Rope an Photo by Rope Tales
The word futomomo indicates the shibari position in which the leg is bent with the heel near the buttock. Literally means “big leg”.
The peculiarity of this bondage is in fact to emphasize the volume of the legs, showing the muscles and communicating a sense of strength and tightness.
In the case of female legs, usually more delicate in shape, you get a softer effect and very sensual.
The legs in this position occupy an important volume in the composition of a ligature, drawing the attention of the observer. The string, by tightening this volume, displaces flesh and muscle.
In this way it gives the impression of being extremely tight and communicates a sense of constriction, both tactilely and visually.
The foot, constricted near the genitals and buttocks, is generally free to move. Hand and foot movement is critical in nonverbal language. In these situations, the feet usually offer very sensual expressiveness.
Aesthetics of the tie
The futomomo can be tied in many different ways, and each variation is more or less suitable depending on the shape of the leg. A good rigger knows how to adapt their bondage to the body of the person being bound. For example, a very thin leg is superbly enhanced by a series of very close thin rounds, dressing almost the entire length of the thigh. A bulkier leg is enhanced by a binding that leaves it more uncovered, a strong musculature is emphasized by double lines that give a sense of strength.
In this way the aesthetics of the body, dialogues with the aesthetics of the rope.
In general, the futomomo is a strong structure, and lends itself very well to suspension. It is one of the first suspensions that students try their hand at in bondage courses.
It is very versatile and also allows you to perform simple but very effective bindings for the sex, simply locking the legs bent and spread to the back of the bed.
More experienced practitioners can try their hand at the challenge of tying a futomomo with two strings. The difficulty lies in being able to evenly distribute a lot of rope on one leg only. It is important not to create overly cluttered volumes of rope, which are unsightly and uncomfortable for the tied person. Moreover – as mentioned above – it is necessary to make sure that the part of skin uncovered is in harmony with the amount of skin covered by the rope. Depending on the build, the ideal proportions can vary quite a bit.
Pictures by Art Okrim
Takatekote is a bondage in which the hands are tied behind the back. This binding is also known simply as TK.
It is an iconic ligature of each style of shibari and kinbaku. Each master has refined one over years of practice, making it almost their signature. Often the different ways of linking the arms in this position are named after the master who perfected them. (Osada TK, Naka TK, Kanna TK…)
Takatekote in the bondage courses
During our bondage courses, as well as those of other certified instructors Kinbaku Luxuria, we teach a takatekote inspired by the version of Naka Akira, in the variant then engineered and improved by Riccardo Sergnese to meet Western safety standards, but retaining the austere beauty of traditional Japanese aesthetics.
In this particular takatekote there are several details that communicate the principles of style.
Philosophy of Takatekote
First of all it is important to tie in seiza, the Japanese way of sitting. In this way the back is upright, shoulders relaxed, breathing natural. The seiza is a versatile position, which allows the top to move nimbly on the knees and toes, and the bottom to relax completely, and maintain a passive attitude.
The wrists are tied tightly, high behind the back. Immediately the hands are no longer free to move, and they communicate to the bottom the feeling of being under the control of the top.
Hands provide food. Feeling one’s hands tied tightly produces a very strong emotional response in the mind of the person who is tied.
In other styles, the rope around the wrists is supposed to be left softer, to allow the tied person to seek a more comfortable position. In this specific takatekote, however, there is no way to seek relief; it is necessary to accept the challenge that the rope poses to the body, and to live the experience in a spirit of acceptance, trusting in the partner’s abilities and his desire to care for the bound person.
Once the wrists are tied, the rope encircles the shoulders, tight. The top keeps its distance as it wraps around this first rope, emphasizing with physical distance the consensual exchange of power that the parties are enacting. The one who binds takes control, and the one who gets bound relies completely on the partner. Physical distance underscores this aspect in this crucial step.
The second string wraps up close, in a sensual motion. It passes under the breast (or under the breastplate) and brings erotic imagery back to the surface.
Some takatekote instead bond by keeping their distance throughout the process, others are very physical and require constant proximity between partners. This one specifically seeks harmony between the physical sensations, and the emotional content conveyed.
To conclude, the ropes that pass under the chest, are tightened securely by a lacing that closes behind the back. This passage is called a “kannuki,” which means “bar,” like the one we might use to lock a heavy door. The purpose of the kannuki is precisely to “bolt” the bottom inside, with a message that leaves no doubt: he is now completely locked in and confidently accepts the will of the top, certain of the latter’s care and compassion.
Takakote is a tie that requires care. If done poorly it can easily result in radial nerve compression. Be sure to study takatekote with an experienced instructor.
Rope and photo Kirigami