Docvale explain us the RS style

After our trip to Tokyo in early 2016, I felt the need to develop my bondage and my ropes in a more personal way. The encouragement of Naka Akira and Riccardo Wildties, who have greatly influenced my work in the past years, allowed me to deepen and develop my shibari research in order to start developing a style of kinbaku that would be my own.

Of course, things did not go so easily and the first few months were particularly difficult. Inspiration and / or learning from the ropes and bondage of others gives a guideline and at that point disappear. Then followed a moment in a kind of writer’s block, and finally a period of research of a kinbaku essentially focused on the perception of my partner, which must now be conceptualized. in order to evoke what defines best Ropesession’s rope style.

 

Ropesession at Naka Akira
Tyka in bondage at Naka Akira
Very attached to the roots of Japanese rope bondage from Ito Seiu until the 1990s, in terms of values, aesthetic of shibari or gestures, my kinbaku aims to reclaim the work of our predecessors. Our period has seen a very quick evolution of kinbaku at all levels and my will is in my way to be a guarantee of the heritage of past generations even in including my vision of the ropes and adapting it to Western partners.

The contemporary kinbaku has brought a lot in terms of safety, manipulation of the model, adaptation to anatomy and communication in ropes. It seems to me interesting to use the tools available to our generation to revisit the aesthetics of our predecessors’ bondage and whose work is influencing mine a lot.

A striking example, in my opinion, could be in the manipulation of the mrope bottom’s body. Indeed, in modern kinbaku we all use bondage techniques that allow less stress and preserve our model, while trying to lessen the pain.
But what if we consciously make the choice to use a manipulation from a more “oldschool” shibari? Could this create an intense emotional break? What psychological impact could emerge in rope from this communication mode appearing less efficient technically ?

Another striking example, in another register of Japanese rope bondage, concerns aesthetic. A some point, considering my rope work, i found it one deeply boring and without character. I looked back to the past wondering why their kinbaku seemed more alive to me.

Jaz old school bondage with rice rope
Tyka hashira rice rope
I became then, aware that my work had become so “clean” that it had become impersonal and that what gave life to the kinbaku of our predecessors came from this rather messy aspect of their ropes.

Rather than looking in depth at concepts of aesthetics that I could never really grasp as I was not culturally able to really understand them, my choice was to immerse myself in Japanese rope bondage, and try to feel their practice of kinbaku according to my own feeling. Is there a perfection in imperfection? What is the importance of the present moment on what is shared together in ropes, for what is experienced by observers? Does this have an emotional impact on my partner during our shibari sessions, and if so, in what way and how far?

In this continuity, I wondered why some Japanese photographers specialized in kinbaku were taking a lot of pictures with shibari positions that at first seemed identical. Why this choice ? Is there an evolution, a progressiveness between each of the pictures? What was the hidden meaning, knowing that the Japanese rarely do things randomly?

Subsequently, after my partner offered me a bonsai and some books about them, I saw the similarities between my shibari work and these trees. Compared to a rope session, bonsai seems totally timeless, but taking the time to take care of it, I realized the importance of its architecture in the desire to achieve a certain harmony.
By observing a bonsai, and I wondered what could create harmony. The aesthetics obviously, but also what emerges emotionally, and more, the necessary technic to obtain this timeless tree and feel it so alive.

This is how naturally my kinbaku became oriented towards an architecture with three complementary sections that are “asymmetry, space and depth”. Asymmetry representing non-conformism, aesthetics bringing the visual of ropes and depth representing emotional intensity and life.