This session focuses on Ebi-seme ("shrimp" forward-folding pose in partial and full suspension) with simple yet effective transition in inversion. "Unlike in performance kinbaku, there is a slower build-up to suspension, with an acute focus on building restraint and sense of 'seme' while on the floor. Note how I continued to add in elements of ‘seme’ and play along the way, keeping Nao engaged while also paying attention to her reactions and breath. I tend to tie with one hand using the other to maintain tension on the rope, ensuring that the ropes do not loosen while securing knots of engaging with my partner. While engaging Nao, I am attempting to offer assurance but am also taking note of any subtle reactions, particularly her breathing. This is particularly important because, with the blindfold, used for privacy purposes here, I cannot read or take hints from the eyes" Focus: Pay attention to the positioning of the waist rope, the initial tightness, and the tension of the ropes that connect from the chest harness into the waist. If placed and correctly and evenly you can be quite firm across this area without causing discomfort. The key point is to ensure that the connecting ropes are taking some of the load and mitigating the up-pull on the chest harness and wrist. If they are too loose they will become redundant.

Part two continues with the “ebi-zeme” (shrimp) pose in full suspension. Remember that you can isolate this, and practice part one without suspending. 

The key technical points here, are ensuring that the leg wraps are quite firm, as well as the ropes that connect the leg wraps to the waist and down the body. For this particular bind, I chose not to put a rope around the hips, as this can inhibit or become quite uncomfortable in a forward-fold. That said, it is slightly more challenging in inversion as a lot of the bodyweight is borne from the waist rope." Focus Point: The pull-up from the back of the legs tends to pull the legs backward, adding pressure to chest rope where the lower legs are attached at the front. This will add to the sense of restraint and 'seme' but also require attention when it comes to tying a secure chest harness to avoid injury.

As I’ve said before the tying is only half the journey, and untying can be equally or sometimes even more exciting, challenging and/or intimate. Even while I am untying I will add in softer elements of 'seme' to keep my partner engaged up until the last rope is untied. Once again part three can be practiced in isolation from part two. **After-commentaries coming soon***

"Day Two" is centered around the classic agura (cross-legged) bind on the floor and in suspension. This pose stems from edo-period hojojutsu ties executed on criminals and thus also echos a sense of shame and restriction in Japan. While quite a challenging position if executed well, the weight can be distributed reasonable evenly, making it quite sustainable in suspension and on the floor. Once again, part one can be enjoyed in isolation without moving into suspension (see part 3 for continued floor shibari "newaza"). Note: This pose works better with people who can lift their foot up on their thigh on at least one side (lotus pose), as this will lessen the chances of ropes putting excess pressure against the shin bone. "Tying Maru, in a way that aims to accentuate and honor masculine features, evokes pleasure derived from aesthetic beauty while also opening up an avenue where I explore both my own feminine and masculine aspects concurrently within a dominant role. With women, including transgender, I feel that my masculine aspects are more at play so there is different yet equally exciting feel when tying in this dynamic." - Milla

Continuing from Part 1, we move into inverted face-down style agura suspension. Make sure you watch the after-comments to hear what Maru has to say after the session.

"I don't want it to end" he whispers in my ear, as I lower him to the ground. I could also sense from the rhythm of his breathing that we could continue. Suspension, while exciting, is quite intense for both the person being tied and the person tying . So continuing tying on the floor afterward can help "bring your partner back" in a slow and intimate way and create a powerful and closure to the session.

In "Day Three" we brought our bamboo suspension point very low to the ground; allowing us to enjoy the physical closeness and intimacy of floor-work together with the more enduring yet euphoric sensations that can be experienced in suspensions. The classical face-down suspension offers a lot of versatility to add in enduring 'seme,' or more erotica-linked poses "vulnerable" poses that open up the legs. For Nao this was quite a challenging pose, both due to the added pressure across the chest which inhibits the breathing, and to the contorting of the body. Once again the key to making this sustainable is good tension between the connecting ropes to avoid movement and achieve balanced weight distribution. Focus: Positioning and using your own body to reassure and stabilize your partner, particularly in intense constraining positions such as this one, while also enabling you to maintain firm tension on the rope and even pressure across the body. Utilizing the suspension lines with function to intensify the constraint and the bind. (Joining the suspension lines should not be to use up left-over rope or make pretty patterns. Use you rope with intent and purpose).

The joy of low to the ground suspension is the ease of moving back on the floor and the ability to support your partner's body with your own. Here I improvised a fair bit, working in with how Nao moved and reacted within my binds. We have lots of comments from Nao this time, so don't forget to take a look at the "after-comments" video after this one. Focus: Adapting in the moment when things go differently as planned. Focusing on the breath or reactions and continuously assessing the physical capacity and condition in the moment; where there is any tension or locking of muscles, where the pressure of the rope is on the body, where any rope is loose or not under tension etc.