Nureki Chimuo Archive

I received a phone call from Mr. N, an old acquaintance who reads this “Talking Theater” every time.

“...After seeing Nureki Sensei’s bondage session, I can’t stop thinking about the ‘kuzushi-nawa’ that Master K, an American, is said to have mentioned. Could you please explain what it is in a little more detail?”

Since Mr. N has such a passionate interest in ropes, it’s only natural that he would take such an interest in the term “kuzushi-nawa” as described by Master K.

That said, it’s difficult to explain “kuzushi-nawa” in concrete terms over the phone.

Or rather, it’s impossible.

“The magazine will be out soon, so please take a look at that,” was all I could say.

To be honest, I don’t recall specifically tying the model, Fuyuki-san, using “kuzushi-nawa” during that shoot.

To reiterate, “kuzushi-nawa” is a coined term created by Master K, or rather, by the beautiful interpreter Ms. A, who translated the English letter he gave me into Japanese and conveyed it to me.

I did not attempt to tie Fuyuki-san with the intention of using “kuzushi-nawa.”

I simply wanted to try a somewhat more realistic form of bondage, rather than the formulaic, by-the-book methods that have been repeated over the past few decades.

I just secretly referred to it in my mind as “shinken-nawa.”

I had tried to tie Fuyuki-san with “shinken-nawa” before, but the staff around us lacked a certain tension, so I couldn’t get into the right mindset.

The rope wouldn’t cooperate either.

That’s exactly right.

The rope is alive, you see.

It’s not just a mere object.

I wrote about this forty-five years ago and even used it as the title of a book.

Namely, “The Rope is Alive.”

The multicolored cover of this book was designed by Minomura Ko.

If there’s any slack in the atmosphere on set, it’s all over.

If I, the female model, and the staff, starting with the photographer, lack a sense of tension, I simply can’t bring myself to tie “serious rope.”

If even one person has a low level of understanding about SM, the atmosphere on set won’t build up.

If there is even one person around me who lacks concentration, I myself won’t get into it in the first place.

Huh? What did you say?

You think that’s obvious?

Ah, yes. You’re right.

In that regard, the atmosphere during the shoot the other day was good.

It was fitting for the appearance of “serious rope.”

Master K, who had come from America to observe, had such an excited expression and such a look of ecstasy in his eyes that it put me in the best mood.

I tied the “serious rope” with precision.

“Could you explain it a little more specifically? Hey, what kind of tying technique is ‘serious rope?’ How exactly is it different from ‘kuzushi-nawa?’” Mr. N persisted.

No, he’s just passionate about “bondage.”

“That’s why it’s impossible over the phone. If you look at the magazine, it’ll be crystal clear, you’ll understand right away.” I replied, just as the front door slammed shut with a loud bang.

A large envelope arrived in the mail from Producer Yamanouchi Yukari.

It had six 80-yen stamps on it. It was express mail.

“Hold on a sec,” I told Mr. N. I opened the envelope with scissors, and just as I’d suspected, it contained a hefty fifteen pages of the proof copy for the magazine I was discussing with Mr. N, along with the proofs for my written manuscript.

“Mr. N, I’m sorry, but I’m going to have to hang up. Let’s talk again later.” I hung up the phone.

I spread the proofs out on my desk.

What kind of bondage is this “kuzushi-nawa” that Master K and the beautiful interpreter speak of? I decided to look at it objectively.

At first glance, there doesn’t seem to be much difference.

It’s a binding method where the usual standard rope has been slightly “disheveled” or “disrupted.”

There is no particular change, but because the model’s reaction is good, that “kuzushi-nawa” comes alive.

Along with the model’s agonized breathing, the rope breathes agonizingly as well. The model and the rope are reacting intimately with one another.

No matter how much passion I pour into using “kuzushi-nawa,” if the woman on the receiving end is merely a self-proclaimed enthusiast or a model in it just for the pay, this kind of intensity simply won’t come through.

The model named Fuyuki isn’t in it for the money. Within her lies an inescapable, poignant story. The rope is a tool to bring that story to life.

And photographer Kei captures her true self, her reaction to the “kuzushi-nawa,” honestly and faithfully, without any unnecessary staging.

The lighting and the angle are both great.

Thank you, Kei. You really brought out the best in my rope work. I appreciate it.

Fuyuki-san’s confession is published alongside the photos. It’s an honest, well-written piece. Thank you so much for writing it.

In a letter to me from Producer Yamanouchi Sachi, included with the proof copy, it says, “...I received a truly precious manuscript. When you sent it to me and I read it, I was absolutely stunned.”

As I’ve written here and there before, Fuyuki-san harbors a deep, rich story within herself.

The story explodes through ropes.

Since we’re on the subject, let me state this clearly.

If a bondage model doesn’t possess a story within herself, no matter how much effort the person puts into tying her up, it will ultimately end up as nothing more than a “cruel endurance contest” or a “circus with ropes.”

Of course, whether it’s a “cruel endurance contest” or a “circus with ropes,” those who enjoy such things will likely welcome it.

However, for those who seek the most stimulating and intensely sensual pleasures of the “world of rope,” these are not particularly appealing.

There was a time when model clubs didn’t even exist.

We struggled to find women willing to model for us.

And the models we tied up and photographed almost all carried heavy stories within themselves.

The photographs we took of them, no matter how poor our technical skills might have been, radiated the dazzling light of “SM,” filled with allure.

No, let’s stop reminiscing about the past now.

Even now, there must be women deep within whose hearts harbor harrowing stories.

In a world like this, there’s no way they don’t exist.

In any case, this latest shoot was very fruitful.