Is that some chi on your chin?

Posted on Tue, 26 November 2013


 

OK, I appreciate the subject of chi has given rise to a number of jokes recently but, don't worry, I am not about to cast doctors into the pit of eternal damnation or anything like like that. However, I am constantly reminded of a similarity of movement in tai-chi and good tying every time I see the former. Consider the grace of movement in this video, for example.

 

What strikes me is the flow, the way the whole body moves in total harmony. If the rope truly is an extension of ones hands, its flow should also integrate with your hand and body movements. There is also the question of balance and centre of gravity, which are important principles in almost all martial arts. It isn't surprising really that these elements should be integral to kinbaku when one considers that its roots are in combative rope techniques and the pervasiveness of martial arts in Japanese culture.

One can see Osada Steve's background in Aikido in his teaching and he makes constant reference to not allowing oneself to be in a vulnerable position and to balance. I'm also reminded of the way judo teaches one to use one's opponent's momentum to ones advantage. The latter was something referred to in Yukimura's recent master class at he Copenhagen Dojo. For me, it is important to retain continuity of flow. Constant flow and control are powerfully dominant but breaks demonstrate a loss of this and diminish the effect disproportionally. For this reason, I try to tie with a rhythm and try not to break contact or release tension and control of the rope. I will usually begin a session by taking control and not relinquishing it until the last rope is off and I place the freed hands back on the model's lap. These signify clear start and end points to my control. Giving the hands back is very symbolic in acknowledging that I had control and now I return it.

Keeping ropes within reach and not letting go the rope end until the new one is joined is another way to minimise disruption of contact and flow. Of course, good flow is only possible if you tie smoothly and without hesitation or fumbling. The initial wrist tie is key. You must be able to do this right and do it quickly. If you can't, practice until you can, and then do it blindfold from any position. I have seen entire 2-rope takate-kotes tied (1m 16s by Riccardo Wildties) in the time some people take to tie wrists! Make you first action decisive and take control as this will set the tone of the scene. Don't dick about!! Screw up the beginning and you will have an uphill job. Make an impression and get their attention.

If you can transfer this flow of movement to your partner, you will do a number of things. Firstly, you will assert your control by constantly depriving her of balance which creates a physical dependency on you. Moving somebody off their centre of balance can also have a disorientating effect which contributes to being absorbed by the moment. Also, this type of movement can also be very seductive, it conveys a feeling of abandon to the sensuality of the flow. Enjoyment of this kind of movement is hardly unique. After all, what is so much of the pleasure of dancing about? There are undoubtedly parallels in one partner 'leading' and the other 'following, especially in performance bondage. I have said it before and I'll say it again, take a look at some tango videos for another type of inspiration. Now, wipe that bit of chi off your chin and get on with it :-) 


wp