Ryosuke; And a dominatrix, Kuronuki Hyouko. There was a huge interest in going on this trip, even from ordinary people, but it’s hard to take leave for a week on such short notice with plans changing and so on. There were also people who were going to meet up with us in The Netherlands (from England, Portugal, Los Angeles). It felt so international and I was very excited.

The plane took off at noon and we arrived the same day just past three o’ clock at Amsterdam Schiphol Airport. I was a bit surprised at immigration control, because they checked the persons before us, but let us go straight through without checking us. It’s a shame because I would have wanted a stamp. And also, what if I was an atrocious terrorist? Such big-hearted people, I thought.

We met up with the rest of the group and took the shuttle bus to hotel in The Hague. The view from the window was even more beautiful than I had imagined. I thought that the houses were so cute because they all looked the same; it made me feel that I was really in Europe.

The hotel was just as luxurious as I’d heard it was, but I was overwhelmed the most by the view of the sea. I hadn’t associated The Netherlands with the sea and I was at loss of words when I saw the seaside view, the little shops, and the merry-go-round. It will stay bright outside because The Netherlands is in a high latitude, and you won’t get all sticky from the breeze because there is not much humidity. We had dinner at a restaurant by the seaside and got acquainted with each other and enjoyed the view of the setting sun.

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Experiences at the torture museum

26 July

It was time to visit my beloved torture museum. I’ve mentioned this before, but I had a history teacher in high school that would tell me all sorts of trivia. Since he was a history teacher, he’d tell me about witch-hunts and the types of torture that was used during that time and I would borrow books from him about those kinds of things. The day before the graduation ceremony, he called me out. I remember thinking if I’d done anything bad, he wasn’t my class teacher after all, but I was nervous. He gave me a graduation present. It was a book called ”The world history of torture”. Thinking back, he must have seen through me… Anyway I’ve liked it since I was little.

I was surprised at how plain the museum looked. There it was, in the middle of town. It was pretty old and intricately built. They say people were actually tormented here in the olden days. There were many instruments of torture displayed and descriptions of how they were used. There would be guillotine executions announced at the square and the people would play football with the chopped-off heads. The guide-lady told us this quite cheerfully; I thought she was quite strange. While waiting for a sentence, they would cram the prisoners in a tiny jail-cell (barely 2 sqm) with fresh wounds. They also used stones, some of which were laying around in the museum. There was a real Spanish Donkey as well; it looked like it would really hurt if sat on. I really really wanted to touch the front of it but I wasn’t allowed to. I wonder why the instruments humans have used to inflict pain and pleasure are so genius. They’ve really thought about how to make it really hurt. Just thinking about it makes me excited.

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The day after arrival: Performing a kinbaku show at an SM club

I would have liked to take my time and enjoy my stay, but I had serious matters to attend to – the performance at one of Europe’s most prominent clubs, CLUB DOMA. I had a look at one of their pamphlets before going; it’s truly extravagant there. They spend their money differently than in Japan. The audience can leisurely watch the show and drink alcohol. There were also well-equipped play rooms, and each one of them were gorgeous. They also had lots of original videos.

The shows were usually only on weekend nights, but they advertised intensely, so although the shows were held in the middle of the day, lots of people gathered, and there was this strange excitement in the air. There were also about 30 people from Germany for news coverage, and as if pushing their way through the crowd were some women in bondage outfits working as waitresses. Compared to me, foreigners are huge. I’m so dainty compared to them.

The stage was smaller than I thought, and the audience is right in front of you, so you can see their reactions directly.

‘Hello, nice to meet you!’ The owner and his wife came out and we shook hands. They talked about the four shows on the program. First, they would put on a show, then it would be me and Sensei, then their turn again, and lastly Sensei and a Dutch woman. There was some time before the show, so they told us to relax for a while. We sat in the back and had some alcohol to ease our nerves when something happened.

‘Uh-oh, I’ve forgot something….’ Don’t you think Akechi-sensei looks scary in magazines or videos? He’s an honest gentleman like other rope artists I’ve met, but he is also very scatterbrained. When we arrived at the hotel, he realised he had forgotten his bag with his wallet and passport on the bus (luckily they found it quickly). This time, he had forgotten the bamboo whip he had especially brought from Japan. One of the staff members called a taxi so we just about made it in time. Right, Sensei?

The lights were dimmed and curtains opened. The show started. Until then, the audience had been noisy, but now they became silent. This was my first time on foreign grounds and I let my body embark on a new adventure. On the stage were a man and a woman, he in his forties, and her in her twenties.

Until then I’d only seen it on videos, but the people there were all shaved and had piercings. Also, tattoos. I wonder how they see my, in that sense, untouched body.

The man touched her really, really gently, and sometimes pulled at her nipple piercing. And used a whip (he was using a cat-of-nine-tails)… He was winding it up and lashing out.

‘So that hurts, huh?’ I spontaneously asked the Londoner next to me.

‘It might look soft, but he keeps hitting the same spot.’

I see. The skin kept getting redder and redder. Every now and then, he’d lash out strongly. A new question came to mind. She hardly moved or let out any sounds even if it hurt. It was like she was taking in the pain. I felt the reaction was kind of strange.

‘In the West, it’s considered good if you endure the pain and only let out sounds when it’s unbearable.’

That’s interesting. Westerners usually have quite a showy body-language, yet now it’s good when they don’t show much? There are so many differences… No time to be impressed, though. We’re up next!

In the backstage room, I put on a yukata and Sensei a jinbei. We thought it fitting to have something explicitly Japanese for this.

‘Let’s do our best, Ayano-chan…’

Of course we will. It’s an honor. Well, doing my best means letting my body go with the flow – the rest is up to Sensei. ‘Yes’, I answered as I was tying my hair up. It’ll probably get unraveled later on.

I kept asking myself: Why the Netherlands? I was puzzled. This might be just my own perception, but wouldn’t Germany or France be the more obvious place? Of course, there are a lot of places for SM, but their guards are up. It’s a bit unlikely for them to accept a foreigner like me (it’s pretty hard getting in to DOMA too). As you know, the Netherlands is where marijuana and prostitution is legal. There are so-called coffee shops where they smoke and use marijuana; there are also the famous display windows. They are loyal to their desires, or rather tolerant.

‘Ladies and gentlemen, it’s time for our special guest all the way from Japan. The rope artist Mister Akechi and his slave!’

The announcement was made, and the audience became silent.

‘Do your best, Ayano-chan. We will be taking pictures.’ Handa was gripping his camera, grinning. On the other side of the stage were the people from Germany. What on earth have I signed up for?

The curtains opened. The audience was really close. You can’t really see them, because of the darkness, but I was painfully aware that their eyes were on me. I thought for a moment: I can’t do this. I’m weak… and thinking about it, I haven’t done this in front of people for a while and I’m in a faraway country.

It’s also sad not to be seen, but in that instance I didn’t want them to look. Please, don’t look, I thought. I just wanted to disappear, but there was no chance of that happening. As I was thinking all of this, my body was bound up and my skin was exposed. I’ve seen them use ropes in the West, but just as a tool for restriction. We were here to show the pain and pleasure that can be inflicted by a single rope. The rope was like magic as I was bound up. It seemed like my reactions piqued their interest.

Sensei became more determined and suspended me mid-air. Things are a bit hazy in my memory, but I do remember hearing saliva being swallowed from the audience. Candles, and the wax dripping onto my body, and the bamboo whip that relentlessly struck me. I was unable to pay attention to my surroundings and just screamed with all my strength. It echoed throughout the room.

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The audience was shocked by Akechi’s and Ayano’s hardcore kinbaku performance. There were announcements saying: ‘This is not abuse’.

I heard applause when I came to myself. Sensei was drenched in sweat.

‘It’s over…’

It’s always the same after every performance, I get this washed-out feeling, but I also feel very refreshed, and it’s exhilarating. The owner and his wife came on to the stage and started talking. What were they saying? I talked to the interpreters and they said it was something in the lines of:

‘She didn’t cry because she was sad, they were tears of joy. It might have looked like abuse to you, but this is not the case.’

The people in West are used to softer reactions, so to them our style was very intense. It came to my mind that SM can be very different depending on culture and country. It’s very interesting.

Sensei had another performance coming up, so I got changed and returned to my seat. Everyone’s eyes were on me, I could feel it. I guess people were thinking: ‘She’s so delicate, I wonder where her power comes from’. Because I’m so delicate, the power is condensed – if I could speak Dutch, I would have wanted to tell them that.

Next up was a tall and cool dominatrix and her slave. Her slave had genital piercings and weights on them. Surprisingly, she was defiant; it was a bit scary. When it hurt, she would stomp her feet and glare. I don’t think I would react in a such rebellious way even if it hurt, and still smile at the beginning and the end of it.  Usually when I watch other people’s play, I become emotional, but this time I was just calmly observing. There is probably a type of SM suited for Westerners and a type of SM suited for Asian people. It’s not exclusive, but enjoying the differences might be fun. I do like the Japanese SM though.

Lastly, it was Akechi-sensei and a Dutch woman. In poor English, I asked her how she felt.

‘I’m really nervous’, she answered stiffly. Maybe she felt it was scary, like the audience had? I tried consoling her, saying Sensei is very gentle, and that the previous session was so intense only because I was used to it. I wonder if she understood it.

As expected, Sensei tied her up with care. She was calm and let her body go with the flow. She was a bit dumbfounded when he suspended her mid-air, but she seemed to really enjoy it.

I asked about her thoughts after the show. ‘As a matter of fact, I’ve been bound up by a Japanese person before, and that time it was painful. Today it was like I was gently embraced.’

We had come to DOMA in the afternoon, and as we left it was only nine o’ clock in the evening, and still bright outside. We had fun together and talked about our experiences as we had Indonesian food and went to a casino afterwards.

I wonder what tomorrow has in mind for me.

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This text has been translated by rish, commissioned and edited by Bergborg / KinbakuBooks.

Shima Shikou: Special issue of SM Spirit (1991)

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Shima Shikou: Special issue of SM Spirit (1991) Nekketsu nyotai chokyo ”BEST 20”

Again, a thick photo-book with many outdoor scenes. A special issue of the magazine SMスピリッツ from January 1991. Also many photos of outdoor blowjobs, enema play etc that I have chosen not to include here.

Shima Shikou: Tales of a Masochist Woman (1990)

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bild 3-1.JPGbild 4-1.JPGbild 5-1.JPGss tut3.JPGss tut1.JPGShima Shikou: マゾ女性の獲得術、教えます [Tales of a Masochist Woman] (1990)

Sanwa Mook No. 66

This is a thick photo-book with many outdoor-scenes, typical for Shima Shikou.

It also contains a number of tutorial pages.

See also an earlier post about a book from 2006, here:

Shima Shikou 2006

Osada Eikichi: ”My SM itinerary”, in SM Mania No. 8–12 (1996)

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Osada Eikichi: ”My SM itinerary”, in SM Mania No. 8–12, 1996

In 1996, the magazine SMマニア published a series of articles about Osada Eikichi’s life of SM, illustrated with photos in black and white.

I have made an earlier post about issue No. 10 here:

https://kinbakubooks.wordpress.com/2015/04/13/osada-eikichi-in-sm-mania-1996/

Marai Masato: Angel in rope (2000)

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Marai Masato: Angel in rope (縄艶天使)

This book features ”glamorous”-style photos of the AV-actress Hitomi Ikeno in Marai Masato’s rope. There is an emphasis on the erotic fantasy aspect of rope-bondage, many of the images showing scenes of masturbation.

Rope: Marai Masato

Model: Hitomi Ikeno

Photo: Kyouka Ryou

Publisher: Taiyo Tosho, 2000 (December)

ISBN: 4-8130-0416-4