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Kitan Club

January 1975

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Cover of Kitan Club, January 1975

Issue Details

Volume
29
Issue
1
PDF pages
172

Summary

The January 1975 issue of Kitan Club is organized around a broad mixture of bondage photography, first-person SM reportage, serialized fiction, confessional narratives, cultural commentary, and reader-oriented discussion. The issue begins with “The Point of Contact Between Beauty and Bondage,” an extensive photographic gallery by Tsukamoto Tetsuzō. Its black-and-white and color pages present numerous named models in floor ties, standing restraint, inverted suspension, gags, blindfolds, chest harnesses, and compact body positions. The gallery emphasizes the visual contrast between rope, flesh, domestic interiors, and expressions of discomfort or absorption, establishing photography as a major editorial component rather than incidental illustration.

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The first numbered feature, “The Beauty of a Modest Housewife,” introduces model Fujita Akiko before Tsukamoto’s long “Holiday of Bluedy.” That camera-and-pen account follows repeated encounters with Yamaguchi Tsuyako, described as a physically imposing and experienced masochistic participant. The narrative combines intimate observation, travel and hotel settings, photographs of bondage sessions, reflections on menstruation and bodily response, and the author’s changing emotional relationship to his subject. Its documentary style makes it the issue’s dominant contribution.

The middle portion broadens into fiction, social observation, and personal testimony. Takezako Seiya’s “Man’s Paradise: Cebu Island” presents an overseas setting, while Oniyama Kensaku’s continuing M-Faction social record examines complicated emotional relationships within the SM community. Chiba Seiki’s serialized “Human Eruption” returns to erotic melodrama. Ashikawa Fujio’s “The S-Hospital Incident Record” adopts the form of an experiential account, and Suzuki Yuriko’s essay on loincloths, armpit hair, and related matters shifts toward candid discussion of bodily fetishism. Saji Mazō’s serialized “The Woman Prisoner” combines imprisonment and domination, followed by Shinkawa Hiroo’s third essay on gags.

The later section alternates between confession and serial narrative. Konno Kakiharu recounts an “abu-love” history, Saijō Noriyo describes an encounter in Takayama, and the forty-first installment of “The Gate of Purple Orchids” continues the magazine’s period sadistic fiction. “The Aesthetics of Tightness” develops a theoretical approach to constriction and bodily sensation, while Huang Yosaburō’s essay addresses female onanism. Shimizu Toshiaki’s “My Long, Long Day” presents an extended confession, and Takahashi Hideki’s “A Girl of Today: About Keiko” closes the surviving editorial sequence with a contemporary character study. Across these forms, the issue treats bondage as visual composition, personal practice, interpersonal negotiation, confession, fetish theory, and a shared subcultural language.

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Table of Contents 17 items
  1. The Point of Contact Between Beauty and Bondage by photography by Tsukamoto Tetsuzō
    3–25
  2. The Beauty of a Modest Housewife by photography by Fujikawa Tōichirō; model Fujita Akiko
    29
  3. Holiday of Bluedy by Tsukamoto Tetsuzō
    30–59
  4. Man’s Paradise: Cebu Island by Takezako Seiya
    60–65
  5. M-Faction Social Record, No. 58: Intersecting Affections by Oniyama Kensaku
    66–81
  6. Human Eruption, Part 75 by Chiba Seiki
    82–89
  7. The S-Hospital Incident Record by Ashikawa Fujio
    90–95
  8. Loincloths, Armpit Hair, Etc. by Suzuki Yuriko
    96–101
  9. The Woman Prisoner by Saji Mazō
    102–113
  10. Gags, Part 3 by Shinkawa Hiroo
    114–122
  11. My Confession: A History of Abu-Love by Konno Kakiharu
    123–127
  12. In Takayama, Hida by Saijō Noriyo
    128–131
  13. The Gate of Purple Orchids, Part 41 by Fūryū Gokudōken
    132–143
  14. The Aesthetics of Tightness by Roman-ha Sei
    144–150
  15. Confession: Feminine Onanism by Huang Yosaburō
    151–165
  16. My Long, Long Day by Shimizu Toshiaki
    166–170
  17. A Girl of Today: About Keiko by Takahashi Hideki
    171–175

Highlights

  • Tsukamoto Tetsuzō’s opening gallery, “The Point of Contact Between Beauty and Bondage,” presents a wide survey of rope positions, suspension methods, gags, blindfolds, and named models in both black-and-white and color photography. (PDF pp. 3–25).
  • The formal contents pages identify the issue as volume 29, number 1, regular issue 323, and separately index the opening photographic gallery and the principal prose features. (PDF pp. 4–5).
  • “The Beauty of a Modest Housewife” introduces model Fujita Akiko in a short photographic and editorial feature immediately before the principal reportage. (PDF p. 26).
  • Tsukamoto Tetsuzō’s “Holiday of Bluedy” is the issue’s longest contribution, combining bondage photography, personal observation, repeated encounters with Yamaguchi Tsuyako, and reflections on bodily and psychological response. (PDF pp. 27–56).
  • “Man’s Paradise: Cebu Island” moves the issue into an overseas setting and adds travel observation to its mixture of erotic and social reportage. (PDF pp. 57–62).
  • The fifty-eighth M-Faction social record, “Intersecting Affections,” examines emotional complications within relationships shaped by sadomasochistic interests. (PDF pp. 63–78).
  • Suzuki Yuriko’s “Loincloths, Armpit Hair, Etc.” offers a candid essay on body-related fetishism and sensory attraction. (PDF pp. 93–98).
  • Shinkawa Hiroo’s third installment on gags treats the gag as a specific aesthetic and psychological instrument of restraint. (PDF pp. 111–119).
  • The forty-first installment of “The Gate of Purple Orchids” continues the magazine’s long-running fusion of period fiction, domination, and illustrated erotic melodrama. (PDF pp. 129–140).
  • The closing sequence combines “My Long, Long Day,” an extended confession, with Takahashi Hideki’s contemporary character study “A Girl of Today: About Keiko.” (PDF pp. 163–172).

Contributors

Named contributors represented in this issue:

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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