Kitan Club

March 1963

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Summary

The March 1963 issue of Kitan Club combines an unusually large opening visual program with confessional writing, fiction, fetish commentary, cultural reportage, illustrated essays, and a long reader-correspondence section. The first photographic portfolio concentrates on tightly folded rope positions, torso binding, cloth gags, neck rope, kneeling restraint, and women photographed both nude and in sheer or conventional clothing. The following illustrated gallery shifts into overt fantasy, presenting women treated as commodities, constrained in display boxes, subjected to enema-related scenarios, threatened with abdominal cutting, and surrounded by tormentors. A second photographic sequence includes gagged seated bondage, a kimono-clad woman posed with swords and ritual implements, assisted hogties, and compact kneeling and floor restraint.

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The principal prose section opens with Yamabe Mayumi’s “From the Town of Wind,” a first-person confession about marriage, adultery, guilt, coercive submission, and the gradual transformation of private sexual experience into a search for people with similar desires. Manda Fuji’s “White Socks” continues this confessional mode through memories of school, maternal authority, shame, bodily punishment, female physicality, and the symbolic charge of clothing. The issue then shifts into Takashi Maki’s comic-cultural essay on the waist, followed by short-form speculative and sensational writing, film commentary, and Saji Mazō’s science-fictional SM story “Somewhere in the Universe.”

The middle portion ranges widely across travel, historical cruelty, fetish autobiography, and serial fiction. A Sardinia travelogue combines foreign observation with erotic curiosity. “K-ko” presents a case-style personal account, while Yoshino Mayumi’s gun-enthusiast notebook and Tsujimura Takashi’s twenty-third “Thirty-Ninth Night” installment continue recurring authorial and serial voices. “Yellow Sex” develops a longer narrative of racialized and exoticized sexuality. Later articles examine the navel and abdominal cutting, artistic fantasy, female labor and exploitation, and masochistic aesthetics.

The final major editorial section includes practical discussion of bondage photography, model posing, lighting, and the creation of convincing restraint images. It is followed by extensive reader letters, personal advertisements, discussions of female cutting and fetish art, exchange notices, publication offers, and editorial replies. These closing pages reveal the magazine’s role as a participatory network in which readers shared fantasies, sought correspondents, evaluated images, and circulated specialized books and photographs.

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Table of Contents 33 items
  1. Opening Rope-Bondage Gravure
    6–13
  2. Products Displayed Before the Customer by Claude Koga
    14–16
  3. Enema Cover by Shima Takashi
    17
  4. Constriction Garment by Shima Takashi
    18
  5. A Woman’s Disembowelment by Taki Reiko
    19
  6. Fantasy of Disembowelment Play by Taki Reiko
    20
  7. Nasal Teasing by Shima Takashi
    21
  8. Second Gravure: Gagged Seated Bondage
    22
  9. Second Gravure: Kimono Woman with Ritual Implements
    23–24
  10. Second Gravure: Assisted Hogtie
    25–26
  11. Second Gravure: Kneeling and Floor Rope Studies
    27–29
  12. From the Town of Wind by Yamabe Mayumi
    34–41
  13. White Socks by Manda Fuji
    42–51
  14. Comic Talk on the Waist by Maki Takashi
    52–57
  15. Peeping into the Toilet by Mori Yonesaburō
    58–59
  16. Somewhere in the Universe by Saji Mazō
    60–68
  17. Recent Shocking Bondage Films by Higashiyama Eishi
    69
  18. Piāno’s Torment by Yukitoshi Haruka
    70–79
  19. A Chair by Kurise Chō
    80–81
  20. Toward the Distant Mountains and Rivers by Iimori Kiyoshi
    82–96
  21. Sardinia Travel Notes by Aruta Matado
    97–103
  22. A Curious Confession by Tama Ichirō
    104–107
  23. K-ko by Nonoyama Shinjiro
    108–111
  24. Notes of a Gun-Making Maniac by Yoshino Mayumi
    112–115
  25. An Evil Dream by Kirihara Shimon
    116–119
  26. Thirty-Ninth Night Tales: Twenty-Third Night by Tsujimura Takashi
    120–133
  27. Yellow Sex by Yoshino Mayumi
    134–141
  28. The Navel and Disembowelment by Suda Ken夫
    142–147
  29. Flame and Mud by Kuwata Ken’ichi
    148–155
  30. Female Laborer by Tani Misako
    156–164
  31. Thoughts on Masochistic Art by Tajima Naoshi
    165–169
  32. The Practice of Bondage Photography by Tsukamoto Tetsuzō
    170–181
  33. Reader Communications
    182–194

Highlights

  • The opening gravure portfolio presents tightly folded rope positions, torso bondage, cloth gags, neck rope, kneeling restraint, and close studies of strain and posture. (PDF pp. 6–13).
  • The illustrated gallery treats women as displayed commodities and depicts confinement, inspection, enema fantasy, abdominal cutting, nasal torment, and group coercion. (PDF pp. 14–21).
  • The second photographic sequence combines gagged seated bondage, ritualized kimono posing with swords and implements, assisted hogties, and compact floor restraint. (PDF pp. 22–29).
  • Yamabe Mayumi’s “From the Town of Wind” is a lengthy first-person confession about marriage, infidelity, submission, humiliation, and the search for a sympathetic subculture. (PDF pp. 31–38).
  • Manda Fuji’s “White Socks” connects school memories, maternal discipline, shame, bodily punishment, clothing, and emerging erotic identity. (PDF pp. 39–48).
  • The middle section moves between comic cultural commentary, short speculative fiction, sensational film discussion, and the science-fictional SM narrative “Somewhere in the Universe.” (PDF pp. 49–78).
  • “Toward the Distant Mountains and Rivers” develops historical female suffering and abdominal cutting through a long documentary-fictional treatment. (PDF pp. 79–94).
  • The later issue includes a Sardinia travelogue, a case-style personal account titled “K-ko,” a gun-enthusiast notebook, and the twenty-third installment of “Thirty-Ninth Night.” (PDF pp. 95–130).
  • Late essays examine racialized erotic fantasy, the navel and abdominal cutting, artistic confession, women’s labor, and masochistic aesthetics. (PDF pp. 131–166).
  • The closing technical and community sections cover bondage photography, model direction, reader correspondence, classified exchanges, publication offers, and editorial replies. (PDF pp. 167–191).
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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