Why we tie? (2/2)

This podcast is our first attempt at discussing different aspects of beauty in kinbaku. We talk about whether beauty is important to us and if yes, why; how differently the rigger and the model perceive beauty during the scene; how it is not only visual that we appreciate; the influence of clothing and hairstyle on the creative process; what we find beautiful in private tying and what we are looking for when watching others; and finally the importance of model’s expression and rigger’s intention in creating beauty. Help us buy a microphone and continue rambling: https://www.gofundme.com/f/help-us-get-our-voices-back-online-microphone

This episode is a continuation of our previous discussion about 'why we tie'. We talk about rope bondage being a very unusual activity; why people tie; why we tie; the differences in roles and experiences of a rigger and a model; what Asiana is looking for in ropes; exploring one’s dark side; rope as an edge play; our dark side in ropes power dynamics; exploring limits and the benefits of the fluidity of our dynamic. 

This episode is the first of a two-part series on why we tie. In it, we talk about the reasons why we are tying; our beginnings in ropes; the importance of patience for models; finding and living your intention in ropes; how our intention was changing over time; learning about our preferences and what we have to offer and the evolution of our dynamic.  Here is a link to an article by Door that we mention during the conversation: https://www.sm-othered.com/all-stories/on-the-merit-of-patience-in-rope-models?rq=Patience

In this episode, we talk about the feelings of sadness and resignation in ropes; the differences in the experiences of the rope top and the model, how they influence each other and the intention of the rope top; non-verbal communication, safety and the importance of attention and intuition in ropes; objectification and the idea of the model being an instrument for the rope top.

In this episode we talk about the difference in the experience of the model between different styles of tying, some of the characteristics of Kanna style, the model’s experience of predicament compared to slow suffering, what Asiana loves about Kanna style, getting to know each other through rope and Door’s favourite ways of being tied.

In this episode we talk about: what semenawa is for us; the difference between masochism and suffering; kotobazeme; Door's desire to be violated by rope; the bottom’s imagination as a tool to use in the scene; Door's mindset of offering herself to the rope top; non-verbal communication; trust-based dynamics versus explicit negotiation; our lack of expectations from the rope scene; patience in building rope relationships; the stories we live in ropes; the kind of things we do communicate verbally; the uniqueness of each rope dynamic.