Kitan Club

February 1963

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Summary

The February 1963 issue of Kitan Club presents a broad mixture of bondage photography, fetish illustration, theoretical discussion, fiction, personal testimony, cultural reportage, and reader-oriented community material. Its opening pages establish the issue’s visual identity through two substantial photographic portfolios. These emphasize torso binding, cloth gags, floor restraint, partial suspension, compact kneeling positions, kimono bondage, and the process of arranging a model for the camera. A sequence of individually titled illustrations follows, moving from forced ingestion and women displayed as commodities to prison imagery, outlaw heroines, staged disembowelment, and animal-threat fantasy.

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The prose section begins with Shirakawa Yukio’s sustained essay “A Trial Discussion of M and S,” which considers sadism and masochism as psychological, ethical, aesthetic, and social phenomena rather than treating them merely as isolated sexual practices. Tsujimura Takashi’s twenty-second installment of “Thirty-Ninth Night Tales” then supplies a long narrative involving coercion, bondage, punishment, domestic secrecy, and medicalized torment. Shorter features expand the issue’s range through film commentary on spectacular punishment scenes and an observational account of a newly organized women’s sumo association.

The middle of the issue alternates specialized essays with fiction and confession. Articles examine rubber fetishism, gallstones and bodily discomfort, voyeurism, forced enemas, abdominal cutting, and the relation between physical procedures and erotic imagination. Saji Mazō’s “Somewhere in the Universe” introduces speculative fiction, while the Sardinia travel account uses foreign geography and custom as a setting for erotic and ethnographic curiosity. Later pieces include confessional encounters, grotesque short fiction, proposals for unusual restraint devices, dialogue about pregnancy, recurring fictional characters, and stories centered on women’s subjection, bodily marking, and ritualized suffering.

The closing literary section includes “The Devil’s Lips,” accounts of roadside or temple legends associated with abdominal cutting, a discussion of one-piece clothing fetishism, “The Insect in the Hair,” and personal narratives about schoolgirls, servitude, and relations between men and women. The final major article, “The Practice of Bondage Photography,” combines descriptive text with photographs demonstrating posing, rope placement, gagging, and the visual construction of tension. Extensive correspondence, classified exchanges, publication notices, reader reports, and editorial material occupy the back matter, showing Kitan Club functioning not only as a magazine but also as a network for readers seeking information, images, books, and like-minded correspondents.

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Table of Contents 34 items
  1. First Gravure: Bondage and Suspension Studies
    6–13
  2. Forced to Drink Salt Water by Shima Takashi
    14
  3. Commodities Displayed Before a Customer by Claude Koga
    15–16
  4. The Prison Bride by Shima Takashi
    17
  5. Prison at the Bottom of the Earth by Shima Takashi
    18
  6. The Woman Outlaw’s Suicide on the Rooftop by Shima Takashi
    19
  7. The Troupe Leader’s Real-Blade Disembowelment on Stage by Taki Reiko
    20
  8. The Terror of Wild Dogs Closing In by Shima Takashi
    21
  9. Second Gravure: Rope, Gag, Foot, and Ritual Studies
    22–28
  10. A Trial Discussion of M and S by Shirakawa Yukio
    34–37
  11. Thirty-Ninth Night Tales: Twenty-Second Night by Tsujimura Takashi
    38–52
  12. Film Correspondence: The Burning and Crucifixion of Wakao in The First Emperor by Higashiyama Tarō
    53
  13. Birth of the Women’s Sumo Association by Okamoto Yoshio
    54–59
  14. Confessions of a Rubber Maniac: Rubber-Chair Play by Tsuzawa Akiko
    60–61
  15. Gallstone Reflections by Sudō Ritsuo
    62–65
  16. A Voyeur’s Almanac by Nagata Toshio
    66–73
  17. Observations on Female Torture: High-Pressure Air Enema and Abdominal Cutting by Ōgita Toshio
    74–75
  18. Somewhere in the Universe by Saji Mazō
    76–93
  19. Sardinia Travel Notes by Arutame Mataji
    94–101
  20. Enchanted by Neru’s Discipline by Koshino Nobutoshi
    102–105
  21. The Mystery of the Privy Fly by Masayume Hirōmasa
    106–111
  22. Ideas for Revolutionary Restraint Devices by Yuki Shun’itsu
    112–115
  23. Two Pregnant Women by Senuma Shirō
    116–117
  24. The Tale of Mrs. Sekiya by Hanada Ichirō
    118–119
  25. Bound with Her Hands Behind Her Back on Television by Tamura Kiyohiko
    120–121
  26. The Devil’s Lips by Tanuma Toshio
    122–131
  27. Travels in Search of Torment Materials: The Legend of the Small Disembowelment Jizō by Izumi Tatsunosuke
    132–137
  28. Female Disembowelment Secret Tales: The Origin of the Disembowelment Jizō by Ishii Yasuzō
    138–145
  29. One-Piece Dress Fetishism by Yumehara Kōichi
    146–147
  30. The Insect in the Hair by Ninchōji Yoshiko
    148–155
  31. The Sadistic Schoolgirl and Her Slave by Takashima Midori
    156–159
  32. Men’s Hearts and Women’s Hearts by Azusa Kayoko
    160–165
  33. The Practice of Bondage Photography by Tsukamoto Tetsuzō
    166–179
  34. Reader Communications and Mrs. Sekiya’s Bondage Diary V
    180–192

Highlights

  • The first gravure sequence presents torso binding, cloth gags, recumbent restraint, partial suspension, and a photographed step-by-step transition from kimono dress into a compact rope position. (PDF pp. 6–13).
  • The opening illustration gallery includes forced salt-water ingestion, women displayed as merchandise, prison and torture fantasies, an outlaw heroine, staged abdominal cutting, and a bound woman threatened by dogs. (PDF pp. 14–21).
  • A second photographic portfolio contrasts close studies of rope pressure with standing bondage, cloth gags, foot domination, and a staged woman preparing for ritual self-cutting. (PDF pp. 22–28).
  • Shirakawa Yukio’s “A Trial Discussion of M and S” develops an extended theoretical account of sadism and masochism in relation to freedom, love, religion, idealization, health, and social order. (PDF pp. 30–33).
  • The twenty-second installment of “Thirty-Ninth Night Tales” is a long serialized narrative combining domestic secrecy, coercive bondage, bodily marking, medical torment, and criminal intrigue. (PDF pp. 34–48).
  • The account of the newly formed women’s sumo association documents an organized female physical-culture event and the spectators, participants, and social atmosphere surrounding it. (PDF pp. 50–55).
  • The central essays and stories move among rubber fetishism, medical and digestive subjects, voyeurism, forced enemas, speculative fiction, and women’s torture imagery. (PDF pp. 56–89).
  • The Sardinia travelogue uses Mediterranean geography, customs, and encounters as the basis for an extended erotic travel narrative. (PDF pp. 90–97).
  • Later fiction and essays revisit restraint devices, pregnancy, abdominal-cutting legends, clothing fetishism, schoolgirl servitude, and relations between male desire and female subjection. (PDF pp. 98–161).
  • The closing bondage-photography article combines practical commentary with demonstration photographs, followed by correspondence, classified exchanges, book notices, and editorial communications. (PDF pp. 162–188).
Kinbaku Today is an independent online journal dedicated to the study, practice, and cultural history of Japanese rope bondage. Blending essays, translations, interviews, and archival research, it explores kinbaku not simply as technique, but as a living dialogue between history, performance, and human connection.

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