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.

Tsujimura Takashi: The psychological background of the impulse to do Seme (1953)

 

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Tsujimura: The psychological background of the impulse to do Seme (1953)

In the year 1953, the magazine Kitan Club published a series of ”roundtable” discussions with some invited readers. On the KinbakuBooks-blog, we have published a translation of one of them earlier, see here: Rope Bottoming Roundtable

The text that follows is from Kitan Club issue 1, 1953.

Translation by Emi Kinako (http://www.spiderandaubergine.com )

Thank you for your fine work!

Commissioned and edited by Bergborg / KinbakuBooks

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The psychological background of the impulse to do Seme

First Round-Table Discussion with Readers

led by Tsujimura Takashi

Kitan Club, issue 1, 1953

Date: 27th year of Showa (1952), October 16th

Place: Arai Ryotei (Restaurant), Sonezaki-Shinchi

Participants (in no particular order):

(A) Mr. Shozo Kawai (38 years old, Kyoto)

(B) Mr. Yoshikazu Nishizawa (42 years old, Osaka)

(C) Mrs. Netsuke Ueda (25 years old, Hyogo)

(D) Mrs. Yoshiko Mitani (36 years old, Kyoto)

MC: Mr. Takashi Tsujimura

Looking at photos of seme

Mr. Takashi Tsujimura (MC): Thank you for gathering from such far places on your day off. We actually had a lot of applicants to partake in our discussion, so we had to take a look at people’s resumes, and proceeded to host this first round table discussion. Fortunately we have two women attending, so we will see if we can focus on the ecstasy exchanged during seme during this talk.

Mr. Yoshikazu Nishizawa (B): I couldn’t muster the courage to come to this event sober, so I had a drink before this.

MC: Due to the nature of our discussion, I was worried that not all the people I contacted would actually come… Especially the ladies.

Mrs. Yoshiko Mitani (D): I got very nervous before entering the restaurant. If Mr.Tsujimura wasn’t here, I was wondering who I should ask my way through.

B: It’s the first time we were meeting, and all we could use as a sign is the purple handkerchief that he was wearing.

MC: I have to say I felt the same. I’ve ordered some beer and sake, so please feel free to have a drink while we talk. I know what we’re about to talk about is quite private, so it might be a little hard to initiate the conversation. But we’ve all read some stories in KK Tsushin [NOTE 1], as well as the Penpal-section of Kitan Club – so please, relax, and bring the strange stories that you have to share. I’m impressed by your submissions, Mr. Kawai, how about you start?

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Image: ”Mr. Kawai” (A)

Mr. Shozo Kawai (A): Uh, hello. Well it makes me more nervous, now that you’ve said that. Especially since there’s some ladies present.

MC: Well, well, don’t think about that, there are plenty of stories coming from the ladies as well.

(All laugh)

MC: How does it make you feel to look at photos of tied up women, or the illustrations by Mr. Kita? [NOTE 2]

A: Since no other magazine offers such content, it’s very appealing to us fans. How can I say it, it tightens us up…

MC: We’ve received some harsh critiques regarding our content.

A: Sometimes we see content that doesn’t reflect the reality of seme. In a way, Mr. Kita’s illustrations are a beautified version as well. Since it’s a tied up woman, that’s fine on it’s own, but we also want to see some sort of agony in her expression.

B: In that vein, I enjoy Mr. Seiu Itoh’s photos and illustrations, the agony expressed and the woman’s hair. Sometimes there’s old-fashioned stuff too, though.

A: His work was from the Taisho era to the beginning of Showa era, so that kind of traditional hair style was common. In this age of perms and cropped hair, it’s hard to see any one with that sort of hair style.

B: Well, I don’t have a strong interest in hair myself. But, I know that it can express more than any part of the body. There’s a recent publication called ”Reiko Gashu”, which shows seme in snow; I think you should put that in your magazine. [NOTE 3]

MC: We could. But if we put all images into the magazine, we won’t be able to sell the monographs… (Laughter) We need to save some of the good stuff…

B: The photos, they’re mostly nudes, but I don’t think the woman has to be naked in a seme scene. I much prefer a gag, or an obi [waist belt] that’s been messed around with…

A: Seme and exhibitionism are two different thing. For example, you might not be able to put this in your magazine, but I’d much rather see a woman in a long kimono undergarment and waist belt suspended upside down, than a naked woman in some simple rope.

MC: So you’d rather see some kinbaku, than just nude photos.

A: That’s true. If the rope is too soft, that destroys everything. I feel somewhat bad for the model, but what I really want to see is some rough rope digging into the model’s skin.

B: Itoh Seiu has his own wife model for his work, so he has been able to do some good stuff. The seme in snow can’t be done easily. Taking into consideration that many of the women modelling for your magazine are amateurs interested in seme, there are some great images. The October issue was great. [NOTE 4]

MC: You’ve finally complimented us. Truth be told, the bound nudes were curated by me. The issue with the models were that we couldn’t find good ones easily. Some of them would run off when we told them we were going to tie them, and the ones that were okay with being tied didn’t make for good models…

A: That all makes me jealous.

B: Yes, I’d love to see that process if I could.

MC: It’s not that easy. We shot various poses for 2–3 hours in a ryokan [a traditional Japanese hotel]… It was in the middle of summer, but we closed all the windows and doors, so we got dizzy after a while. I wrote about how difficult it was to shoot the images in the magazine, and that we only got a few good shots out of the many we took. Some are too obscene, and we couldn’t really edit the images; the genitals are way too ”out there”. The photo-section in our October issue, the eroticism you can see in the model’s hips, that’s something no-one has been able to visualize before.

A: That was very nice. Very artistic. The photograph of the naked back, at the beginning of the issue, was a masterpiece. [NOTE 5] The photos you sent me the other day – there were some amazing shots in there, too.

B: I was a little disappointed in the November issue, there was only one photo in the beginning. [NOTE 6]

A: About that photo, are you not allowed to publish uncensored photos?

MC: If we did that, we’d be in big trouble. But we keep the censoring at the minimum.

A: Then, I have a request. Rather than having multiple images I wish you had one big image, perhaps one that’s big enough to detach and put in a proper frame.

B: I saw a freakshow that used one of your photos for their advertising.

A: Where did you see that?

B: The other day, I was at Sennichimae, and saw it lined up with some other ”perverted material”. Next to the other photos, one could see that your images were quite good.

MC: I’ve heard about that. Hmm, I think somebody told me that magazine ”R” or ”S” had images of a woman suspended upside down, do you know anything about that?

A: Oh, that. That’s probably a fake. They probably turned the image upside down and edited so it looked like what it was supposed to be. You can prove it by looking at the rope on the model’s legs. They’re using such thin rope, but none of the model’s weight is going into her legs. Even if they used thicker rope, the rope should be pushing the meat out. If you’re using thin rope, you’d have to use some tenugui or cloth and wrap that around before using the rope. Otherwise the model wouldn’t be able to bear it. Don’t you think so, Mr.Tsujimura?

MC: That’s definitely true. Five or six days ago, I saw a model being photographed while she was suspended upside-down. She was in great pain, and they couldn’t get any shots of her to use for publication.

A: I’m impressed that one person suspended her.

MC: I used a table. I brought the table to the beam, and had the model stand on it. I tied the legs to the beam, then her arms, then I removed the table. The model was about 53 kg, so the beam started to squeak, and the rope began press hard on her ankles. By the way – Mrs. Ueda, in your letter, you said that your husband had suspended you upside down. How did you manage that… [NOTE 7]

Mrs. Netsuke Ueda (C): Uh, ummm……

B: So you get punished by your husband, Mrs. Ueda?

C: Um, yes……

A: Do you enjoy that, or do you not?

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Image: Mrs. Ueda (C)

C: Well, well, please, don’t start pushing all those questions at me (laughs) It happened naturally, without me enticing it. Of course my husband is the one who punishes me, if it were someone else, I’d be in trouble… (laughs) I lied about coming here to my husband; I told him I was off to do some shopping. I’m sure he’d punish me even more if he found out that I were at such gathering. (laughter)

MC: According to your letter, he seems to take it pretty far… It said that you can’t go to sleep unless you get tied.

C: Oh, no, that was a lie. I didn’t think things would come to this, so I just blathered… (laughs)

MC: But it is not all lies, is it?

C: My husband has a lot of books that are like your magazine in his collection. I started to take a look at them, and then began to have some funny feelings… Half of it was true, and half of it is my fantasy.

A: I would love to read that letter some time.

C: Now I’m regretting that I wrote such filthy things.

MC: I’m sure you never thought you would be sitting here talking about it…. Well, lets have a listen to some true stories. Our introduction got long, but let’s get to the point. Mr. Kawai, how about you tell us how you got interested in the world of seme…

Torture play inspired by the Special Higher Police

A: I’m sure you’re all aware how awful the special higher police are overseas, so I’ll cut to the chase, but I worked for the railway system and was stationed in Harbin. I went to visit a friend of mine who was in the special higher police force, and he happened to be torturing a local woman, who was a suspect for a case.

MC: How old were you at that point?

A: That was right before the Great East Asia War, and Japan was in full force then, so I suppose it was around the 15th year of Showa [1940]. I married my current wife in Mukden, and got transferred to Harbin, I was probably around 26 years old…

MC: Was your marriage a result of a romance?

A: Well, something like that. We got married before my father knew, and before I got permission… But to stay on topic, the way the special higher police tortured their suspects… they usually tied their arms behind, threw them to the ground, stomped on them, suspended them, tied them onto a chair, burned their pubic hair with cigarettes, shoved broom sticks or walking sticks up their gentitals… Things like that. But what I observed was way worse than that. I had seen women being tortured twice or three times before that, but that was all about tying them up and beating them…

B: I’ve heard there were some innocent people as well, who got harmed during such proceedings by the police.

MC: How should I put it, it’s basically the strong beating up the weak.

A: Most of it was something like that. It was April back then, so still cold, but they had a 25 year old Chinese woman naked, her arms and legs tied onto the steam pipes running along the ceiling. I was told that they were doing something fun, and to come take a look. They pulled out an electric cord that was about 1 or 2 meters long, ripped it apart so that the circuits were out, plugged the cord in, and used it while it was connected to the electricity. The woman was screaming and crying, and the officer held onto her buttocks so she wouldn’t move. Any woman would’ve jumped in agony if that was done to them.

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Image caption: ”Aaah”

B: I wonder how it feels.

D: What a horrible thing to do.

(D and C look at each other, theirs brows knotted)

MC: I’ve heard that’s used on men, too.

A: I heard they insert the cord into the urethra, but I’ve never seen it being done.

MC: Is that how you got into the scene, Mr. Kawai…?

A: It’d be strange if I were to say that I got inspired by that incident, but I did get introduced to the world of seme by watching the special higher police torture that woman. I was telling my wife what I had seen that day before bed time. I was trying to reenact the incident, and while I was doing so with my wife, I really got into it. Since we had no children, we began calling it ”torture play”, and on some drunken nights I’d tell her ”Hey, I’m gonna torture you tonight”… Thanks to that, I got saved from a lot of boredom.

MC: ”Torture play”, I see… Let’s save our conversation about the painless, charming torture of love for later. Mr. Nishizawa, how did you get into the scene…?

Tying the victim to a tree and dissecting them

B: Let’s see. By the time I was in elementary school, I was a little bully. I was tying people, and beating them up. So my history is quite deep. When I was a child, there were a lot of plays and stories about police officers carrying their sabers, fighting away burglars, catching thieves with rope, and tales of them losing their lives while in service. It wasn’t like the way it is today- not about officers shooting their guns; it was about hand-cuffs, rope, sabers. So cops and robbers became a very popular activity among us children. We would gather, and some of us had rope and sticks in our hands, while others played the burglars.

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Image caption:  ”I’m gonna dissect you!” ”No!”

A: I used to do that a lot, too…

MC: It brings back memories. When we were young we got thrilled from stuff like that. I used to play the burglar and got tied up. I forget when it was, one time I was tied onto a tree, and the other children ran away as soon as our teacher showed up. The teacher untied me and told me ”Stop being tied up all the time, you should be a cop some time and tie others.” [NOTE 8]

B: I see, so you’re listening to your teacher, now tying up models and practicing revenge. (laughs)

MC: It’s better to tie than to be tied. It doesn’t hurt, at least.

B: Back to the story, and you see, by the time were playing such games in the mountains, I caught the kid that was playing the robber, and tied him to a tree. Then I started saying things like ”I’m going to dissect you” and ”I’m going to torture you”; I pulled down his pants, pinched his genitals, picked at it, tied the end of it with some string, put some dirt on it… We were having crazy fun as kids, you know.

MC: I still see some young kids going at it like that in the back streets.

A: The grown-ups look at the tied up kid, and have a good laugh…

B: Now that I try to remember, I think that the kid playing the robber was feeling ecstatic by being tied and picked on. As if he was masturbating.

MC: That’s quite possible. I’ve heard that there are a few people that experience masturbating by the time they’re in elementary school.

B: And when I reflect about it, I think by experiencing such things as a child, we begin to lean towards sadism or masochism.

A: When we’re playing doctor, girls experience a masochistic sense of ecstasy by being touched, and boys find their sadistic side by being mean to the girls.

MC: An example I know is when a child did something bad, so as punishment, they were tied to a tree. And by being tied repeatedly, they get a sense of loneliness as well as ecstasy, and start misbehaving simply to be tied to a tree again. Obviously this child deserves the masochist’s stamp of approval.

B: I used to live in a dormitory during my grade school years. For three years, I was in a homosexual relationship with my roommate. One day, we were fooling around; wrestling each other or playing sumo, something like that – and I tied him up with a judo belt. After that, everything went as I wanted it to. That’s when I started to think about masochism. After we graduated, I’d tie him up at night, and play with his body. We mutually masturbated, but he also serviced me with his mouth. In this case, I’m obviously the sadist and he’s the masochist.

A: So, now you have your wife as a partner?

B: Since I live with my four children, I can’t tie my wife up. And my wife seems to feel more pain than pleasure from seme.

MC: So have you been practicing seme after your marriage?

B: I don’t really practice seme with my wife. Instead, I have a woman that I can tie freely. She lives quite close to here.

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Image:  Mr. Nishizawa (B)

MC: She’s your number two?

B: Not quite… Some magazine explained it well, a ”mistress on contract” or ”light mistress”; I don’t take care of her fully. I give her a few thousand yen every month, and I get to do as I please when I see her. I tie her, take out my sexual needs on her; I basically pay a salary. It’s fun for me, and cheaper to do so than hire a professional.

MC: I heard that there are a lot of widows that do that. Though the younger generation seems to be getting into it as well.

A: It’s almost like a part-time job for them. I suppose the concept of chastity is starting to change.

MC: They’re a perfect existence for men who have time and money. The ads I see in tabloids about women looking for marriage and live-in maids are also examples of this. By the way, Mrs. Ueda, you get tied by your husband. Would you share a story of one of your experiences with us? I’m sure you’re here to share with us.

An earthquake during kinbaku

 C: It’s quite embarrassing for a woman like me to talk about this in front of all of you… But I suppose I can’t hide anything in front of you all, so here I go. It was about an year after our marriage when we started the activities…

MC: It must’ve shocked you at first.

C: Yes, but I was already obsessed at that point. (laughter) And when my husband tells me ”I’ll tie you up tonight”, I’m often in the mood for it, too.

B: I understand your husband’s feelings very well.

MC: Unless you’re both in the mood, tying and being tied up doesn’t really work out.

C: Yes. But I’ve had one horrifying incident. I’ll never forget about that. It was about the end of autumn, before I had children… That night, my husband had me all tied up in a complicated way. He removed our cabinet door, and tied me onto the door. He made me basically stand on my head, when we suddenly felt a strong tremor. I can’t believe how terrified I was of that earthquake…

A: Your husband must’ve been in great shock…

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Image caption: ”Crap…”

C: He was in such a panic. I was completely naked and couldn’t move, and blood was flowing into my brain. I couldn’t make a noise because I was gagged. I have no idea how my husband had the strength to do so, but he pulled the door – with me attached to it – out to our garden. My mother-in-law was out in the garden too, and witnessed the state I was in… (laughter) We really wished we could hide in that moment, but we couldn’t. For a period of time after, I couldn’t look my mother-in-law in her eye. I was terribly embarrassed. She passed away last year, and this is a horrible thing to say, but I feel like a weight has been lifted off my shoulders… (All roaring in laughter)

MC: That’s a situation that nobody would want to be seen in. Especially by your parents. But your mother-in-law must’ve been in greater shock than yourself. She must’ve thought – what horrible things are my son doing to his wife… (laughs)

C: Oh, I wonder… Mr. Tsujimura, there was an article you wrote titled ”A couple’s love and kinbaku, a survey” in the October issue. My husband really relates to that article. So he enjoys shibari as a form of foreplay, rather than seme. [NOTE 9]

A: Most married couples are like that.

C: Yes, so when we tie, I get sometimes get cranky – it can get quite painful if my flesh gets pinched between the ropes. But other than that, I let him do anything he wants – for example, an upside-down suspension isn’t too painful.

B: What a great wife… I’m truly jealous.

C: Oh my, but my husband and I are both happy about our situation, so it’s great…

B: Which means, you enjoy being tied, don’t you?

C: It might be weird to say that I like it, but I probably do because it is with my husband. If it were some random young ruffian that barged into my house and tied me up, I wouldn’t have the same feelings. (laughter)

MC: And if that keeps you happy as a couple, there’s nothing else to say. I feel like you’ve made me listen to you boast about your relationship. Well why don’t we have you share some stories too, Mrs. Mitani…

D: …… (Mrs. Mitani laughs, but does not respond)

MC: It’s unfair, you’ve only been listening to others’ stories.

D: Oh, I’m horrible at telling stories.

MC: It didn’t seem so when you wrote to KK Tsushin. You told your stories in great detail. You’ve said you wanted to meet Mr. Kita. You’re just like Mr. Kita, and you’re not on the receiving end, you get controlled by your desires. Go on, spit it out. If not, I might make the confession for you.

D: I felt like I’ve lost my opportunity to speak, I guess I got a little scared.

MC: You should’ve spoken earlier… You made Mrs. Ueda, who’s younger than yourself, speak, and you’ve kept to yourself. Go on now, tell us the story about the maid…

Tormenting a woman by hanging her by her black hair

D: My sexual urges were planted in me when I was seven or eight years old. My mother and I were at a freak show after paying our respects to a shrine in Gion. There was a Chinese man performing – a boy was tied up from head to toe with some thick rope, thrown into a bag, and the bag was closed tightly.

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Image: Mrs. Mitani (D)

B: I’ve seen that a few times myself. After they collect all the money, the audience calls for the boy, and he reappears, having escaped from the rope. I’ve heard that the Chinese man makes him drink a lot of vinegar so his joints become flexible, and he can escape from anything.

MC: They would probably arrest the man for child-abuse in today’s time…

A: All circuses are just about the same.

D: Just like Mr. Nishizawa just mentioned, the way they collected the money was terrible. The boy’s arms were tied to his back, all the way up, and he was taken around for everyone to see. Just when he was right by me, the man placed a rod between his wrists, and twisted the rope even further. I heard something crack, and before I knew it, the arms came out to the front of his body, and the man kept tugging on the rope, dragging the boy around the audience. The boy looked like a stray dog with his arms all messed up, with tears in his eyes, looking down.

A: How horrible.

D: I was looking at him, in shock. My body was shaking. But I couldn’t take my eyes off of him. I had this feeling of wanting to torture him, so I must’ve been a little strange already when I was a child…

B: All children have an interest in the bizarre.

D: And on top of that, you know how criminals were dragged out in public while being hand-cuffed with rope?

MC: When they’re getting transferred?

D: Probably something like that. I used to chase after them and just stare at the situation.

MC: Let’s talk about the maid.

D: I suppose… I, well I’m sure you’re all aware, but my husband passed away four years ago. I live alone with my maid, with nothing to do…

B: What do you do for work?

D: I live off of what my husband left me. I also have some stock in my name, so I’m waiting for that to come through…

A: It’s normal to want something a little different when you have money and extra time on your hands.

D: My maid has been around for two years – she’s very energetic and helpful, so I’ve taken good care of her. But one time, I made her go run an errand… I was waiting for her, but she stayed out without my permission, telling me she was staying with a family member, or something like that. I wasn’t so serious, but I really scolded her. She didn’t stop crying, and begged me to do whatever I pleased.

B: Was that the start of your misadventures?

D: Something like that. Since she spent the night out, I figured she stayed out with a man. I later found out that she really did stay with a family member. But then, I told her that I would do as I pleased…

A: You were being hysterical, huh… (laughter)

D: Well now you’ve said something we were all struggling to say out loud. Well, that’s the truth, so I can’t argue… (laughter) I was irritated, and I really wanted to punish her. So I made her undress to her underwear, tied her arms in the back using a kimono sash, grabbed her by the hair, and dragged her to the closet door. I divided her hair in two parts and tied them onto the beam, suspended her, questioned her what she did the night before, and began torturing her with a ruler.

A: There was a scene just like that in the Reiko Gashu

MC: (Flipping through pages of the book) Ah, here it is. It’s titled ”Shigure”. The mood is very similar, and…

D: She tells me: ”I didn’t do anything with a man”. I told her I will look into that, and she tells me: ”Yes, please go ahead, do that.”

A: And you undressed her… Well this is becoming interesting.

D: When you’re a virgin, you’re so pure, unlike me… (laughs) But it’s not like that would’ve calmed me down, and I wanted to take my torture to the next level. I got out some acupuncture needles that my late husband used to use, and began stabbing them into her breasts, thigh, and her private areas. I began to feel very excited, and at the same time, my maid’s face began to fluster, and panting. She seemed like she was in pain, but her eyes were closed gently, as if she was enjoying everything. From that incident on, we started playing like that.

A: Seems like she’s a bit on the masochistic side.

D: Probably so. She’s held herself together when I tie and torture her quite strongly, and I’ve used tools on her as well, but it seems like she’s enjoying herself…

B: Tools as in, something like dildos?

D: Things like that. Like kokeshi dolls and vegetables……

MC: Now that Mrs. Mitani’s gotten talkative, why don’t we have the others share their stories?

Tying two women as if they were on a scale

A: I’ve tied two women at once, well, my wife and her sister. Truth be told, my wife’s sister came downstairs to use the restroom, and saw what my wife and I were doing. I was tying her up, and doing all sorts of things to her. At first I didn’t notice anything, but around her second and third time, I felt a presence. I felt a little demonic, and opened up the screen door to show her my wife – who was all tied up and gagged and in nothing but her undergarment. I dragged her sister into the room, warning her that I couldn’t let her be after she had seen what we were doing. I pushed her onto the floor and tied her up in front of my wife. That was the start of it all.

MC: I’m surprised your wife didn’t say anything.

A: At first she wasn’t happy about it, but we made a pact. Since she saw what we were doing, why not enjoy it amongst the three of us… But I promised her that I wouldn’t rape her sister.

B: I’m impressed that her sister agreed. I don’t understand what was going on in her head.

C: Is that true… seriously?

A: It’s true. But obviously the sister was all embarrassed, wiggling in the rope as she was tied onto the floor beam.

B: That’s still going on?

A: No, we only did it about four or five times…

B: She must be troubled, having a strange brother-in-law like you.

D: Perhaps your sister-in-law enjoys being tied, no? Otherwise she wouldn’t be sneaking around to get a peek. I would get it if it were a one-time thing, but…

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Image caption: Dragged my sister-in-law into this

A: I don’t know, maybe she’s a masochist. We did something very fun, once. I tied a pulley onto a beam, and tied my wife and her sister with the rope from the pulley. I left my wife tied up, and had her sister climb up to the beam using a ladder, tied her, and removed the ladder. They were both suspended in the air, and when I pulled on my wife’s leg, her sister would go up. I didn’t go any further, but I took a good look at them suspended in the air.

B: And your sister-in-law, you didn’t do anything further with her?

A: As I promised, no, nothing.

B: I’m impressed that you held yourself together. I don’t know what I would’ve done. But perhaps your sister-in-law wanted something more. If she did, that’s such a cruel way of teasing her.

A: She has a prospective husband. She’s going to get married soon. I’m glad I didn’t go any further.

B: She’ll probably serve her husband very well. She got educated so much before her marriage.

MC: Perhaps she will become like Mrs. Ueda and truly enjoy being tied. But Mr. Kawai, your story sounds a bit mischievous too.

C: These days, my husband uses a ladder quite often. He ties me to the ladder. Ties my ankles onto the edges of the ladder, and flips it upside down.

A: There’s so many ways to use a ladder. I tried using one with my wife as well, and it’s great since you can handle it on your own. I made her spread her legs, tied her legs down on the edges, and flipped the ladder upside down. You can easily do an upside down suspension that way. I also use a shortened candle. I’ll light it up and fix it to one of the steps, and the wax will drip onto her body. The flame goes out just in time.

B: Isn’t that hot?

A: The wax is only hot up at the top, so there’s no worries. I mean, the wax is quite hot, but it’s nothing she can’t handle. Once the wax hardens, it’s quite a sight. I’ve done this twice or thrice, but I always get a different outcome.

B: I’ll give it a try. For me, my woman, she lives in an apartment, so we can’t make too much noise. So I’ll tie her, bite her and suck on her. But the other day, both of us got so drunk, and she begged me to be extra mean to her. I decided the time was now, and though I was drunk and dizzy, I placed her on top of the sewing machine table, and tied down her breasts, arms, stomach, hips, and legs onto the steam pipes that went up to the ceiling. Then I moved away the sewing machine-table… Her body was floating in air, and I began to paint obscure drawings on her body using black ink. I drew a penis on her breast, a vagina on her cheek, and so on.

MC: Did you whip her, like they do overseas?

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Image caption: Drew obscure illustrations in black ink

B: That’s painful. (laughter) I don’t want to put the woman in pain for my own pleasure.

A: You make it sound like kinbaku involves no pain. It’s quite painful, you know.

B: Yes, but there’s only one thing you can do with whipping. With kinbaku, there are so many options. And using a whip in an apartment… All that noise – there would be rumors piping up everywhere.

C: My husband never beats me. He hit me once with a band, but I told him to stop because it was painful. He never did it again. I’m sure he was just copying illustrations and photos from overseas that he had seen.

A: In foreign countries, when children get mischievous, they get a beating on their bottoms. Those people must be accustomed to being threatened by a whip.

B: There’s another weird play that they do, covering each other in oil and chasing after each other until they get all tired.

A: I sometimes practice rape fantasies. I ask my wife to fight back as much as she can. And then I force her down, tie her up, undress her, and fight again and push myself in. It can be pretty fun.

C: This has got nothing to do with tying, but… we sometimes pull a lotto, and the winner gets to pretend that they’re a baby. Feeding, urinating, bathing, dressing, all of that… You pretend that you’re a child and have the other person take care of you.

A: The wife holding onto the husband, have her legs pulled up, and made to pee… How funny.

MC: All of your stories sound so fun, and kinbaku and seme have become a great addition to your marriage and sex life. The acts themselves are like foreplay. I guess you’re an exception, Mrs. Mitani……

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Image: Reporter Tsujimura  (MC)

D: Oh, I adore that girl. That’s why I want to torture her. I wonder if you can understand…

A: I understand you, really I do.

MC: And there’s nothing sexual?

D: If I remove her freedom, things naturally go that way…

MC: I’m sure things will becoming interesting if we have someone like Reiko Kita or Tsuruko Matsui write about those stories.

A: Next time, I’d love to have a discussion with them as well.

B: I agree.

MC: I shall let them know. We’ve spent an awful long time talking, so I’d like to call it quits now. Thank you so much for sharing your stories.

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Notes by Bergborg / KinbakuBooks

  1. The KK通信 was a small publication only for the subscribers of Kitan Club that existed 1952–1954. Often, it consisted of just a few pages.

There is some information on SMpedia: http://smpedia.com/index.php?title=KK通信

And there is a scan here: http://nawa-art.com/backnumber/kktsushin/kktushin.htm

  1. ”Mr. Kita” is of course the masterful artist Kita Reiko, also known as Minomura Kou and Suma Toshiyuki.
  1. The Reiko Gashu was a book collecting artwork by Kita Reiko, published in 1952. You get a peek here: http://www.kinbakutoday.com/kita-reikos-1952-album-玲子画帖/
  1. When this readers’ roundtable-talk was held, in October 1952, it was still quite new for Kitan Club to publish photos of rope-bondage. The photo-section in the October-issue consisted of four pages:

http://nawa-art.com/backnumber/1950/195210/106.html

http://nawa-art.com/backnumber/1950/195210/107.html

http://nawa-art.com/backnumber/1950/195210/108.html

http://nawa-art.com/backnumber/1950/195210/109.html

The issue also featured rather fine illustrations of rope-scenes by Kita Reiko.

  1. The naked back at the beginning of the 1952 October issue of Kitan Club can be viewed here:

http://nawa-art.com/backnumber/1950/195210/002.html

  1. The single photo published in the 1952 November issue can be viewed here:

http://nawa-art.com/backnumber/1950/195211/002.html

  1. I am note sure, but I suspect that Mrs. Ueda’s husband is Ueda Seishiro. See some earlier posts about Ueda Seishiro on KinbakuBooks here: https://kinbakubooks.wordpress.com/?s=ueda&submit=Sök
  1. Tsujimura tells a version of this childhood story also in a much later interview:

”As I remember it, I realized that there were feelings like this when I was in the 3rd or 4th grade of elementary school. I was playing ‘police and thief’. In this game, you divide into two groups, the police and the thieves. When the police catches a thief, they tie him to a tree. I remember I was having a strange ecstasy when being tied to a tree. So, in my case, it didn’t start with tying but with being tied. I started as an M, not an S.”

Published in full translation here: https://kinbakubooks.wordpress.com/2016/05/18/tsujimura-takashi-interview-in-sankei-weekly-1976/

  1. You can read Tsujimuras article here:

http://nawa-art.com/backnumber/1950/195210/104.html

http://nawa-art.com/backnumber/1950/195210/105.html

Nureki & Yukimura: Dialogue in SM Spirits (1993)

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Nureki & Yukimura – Dialogue in SM Spirits, February 1993

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The following translation from the magazine SM Spirits has been done by Shiba. Commissioned and edited by Bergborg/ Kinbaku Books.

Do you enjoy this kind of material? Please send a donation to help us keep up the work! Using http://www.PayPal.com is a simple way to send also a small symbolic gift. Just put the following email as receiver: bergamott@live.se  I promise to put your contribution to good use. Thank you for your support for 2017!

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Chimuo Nureki VS Haruki Yukimura (Part 1)

 The famous bakushi Chimuo Nureki, and the sharp SM-video director-bakushi Haruki Yukimura… These two men, well-known to people with a passion for ropes, are creating a video-work together. In this issue, we offer the rope-loving readers of SM Spirits some photos from the shooting of this video. We also include a report from ”Kinbiken”, a regular gathering for those searching for the beauty of kinbaku.

This is our report from the Taiyo Tosho video-shooting site:

Chimuo Nureki’s part of the video was shot in a Japanese style house. The model was in kimono, and had her hair in nihongami. The work presents a kind of ”beauty of kinbaku” that Mr. Nureki has been cultivating and exploring for a long time.

When we asked him to come and do the dialogue with Mr. Yukimura for our magazine [see Part 2 below], Mr. Nureki told us that he and Mr. Yukimura were in the processes of making a video together for Taiyo Tosho – a really luxurious video for the enthusiasts [the Japanese word is ”maniacs”]. We quickly requested to get a permission to attend and shoot some stills from the site. And we got it.

The first day of the shooting, the scenes of Mr. Nureki was shot in a Japanese style house in Setagaya, Tokyo. (The house was also used for SM Spirits 1992 November issue’s photos of Izumi Morikawa and this month’s of Misao Tachibana.) His lifework is devoted to the beauty created by the tied female body and the jute rope that binds it, ”the beauty of kinbaku”. The main purpose of Mr. Nureki’s part of the video was to allow the camera to capture this beauty. The model was dressed in a kimono and had the hair in nihongami, probably in order to let the beauty of kinbaku stand out. The models were Ms. Asami Hirose with her light colored skin and well-shaped breasts, and Ms. Eriko Machida who knows how to look good in a kimono and who has also been seen in this magazine earlier. The facial expressions of these women in Mr. Nureki’s ropes transforms into the melancholic… This is the world of the beauty of kinbaku.

The second day of the shooting was quite different from the one with with Mr. Nureki. The shooting was done in a studio with wooden floor, and the model wore a skin-tight dress. Mr. Yukimura’s style is directed towards beauty of bondage and the fetishism engendered by the ropes and the female body. When you hear ”bondage” [ボンデージ], you might think of John Willie etc, but in Mr. Yukimura’s bondage those American bondage poses are tied by jute ropes, and Mr. Nureki’s influences can be seen in it. If we say that Mr. Nureki’s restriction shows beauty by a kind of bondage that changes the form of the female body, Mr. Yukimura’s shows the beauty of the female body form as it emerges by how he puts ropes on it. I can’t make any comment on the video as such, since I haven’t watched it yet, but I can say without a doubt that it will be a ”must watch” video for people who like the beauty of the female body bound by ropes. The video is planned to be released in late January to early February from Taiyo Tosho.

Report from a ”Kinbiken” gathering

Kinbakubi kenkyukai – Kinbiken. This group has the bakushi Chimuo Nureki and the photographer Akio Fuji at its core, and gathers enthusiasts who are haunted by beauty of kinbaku. The meeting seems peaceful [なごやか], but it is actually a game played in real earnest [真剣勝負] between the members and Mr. Nureki.

We got the chance to observe one of the monthly meetings because of Mr. Nureki’s kindness. We were told in advance that they avoid visits by non-members of the club as much as possible, and indeed the members keep a distance from us, just like water and oil does. Once the meeting starts, Mr. Nureki performs precisely the shibari the members request. The model of the day is Ms. Fuyuko Kiano who is well-known to the people who know Kinbiken, and Ms. Maya Ougi who modeled three times for the meeting today. Since they use only models who really like rope, the two models quickly begin showing ecstatic expressions when tied. It’s seldom seen in SM videos just how sexy women getting intoxicated by ropes are. I was amazed that the beauty of kinbaku created by just ropes and female bodies without any pornographic items (exposure of genitals or use of vibrators are not happening at these meetings) can be so full of eroticism and stimulate the observer.

Chimuo Nureki VS Haruki Yukimura (Part 2)

Yukimura: Should we start this by speaking about the first time Nureki san and I met?

Nureki: Yes. It began with the making of the documentary film The World of Kou Minomura. So, let’s start with that.

Y: I got an offer from the president of Cinemagic. He asked me if I would be interested in being the director for The World of Kou Minomura. It was an honor for me to receive such a task. And I met Nureki san for the first time then, working as the director for this film. I considered presenting it as ”Part 1”, to be followed by a ”Part 2”, and maybe a ”Part 3”, but the president wanted it all in one video if possible. It was a quite struggle to edit everything into a single 60 minutes long video. I wanted to show the whole talk between Minomura san and Nureki san in the video, but at the same time I had a need to make something that the viewers would be happy with, too. Sometimes it is good to be an enthusiast, and at the same time not so good. So, I ended up showing Nureki san’s and Minomura san’s shibari, and put the sound of their conversation on top of these visuals, and thus managed to edit all of it into one video.

N: I still receive letters saying ”it is a master piece” from subscribers of Kinbiken Communications. The video took time and energy to do, and it shows in the result.

Y: It took me two months in total to finish the work.

Shimazaki: The starting point of Minomura san and Nureki san’s conversation in the film is a dialog with Yumi Asano, a model who was starring also in the S&M-video called Graffiti 3 [グラフティ 3]. By the way, I think that was the first occurrence in which Nureki sensei did talking in a video (if we don’t count the self-produced videos). Is this correct?

N: I don’t think… – was it?

S: Anyway, it is a valuable video for the enthusiasts, since it includes you talking while you tie in the film.

N: That was spontaneous. Without the talking, I wouldn’t have found out how to proceed with the tie. I’m glad they didn’t edit it away. Let me tell you something before I forget to mention it: There is a new video which Mr. Takatsuki is directing and that is being published by Cinemagic. I am in it and the video is really great.

S: Please do not speak more about it, don’t spoil it. By the way, I really liked the video that came out from Art Video in which you had a role as a monk…

N: People have asked me to do something like that again.

Y: I started appearing in videos because I had that video in my mind (laugh).

N: (laugh) I know a guy named Taro Kai [甲斐太郎] who often appears in works of Art Video. He has a weird eye for SM. He intentionally places himself lower than the others peoples eye level when he acts in videos. Typically, he acts as a beggar, shoe polisher, or vagrant who is cruising the streets. So, at one time, he and I acted as monks that beg [乞食ぼうず]. It felt like I was transferred to another world, a very masochistic world. A woman looked at me with despised look when I took a glance at her leg (laugh). And we moved to Shinjuku Central Park and sat on the grass… Then a pretty girl happened to pass by. The girl is the girl who also appears in The World of Kou Minomura. I told the president of Cinemagic that I’ve found a very attractive girl. Well, let me tell you about the girl. In the video I mentioned, the scene suddenly switches to a room in an apartment. In the script, it turns out that the monk wasn’t really a beggar but actually a man who is working in a decent company. He was just acting as a beggar for amusement. That was the story. I did quite cruel things to the girl together with Taro Kai. We did things like inserting finger in her ass and applying an enema. After the filming, she didn’t come out from the shower for a long time. The shower room was on the balcony, on the 7th floor. We joked saying to each other: ”We better watch out! What if she jumps out from 7th floor!” About an hour later, she came out of the shower and said: ”That felt so good.” She also said: ”The SM videos I’ve been in before were all boring and I didn’t feel like watching them, but I do want to watch this one.” Then I thought: ”She is really something!”, and recommended her.

Y: There was an interesting episode during the shooting of The World of Kou Minomura as well. The model Ruka Mikami was in a rope-suspension for a long time. During the video-shoot, another girl stepped in to save Ruka. In the script, she actually wasn’t supposed to come in to the scene – but she did because she had pity on Ruka.

N: I still tease Ruka about this… I still think the scene was more interesting before the girl came in to help her…

Y: There was another happening after we’d finished shooting almost all the shibari scenes. Ruka came to me and begged me to let her do some girl-on-girl action. I thought it’s not so bad to have different varieties of scenes, so I let her do it although the other girl had no experience of this. They started making out. Ruka started fucking the girl energetically in a dark corner of the room while we were preparing for the next scene after we were done with shooting their making-out scene. Many masochists seem to have potential of being bisexual… None of them were just acting this scene. They reminded me of two white snakes tangling up on each other. I was so moved… Ruka looked tiny next to the other girl who was over 160 cm tall… And tiny Ruka was on top and making the other girl moan. Then we were about to shoot the suspension-scene with Ruka, that I mentioned earlier. When I suspended her, Ruka said to me: ”Sensei, tie my mouth, and lift the rope up and connect it to my leg please. You saw me fucking the girl. Now, give me a rope-gag as a punishment.” It was actually the last time I worked with her, although I would like to do it again… Anyway: that’s how I met Nureki san (laugh).

S: I wondered why you didn’t sell The World of Kou Minomura at a lower price and purchase only, not rental.

Y: Cinemagic wanted the video to sell.

N: Since they invested much money on it.

Y: So, I had the thought in my head that I need to make it understandable for general viewers.

S: But the work has the point of view of a kinbaku enthusiast. It has a different camera-angle, compared with the regular shootings.

Y: Right. That’s because I was inspired by the perspective Minomura san had when he was making Kitan Club, and I felt I had to make something that enthusiasts would be happy with, even though the main target is general viewers. Otherwise it would not be sold much. Minomura san was saying the same thing.

N: Of course, that is how it is.

S: Enthusiasts sometimes say ”it’s boring” – but they buy SM-videos anyway. They buy videos expecting there wouldn’t be even 5 minutes of their favorite scenes in the 60-minute video, maybe it’s just one minute, or 30 seconds. But even only for these 30 seconds, they are happy with it.

S: I’ve been making collection of my favorite scenes from videos, but there aren’t many scenes I can use out of videos these days. Regarding Cinemagic’s videos, they spend so much effort on lighting and still doesn’t show what I want to see, even if it’s a good scene. The rope-frictions are blurred for instance. And sometimes, they show male actors close up (laugh).

Y: (Wry laugh)

S: I definitely do not pick out those scenes for my collection (laugh).

N: I have always been wondering why they do these things. I think the ones who are creating videos have strong aspiration for films, movies. And that can lead to bad result when they make SM videos.

S: Well, maybe it’s bad according to enthusiasts. But for general viewers…

N: Close ups of male actors are not needed, even by general viewers.

Y: There are a few who like it, I believe…

N: There are a few of course. A few. Who is in the video? Was that you? (laugh)

Y: …Give me a break (laugh).

N: Did you start your career by making movies?

Y: Only videos. It’s hard to do SM in movies.

N: Incidentally, among the staff at Cinemagic there are quite a few people who been involved in movie making. I reflected on this question recently and came to the conclusion that SM is for video camera. It’s for video camera essentially.

Y: Film is good too, but to really tell a story, it takes lots of time and needs good equipment. If you want to appeal something mentally, then films work.

S: Nikkatsu roman porn…

N: I think the bad influence of Nikkatsu roman porn still exists. Oh, I really think so. I thought about it just the other day.

Y: SM is not a suitable theme for a movie camera.

N: That’s right.

Y: Initially, my videos were too much directed towards the enthusiasts, and the story got lost (wry laugh). You have no choice but reducing the importance of the story if you want to really spend time on the bondage scenes. I’m still learning by trial and error, even now.

S: My imagination helps me fill in the background stories.

Y: It does, doesn’t it? (laugh)

N: It’s no good if the videos are not made for viewers who are able to understand the story by themselves with help of their own imagination. So, you should eliminate all the unnecessary parts, and leave some blank space for the viewers. Blank spaces which they can fill out with their own imagination. I once did the shibari for the director Yoshihiro Wakatsuki’s first movie. The director said: ”The movie got lost because I put too much things in it”. So I said: ”It’s such a great thing that it got lost. What’s interesting about making something you don’t get lost in.” But moviemakers don’t think like we do, it seems.

N: There is something I’ve been wondering all the time. I wonder what the beauty of rope is. I want to know what beautiful shibari is, and what not-beautiful shibari is.

Y: The reactions [リアクション] of the girls in rope, probably.

N: Can we say that it’s a beautiful shibari if only the reaction is good [リアクションさえよければ]?

Y: Uh, reactions…what can I say.

N: If that is the case, the girls who are sensitive, the girls who are sensitive to any kind of shibari would always give you good reactions. So what then decides if one is good at tying, or bad?

Y: I told you that I like your shibari because it’s loose once, remember? I mean, I tended to tie tight… and I found it uninteresting. Then I saw your rope and it was loose.

N: Is my rope loose?

Y: No, just listen to me please.

N: I know what you mean. But I asked you anyway (laugh).

Y: It’s different from the ropes just becoming loose. Your ropes move and change their form gradually. They become a little crooked, or the ropes are pulled apart from each other. And when I see it, I think: ”That is so good.” What I wanted to say is that it is not always good just because it’s tied neatly and tight.

N: I don’t calculate it beforehand.

Y: You don’t? I am less experienced than you, but I know it’s not easy to do. The total amount of people I’ve tied reached 100 recently, and only now I have started to understand it.

N: I was doing my current shibari already since I tied the very first person. I’ve tied about 3000 times now, so about 3000 people. Well, I’ve tied same girl more than once, so it isn’t exactly 3000 people – but something like that. And my style hasn’t changed since I was tying girls for the Uramado-magazine. I didn’t look at what Kou Minomura was doing, I just worked on my own, and he admired it saying: ”Oh – – – -”.

Y: Minomura san doesn’t use many ropes at all. He doesn’t bring more than five ropes with him. He started his career with painting… using the name ”Reiko Kita”.

N: He is really good at it. Actually I like to use even less rope than Kou Minomura. I think it is better to use just one. The main reason why I use many ropes is that the editor of the SM Select-magazine wants me to. There are two types of people, the ones who like to see many ropes, and the ones who prefer fewer ropes. I think the ones who like to see many ropes are less of the ”enthusiast” kind. Let’s say I put a rope really well on the first try on a Kinbiken-meeting. I say: ”This one is good, I like it” and recommend the members to take photos of it. Even then, after a short while, they ask me to add more ropes.

S: That’s because the members wants to see you tying more.

Y: I’ve been seducing girls and then tying them since I was young. The best moment of tying for me is when I bring their arms to the back. It moves me.

S: That moment is the best.

N: That moment, indeed.

Y: I wonder… I guess it is because it’s the rope of that moment. But the members want to see sensei’s shibari on different body parts of the models, on the chest, the buttocks, and the crotch for example.

S: I would like to hear some more comments from Nureki sensei about the loose rope that we talked about earlier.

N: Loose, it means that there is some space left. A space that allows the girl to move and show various poses and expressions.

S: Plasticity, if we see it objectively. Is that it?

N: Yes, it is, of course.

Y: It is. It can be a situation where the rope should be for example vertical or in the middle, but the important thing is always that the rope is matching well with the girls’ motions and poses.

N: Tying girls is not like tying a bag of rice [Komedawara]. It may sound pathetic, but I tie the girls’ heart. There is a way to tie a heart. When you tie them in that way, their hearts absolutely comes to you.

nureki-handing-yukimura-rope

N: There is something I told him when we worked together to shoot a video for Taiyo Tosho. And what I said even made myself feel euphoric… I thought: ”What good words.” (laugh) What I said was: ”If you want to be good at shibari, stop thinking of using vibrators and such things after tying. Just do shibari. Then you will become better at it.” Being greedy by having thoughts of doing something else after tying will not help you becoming good at it, no matter how long you keep tying, for 10 years or 20 years.

Y: I agree.

N: So, you won’t get better if you are planning on shooting fuck scenes or sex scenes. But… if you won’t get better at it, then of course I can keep staying on the top of this world. (laugh)

Y: No need to worry, I will not reach your level! (laugh)

S: Now it seems good time to end the dialog.

Comment from the Editor Haruka Shimazaki:

I think this was a dialogue with very rich content. I had to edit out quite a lot of it, since the amount of pages we can use for this is limited. What a waste. I think it’s my duty to publish the rest somehow. I even considered to sacrifice some of the other standing sections of this magazine for this dialogue. The reason why the content became so rich is that they are both on ”this side”. I mean they are both experts in this world. I believe the deep talk between them will be a treasure for enthusiasts.

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[Footnotes for the enthusiasts by KinbakuBooks / Bergborg:

* The video-shooting referred to in the report resulted in a video with the title 縄恋秘抄. This video has later been re-released on DVD (2001). This video not only has scenes with Nureki tying and scenes with Yukimura tying as mentioned in the text – in the last scene, they are tying (and untying) together, side by side. Indeed a ”must watch”. (The DVD is the one in the small square cover on the first image of this post. Do not confuse this film with the DVD with the same title done by Naka Akira with Itsuki Karin in 2015.)

* The video Jouen. The World of Kou Minomura (VHS in 1989) was released on DVD in 2013. Here is the title in Japanese for easier searching: 縄炎 ~美濃村晃の世界~. Ironically, when released on DVD, the 60 minutes were now percieved as too short, and a (totally unrelated) additional SM-video was added. (The cover can be seen in the first image of this post.)

* The video Graffiti 3 mentioned by Shimazaki has also been re-released on DVD, available in the Cinemagic collection with the title S&Mビデオグラフティ 第3集 (2015). (See image below.)

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Itoh Keijirō: ”A selection of representative seme scenes that appear in novels” (1953)

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Itoh Keijirō: 小説に現れた責の代表作選

(”A selection of representative seme scenes that appear in novels”) (Suikōdo 粹古堂1953)

I have always been fascinated by the poetic and fantasy aspects of Kinbaku, and recently obtained a book that opened a door onto some of the Edo-era literature that may well have inspired some of the pioneers in the development of Kinbaku. The book was written by a man named Itoh Keijirō. He is not a relative of Seiu, despite having the same last name, yet he and Seiu were very closely connected.

I had previously seen the following statement by Seiu (in a preface to a book with his photos [LINK]):

”It would seem that I’ve felt beautiful feelings looking at scenes of women in torment since June of 1891, when, as a ten-year-old boy, I listened to the Chiyohime snow-torment stories my mother told me. I imagined them vividly, and I now realize that I continued to fantasize about scenes of women’s torment every time it snowed. I would say that these things are a great joy for me.”

So you can imagine that it was very interesting for me to find a reference to Chiyohime in this new-to-me book (See Text #4 below). I am very curious about such literary stories of ”torment,” and how they have influenced our imagination when doing Kinbaku.

I owe this post to a friend in Tokyo, Alice Liddell, who not only brought this book to my attention but also helped me obtain a copy and did some translation of it. Thank you, Alice! She explains that Itoh Keijirō  (伊藤敬次郎, 1884–1965) was the real name of Itoh Chikusui (伊藤竹酔), the publisher of many of Itoh Seiu’s works released by his publishing house Suikōdo. Under a different company name (Chikusui Shobo), he also published works by important figures in the ”Ero Guro”-movement of the 1920s and 30s, including works on sexual perversion. He was jailed at least once for publishing improper material, and seems to have been traumatized by the experience, because after that he chose to avoid publishing illegal material. He is mentioned in Nureki Chimuo’s book Nihon Kinbaku Shashin-shi [LINK], for having sold a very large collection of photographs (taken at a satsuei-kai, or private meetings organized for the purpose of taking photographs) to Nureki and Minomura Kou, which were later published in Uramado magazine. He is also mentioned in Nureki’s bunko book, Kitan Kurabu to Sono Shuhen [LINK]. Nureki donated many of these photographs to the SM Library in Tokyo, which held a small exhibition of them in 2009 [LINK].

Here follows a summary of Itoh Keijirō’s foreword in the book, translated for us into English:

”In the early years of the Showa period, when [novelist and playwright] Tamura Nishio was running a restaurant in the Kanda area, there was a gathering one day, which I attended. It was there that I first met Seiu Sensei, and perhaps we hit it off, because I later published [Itoh Seiu’s books] 美人乱舞 (Bijin Ranmai) and  女三十六景  (Josanjū roku kei) and other of his works. After that, because of the war, I was not in contact with him for a long period, but recently I came to publish some more of his works, and as a result, everyone now seems to think of me a publisher of seme material. Subsequently, many people asked me to collect seme scenes from literature. Starting two or three years ago, without telling anyone, I collected various novels together, and woke early in the morning to read before work. I had to read the works from start to finish, which is no simple task when you are talking about old literature. I was incredibly happy when I was finally able to get a copy of 千代嚢媛七変化物語 (Chiyō-hime shichihengen monogatari) which I had searched for unsuccessfully for many years. This anthology of mine contains excerpts mostly from Edo-era novels from the Bunka years [January 1804 to April 1818], but when I had a little extra time, I extended my effort to include works of later times as well. In my research, I relied heavily on the E-iri bunko絵入文庫 [illustrated anthology series] published in Taisho 6 (1924). Some of the illustrations I’ve used are from different years, but I added them for reference.”

The book has printed inside 非買品 (not for sale), meaning it was not offered for sale as a commercial product. Perhaps the author only shared copies with interested friends? Or wished to avoid problems with the authorities?

To conclude this post, I share basic information for the thirteen texts and the eight illustrations chosen by the author, Itoh Keijirō. In general, he only states the book title and the author’s name, and sometimes the illustrator. In most cases, he did not provide more bibliographical information – all this has been added by Alice Liddell.

*

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Text #1: 優雲華物語, Udonge Monogatari, ”Tale of the Three-Thousand Year Flower” (1804), translated into English 1986 by Donald M. Richardson

Summary of scene described in the text: On Kurokami-yama (Black Hair Mountain), a female demon kills a pregnant woman and steals the unborn baby from her womb.

Author: 山東京博 (Santō Kyōden, late Edo novelist and ukiyo-e printmaker, 1761–1816)

Illustrator: 喜多武清 (Kita Busei, late Edo period painter, 1776–1858)

Description of illustration:

Two figures, a man and a woman (demon), near the body of a woman who has been stabbed with a sword and had her belly cut open.

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Text #2: 椿説弓張月, Chinsetsu yumi hari zuki (1807–11), ”The Crescent Moon”. This novel was adapted for the ”new” Kabuki as Chinzei Yumiharizuki by Mishima Yukio, and first performed in 1969. There are ukiyo-e prints based on this story, including versions by Utagawa Kuniyoshi and Tsukioka Yoshitoshi

Summary of scene described in the text: The character Butota is tortured and killed with bamboo needles by Princess Shiranui, or a demon who has occupied her body.

Author: 曲亭 馬琴(Kyokutei Bakin, real name Takizawa Okikuni, 1767–1848)

Illustrator: 葛飾 北斎 (Katsushika Hokusai, 1760–1849)

Description of illustration: A bleeding figure seated and tied to a post, being beaten by three women while four other women watch. The heads of two men are on a table in front of the watching women.

Text#3: 桜姫全伝曙草紙 , Sakura-hime zenden akebono sōshi (1805),”Complete Tales of the Cherry Blossom Princess: The Akebono Books”

Summary of scene described in the text: Sakura-hime (Cherry Blossom Princess) is killed and her body is taken away to a place called Toribeya. There, her corpse is cut open by a man named Seigen. (This story has been the basis for kabuki plays.)

Author: 山東京博 (Santō Kyōden, late Edo novelist and ukiyo-e printmaker, 1761–1816)

No illustration.

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Text #4: 千代嚢媛七変化物語, Chiyonōhime shichihenge monogatari (1809), ”Tales of Princess Chiyo”

Several different scenes are described, including one involving torture by fire and another in which someone is burned to death. This seems to be a revenge story involving the Satomi family.

Author: 振鷺亭 (Shinrotei, real name 猪狩貞居, Ikari Teikyo, date of birth unknown, died 1815)

Illustrator: 蹄斎北馬 Teisai Hokuba (Edo period illustrator, 1777–1844.)

Two illustrations: The first one is hard to see what is happening – possibly a man raping a woman? The second one: A woman tied up inside a temple, with a rope attached to a stone post. A man stands over her with two swords. Nearby, a man, perhaps her servant, is tied up with rope around his neck attached to a stone post.

Text #5: 浮牡丹全伝 Ukibotan zenden, ”Tales of the Floating Peony” (1809)

Summary of scene described in the text: A woman is starved by being denied food. This seme gets a note by Itoh Keijirō indicating that it is okite-seme 掟て責 , a legally sanctioned punishment.

Author: 山東京博 (Santō Kyōden, late Edo novelist and ukiyoe printmaker, 1761–1816)

No illustration.

Text #6: 本朝酔菩提, Honchō suibotai (1809)

Summary of scene described in the text: The sisters Kurenai and Midori are tortured by a bad woman.

Author: 山東京博 (Santō Kyōden, late Edo novelist and ukiyo-e printmaker, 1761–1816)

No illustration.

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Text #7: 長柄長者黄鳥墳, Nagarachōjya uguisuzuka

Summary of scene described in the text: A man named named Kanpudaijin (?) kills a woman named Umegaeda (?).

Author: 栗杖亭 鬼卵 (Ritsujotei Kiran, 1744–1823)

Illustrator one: 石田玉山 Ishida Gyousan.

Illustrator two: 大蘓芳年Taiso Yoshitoshi.

Two illustrations:

The first, by Ishida, shows a woman held roughly by the hair by a man as a woman with a pipe watches on.

The second, by Yoshitoshi, shows a woman pinned down by a man with a knife at her throat.

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Text #8: 絲桜春蝶奇談, Itozakura shūnchō kien (1809?)

Summary of scene described in the text: A character is captured and tortured by being bound and suspended.

Author: 曲亭 馬琴(Kyokutei Bakin, real name Takizawa Okikuni, 1767-1848)

Illustrator: 歌川 豊清 (Utagawa Toyokiyo, 1799–1820)

Description of illustration: A woman bound and suspended from a pine tree. Inside the house, a man fights with four other men.

Text #9: 血血郷談 , Beibei Kyōdan, ”Talk in Rural Dialect” (1813)

Author: 曲亭 馬琴(Kyokutei Bakin, real name Takizawa Okikuni, 1767–1848)

Summary of scene described in the text: A rape scene.

No illustration.

Text #10: 南総里見八犬伝, Minami Sōrimi Hakken-den, ”The Legend of the Eight Dog Samurai” (1814–1842) The tragic romance of a princess and the adventure of eight heroic samurai. Probably the most famous novel of the late Edo period.

Summary of scene described in the text: An adulteress is tortured.

Author: 曲亭 馬琴(Kyokutei Bakin, real name Takizawa Okikuni, 1767–1848)

No illustration.

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Text #11: 片輪車, Katawa-guruma, ”The Broken Wheel”

Summary of scene described in the text: A jealous woman tortures another woman by starving her and denying her food.

Author: 洛陽山人 Rakuyo ? (At the end of this section, Chikusui explains that he found this story in a story-book published in Meiji 22 (1889) but he could not establish who the author was.)

Illustrator: 梅蝶楼国(貞) = 歌川 国貞 (Utagawa Kunisada, 1823–1880 or 三代豊国 third Toyokuni)

Description of illustration: A starving woman is placed tied up in front of food she cannot eat.

Text #12: 山椒大夫, Sanshō Dayū, ”Sansho the Bailiff” (1915). A historical novel set in the Heian period. It follows two aristocratic children who are sold into slavery after their father, a virtuous governor, is banished and their mother sold to a brothel.

Summary of scene described in the text: Slaves are branded with an iron.

Author: 森鴎外 (Mori Ōgai, 1862–1922)

No illustration.

Text #13: 風流線 , Furyusen (?), ”Elegant Line”(?), (1902?)

Author: 泉鏡花 (Izumi Kyōka, 1873–1939)

Summary of scene described in the text: Someone is put into a prison room in the bottom of a place called the Floating Castle.

No illustration.

Itoh Seiu: ”Fifteen Ways To Tie a Woman’s Body” (1953)

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Itoh Seiu: ”Fifteen Ways To Tie a Woman’s Body”, in Fuzoku soshi (風俗草紙), September 1953

Itoh was a prolific writer. Making private experiments with torment or ”seme” already in the 1910s, he started publishing texts on this topic in the late 1920s and early 1930s. I have posted earlier on the blog for example about a book from 1930 that contains both photos by Itoh, and a rather long text about seme (still untranslated, see: http://tinyurl.com/jd3fowy).

The magazine Fuzoku soshi (風俗草紙) existed only for two years (offering something like seventeen issues), and featured contributions among others by Itoh Seiu, Ueda Seishiro and Minomura Kou.

I find Itohs text and drawings in this issue from September 1953 especially interesting, as it connects his early experiments with the post-war expansion of Kinbaku. It also gives an indication about Itohs views on earlier, non-erotic forms of rope used for capture, transport and torture of criminals.

Please note that the text was written for publication in an erotic magazine, geared toward the pleasure and phantasies of the reader. Be advised that many of the things mentioned are quite dangerous, and do not treat it as a tutorial for Kinbaku.

The translation from Japanese to English is by Nana (London), commissioned and edited by Bergborg.

This is a non-profit endeavour. You are invited to support Kinbaku Books with a small donation through PayPal to: bergamott@live.se

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Fifteen Ways To Tie a Woman’s Body

By Seiu Itoh

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This is a precious article by a great painter who devoted his whole life to researching torment [責め, seme], based on his own experiences.

 Exclusive to our magazine!

*

When tying up a woman, there is surely some further purpose for it, more than just simply taking her freedom.

I assume that everyone would agree that the primary purpose of tying someone is to restrict them. In addition to this, you may want to achieve other things, like the extraction of a confession, the enjoyment of looking at their face full of pain by harming a part of their body, a disciplinary punishment – or some other purpose when specifically dealing with a woman’s body.

The martial artists [武術家, bujutsuka] in the old days invented ways to use rope for capturing an enemy alive and for tying men who surrendered in battle. As a part of ninja methods [忍術, ninjutsu], how to tie a person and the way to place rope were dependent on the person’s class, official rank and status. There were different styles, with each style having a different way to tie. At first it was just a method to remove a person’s freedom, but many styles and ‘Ryu’ cropped up later.

However, these schools were mainly for tying men. Tying women came second – while ways to tie women were established, these made up only a very small proportion of the entirety of possible styles. Seeing this, I have no doubt that there were only a small number of female criminals compared to the large numbers of male ones. It must have been rare to see a murder or a robbery committed by a woman in the pre-Restoration days [= before 1867], unlike in the post-war period.

Women have a troublingly tender spot: the breasts. There is a risk that putting rope on the chest or tightly binding the chest might lead to death, so tying the breasts would have been avoided for the ordinary (?) woman whose guilt was likely still uncertain. When tying a woman, we avoid the breasts. It’s understandable that we have seen only a few methods for tying women, as they had to be developed specifically for the small number of female criminals at the time. [The question-mark is in the original text.]

There was an illustration of a girl whose breasts were tied with a cord and suspended from a beam in a bondage magazine (?) of the current style [被縛雑誌, hibaku zasshi], accompanied by a composition claiming to be ‘a real story’. But this is complete rubbish, as it would be impossible to do things like that. [The question-mark is in the original text.]

I am going to describe how to tie up a woman, something I have learnt from my past experience, in the order in which I recall it.

There is no particular style like Houen Ryu, something-Ryu. If I must name it, I would say Seiu Ryu.

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  1. How to do Hayanawa [= fast rope]

Quickly bring both hands to the back. Tie both thumbs with a thin but strong cord, like the string of a Shamisen, as it will dig into her thumbs. Bring the leftover string to her throat, then tie her pinky fingers tightly so that the string digs into them. Or tie her wrists instead of the pinky fingers.

The thumbs will lose their feeling, and the tips of the fingers will turn purple and lose sensation.

However, it’s not safe to use this method. When using it for rope bondage play [hibaku no yuugi, 被縛の遊戯] over a long period, there is a risk it would lead to an injury such as necrosis in the fingers. Do not use it for over an hour.

It’s important to control the strength of this tie as it’s just for immobilising a woman’s hands. If this method is used for a long time, the string will dig into her flesh and become inescapable, making injury to the fingers unavoidable. This method was also used by the unofficial policemen, or Okappiki, of the Tokugawa period [1603–1868].

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  1. Guruguru Maki [= wrapping around and around]

This has to be done quickly. In reality, one’s physical strength is important when tying a woman who is trying to run away. You must not take pity on the woman when putting rope on her. Tie her up roughly without considering the pain she is receiving, remembering that the skin’s sensitivity of some women is low compared the typical man’s. She could cry – this might often interfere with your focus, but it’s unnecessary to take her tears into consideration and it is no reason to go easy on her. When you are tying a woman, if you don’t divest yourself of your humanity, you can not use full strength, and you can not truly tie her – you must keep thinking like that.

This is however not the case if both parties conduct this activity as play. But people like me, who make personal research about bondage (?), must abstain from sympathy. For me, there is no other way than tying her using my strength to the limit. [The question-mark is in the original text.]

There are no other mysteries of this form apart from wrapping the rope around and around, tying both wrists rapidly. As a result, there isn’t really any more to learning the tie than just to practice until you fully acquire the skill.

itoh-3-kopia

  1. Hayanawa [= fast rope]

First of all, the primary focus should be tying up both wrists. In this case, twisting both arms up quickly is a point which requires some tact.

After tying up both wrists, bring the remaining rope from the woman’s upper arms around her back and repeat it a couple of times, then tie a knot with all your strength. Her breasts will quickly be firmly tied, and the rope will bite into her flesh. Without a pause, take aim at the abdomen next; swiftly bring rope around it a couple of times and attach it to the wrists. There’s always an impending risk that she might get away. Except when it’s bondage play [yuugi, 遊戯], some resistance by the woman you’re tying should be expected, especially if it’s a serious situation. Special care must be taken when capturing a female criminal. You must avoid putting rope across the breasts, even if you forgo being careful. Needless to say, the woman’s wrists of course should be on her back.

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  1. Kataashi Kake [= hooking one leg]

At first, hold the woman down and make her lie face down. Twist the right arm towards the back (you’d usually deal with the right arm first), put rope around the wrist, then quickly take it down to the left ankle. It’s necessary that ‘the snake’s mouth’ of the rope (see the illustration) is pulled out near the wrist. The woman’s body will become a Z-shape when you bring the rope from the ankle to the loop by the wrist, then tighten it. Wrap one of her legs with the excess rope, or use another rope and bring it from her leg to the crotch, then wrap it strongly above the groin. It’s more effective if a new, thin rope is used if possible. Once you finish doing this, use your full strength to twist and tie the leg and the crotch.

Towards the end, you should always reel in the rope sequentially, then tighten the rope up from time to time as you tie. There won’t be enough rope left if the crotch part is tied loosely so it’s better to bind as tight as possible, considering that you’ll be bringing the rope to her neck later on.

After placing this rope on her neck and tying the left arm up, you can hold the woman’s right leg and torment her by dragging her body around. This will instantly bring a good result.

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  1. Same as…

There is a method which can be done in the opposite manner to the one mentioned above; placing a pole between the knees and crotch in order to torment a woman after tying her up. In addition to tormenting her, the woman’s body can be suspended from it, if this amuses you.

However, there are no practitioners using this technique at present. It was probably one of the methods for torturing suspects used by Okappiki at police stations in the pre-Restoration days [= before 1867]. When a criminal didn’t confess, they were confined with Hoda for any number of days. Hoda means fetters.

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  1. Irekubi [= neck putting]

I have created a fictitious name, which will suffice for this explanation.

Place her right wrist behind her bended knee, then tie it with rope tightly, placing the excess rope around her neck. Bring the rope to her back, tie her left wrist as it’s brought to her back, bring the rope end around her waist and tie up there. This is to keep the woman’s neck leaning towards the left. The pain this position causes becomes intense from the rope as the wrist gets caught on in the crotch area. The shoulders start to hurt after an hour.

If weight is added to the crotch, the pain on the wrist will reach the upper right arm and the shoulder begins to hurt. The aim of torture shall easily be achieved if you place a stick in the left elbow and twist it, which will undoubtedly cause the woman to scream in agony.

Furthermore, to add harsher torment, bind the body more tightly by putting more rope on, but this is said to cause fainting in some cases.

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  1. A type of Ebi Zeme [= shrimp torture]

This is almost the same tying method as was used in torture chambers during the Edo period.

Make a woman sit cross-legged, tie her legs in a couple of places, run rope from her shoulder to her crotch and pull it tight, leaving the neck as close to the legs as possible. Her back should form a curve, bent like a shrimp.

It is said that Ebi Zeme was named as it is because the colour of the body changes and turns red. It is a matter of life or death when the colour of the body then changes to white after having become red; then it must be untied, as failure to do so is fatal. This writer has never conducted an experiment on this matter so cannot comment from personal experience.

Regardless, this method of torment includes inclining the woman’s body forward and exposing a certain part of her, so it is difficult to conduct such an experiment without being on intimate terms with the woman.

If this test were to be done for research purposes, it is suggested that this position should be maintained for no longer than ten minutes. As a result of an experiment conducted by this writer, a woman was physically disabled for a couple of days after the experiment finished.

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  1. Bou Shibari [= pole tying]

This is a good practice tie, as it shouldn’t cause any harm. This torment can also be bearable for a long time, to a certain extent.

When using this method in a playful manner [yuugiteki, 遊戯的], the time can be extended longer and the mosquito torture can be done to a woman if it’s summer.

This can be a most effective and harmless tie, know to be used for example on a homosexual woman by her jealous female partner, because it won’t leave a scar even if she’s tortured to the edge of breaking the skin. Therefore, this torment method is widely and deeply applicable.

When using this method, you could throw a woman into the garden and make her shiver with cold if it’s winter, give her the mosquito torture if it’s summer (as mentioned above), or torment her with smoke. When using this pole tying method, all sorts of torment methods can be thought up to follow. Its applications are limitless.

The method for this tie depends on personal preference, but historically, the most common way is to open a person’s arms straight and place a pole along the arms over the back. The pole is then tied to the arms in a couple of places with short ropes. You can then tie the woman’s ankles and throw her down, or attach her to a tree.

It is said that this tie was a type of arrest which was usually used on Noarashi [= poachers and rustlers, persons who steal crops from a farm].

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  1. Mata Nozoki [= peeping through the crotch]

This is similar to a variety of a method called Hyoutan Zeme [= gourd torture], which is said to have been used at a government office at the Sado gold mine.

This is an unbearable tie unless the person has a great deal of endurance. At first, bring both hands to the back and tie them up, then bring the rope end to the shoulder and tie up in the same way as in the Ebi Zeme. You should then bring the rope through between the thighs. Pull it tightly until the woman’s head meets her own anus. Bring the rope to the back and attach it to the wrists, then throw the rope over a beam and lift her up. It is both ridiculously laborious and quite dangerous, so it’s a bit tricky to try out this tie. There is a legend that Dakki no Ohyaku [”Ohyaku the villainess”] was tortured with this tie twice, but even such a wicked woman couldn’t bear it.

itoh-10-kopia

  1. Sagi [= Heron]

I’ve made up my own name for this one, as its shape is similar to a heron.

Start by tying a woman’s hands behind the back as usual. It is important to fixate the wrists as high as possible. Extend this rope end, bend either the right or left ankle towards her front and wrap the rope in a spiral around her leg. Use the remaining rope to tie a pole to the leg the woman’s standing on, putting the pole between both arms as in the illustration.

The woman’s body makes a ┓-shape as it is folded to the front, making it look similar to a shape of a heron.

To inflict more pain on her, you can put things like a heavy stone on her back for some time. It is said that the person would faint if this continues for a long period of time. However, this writer hasn’t yet tested it to that point.

itoh-11-kopia

  1. Ryoute Age [= arms up]

This is also a name I’ve made up, of course. Tie both the right and left wrists while holding them up and prevent the hands slipping down by putting a pole by the wrists to hold her up. That’s all you need to do for the tie, but other people might take turns in tickling the woman’s armpits. She will writhe in agony as the pain increases, so you might want to tie both legs to a log to deprive her legs of their freedom.

This method is used when you want to cause the greatest pain without damaging the body. It is said that a person will make a confession as their consciousness clouds after this torture continues without allowing them sleep or rest. This tie can be used for a ‘torture’ called Utsutsu Zeme [severe sleep deprivation] later on.

The tie is quite simple, but the torture requires time and patience.

itoh-12-kopia

  1. Mata Biraki [= crotch opening]

First place both hands behind the back and tie them up, then spread both legs as wide as possible and tie the ankles to a pole. Then tie the rest of the legs to it with the excess rope.

This can be used for wicked play if it is done with a woman lying down, but these details shall not be mentioned here.

It must be noted that it is a blasphemy to the art of bondage if you demand poses which are beyond the limit of range of motion for the human body, just because you’re too eager to see a change in a woman’s body. Once you’ve learned the tie, try it with your partner, and learn the limits of their body.

itoh-13-kopia

  1. Kukuri Zaru [= bound monkey]

This is another for which I’ve coined a name, referring to the shape it produces. This tie is a bit tougher than it appears to be. You’re trying to create a shape like a monkey by bringing both wrists and ankles together, with the neck leaning downward.

If you use this tie for a suspension, the shape becomes what the title of this paragraph says. However, in reality, there is a risk that the wrists can be damaged if this is applied to a suspension without great care. Here I’d emphasise that this method should not be used on or by an inexperienced person.

itoh-14-kopia

  1. Gyaku Tsurushi [= Inverted suspension]

This can rarely be done in reality, and even if it’s done, it can cause a life or death situation. As it’s so risky, this tie should be done only in very special cases.

It’s safer to use a Nuno Renjaku, especially when it’s for a photo shoot or for a film. Nuno Renjaku is made by wrapping a cloth around the waist many times, putting jute rope over it and making a loop, then attaching the main rope to it in order to suspend the body. This is also used in provincial theatres when they want to hang an actor in mid-air for short periods. It is a quite useful thing, but amateurs are quite often unable to do it properly. With this taken into account when you suspend a woman, you should first tie both legs. Then lay her body on her back on a board which is set up in a raised position (tie her hands behind the back before doing so). When you suddenly remove the board then the woman’s body will hang down.

This also looks easy, but it’s one of the most difficult things in bondage. A full understanding of this suspension can be gained only by practice or by in-person teaching from someone else.

itoh-15-kopia

  1. Suspension

It’s impossible to suspend a woman with her hands behind the back like in all the illustrations for popular novels.

If you think the hem of a kimono flutters conveniently and the long sleeves of the kimono will move into an attractive shape, you are totally wrong. The shape of a woman suspended like this really doesn’t look good. As I mentioned before, there absolutely must not be rope placed on a woman’s breasts at all. As a result, the shape of the tie becomes bad, the legs hang down and the body will just keep spinning around.

Even if you tie rope to the Obi, the woman’s posture will become like a post, not a very attractive sight. To tie this, begin by tying both her hands as in the Takate Kote, then wrapping the waist with rope before hanging her from a beam. However, great care must be taken with this tie, and you must not forget that there is always a risk of injury.

***

– Translation by Nana (London), commissioned and edited by Bergborg // http://www.kinbakubooks.wordpress.com //

This is a non-profit endeavour. Please support ”Kinbaku Books” with a small donation through PayPal to: bergamott@live.se

Tsujimura Takashi: Interview in Sankei Weekly (1976)

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Tsujimura Takashi: Interview in Sankei Weekly (1976)

 Tsujimura (1921–1987) was a very influential bakushi. Nawapedia writes: ”It would not be an exaggeration to say that Takashi Tsujimura established modern Kinbaku Art (…) Tsujimura acted as a kinbakushi for virtually the entire run of Kitan Club magazine…” (http://nawapedia.com/index.php?title=Takashi_Tsujimura)

See an earlier post here:

https://kinbakubooks.wordpress.com/category/tsujimura-takeshi/

Below are images from an issue of a weekly paper called Sankei, where Tsujimura was interviewed in 1976, along with a full translation.

Footnote: You can read more about the model Kawabata Tanako that Tsujimura mentions here:

https://kinbakubooks.wordpress.com/2015/04/06/kawabata-tanako-rope-bottom-roundtable-talk-from-kitan-club-1953/

 

 Forbidden Eros: Tsujimura Takashi reaches for the limit

Interview with Shimokawa Koushi

in Sankei Weekly, April 15th, 1976

 Translated by Shiba, commissioned and edited by Bergborg of the KinbakuBooks blog

  

Interviewer: We would like to hear about your thoughts about contemporary eroticism. To start with, could you tell us what made you interested in this ”world”?

Tsujimura: I actually believe that everyone has feelings like the ones I have. It is just a matter of their depth. And we probably become aware of them in quite early age. As I remember it, I realized that there were feelings like this when I was in the 3rd or 4th grade of elementary school. I was playing ”police and thief”. In this game, you divide into two groups, the police and the thieves. When the police catches a thief, they tie him to a tree. I remember I was having a strange ecstasy when being tied to a tree. So, in my case, it didn’t start with tying but with being tied. I started as an M, not an S.

I: Weren’t you at all interested in being the one catching the others back then?

T: I have absolutely no memory of enjoying being the one catching the others.

I: When was the first time you got the urge of wanting to tie someone, like you do now?

T: It was the night before I moved to Manchuria. I was 16 years old [editors note: 1937]. I was having a relationship with a girl since I was 14 years old and we were having a reluctant farewell-meeting that night. The thought of ”I might not be able to see her ever again” gave me a feeling of exaltation. I felt strongly that I wanted to tie her. As there wasn’t any rope at home, I used her obijime, koshihimo, and even pajama-belt all tied up together. It is somewhat embarrassing to tell, as this girl is my current wife.

I: When did you start taking pictures of the people you tie, as part of your work?

T: It was during the postwar years, after 1945. There was a magazine called Kitan club, which used to be just a general erotic magazine but over summer one of those years changed into an SM-magazine. I was writing short stories and essays for them. The editor in chief at one point asked me if I wanted to pursue the world of shibari since they had changed to an SM-magazine.

I: So those years and the words of the editor in chief made a big change in your life.

T: There is one more person I can’t forget: the model Tanako Kawabata. She was ideal as a kinbaku model and an extremely masochistic woman. Once, I tied her up to a pillar at Kitan club’s office and I went out for about three hours, leaving her behind. I came back and touched her genitals, and found that she was very wet with excitement. I was used to just tying my wife when the feeling was right and arousal was already there. Meeting a woman like Tanako Kawabata and learning that there are people who have such a deep understanding of the feelings of shibari made me unbelievably happy. I have tried so many ways of kinbaku with her and taken photos.

Eroticism as ”scene”

I: So, we have the achievement of 25 years of your work, the photos from many photo-sessions here. There seem to be over a hundred of them.

T: I think there are photos from about 150 sessions here.

I: I’ve taken a look at them. They are very interesting. I understand there is also the same amount of photos that you haven’t organized yet. As I was looking trough the photos, I noticed that there are many married couples in them.

T: Certainly there are many photos of couples who have been married four or five years or so. Of course, there are also people who are keeping it a secret from their spouse. And unexpectedly, female university students and young female office workers has started coming to me too. Four or five years ago, a girl who claimed that she was a junior college student asked me to tie her. She was very passionate and had a supple body, so I became very interested. I did some quite cruel shibari, including a suspension with her. Then it turned out that the girl was a 2nd grade high school student. I found it out that later somehow.

I: Do you think married couples tend to desire new and different kinds of stimulation after having been married a couple of years?

T: I don’t think so. I comprehend eroticism as a kind of ”scene” [演戯] – a game [遊び] we play [戯れ] when we act in a role [演じる] – and the world of S and M is a world which concentrate these positions. I think married couples understand the feelings they search for in a scene after the years they have spent together, but sometimes they can’t do the scene themselves, so they come to me. I would say that the couples that come to me, are couples that have a love which is one step ahead of themselves.

I: There is the expression muttsuri sukebe [むっつりスケベ], saying that people with solid occupations are more decadent when it comes to sexuality. Have you noticed any significant patterns when it comes to the occupations of these people?

T: I have solid occupation myself, I do businesses with schools, so I guess I am a good example of muttsuri sukebe (laugh), but in fact these two things are not related to each other. During the years I have devoted myself to this world, I have met people in many different job categories –mizu shobai like politicians, entertainers and hostesses, as well as more established people like monks, bank employees or teachers. The image of who a person is connects strongly with one’s occupation, so for some it might be a great surprise to find out that these people, with solid jobs, are doing this type of play.

The feelings move between S and M

I: By the way, I have two questions I wanted to ask about the SM-world. The first one: There is a general stereotype that men are S and women are M. But there are male masochists, also tied in your photos. Shozo Numa [沼 正三], a famous author writing about masochistic themes, seems to have a different opinion – according to him ”there are only masochistic emotions in human beings. The sadistic feelings are illusions”. I wondered if that could be right since such an experienced person in the M’s world is saying so, but then as I explored my feelings, I found that I without doubt have both an S-side and an M-side.

T: That’s a very subtle problem. A building engineer I know of, has two large piercings, one through his nose and one through the glans of his penis. He enjoys being tied by his wife with electric cables with small bulbs all over the body, starting and ending in those two holes. When she lights him up, he says ”it is an illumination of the human”. He seems a typical masochist, but he isn’t just a masochist. He had his wife’s nose pierced too, and is having so much fun making suspensions with her, tying her quite intensely. People say that I am a sadist, for I tie and make suspensions – and I am conscious that the degree to which I am in this role is extremely high. But a person like me can sometimes also experience a very strong desire to be tied. So the feelings of S and M can be variable and switchable, I think. Then you might wonder if such a thing as a pure S even exists? But my answer would be that, yes, they actually do. There was a bartender who was such a complete S that even I couldn’t follow. He had a wife who was an M. I used to think that it was certain that the husband would eventually kill his wife if they kept going like they were doing, and I actually felt nervous about it. One day, the couple visited me and told me that they had decided to move to a mountain-area in Shikoku. I tried to stop them as hard as I could. Because it was easy to see that their purpose to moving there wasn’t to be farmers but to be able to soak themselves into the world of SM in the mountain-area where the eyes of others can’t reach. They returned from the mountain after a year and a half, because of the husband got Pott’s disease. The wife was very skinny and had scars all over the body. I fear she would have been dead if the husband had gotten the sickness half a year later than he did.

The question of Death

I: My second question: You said that SM is a kind of ”play”, a consensual play. I understand what you are saying, but doesn’t it get more and more dangerous when you love someone very deeply, since SM-play is basically about wanting dangerous things? I think the bartender you’ve just talked about would be a perfect example.

T: Absolutely. I myself have an experience of making a woman faint and for a moment appear to have died, when I got emotionally high with her. She had asked me to tie her tighter, and I did it too tight.

I: The woman would die in satisfaction since she would die in the peak of the senses, but the one who is left would be a murder. However we can’t avoid the risk of falling into the situations like that in SM-world, can we?

T: Oh, but yes, we can. As I said about switching earlier, since the roles of S and M are so different, I think we can keep our mental balance by switching into each other’s roles sometimes. So, S and M can be switchable and even though it is possible to have just one of the roles, I think they should be switchable in order to keep SM-play in a married couple healthy.

I: So you are saying that if you are able to switch between S and M, it’s a matter of eroticism, but if you stay with only one of the roles, it can turn into a matter of death? By the way, I’ve heard that you have distanced yourself from shibari lately?

T: If they ask, I can’t turn people down that I have been related to for like 5–10 years, but I’m trying not to accept any new people to tie.

I: How has this changed for you?

T: I have been pursuing the beauty of kinbaku for 30 years and I’ve accomplished almost everything I want to. The thing left, that I haven’t done, is to face death as I talked about earlier. But that avenue is closed, as it is really the end. So I have decided to move on, and explore something else.

The ultimate joy I’ve reached

I: So, you are saying….?

T: Nothing special triggered me to be interested in this activity, but all of the sudden I got an interest for urine, like it’s a revelation.

I: Urine…

T: I’ve tried it and have drunk it often.

I: The emperor Genso in China was famous for drinking urine – perhaps you have now reached his mental state? (laugh)

T: As the saying goes: ”Beneath that rough exterior beats a heart of gold” [ボロは着てても心は錦]. (laugh) People frown, saying ”that is filthy” when they hear about urine, but it is a big misunderstanding.

I: Speaking of urine, it’s said that there was a medicinal system called 童便軍 during the Joseon Dynasty. Special servants stepped out in front of the king and did their job whenever the king wanted to drink urine. In your case, you reached urine on your path to the extremes of eroticism.

T: Yes.

I: Drinking urine was considered to be a most delicious feast during the Joseon Dynasty. It seems the essence of eroticism and the peak of appetite meets there.

*****

Captions to the photos:

* When I was at a club in Osaka, a hostess showed interest and said: “I would like to be tied like that sometime”. I answered lightly: “Come to me tomorrow then”, because I thought that sort of talk was just part of the service (and that she didn’t mean it). But she really came to me. She had even prepared herself and shaved, as she thought she would look pleasant. She was a woman with a really supple body.

* This girl came to me and said that she was interested because she had gotten tired of the usual soft “play”. I normally don’t like it when people talk like this, since I see SM as a communication between hearts. But, I tied her hard a bit, then she gave up as I expected.

* This woman was all on her own, economically supporting her mother and two brothers, and she became a model for money in the beginning. She begged: “I will do this for you no matter how painful it will be, so give me a lot of money”. I still can’t forget her pitiful face. Therefore she came to me twice, three times… and it turned out to be a 5 years relation, ending only as she got married. The feeling seems not appearing in her much after the marriage.

* This woman came to me from Tokyo two or three days after I had appeared on TV for the first time. She told me that she was a university student. I usually do not investigate if what they say is true or not. I found out that everything she had told me was true after meeting her again seven or eight years later. This photo was taken in 1972, on her first summer vacation after she started working.

* There are many girls who ask me “please tie me”, but in this particular case, it was actually me who asked. I got an intuition that she was a pure masochist. The intuition was right and she fulfilled my desires when it comes to Shibari and suspensions. My world of Shibari has been helped very much by her cooperation. We were related for exactly fifteen years, since she was 17. Now she is a wife to a man who is a manager in a company.

* This girl was working in a company in Nagoya and dating the managing director. The boyfriend had sadistic interests and her feelings as masochist grew while she was serving him

 

 

Nureki Chimuo: Women Writhe in Rope

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Nureki Chimuo: Women Writhe in Rope

緊縛フォト集 縄に悶える女たち

This book, it took me four years to finally get my hands on. A special thanks goes out to the few individuals who responded to my call for economic donations in December. If you haven’t donated anything yet, please consider the possibility – even the smallest contributions keeps me going. The one’s received in December made it possible for me to pay a translator to help me with the text from this book, published below. Please enjoy.

No ISBN.

Photography: Kai Haruo

Publisher: 共和出版

Year unknown, my guess is sometime in the late 1980s.

****

The Joy of Being Allowed to Tie Women Freely

by Chimuo Nureki

Although I have been doing photo sessions for various kinds of SM-magazines and tied nearly a thousand young naked women over the last ten years, there weren’t many publishers who let me tie as I wanted. It is increasingly uninteresting for riggers [縛る方] to tie for publishers these days, since the poses and patterns they want are generally boring. I have often thought that I want to do something different.

Then one day, I got an offer from the photographer Haruro Kai, working for the publisher Kyowa. He said: ”You can tie how you like. We will not decide for you how or what you do. I will just take pictures of everything you do and make a deluxe photo-book out of it.” It was such a great offer so I gladly took it.

What made me most engaged and what I liked the most in creating this book is the section called ”18 patterns of Nureki-ryu kinbaku-jutsu” [濡木流緊縛術十八種]. I had not done anything like this for any other SM-magazine, and I don’t think anyone else would have agreed to include it. As the photographer Kai was taking the photos in the studio in Shinjuku, he was astonished and said: ”You tie in such a beautiful way [綺麗に]. I didn’t know that there are so many different ways of Shibari”.

I tied the model Yuko Izumi in so many different patterns and as the photoshoot took a long time, her arms and chest even got a bit swollen. She was tied and released repeatedly 18 times, sitting in Seiza the most of the time. As it wasn’t just a modeling but more like having real sessions, she was nearly crying. The location was in such an intense atmosphere.

In later books, if the readers have interest, I would like to show also 18 patterns of hashira shibari [柱縛り十八種, tying to a pole], 18 patterns of tachi shibari [立ち縛り十八種, standing positions], 18 patterns of tsuri shibari [吊り十八種, suspensions], 18 patterns of aotake shibari [青竹十八種, tying to bamboo], and 18 patterns of ebi-seme [海老責め十八種, torment ties sitting crossed-legged and the upper body folded over].

My intention for this publication is to cater to the desires of the pure SM-enthusiasts [”maniacs”], rather than aiming for the usual, popular eroticism. How do you readers like the book? There are so many types of SM-manias. The most common are kinbaku mania and topping-play mania. And the less common include kancho-play [enema], seppuku [ritual cutting of the abdomen], and josou [crossdressing] manias. The less common maniacs have quite strict and specific needs and their expectations are on a higher level than the more widespread forms. I’m thinking about trying to fulfill the needs and expectations of these minorities if I get the chance to publish a second or third photobook.

One more thing that other SM-magazines never do, but that we could do in this book was that we could take snapshots of practice scenes for an SM-show [SMショ-のけいこ場面]. With the cooperation of Yuri Izumi and Akira Sakamoto (Nikkatsu porn stars), and the cooperation of the theater Kawaguchi DX, we were allowed to take photos the practice scenes for the show ”Chikandensha no majo” [痴漢電車の魔女]. I was the producer of the show, so that’s why the photoshoot was possible. Backstage photos of shibari-scenes are very rare, and I think it will be a valuable collection of photos for you, maniac people. The photos show a very raw, unique atmosphere compared to photos taken in a studio, a hotel, or an inn.

I was planning to write details about models and how the photo-shoots were, but I have decided to postpone it to the next book because of editorial considerations. I would like to include it in a second book, since I believe that the reactions of models and the atmosphere of the scenes are somethings maniac people are very curious to know about.

This photo-book was made possible through the photographer Haruro Kai’s passion, and the editor Toru Souda’s great efforts. What you readers can see in the pictures in the book is the result also of their hands- and leg-work.

Please look forward to the next book.

 

– Translation by Shiba, commissioned and edited by Bergborg.

PS These are the ties presented:

濡木流縛術十八種

-肩かけ縄 Katakake nawa

-本菱縄       Honshishi nawa

-前首縄       Maekubi nawa

-乳つぶし縄 Chichitsubushi nawa

-鎖縄           Kusari nawa

-斜め掛け   Nanamegake

-後ろ亀甲   Ushirokikkou

-股菱縄       Matahishi nawa

-片腕吊り縄 Kataudetsuri nawa

-首早縄       Kubihaya nawa

-腕縄           Ude nawa

-背中十文字縛り   Senakajuumonji shibari

-胴縄           Dou nawa

-首縄細段縛り  Kubi nawa saidan shibari

-高手小手    Takatekote

-後ろ菱縄    Ushirohishi nawa

-股縄(前)    Mata nawa (front)

-股縄(後)    Mata nawa (back)

-股本鎖        Matahonkusari