Description
“When I met Mr. Murakawa he was calmly eating a fish. I made my mind up to be tied up just by observing him. Without being introduced, I asked him directly… I want to be tied by you. Where and when can we do this?” Tsubaki Kanda
“Being suspended in the air with nothing to hold on to but your mind … is a surreal experience… it is indescribable.. it is perfect… it is beautiful… it is whole.” Ade-di Kan
“There is something wild about rope, almost primitive: a very tactile form of contact. It can be like water, a gentle caress….. or it can be violent and forceful like standing on a stormy cliff with the elements raging; swept up in the chaotic energy.” Halcyon
Kinbaku is the Japanese word for rope bondage: In the west it is often referred to as Shibari. Although it originated in Japan as a means of restraint and torture, during the last hundred years it has also been used as an activity which gives emotional, physical, and visual pleasure for the participants. Nawashi Murakawa, the Artistic Director of the annual London festival of the Art of Japanese Rope Bondage provides the historical context for the practice which goes back 12000 years. He also explains how Kinbaku has developed as a dramatic art form which is performed in front of audiences in many countries.
This series of ten chapters demonstrates how the art of rope bondage has developed in the UK, Russia, Canada and the USA as well as presenting a modern day live performance in Tokyo. The final section shows more traditional Japanese techniques. Chapters with Japanese contributors provide the text in Japanese as well as in English.
The stunning and surprising photographs reveal the beauty and daring of the models, and their written accounts together with those of the photographers and rope experts give an insight into the lifestyle of those who practice this particular fetish.
The author has a lifelong passion for Japanese culture and art combined with an involvement with photography. He personally practices rope bondage and through this has come to know many others who participate. The collection of stories and images provided by many of these practitioners has been used to provide the material for this first book
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