A few years ago, I participated in a music video for a contemporary com-poser of classical music, Hèctor Parra, and the Berlin based Zafraan en-semble. The piece is called “Palimpsesto”. A few weeks ago, when I tied with my wonderful partner Addie, I untied some parts and retied and when I put ropes on already
In ‘Archaeology of personalities’* we established a theory of how the communication between the tying and the tied person can be described. The person tying is interviewing the person tied and the reactions of the latter are constituting a picture of who they are. That picture, i.e. the personality of one’s vis-á-vis is in my
In recent months, I saw myself confronted with two interesting problems, or rather gaps in my approach and I believe I can fill them and by doing that not only shed (more) light on a deeper understanding of what we are doing when we tie with each other but also answer an unsolved question.
Within the Osada Ryu, there are some key terms that are of highest importance for a deeper understanding of Kinbaku. Two of them are Ma-ai and Kankyuu. Ma-ai is understood as the proper distance at the proper moment, and Kankyuu as the proper pace and the proper intensity at the proper moment. Thinking about those
A Japanese Rope Bondage Scene doesn’t consist only of ropes and patterns. It mainly consists of people. Especially in recent years, the focus of many enthusiasts seems to have shifted from a pattern centered approach to one where the tied person stays in the center of attention. A direct consequence of this shift, in my
“The symbolic nature and the point where the image fails.” A picture becomes a text and this text becomes a picture. One could say, the text stays a picture but the language has changed. What does change mean in this context? Is it just a change of symbols? What happens during the change of symbols?
The following text is not about terminology of patterns, positions and other stuff around Kinbaku. It is a first try for a dictionary of tying itself. Quite recently I wrote an article about a possible view on a grammar of tying. My claim was that there is no discontinuation of the conscious communication, called negotiation,
When I wrote about the development of Ranboo, I promised an update about my personal development w.r.t. Ranboo. In the meantime, I taught Ranboo or elements of this style on three different continents in over 20 cities and to approximately 300 people (just in my class at this year’s Shibaricon, there were about 130 people.)
My personal review on the development of the overwhelming style There are many kinds of tying someone with the aim of having a special time together. One can just fix someone else or tying very technically, one can focus on symmetric bondages or construt special patterns. One can tie in a very calm way, very
Recently I wrote a note about a metaphor of tying. This metaphor consists of the picture of an interview which combines two of the main discourses of bondage. It combines the power relation with communication, whereas the latter should stay on an equal level even within a certain power relationship. Herein the power relationship as well