Nureki Chimuo's Chat Theater #141
'Hey, you're worthy.'
By Nureki Chimuo
To Master K.
From Nureki Chimuo.
I have read your letter.
I'm very sorry for the other day.
You came all this way with the express purpose of meeting me, yet because I was in a continual state of restless tension, I wasn't able to talk with you as much as I should have.
At the studio, I held the rope and bound the female model (Sawato Fuyuki). The scene was for the cameraman Kei to do a photo shoot, and it lasted three or four hours.
Excuse me for that day. I feel I treated you discourteously, and I almost can't bear it. Even though I was impolite, I felt friendly toward you the whole time. No, it was more than that, I fully felt a deep affection.
That's certainly something unusual for me.
When I'm tying a female model at work, I give a fairly unpleasant impression toward people who are "watching" the model and me with open curiosity. That sense of unpleasantness appears plainly on my face at those times. It was absolutely not directed at you.
We talked, but it was surely only for a little bit (Naturally since we were in the middle of a bondage photo shoot).
When you appeared at the studio, we lightly greeted each other. It was our first meeting. A few hours later we reached a point my bondage work where we could take a break, and you said your goodbyes. We didn't have a proper conversation before you left the studio.
However, though words weren't exchanged, you had observed precisely most of what was in my mind.
You sat on a sofa in the corner of the studio from beginning to end and didn't stand up to move around the space. And as I tied the model, I responded when making a pose by nonchalantly observing your posture and the way your eyes moved, in other words, your expression.
While my own work progressed, I was aware of your "rope" and "bondage art," the exactness in comprehension, and moreover, I surmised a profound scholarship.
Your eye color, hair color, and even your physique is different [from a Japanese person] (You're big! Probably more than 100 kilos!). Nevertheless, how can foreigners who don't understand the language and only see kinbaku from the outside understand or speak about it?
You understand it.
There's something of a mystery in this unique world of art using rope (doesn't use anything but rope) that can't just be told to people.
I watched you while you watched me, and I'll express it here as a saying found in comic books that conveys the feeling of, "Hey, you are worthy" (Please forgive me if the expression rubs you the wrong way).
Ms. A, the female translator living in Japan who served as the interpreter that day, translated a letter I received from you. The text of one of the sentences said:
". . . Particularly, your "kuzushi nawa' Is really superb, and of the many things I'd like to experience, please show me your 'kuzushi nawa.'"
And in that sentence, she translated and used a new figure of speech.
I don't recall that I've ever heard the word before, but I knew its meaning right away. Perhaps other people wouldn't understand this special term. It's a newly coined term. There's no mistaking it's a modern term.
The sense of her interpretation into Japanese creates a wonderful impression. I'd call it perfect.
Ms. A's sense of Japanese and her "SM sense" are both excellent, and I view her as someone who has a deep knowledge of them.
Among the photos and writings I've done in the past, I've diagramed bondage techniques here and there in the many magazines and books I've written, as well as the bondage manuals and the hundreds of video images that I've produced.
They way I use rope these days has emerged from those manuals. You sensed the "wonderfulness" in it, called it "kuzushi nawa," and Ms. A translated it for me.
Too many people use the bondage techniques that I've worked out or made in the past, but I feel disgusted when I see them merely imitating the forms without the accompanying heart and soul, without passion or excitement or original ideas or development. And I've secretly thought that they seem to make the rope fall loose on purpose In photography these days.
And so that's why the model Fuyuki responded precisely to "kuzushi nawa." To sum it up, to apply "kuzushi nawa" attractively, the female partner needs the ability to react to a certain degree. This reaction is by no means some cheap performance. The mind and body react quite naturally and don't hide the harsh intensity on the inside. These responses should not be acted.
Put simply, just carelessly saying things like "I like being bound," one can't produce the true charm of "kuzushi nawa" when roughly and violently tying a woman if one doesn't possess a "story" of being bound harshly in one's heart.
You really wonderfully praised my "kuzushi nawa." And your being impressed by Fuyuki's beauty and Kei's creativity made me extremely happy of course.
That day at the studio, The staff functioned as my hands and feet, and I chose only the people I could trust. With this staff, I rose to the challenge of a new work again.
If you would have thought it was "messy rope" because it wasn't the "bondage" in a manual, then I wouldn't have said something like "Hey, you're worthy" to you.
At every major point as I placed the "kuzushi nawa" on the model, your face flushed and your pupils lit up. You reacted unerringly. And each time I thought, (Ah, this American understands "rope" quite deeply) and that felt good. As lovely as it felt, it was an honest response.
Your letter said . . . I feel there are many things to know about "kuzushi nawa." If there's a chance, I would certainly like to learn it.
If you have a chance, I will show as much as you'd like.
I think you understand the simple and complex meaning of this thing called "rope." We'll talk with peace of mind. However, I don't know how much the herbivorous race of the Japanese who gave birth to "rope" understand it, so how much could a carnivorous race who mainstreams "leather" understand? It's a mystery. Because it's a mystery, life and the world should be fun.
I'll say it again. Your manners as a kinbaku lover watching my rope techniques were flawless. It's foolish, but whenever I see people who fiddle crudely with rope, I get a gloomy feeling. Sometimes I fight the feeling, and your existence gives me a bright hope.
I've arranged to get you to translate this letter into English again for Master K, but try to reread it, it's extremely difficult. Sum up the particular subtle nuances of the Japanese language and the expressions that contain the particular shades of the kinbaku world. It's a hard to do translation, and I think it will take much time, but somehow do it well, and please convey my feelings to him. Your translation of "kuzushi nawa" is a synonym to my saying "serious rope."