Nuit de Tokyo reports:
As you know, Osada Steve (長田スティーブ) has been putting on a string of bashes to celebrate the 10th anniversary (10周年) of Studio SIX Tokyo.

I missed out on the $2k/person luxury yacht cruise - billed as “beyond the 3-mile zone, feel free as you please (or get pleased)”. This event had one AV actress per VIP on board, and from what I hear there was plenty of pleasing going down on the high seas.

What I did manage to attend was part of the Golden Week “Studio SIX Platinum Razzmatazz” on the Izu Peninsular. “Golden Week” is a weeklong holiday in Japan, usually scheduled in May, where everyone leaves town.  Read: the country folks come to Tokyo, and Tokyoites visit the countryside. Since forecasters have no way of knowing who might be going where, highways are usually clogged in any and all directions - so most Japanese spend most of their precious vacation time moving from one traffic jam to another.

The Izu event was set up for Studio SIX Jorensan (常連さん - honorable regular clients). It involved a three-night stay at a luxury resort (aka a playground for wealthy Japanese, a VIP hot spring or “onsen” as they call it), featuring non-stop kinbaku (緊縛) photo and video shoots. I don’t know about the cost involved per Jorensan, as I just dropped by for a day after logging a thousand miles on my bike touring the countryside.

On the day of my arrival, there were the Jorensan plus Mr Wang from China (he who shot many of the photos in the Aiko book).  From what I hear, this book has become so popular that it is now in its third print, with a German-language version in the works.

A local fixer guided us to two different abandoned compounds (廃墟 - haikyo). The first one was a deserted chemical plant. In order not to attract attention - and for lack of keys to the front gate - a detour on foot through thick underbrush was necessary. After dodging fences and barbed wire we made our entry and commenced shooting.

Did I say chemical plant? Some areas looked like an outtake from Biohazard, The Movie. There were pools with sulfuric acid (H2SO4) - and plenty of tanks and basins filled with caustic liquids of all sorts. The voluptuous model brought along for the trip was put through several rope ordeals, and I’m sure that in the back of her mind were these puddles, hoppers, and traps that could lead to grief should she become unwilling to cooperate.

After several hours of severe and strict bondage, we went back the same way we came - dodging barbed wire, fences, and ravines once more - to move on to yet another abandoned (read: dilapidated) location, this time an old saw mill that had seen better days.

The local fixer was quite paranoid that a convoy of cars with Tokyo license plates plus an ayashi gaijin (怪しい外人, suspicious foreigner) on a monster bike would cause concern among the local populace. He had wisely brought walky-talky kind of gadgets (one for each vehicle), all programmed to the same frequency, and he continually and cunningly spread the convoy thin by radio instructions as to reach the destination without raising alarm from farmers or private guards hired to secure the perimeter and watch out for unwanted intruders.

Upon arrival in close approximation to the saw mill, we were instructed to “spread out” (park our vehicles in different places) and cover our license plates with rugs and foliage.

Everybody made it safely back to the warmth of the hot spring later that night. There followed a few more hours of kinbaku and photo ops in the tatami rooms before the lights went out. An hour later you could find Osada Steve soaking in the roten buro (露天風呂 - outdoor bath) gazing at the stars, plotting his next move.

Nuit de Tokyo reports:

Not long ago I posted about a Sugiura Norio (杉浦則夫) photo shoot featuring Asagi Ageha (浅葱アゲハ). That shoot was significant in that it provided me with the opportunity to discover the benefits of fur-lined socks to guard against icy tatami mats.

Now, with those socks on my feet, I am once again privileged to report on yet another such shoot. And again I was the fluffer as well as the rope coiler for Osada Steve (長田スティーブ). Though it all happened towards the end of March, the old pawnshop-cum-studio was as cold as ever, read: it was freezing as usual . . . until the action got hot.

This time the model was a bit on the chubby side, so Sugiura-sensei declared it a special shoot for the chubby fetishists among his fans. (I think the images speak for themselves to present a good picture of what qualifies as chubby in the Land of the Rising Sun.)

Coincidentally, Ms Chubby has already appeared in another post on this blog about a year ago.

I suspect the choice of today’s lady originated with the fellow from Sanwa Shuppan (三和出版), the Kinbaku publishing company - judging by the fact that he was fawning over her for the full 10 hours plus after-party. I should be forever grateful to him, because it was he who introduced me to the only fur sock shop in town.

Undeniably a little extra flesh is allowing the rope to bite so much better. Osada Steve was in his element, and he found ever more devilish ways to make the extra pounds stand out.

The day started with Ms Chubby assuming the role of a rather well-fed housewife, soon to become ensnared in a rope trap. As she was consecutively stripped of her clothes, her fondness for mouth gags soon became clear - and almost every scene found her gagged with either rope or tenugui (手拭い).

At one point, when her legs were expertly spread by rope with the help of a bamboo pole, a suitably sized vibrator found its way into her loins, then aptly secured by an assortment of weighted metal clamps attached to the labia. For good measure, further clamps were applied to all the softer parts of the body (read: everywhere), the ensuing pain resulting in plenty of moans.

“The chubby maniacs are going to love this,” Sugiura-sensei said enthusiastically, cranking up the frequency of shutter releases quite a few notches.

I imagine the model would have appreciated the esthetic side of the photos, though I got the impression she was more concerned about how to deal with the pain from the clamps and the wobbling dildo between her legs.
As is customary with those Sugiura shoots, the final scenes entailed strict suspension progressions and were played out in the kura (倉). This was the ideal setting for Osada Steve to prove that he is equally adapt at doing tsuri (吊り) on heavy women as he is with butterfly-class models.

After an eternity of air time where Ms Chubby was put through her paces, she was finally released on her own recognizance. As soon as the last rope was off, she went on her knees in customary seiza position, demurely bowed and thanked the maestro.

A nice gesture, I thought. And proof that the lady enjoyed the entire ten hours of torment to the fullest.
Cheers
NdT

NuitdeTokyo reports:

After yet another grueling 12-hour Shibari shoot with Sugiura Norio (杉浦則夫), where Osada Steve (長田スティーブ) did the tying and I did the coiling, I was checking my auction account and had a pleasant surprise.

I had been hunting for issue #2 of M女マニアCollector (The Mania Collector of Submissive Women), and there it was, up for bidding. “Mania Collector” was a short-lived SM/fetish magazine in 1998/1999.

Issue #4, by the way, features an article about the Bondage Bar in Shinjuku - the place to be in the late ‘90s. Legend has it, that it was here where Osada Steve first met his shisho (師匠): the venerable Osada Eikichi (長田英吉) sensei.

The story focuses on Osada Eikichi’s weekly performances at the bar. (Translation below.)

It wasn’t until April, 2000, when Osada Eikichi moved his Osada Seminar to Steve’s place. In other words, Studio SIX Tokyo is celebrating its 10th anniversary (10周年) this month.

Here now the translation of the article:
SM Bar Study Group

Directly from the SM cram school Osada Seminar

Initiation to the essence of fetishism

Host: Bondage Bar

Every Friday, fans of SM are congregating to a building across the street from Shinjuku 2-chome (ndt: Tokyo’s famous gay district featuring 300+ lesbian and homo bars).

Here, starting at 8pm sharp, it is show time for Osada Sensei, a grand master of SM for more than 40 years.

Osada Sensei started Osada Seminar in 1975, and represents the quintessence of SM. In particular the kinbaku (緊縛) of Osada Sensei is quick, beautiful and of a high technical level. For the fans, the interest is in the beauty and technique of the master’s tying skills, and the spectacle of a submissive girl, enraptured by the ropes, suspended in the air is an absolutely must-see.

All submissive girls who want to do a session with the Sensei are amateurs. This must be a pleasant way of enjoying the week, one day at a time.

So, what kind of place is the Bondage Bar? During the afternoon, it’s a café with an SM theme. In the evening it’s “pub time” when the real action starts.

There a S girls and M girls, as well as switches on the premises ready to entertain visitors. Customers seeking more intense and private action can retreat to a nearby”play room” for a session with a woman of their choice - at extra charge, of course.

Every Friday night, Osada Eikichi sensei will give a performance. This time, the model is Miss J. She is wearing a red juban (kimono undergarment) and respectfully kneels before the Sensei . . .

There is theatrical feel to the scene. The fast rope comes out flying, and then, one by one, the layer of clothes covering the body are let go. The red rope envelops the voluptuous body of Miss J in all directions at the same time.

At some point, the right leg of Miss J goes up in the air and candle wax is poured on her thigh. Illuminated by the candle, a black leather whip comes down with a cracking sound.

Miss J now has her two legs up in the air while a pole fixed to her ankles ensures that her legs stay apart. Hips raised, but her shoulders still touching the floor, more red candle wax is poured on the woman’s breast in semi-suspension. The breathing of Osada Sensei and Miss J are now in tune.

As the show approaches its climax, Miss J is now completely suspended and swiveling through the air. Her body is strictly tied.

A mix of pleasure and pain enraptures Miss J, and the Sensei, with all his heart, extends plenty love to the submissive girl with his whip. “Swish . . . swish . . . swish.” With each stroke of the whip, the Sensei roars like a brave lion “Haaar! . . . Haaar! . . . Haaar!” Mixed with the sound of rapid whipping and manly roars are the yelps of the voluptuous Miss J: “Ha-a-aaa, huh-u-huh”.

The show lasts approximately one hour. When I interviewed Miss J afterwards, you could still feel from her the remnants of the intense pleasure and pain she just went through.

Clearly, Osada Sensei is no ordinary person . . .

NuitdeTokyo reports on the latest Sugiura Norio (杉浦則夫) photo shoot.

In Japan, pawn shops are known as ‘shichiya‘ (質屋). Due to kanji homonyms, however, the word can also be read as ‘7-8′. Predictably enough, ‘going to the 7-8′ was once upon a time slang for going to the pawn broker.

Given that pawn shops are typically refuge to an array of wealth and treasures, they used to be built around a robust ‘kura‘ (倉), a large concrete vault which not only discouraged burglary but was also resistant to earthquakes and fire.

Unsurprisingly, some of these pawn shops of old are still upright today. One such shichiya, not far from the Tokyo Dome/Big Egg baseball palace and the Korakuen amusement park, is today a functioning studio for TV and movie productions. And it is exactly here where, one snowy morning, we were all to gather: Master kinbaku (緊縛) photographer Sugiura Norio (杉浦則夫), three of his assistants (including his two sons), a rope worker (縄師) going by the name Osada Steve (長田スティーブ), the model of the day, the incomparable Asagi Ageha (浅葱アゲハ), one make-up artist and yours truly.

Now, did I mention that snow was lining the streets and that, more pertinently, pawn shops from yesteryear don’t exactly have central heating? As a result, whenever there was a break of some kind everybody would swiftly huddle together around the only kerosene stove in the house.

In spite of (or perhaps due to) its lack of modern amenities, the location is still popular with those putting together kinbaku productions and can be rented for roughly $1,500/day. Indeed, the late Akechi Denki (明智伝鬼) had a certain fondness for the place, and even held one of his birthday bashes there.

Sugiura Norio is quite the traditionalist. As such, he prefers (more…)

by NuitdeTokyo

この日の撮影は、古くは明 治の時代から現存する古い日本家屋で行われた。戦火を生き延びたその建物は、昔質屋として使われていた。

今年の日本で一番の寒さが 記録されまだ雪が残る中での撮影は、日本が誇る緊縛写真家の権威である杉浦則夫と彼のアシスタント三人、モデルは杉浦作品初の浅葱アゲハ、そして縄師としてこれも初めての参加となる長田スティーブ、ヘアメイク、そして取材兼アシスタントとして同行した私、 NuitdeTokyoで行われた。

さて私はすでに、その日ま だ道路は雪で凍り、旧時代からのこの質屋にはエアコンなどの暖房設備が無かった事を記していただろうか？撮影に休憩が挟まれると、全員が全員灯油ストーブ の周りを囲み暖を取る状況であった。現代的なインテリアなどはなにひとつ無いこのスタジオは色々な緊縛撮影で頻繁に使われており、故明智伝鬼もこの場所を 気に入って誕生日イベントに使用したこともあるそうだ。

杉浦則夫は、伝統主義者 だ。彼は古いセット、現代の人に見捨てられた小屋、そして苦悶する女性を、写真に収める。またこの巨匠は、撮影に常に大きな柱を持ち込み、モデルの体から 放射状に走る縄をそれに括りつけることも特徴である。

セッティングが終わり、朝 一番の撮影が始まった。杉浦が今回の写真シリーズをなんと名づけるかは分からないが、私には「富豪令嬢の苦悶」の物語に見えた。黒いストッキングと黒いド レスを身に着けた若い令嬢である浅葱アゲハと、彼女に縄で苦痛を与える担当である長田スティーブ。（写真参照）

撮影が進むにつれ、黒いス トッキングは脱がされ、処女娘の雪花のような腿と臀部はむき出しにされ、ライトのもとに晒されてゆく。令嬢にさらなる責めを加えるため長田は縛りに大きい 竹を加え、彼女の体はよりみだらな姿勢を強いられた。実際、浅葱の胸に最初の縄をかけた瞬間から長田はすでに現在の彼ではなく、100年前にその時代その 場所にいた人物のようであった。まるで長い間屋敷の娘に恋焦がれ、ついにその体を意のままにできる時を獲た庭師のように。

杉浦作品の縄に馴染み深い 人であれば、杉浦がモデルの表情に大変な重きを置いていることはご存知と思われる－苦痛で追い詰められた、苦悶の表情。建物の屋根が雪で覆われ、室内に暖 房が無い状態でのモデルの”自然な”表情ならば、「私に暖を与えてくれれば、いくらでも苦痛を受け入れます」といったものであった筈だが、ここで私は浅葱 アゲハが、（彼女がちょうど前日まで風邪で高熱を出していたばかりであったにも関わらず）寒さに凍えて死にそうな表情ではなく、あくまで力強く苦悶と官能 の甘美な表情をもって、撮影の中自らを追い詰めていたことは賞賛しなくてはならないだろう。

杉浦作品のもうひとつの キーポイントは、杉浦がとにかく速く動く、ということである。  もう一度言おう。とても速く動く。アシスタントや縄師に怒鳴りつけるように指示を出しながら、ポイントを定め、アングルを変え、ものすごい速さでシャッ ターを切っていく。それは縄師にも多大なプレッシャーを与え、この日は、縄出しを助け、使った縄を纏めていかなければならない私自身の指にも、私が長田ス ティーブの助手となってから最もプレッシャーがかけられていた日でもあった。私は長田が縛るよりも速く縄を纏められる、と思っていたがこの日、悟った。杉 浦の撮影のスイッチが入り、長田がその指示に対応していくそのテンションには、この世界のどの人間もそのスピードについて縄を纏めていくなんてできないだ ろう、と。

冷たい畳の上で12時間ひ たすら縄を纏め続けるその作業には、鉄の神経が必要だ。だが私がこの日なんとかやり遂げることができたのは、長年禅の修業を積んできたおかげだろうと思 う。

午前の撮影が終わり短い昼 食を済ませると、二階での撮影に移行した。畳が多く、雪のあととはいえ、窓からの日当たりもいい。この東京は建物が密集していて、ともすればこの緊縛撮影 の様子も隣の建物から見えてしまいそうだ。

伝統的な日本の家には、高 さ1.7mほどの床の間というものがあり、美しい日本画の掛け軸が飾られていることが多い。この質屋も例に違わずで、だがこの撮影ではその日本情緒を芸術 の為ではなく、縄を絡ませられた裸の浅葱を括り付ける為に使われた。畳の上で厳しい姿勢での胡座縛り（捕縄術では海老縛りともいわれる）を強いられた浅葱 の体には、半ダースまたはそれ以上の縄がかけられ、またそれらの縄が床の間の上部にある鉤に通されてゆく。これはそれらの鉤がいかに滑りやすかったかと人 間の指の本数を考えれば、言葉にするのは簡単だが実際に行うのは大変に困難なことで、手伝いに来ていた緊縛雑誌の出版社社員の助けがあったのは幸いだっ た。社員の彼にとってこの撮影が初めての冬の現場でなかったことは、彼が冬用の厚手のスポーツソックスを着用していた事からも見受けられた。

撮影内容は徐々に厳しく なっていき、杉浦は浅葱にまず手ぬぐいで猿轡を噛ませ、鎖でつながった錘でもって彼女の体に責めを加えていった。猿轡の奥から涎が垂れ、加えられた錘によ る苦痛で声にならない悲鳴があがり、苦悶の涙が幾筋にもなって頬を流れていく。

写真が音声を記録しないの は残念であると言わざるを得ないが、撮影の様子は一日に渡ってビデオに納められていた。私はこれらが杉浦則夫ウェブサイトにて公開されることを楽しみにし ているところである。

この比較的快適な場所での 撮影は終わり、今度は蔵での吊りの時間となった。最初のカットは長田スティーブが目下特許懸案中の太腿吊りから始まった。緊縛撮影は一定の時間内で展開さ れるショーと違い、様々な無茶な吊りが施される場合が多いが、この時もまさにそれで、浅葱が彼女の肉体の耐久力と、追い詰められた精神の限界まで超える気 概を示した瞬間であった。

休憩無しでの一時間程の吊 りの後、長田がやっと、彼女を下ろし少し休ませるように提言した時、杉浦は、スティーブは常にモデルに優しくて紳士的すぎるがアゲハには特別優しい、とか らかい、私は黙ってただひたすら縄を纏め続けていた。

最後のカットで照明は落と され、竹に括り付けられた浅葱の手に握らされた白い蝋燭がほのかなあかりを灯すと同時に、彼女の体に熱い雫を垂らしてく。暗闇の中をか細い悲鳴が流れ、夜 は刻々と深まっていった。

夜9時、12時間に及ぶ撮 影がとうとう終了した。撮影の間ほぼずっと裸であった浅葱に私が撮影の感想を聞いたとき、彼女は微笑んでこう言った。「凄く恥ずかしかったですし過酷でし たが、杉浦先生とスティーブ、二人のテンションのお陰で、私もとても頑張れました。」

＊この日撮影された写真 は、杉浦則夫ウェブサイトでご覧いただけます。

http://www.sugiuranorio.jp

The guys over at hojojutsu.com and hobakujutsu.com must have caught on to something.

That “something” being that the kanji 捕縄 can either be read as Hojo or Torinawa.

Now, nobody knows how Fujita Seiko (藤田西湖) has called it — unless you are privileged to visit the great “beyond” aka that place where our maker dwells and those who used their rope (縄) well are afforded eternal tying opportunities in Heaven.

To make a long story short, read this:

Zukai Hojojutsu by Fujita Seiko

図解捕縄術藤田西湖著

The ultimate book demonstrating the historical significance of the Japanese tying arts practiced by the Samurai warrior class.  Long out of print, this bible on Hojojutsu is a highly sought after collector’s item regularly fetching record prices at online auctions.

A limited number of unsold copies in pristine and original condition are now on sale at a special price of JPY 25,000.

This special price is bound to increase as the number of unsold copies continues to decrease. Order your very own copy now, as this may be your last chance to obtain this book at a reasonable price.

With hoshu hojojutsu (捕手捕縄術) having been practiced as one of the 18 warrior skills (武芸十八般, bugei juhappan), this book should be of interest to all students of traditional Japanese martial arts. Furthermore, as explained in the “The Beauty Of Kinbaku” (2009) by Master “K”, the more modern tying arts of Shibari (縛り) and Kinbaku (緊縛) trace their origins to this ancient and highly codified martial art, making this book an important resource to all.

Keywords

Just to demonstrate the sheer complexity of ties and concepts covered, see the following shortlist of terms culled from the first 20 pages of the book.

Hojojutsu, 捕縄術 (can also be read as torinawajutsu)

Hobakujutsu, 捕縛術

Jojutsu, 縄術 (sometimes read as nawajutsu)

Torinawajutsu, 取縄術

sokei no jutsu, 繰繋之術

togijutsu, 伽術

senjutsu, 仙術

Honnawa, 本縄

Hayanawa, 早縄

Semenawa, 責縄

hobakuyo nawa, 捕縛用縄

keibatsuyo shokei nawa, 刑罰用処刑縄

shokei yo kubikiri nawa, 処刑用首斬縄

sarashi nawa, 晒縄

ketsujo, 傑縄

hiaburi nawa, 火焙縄

gomonyo kakushu semenawa, 拷問用各種責縄

shikenyo kakushu shiyonawa, 試剱用各種仕様縄

nawakake hoho, 縄掛方法

taishonawa, 大将縄

shisotsunawa, 士卒縄

geronawa, 下郎縄

nijuhishinawa, 二重菱縄

jumonji, 十文字

waribishi, 割菱

chigaibishi, 違菱

kaminawa, 上縄 (can also be read as uenawa)

kaeshinawa, 返し縄

takaha/taka no hane, 鷹羽

shimenawa, 注連縄

toriikakeru, 鳥居懸

kyujunnawa, 笈循縄

chichigakenawa, 乳掛縄

chigonawa, 稚児縄

zatonawa, 座頭縄

hafujonawa, 羽附縄

ashigatamenawa, 足固縄

tomenawa, 留縄

kainawa, 介縄

okurinawa, 贈縄

watashinawa, 渡し縄

sarashinawa, 晒縄

kubikirinawa, 首切縄

kirinawa, 切縄

kirinawa/zanjo, 斬縄

hasaminawa, 剪縄

rakka, 落花

sutenawa, 捨縄

kirinawa, 伐縄

hitsukenawa, 火付縄

hininnawa, 非人縄

kaginawa, 鈎縄

heinorikagi, 塀乗鈎

harinawa, 針縄

chizomenawa, 血染縄

yokomenawa, 横目縄

shirushinawa, 印縄

royashikinawa, 牢屋敷縄

toriwa, 捕輪

orikakenawa, 折掛縄

kajaguchinawa, 假蛇口縄

fundonawa, 分銅縄

hayatejo, 早手錠

A word on kanji readings

Most Japanese kanji have more than one reading, and so do the kanji for rope (縄) and capture (捕). As a result, the kanji combination for 捕縄 (arresting/capturing with rope) can either be read as “hojo” or as “torinawa”.

To further complicate matters, the kanji for rope (縄) within the context of the Japanese tying arts as described in this book can sometimes mean “rope” in the physical sense as in hayanawa (早縄, literally meaning fast rope – the relatively short rope made for an initial arrest and temporary bondage) and as in honnawa (本縄, literally meaning main rope – the relatively longer rope used for more long-term and elaborate bondage). But, the kanji for rope (縄) often also stands for describing a certain technique or type of bondage, such as in taishonawa (大将縄 – a bondage meant for higher ranked samurai officers/generals) or in ketsujo (傑縄 – a kind of special-purpose bondage).

About the author

Fujita Seiko (藤田西湖), the reputed 14th soke of Koga-ryu ninjutsu, is not only known as a legendary martial artist but also for his research on the ancient warrior arts of the Samurai – not unlike Nawa Yumio (名和弓雄), another “last ninja” and martial arts historian.

Other books on ancient martial arts by Fujita Seiko

Zukai Shurikenjutsu (Illustrated Shuriken), 図解手裏剣術

Zukai Kenpo Gokui Atemi Sakkatsuho (Illustrated Secret Kenpo Killing Strikes), 拳法極意 當身殺活法明解

Zukai Shinto Muso Ryu Jojutsu (Illustrated Shinto Muso-ryu Jojutsu), 神道夢想流杖術図解

Note

Due to the different readings of the kanji combination 捕縄 the title of this book is sometimes also translated as Torinawajutsu.

There is no use to close the barn after the cows have left. So, after getting rid of that Bull (or was it the Ox?), welcome to the Year of the Tiger (寅).

Just a word of caution though. ‘Coz if you throw “tiger” into an online dictionary, you’re likely to get a very different kanji (虎) returned. Fortunately, both kanji (寅 and 虎) have the same reading: Tora. It’s also fortunate that the foreigners at the Editor’s Desk of TokyoBound have Japanese girlfriends (well, most of them) and that these gf’s have grandmothers that can be consulted about matters such as the Chinese Zodiac and things like Oshogatsu (お正月). So, before us guys put out some bull, we’d like to check our facts with “reliable” sources.

To make a long story short, Osada Steve has published an art book celebrating the Tiger (your choice of kanji here). This book is about Aiko (愛子), “she who carries the Tiger (tattoo) on her back.” There is strong evidence to suggest that this book will not just be THE Osada-ryu (長田流) book of the year, but also THE “Year of the Tiger” book of the year.

Now, rather than boring you with the ins and outs of this book, read the “blurb” by none other than Master “K”:

Just in time for the Year of the Tiger, Osada Steve (長田スティーブ), master of the elegant suspension performance, and so much more besides, has released his first book of Kinbaku (緊縛) photographs.

It’s a beautiful book. Entitled “Aiko” (愛子), it’s a handsome and sumptuous, large-size, paperback publication of 160 pages filled to the brim with beautiful color photos. The pictures are the product of eight different photographers and each has trained an avid and artistic eye on Osada Steve’s well-known performances from his Studio SIX in Tokyo. The results are often spectacular. 

The book is divided into sections devoted to different classical Kinbaku ties and techniques (Newaza - 寝技, Tsuri - 吊り, Bo/Bamboo Pole, etc.) as well as to other diversions (candles, multiple models, etc.) with each section preceded by a short page of pithy, informative and often amusing comments from the master himself.

So solid and entertaining are these commentaries that one almost wishes these were longer and more numerous. What is true is that it’s a delight to hear Osada Steve’s wise and authentic voice come through these pages. Of course, it’s the photos that dazzle and it’s a pleasure to be able to study Osada Steve’s beautiful and idiosyncratic techniques up close. Naturally, his models are very lovely and I can think of few other recent books (Yukimura Haruki’s - 雪村 春樹 - fairly recent “Akai Hana” is a rare one that comes to mind) that so beautifully present the art of Kinbaku in photographs.  Among all these lovely models, Aiko surely stands out. In fact, this book might almost be considered a Valentine to this beautiful woman. As Osada Steve writes in one of his chapter introductions: 

“A smile from aiko-chan will set your heart on fire. A touch from her will make you melt like ice.” 

Lucky is Steve to have such a partner. On the other hand, lucky is she to have so skilled and devoted a rope master. One who is extremely talented but also humble and caring and one who knows that, as the late Akechi Denki (明智伝鬼) sensei once said, “Kinbaku is an activity for two like-minded hearts and must always be a loving exchange.” And lucky are we who can share in this loving partnership through this handsome book. 

Master “K”

Now, supposing you have read this far and are contemplating to own this book or gift it to your significant other, AND you haven’t yet clicked through, here come the text parts the book. (Sorry, to get a taste of the photos inside, you gotta click thru.)

Table of Contents

Introduction…3
Newaza (Floor work) – 寝技…4
Tsuri (Suspensions) – 吊り…32
Yokozuri – 横吊り…34
Aomuke-zuri – 仰向け吊り… 50
Gyaku-ebi-zuri – 逆海老吊り … 54
Ebi-zuri – 海老吊り…58
Futomomo-zuri – 太腿吊り… 62
Utsubuse-zuri – 俯せ吊り… 68
Semenawa – 責め縄… 76
Teppo-zuri – 鉄砲吊り… 78
Takezuri – 竹吊り…84
Kazari Nawa – 飾り縄…86
Bo Shibari – 棒縛り… 96
Miscellaneous… 100
Tongue play – 舌責め…132
Candle Play – 蝋燭責め…136
Happy Moments… 142
Double Trouble… 148
Cage Play… 154
The Last Page…158

Introduction

This book is all about aiko-chan.

All photos (with the exception of the Double Trouble series) were taken during Kinbaku Live performances at Studio SIX Tokyo. These sessions are intense and intimate affairs where visitors are afforded a chance to take photos and/or shoot video.

Regular Kinbaku Live performances are held twice a week (Wednesdays and Saturdays), lasting for about four hours, entailing four or five sets each. On other nights Studio SIX is available to photographers and private collectors who are after those special looks that only a live session (aka play session) can provide. In other words, what you get at Studio SIX is the real deal with real emotions as opposed to staged poses.

Since 2002, I must have held about 600 such events, running through well over 100 models.

Kinbaku Live sessions are different from my Shibari Shows on bigger stages or in so-called nude theaters around Japan. The latter have strict time limits, and no photography is allowed. Shibari Shows in theaters are usually put on four times a day, ten days in a row. As such they can be quite taxing on the stamina of the model and on my own vigor. My record to date is 400 such shows in a single year.

Physically speaking, Studio SIX doubles as Osada Kinbaku Dojo where special Shibari Clinics are conducted, where foreign Shibari students can stay during their training, and where expat residents and local Japanese Shibari enthusiasts receive training in Osada-ryu (長田流).

But back to aiko-chan who, over the course of 18 months, has become somewhat of a star at Studio SIX. The photos for this book were selected from approx. 25 shoots by eight different photographers.

Osada Steve
長田 スティーブ

Newaza (Floor work) 寝技

Newaza loosely translates to floor work. The techniques heavily draw on what I have learned from grandmaster Yukimura Haruki (雪村 春樹), the undisputed King of Newaza, the foremost proponent of the so-called caressing style of Kinbaku.

As a rule, each Kinbaku Live session at Studio SIX starts on the floor for several reasons: a) to get a feel of the model’s condition (m-jo no jotai – M女の状態) on that particular night, b) to substitute “negotiation” by getting a feel of the type of the person I tie – especially with a new model – in which case the newaza (寝技) is what I call aisatsu (greeting – 挨拶) shibari, c) because newaza techniques are ideally suited to develop closeness, intimacy and a deep emotional exchange between two partners, and d) because I really like newaza – in fact, depending on the mood, I might just stay on the floor for the entire Live night, foregoing suspensions altogether.

Newaza is closely related to shuuchinawa (羞恥縄). This term is difficult to translate, as are many other Japanese concepts, because not only the language is different, but also the cultural backgrounds and the way the Japanese think. Shuuchinawa is a tying style where the bakushi (縛師) utilizes the inherent shame of an aroused woman to emphasize her reactions to achieve those special emotional and erotic facial expressions for which Japanese bondage images are famous for.

What happens in a shuuchinawa session is that the woman struggles with her own erotic arousal – as in: shall she be ashamed to admit her sexual desires, or shall she let go completely? Japanese women are prone to finding themselves in such predicament.

Tsuri (Suspensions) – 吊り

Suspensions within Shibari/Kinbaku are mainly part of semenawa (torture bondage – 責め縄). Not necessarily to act out torture scenes, since in my own case I am trying to tie for maximum comfort. Semenawa in this context means that the ties are very precise – as opposed to merely wrapping rope around somebody. The most highly recognized master of this genre is the late Akechi Denki (明智伝鬼).

Given the increased risk of nerve damage and serious injury, the ties need to be well designed and applied with high precision. Especially for suspension progressions there is no margin for error.

Having studied under Akechi Denki for several years, and later under Nawashi Kanna (縄師神凪), Akechi Denki’s main disciple, I follow semenawa principles when doing suspensions.

Yokozuri (Sideway Suspension) – 横吊り

Yokozuri is one of my favorites. To date I have done these in one form or another well over a thousand times. The beauty of yokozuri is, if based on a solid takatekote – more precisely on the 3-rope Osada-ryu takatekote (長田流高手小手) purpose-built for yokozuri – it can be applied to any person, male or female, young or old, of any size and weight.

Yokozuri offers a multitude of variations and progressions, more than any other type of suspension. Most of all, it isn’t taxing on the lower back (as in a Gyaku-ebi-zuri, see pp 54), and it offers mid-air poses of pure grace without discomfort or pain. In short: to enjoy and gracefully float in mid-air, you don’t require a trained or professional model.

The above notwithstanding, it obviously helps if the model is experienced and knows how to shift and distribute her own weight in an almost dance-like aerial performance.

Aomuke-zuri (Face-up Suspension) – 仰向け吊り

Aomuke-zuri is ideally suited for various suspension progressions – the most common being a face-up horizontal to the floor that then transitions to an inverted suspension (sakasa-zuri – 逆さ吊り). The latter could have a waist rope (do-nawa – 胴縄) as its main support, or ropes at both ankles (ryo-ashi sakasa-zuri – 両足逆さ吊り), or one ankle alone (kata-ashi sakasa-zuri – 片足逆さ吊り). And, of course, if you want to get fancy, you might construct some sort of hip harness to take off some or all of the load from there.

The takatekote as a base for an aomuke-zuri could be a tasuki (襷) or a hishi-nawa (菱縄) variation, but other forms of main upper-body support are possible and available.

Floating horizontally to the floor will make it difficult to hold the head up, causing the neck to do some extra work. Therefore this position should not be held for too long.

Gyaku-ebi-zuri 逆海老吊り
(Reverse-Shrimp Suspension)

Statistically speaking the gyaku-ebi-zuri is the most common type of suspension seen in Japan. At first glance it looks easy to construct, as all you need is a suspension line on the takatekote (高手小手), then lift the legs up one at a time. For this reason it is the bread-and-butter tie of female rope workers (shiroto jo-osama – 素人女王様) whose bondage skills are limited. Subsequently this is also the suspension with the highest rate of nerve damage and other injuries.

Due to the high risk of nerve damage, the takatekote should be constructed very carefully. To do so requires a very experienced person. According to Nawashi Kanna sensei, the gyaku-ebi-zuri is the most difficult type of suspension to do safely.

A common “stunt” that can be seen in bars and clubs around Japan is for the suspended rope bottom to be mounted by her top and used as a swing (buranko – ブランコ). The subsequent damage to the spine and lower back (especially when done on a daily basis over a period of several years) will be long term. I personally know one woman who suffers from chronic back pain, having spent thousands of dollars in hospital bills and acupuncture treatment so far.

Of course there are techniques to mount and swing without applying your full weight onto the back of the suspended sub. Tops with fingers of steel could theoretically hold their own weight. Or the top could step on the suspension lines rather than on the body of the sub. The latter, of course, requires a solid and well-designed bondage, a little bit of extra thinking, and some sort of acrobatic ability on the part of the top.

With a never-ending stream of fresh rope bottoms coming online, and those rendered invalids going offline, the cycle continues. It is the shiroto jo-osama, that give the entire Shibari/Kinbaku genre a bad name.

Utsubuse-zuri – 俯せ吊り

I am sure this type of suspension has been done by others in the past, though I have no recollection of having seen this before. In other words, I am also not aware of any established or non-established name for it.

Utsubuse means lying face down. I chose the term utsubuse-zuri, because the lift-off for this suspension is taking place with the sub lying on the floor, face down.

The tie itself is fairly simple. The general idea is to distribute the tension/weight between the chicken-winged legs and the hip rope (koshinawa – 腰縄). So at the end of the day the success of such a suspension depends on the model – more precisely, whether the rope bottom is able to withstand the pain.

This is one of several suspensions that requires a bit of training on the part of the model.

Semenawa – 責め縄

As I mentioned earlier, it is my policy to tie for maximum comfort. However, there are ties that by definition cannot be comfortable.

Now here you have it, a suspension by the wrists and ankles that is sure to be painful and apt to freak out your average sub.

Teppo-zuri – 鉄砲吊り

Teppo is Japanese for firearm. The arms in this suspension form a pattern similar to a person carrying a rifle on his back.

There are several variations of this rather complicated suspension. The legs could be suspended on the upper suspension point (to take off some tension from the upper body lines), or they could be hooked into the waist rope. The heels could be placed both behind or one leg could be in front, creating some sort of “runner’s” (飛脚) pose.

Due to the complexity of the tie, the construction before lift-off takes more time than your average takatekote. Suffice it to say that the bondage on the arms and upper body needs to be a snug fit in order to avoid grief along the line.

Due to the very strict tie and basically uncomfortable position of the arms, it makes for good practice to do the bondage fast – and also to untie it fast.

My recommendation is, if you are not experienced enough to construct the base teppo position fluidly and speedily, do not attempt lift-off. Rather spend a few years practicing other ties, before attempting this.

One of the risks with this bondage is straining/pulling muscles in the upper arm of the arm that is raised. Another risk would be breathing problems if the base bondage restricts the rib cage and diaphragm areas.

The beauty of this suspension is that the rope bottom is in a position perpendicular to the floor.

Of course other suspension forms based on the same tying principles are possible/imaginable. For example having both elbows raised above the head, resembling a bunny – in which case I would call this suspension an usagi-zuri (兎吊り).

Take-zuri (Bamboo suspension) 竹吊り

Take stands for bamboo, and zuri (or tsuri) stands for suspension.

As happens with many names for Japanese ties they are mainly descriptions of what is going on. To complicate matters, one bakushi may call a certain tie one way, while another bakushi might give it a completely different name.

Take-zuri simply means bamboo suspension, or, within this context, a suspension of a person while utilizing bamboo. Such bamboo could be anywhere. For example, the bamboo could be fixed to the outstretched arms of the rope bottom (see Bo Shibari on pp 96), or it could simply have a decorative function without any load-bearing task.

So to be precise, the bondage shown here could be called “hollow-of-the-knee(s) hanging on a bamboo pole suspension” (ryo hiza no ura take-zuri – 両膝の裏竹吊り), but that would lead to long-winding names and there would be no end of it.

My favorite term is yukata shibari, which merely means bondage with someone wearing a summer kimono. In other words, this name doesn’t say anything about the actual type of bondage. For one-upmanship one could create names like “yukata shibari with the rope bottom having pierced earlobes and a tattoo (specify type) on her left thigh (or whatever other place)”.

Kazari-nawa (Macrame Bondage) 飾り縄

Kazari-nawa is an important part of Shibari, because whenever you have completed the working part of a certain tie and find yourself with excess rope, it is time to put those loose ends away intelligently – and in a way that follows Japanese esthetics.

What you find in this chapter are ties specifically meant to demonstrate kazari.

Bo Shibari – 棒縛り

The Japanese are fond of images where a person’s arms are tied to a stick/pole. They can be found in Kabuki plays as well as in modern slapsticks on TV.

One fairly popular application of bo shibari is where two servants are being tied into these positions by their master so as to prevent them from drinking precious wine during his absence. This is always good for a few laughs in theaters and on TV when the two servants struggle to uncork (and drink) a bottle of liquor – failing to do so at first, until finding a way to cooperate until passing out under the kitchen table.

Miscellaneous

Now here is a word that deserves entry into a spelling bee contest.

What you will find in this chapter are photos that defy categorization. Consider them bonus pictures simply meant to provide some additional eye candy.

Tongue play – 舌責め

A well-trained tongue can give as well as receive pleasure. At times it even finds itself at the receiving end of torture.

Now aiko-chan happens to own one of the sexiest tongues around, and it simply seems natural to take full advantage of that asset whenever the opportunity arises.

Candle Play – 蝋燭責め

Candle play may at first glance appear harmless enough and easy to do. However, there are a few pointers that would come in handy.

As with most SM plays, it helps to know what you are doing and to develop a certain amount of technique (gijutsu – 技術).

First, candles burn at different temperatures, mainly dependent on the amount of paraffin they contain. It’s also obvious that the distance the dripping wax travels will to a certain degree affect the hotness upon impact on the skin.

In terms of safety it makes for good practice to keep the flames away from the body (hair might get singed) and other material that can catch fire. For example, in Japan it is a common sight to stick a number of candles into the suspension lines, creating some sort of Christmas tree effect. Every once in a while there are reports that suspension lines have caught fire which then caused the rope bottom to drop.

Special care should also be taken to protect the eyes of the sub when applying wax to the face.

Candle play does make for some good yelping sounds from the sub. It also makes for nice red wax patterns on alabaster skin. On the down side it leaves a terrible mess and is a sure way to lose a maid. This is why you won’t see much candle play at Kinbaku Live @ Studio SIX.

Now, if time is up and the necessity arises to extinguish your candle(s) – which might be one or two or even one or two “dynamite sticks” containing half a dozen candles each – you might have the extraordinarily bright idea to do so on the skin of your sub! There are basically two ways to do that safely. One way is to hit the candle(s) on that “cover” of wax you created. Another way is to use the snuff-out method where the flames are killed before you hit the skin. The latter requires an even “burn” of the candle, where the wick is basically surrounded by the candle wax and thus the flame is “suffocated” before it touches the skin.

I recommend you practice this on your own skin to assure that you do not cause candle burns. Such burn marks are neither a pretty sight, nor will they disappear (like rope burns) within a reasonable time.

Happy Moments

Everything is a matter of taste. In the case of attraction to the other sex, imprinting plays a role, as do other early-life experiences. In other words, a lot is going on that is hard to put a finger on. So at the end of the day, if someone falls in love, there is nothing much you can do about.

Little aiko-chan’s voice (especially when she yelps like a puppy) evokes sounds of angels singing in heaven. Her skin temperature will make you shiver like you have never shivered before. She tastes like honey. She moves like a goddess. Her natural body fragrance makes your olfactory senses go wild. Her demeanor is that of a willing servant. Her classy style is that of a woman born to an aristocratic family. But most of all, she is the most beautiful woman on Earth.

Blessed is the man who she chooses to share her precious time with. Because such man will get a taste of paradise before his time is up.

A smile from aiko-chan will set your heart on fire. A touch from her will make you melt like ice. Aiko-chan wields immense power over men. Yours truly not excluded.

Aiko-chan is the type of woman that make a man wish to die rather than lose her.

Double Trouble

This is the only photo series not part of a regular Kinbaku Live @ Studio SIX.

The idea was to do a swing (buranko – ブランコ) shot, where one model sits atop another in suspension. (As the bamboo is positioned between the main and leg suspension lines there is zero extra force being placed on the suspended woman.)

This being a lazy Sunday afternoon, I couldn’t resist to also suspend juli-chan and aiko-chan side by side in a futomomo-zuri (also see Futomomo-zuri on pp 62).

Cage Play

I got this cage from QuickCage.de – mainly to utilize it in some of my video work. However, this being a piece of excellent German workmanship, I have developed a fondness for this cage, and it is now a standard feature at Studio SIX Tokyo. Especially since it can be assembled or disassembled in less than five minutes.

Cage play offers various opportunities like locking away someone precious for safekeeping or depriving naughty subs of their freedom – be it to punish, torture or merely letting them reflect on their own state. The possibilities of play are endless and only limited by your imagination and that of the woman at the receiving end.

Since having installed this cage at Studio SIX, I have noticed that certain subs are prone to enjoy being caged.

As we are at the homestretch of the photo series in this book, I’d like you to view the pics from the perspective of me locking away one of the most precious subs that I have ever had a chance to lay my hands on.

May aiko-chan be safe until her release, so she can be bound and pleasured some more.

The Last Page

Thank you for having reached this page. We hope you have enjoyed our very personal, little journey into Shibari/Kinbaku and SM.

For starters the site features Ginza Black Heart and the legendary Saotome Hiromi (早乙女宏美).

天狗マン参上！銀座 Black Heart

山奥に住んでいる天狗マンは、お祭りや行事があると時折村に下りてくる。天狗マンにとって、東京まで下りてくるのはとってもめずらしいこと。

でもこれは天狗マンにとっては好都合で、なぜなら彼が東京に来るのは自分の楽しみのためだから。

天狗マンの今回の旅の目的地は、銀座にある老舗のＳＭバー、Black Heart。彼の古い友人、早乙女宏美が新しくこの由緒ある場所のママに就任したのを祝うため。 (more…)

The above calligraphy by Yukimura Haruki (雪村 春樹) shows the bakushi (縛師) name Harumine (春嶺) he has bestowed on Osada Steve (長田スティーブ) — who is entering his fourth year of apprenticeship in unlocking the secrets of newaza (寝技) aka The Caressing Style.

Osada Steve:

“It is a great honor to have been accepted as a student by the undisputed King of Newaza. When I entered into this apprenticeship back in 2006, I thought this would be easy sailing as most of the Shibari is taking place on the floor. Well, I was in for a big surprise. On one hand the ties look amazingly simple, on the other hand they are very complex. Even though I am having the opportunity to apply what I am learning in the field — mostly during my regular Kinbaku Live events at Studio SIX — as a kind of “homework”, I am having a hard time catching up with what is being taught to me.

I have come to realize that the actual shibarikata (bondage patterns) only form a very small percentage of Yukimura-ryu. The essence of the Yukimura style of Kinbaku is “the way” the rope is applied — in a very calculated way, in a caressing manner  to facilitate a deeply emotional connection between bakushi and model. This will not only open the opportunity for very satisfactory sessions, but will also result in those special (or shall I say unique?) facial expressions that Japanese women in rope are so famous for.  All combined, at the end of the day, these are the secrets of shuuchinawa (羞恥縄) – and these techniques involve much, much more than just putting rope on a woman.

It is these concepts and techniques that are hard to teach — and consequently hard to learn. After several years of intensive study I am beginning to get a grasp of this. At the same time, I realize that I still have a lot to learn.”

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

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

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

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

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

Before we now get to the actual story, a few words by NuitdeTokyo: (more…)