SHIBARI KINBAKU ART

LEVEL 2 /// TIGER AIBU NAWA

THE ART OF THE LOVING ROPE

With Han Yuka Zuri /// Partial Suspension

The Second Chapter of Tiger Nawa Ryū

Learn to listen.

Rope can hold the body.

But it can also listen to it.

Level 2 is a two-module immersion into Aibu Nawa: the loving, caressing language of rope.

After Level 1 introduced rope handling, tension, frictions and foundational structures, Level 2 turns towards the quality of the encounter itself.

We explore Ki, presence, pacing and deep listening. We train rope as somatic communication: touch, rhythm, pressure, stillness, invitation and pleasure.

At the heart of Aibu Nawa is a clear intention: to give pleasure to the Ukete.

The Bakushi uses rope, touch, attention, proximity, rhythm and restraint to discover what feels pleasurable for the person receiving. The Ukete’s responses guide the tie.

Aibu Nawa is first a language of presence.

The Bakushi—the person tying—trains attention, touch, positioning, proximity and pacing. The Ukete—the person receiving—does not simply have rope applied to them. Both people participate in an experience created together, while the Bakushi places the Ukete’s pleasure at the centre of the tie.

The principle is not:

“I tie you.”

It is:

“Let’s tie together.”

Aibu Nawa can be slow or fast, soft or firm, emotional or calm, creative or grounded. It is not defined by one knot, pattern or structural outcome. It is an approach to rope rooted in presence, sensitivity and deep relational awareness.

PLEASURE AS THE COMPASS

Pleasure in Aibu Nawa is not limited to softness or sexual sensation. It may emerge through caress, anticipation, restraint, pressure, vulnerability, intensity, surrender, stillness or the feeling of being completely attended to.

Pleasure is individual. Nothing is assumed to feel good simply because it is part of Aibu Nawa. The Bakushi listens, observes and adapts so that the rope responds to this Ukete, in this body, in this moment.

TWO MODULES /// ONE JOURNEY

MODULE A /// FOUNDATIONS OF LOVING ROPE

Presence, positioning, Ki, Nawajiri, active listening and Aibu structures.

MODULE B /// AIBU NAWA THROUGH HAN YUKA ZURI

Structure, guided movement, body positioning and partial suspension.

The modules may be booked together as the complete Level 2 weekend or attended separately by participants who meet the prerequisites for their chosen module.

FROM TECHNIQUE TO CONNECTION

Level 1 begins teaching you how rope works.

Level 2 begins teaching you how rope feels.

Technique now becomes the vehicle through which attention, intention and emotion can travel.

How does changing pace affect the person receiving? How does proximity alter connection? What creates pleasure for this Ukete? What does the body communicate before words are spoken? How can rope guide without forcing? How do we recognise when to deepen, pause or return?

Students are not expected to create from an empty space. Each study begins with a clear structure or defined starting point. Once its function is understood, we explore feeling, variation, connection and creative possibility.

Learn the structure. Feel its effect. Listen to the response. Allow the experience to unfold.

WHAT YOU WILL DEVELOP

PRESENCE, KI AND TRANSMISSION

• Breath, pace and attention
• Co-regulation and nervous-system awareness
• Rope as a conductor of attention and energy
• Waves of energy and direction
• Rhythm, pressure, movement and stillness
• Remaining connected throughout the tie

PLEASURE AND DEEP LISTENING

• Reading micro-responses
• Recognising changes in breath, posture and state
• Discovering what gives pleasure to the Ukete
• Shaping sensation through touch, pressure, pace and restraint
• Verbal and non-verbal consent cues
• Knowing when to deepen, pause or return
• Remaining responsive while working with structure

STRUCTURE AND EXPRESSION

• Nawajiri as expression and active listening
• Ippon Nawa anchor studies
• Single-foot and double-foot ties
• Messy TK and Aibu Gote
• Yukimura-inspired Futomomo
• Kemono Shibari
• Ayatori Nawa chest diamond harness
• Han Yuka Zuri and progressive weight transfer

MODULE A /// FOUNDATIONS OF LOVING ROPE

Presence, Positioning, Ki, Nawajiri and Deep Listening

Saturday /// 11:00 AM to 6:00 PM

Module A combines philosophical context, clear structures and guided relational exercises. We explore how the entire tying process can become a continuous conversation directed towards the Ukete’s pleasure.

1. HISTORY AND PHILOSOPHY OF AIBU NAWA

We explore the art of loving rope, Yukimura Haruki’s influence, the principle of tying together and the relationship between technique, presence, feeling and the pleasure of the Ukete.

We watch selected Yukimura Haruki videos hosted on the World Kinbaku Federation website, observing connection before rope, positioning, proximity, pace, pause, touch, Nawajiri, body manipulation and how the Bakushi builds pleasure through the complete experience.

⚠️ ADULT-CONTENT NOTICE

The selected historical videos contain explicit adult content. This may include nudity, intimate touch, sexualised bondage, erotic power dynamics and emotionally intense imagery.

The material is shown for historical observation and education. A warning will be given before screening, and anyone may step outside and return afterwards without needing to explain their decision.

Some historical practices may differ from Ropejam Studio’s present-day approaches to consent, communication and safety. Screening the material does not endorse every technique or dynamic represented.

2. POSITIONING /// “ROCK IN THE OCEAN”

We study Bakushi positioning, stability, proximity and use of space. The Bakushi becomes the rock in the ocean: a grounded and responsive presence from which the Ukete can soften, trust and receive pleasure.

3. BREAKING THE SEIZA

We open and reposition the Ukete from Seiza through rope, touch and body positioning. We explore balance, resistance and the emotional language of posture: protection, vulnerability, power and surrender.

4. ESTABLISHING CONNECTION

Before tying begins, we work with breath, shared attention, co-regulation, proximity and contact. We observe how attention itself can begin creating anticipation and pleasure before the first rope is placed.

5. THE POINT OF NO RETURN

The Point of No Return is the moment when connection has been established and the Bakushi takes the rope into the hand.

It marks the passage from ordinary attention into complete presence and meditation. The rope becomes a conductor of attention, intention and energy.

The connection is established.

The rope is in the hand.

The meditation begins.

The dance begins.

“Point of No Return” is poetic language for entering the experience fully. It never means consent cannot be withdrawn. Either person may pause, change direction or stop at any time.

6. NAWAJIRI /// ROPE AS AN ENERGY CONDUCTOR

We use the moving end of the rope as an expressive and relational instrument.

• Waves of energy and direction
• Active listening through the hands
• Caressing the rope
• Rhythm, glide and stillness
• Proximity and movement
• Creating and following pleasure
• Tying together as a shared dance

7. IPPON NAWA /// THREE ANCHOR STUDIES

Every pair practises three distinct one-rope starting points:

• Wrist anchor
• Ankle anchor
• Neck anchor

From each anchor, we explore rhythm, proximity, direction, tension, touch, restraint, stillness, release and return. The anchor provides a structure; the Ukete’s pleasure and responses determine where the experience travels.

8. SINGLE-FOOT TIE

A Yukimura-inspired structure exploring placement, tension, direction and connection through a small form.

9. DOUBLE-FOOT TIE

The study develops through both feet, exploring balance, posture, restraint, symmetry and asymmetry.

10. MESSY TK /// AIBU GOTE

We explore an intentionally informal, floor-based Gote. This is not a formal or suspension-ready TK. The structure responds to the Ukete’s body, breath and emotional state rather than pursuing visual perfection.

11. MADAME BUTTERFLY

A complete guided Gote journey exploring pleasure, trust, surrender, pacing, emotional continuity and the possibility of subspace.

The intention is not to manufacture subspace, but to create conditions in which softening, trust and surrender may become possible.

12. RETURN AND REFLECTION

We release the rope without abandoning connection, observe changes in body and state, and allow time for integration and partner reflection.

MODULE B /// AIBU NAWA THROUGH HAN YUKA ZURI

Structure, Movement and Partial Suspension

Sunday /// 11:00 AM to 6:00 PM

Module B carries Aibu presence and the focus on the Ukete’s pleasure into structured ties, guided movement and partial suspension. Students first learn a clear pathway, then explore how it can move, transform and become a foundation for play.

PART ONE /// RECONNECTION, STRUCTURE AND PLAY

1. RECONNECTION AND PRESENCE

We return to breath, shared attention and active listening, reconnecting with rope as a conductor of intention and energy.

2. YUKIMURA-INSPIRED FUTOMOMO

The Futomomo provides the first structural foundation of Module B. We study placement, tension, body response and how the structure can create pleasure while preparing for movement and progressive weight transfer.

3. FIVE LEG LIFTS

Five accessible ways of changing the height and direction of the leg, exploring directional tension, balance, weight and the emotional effect of posture.

4. FIVE ARM LIFTS

Five ways of lifting, directing and repositioning the arms through rope, exploring direction, exposure, vulnerability and body response.

5. KEMONO SHIBARI PROGRESSION

We combine the elements through a guided Kemono progression, moving between structures while maintaining connection and emotional continuity.

6. KEMONO PLAY VARIATIONS

Once the progression is understood, students change rhythm, pace, direction, proximity and tone, listening for the variations that create pleasure for their Ukete. Structure provides security; variation creates the conversation.

PART TWO /// LEADING THE BODY AND STANDING PARTIAL SUSPENSION

7. AYATORI NAWA /// CHEST DIAMOND HARNESS

We learn the Ayatori Nawa as both a chest structure and a tool for communication and movement. Directional tension through the harness allows the rope to lead the body.

8. FIVE POSITIONS LED THROUGH AYATORI NAWA

The harness is used to lead the Ukete through five positions. We explore posture, orientation, protection, exposure, vulnerability and power while listening to balance, resistance and pleasure.

These are not simply shapes to reproduce. Each orientation changes the emotional tone of the experience.

9. KATA ASHI /// STANDING PARTIAL SUSPENSION

Kata Ashi introduces progressive one-leg loading while the Ukete remains standing and partially supported.

We explore balance, gravity, weight transfer, communication during loading and how pleasure can continue while intensity and tension increase.

10. TRANSITIONS, LANDINGS AND RETURNING TO THE FLOOR

We return weight progressively, support changes in balance and maintain connection until full floor contact is restored.

THE TIGER NAWA RYŪ METHOD

Learn the elements. Understand their function. Experiment. Discover. Create.

Tiger Nawa Ryū is not built around reproducing your teacher’s rope.

Its teaching is influenced by maieutics: the Socratic tradition in which the teacher helps create the conditions through which understanding can emerge.

We learn through questions, observation, experimentation and discovery.

Why does it work? What is this element doing? What happens if I change it? What is the body communicating? What can I create from the principles I understand?

The goal is not to reproduce Lola’s rope.

The goal is to develop the understanding from which your own rope can emerge.

YOUR SENSEI

LOLA TIGER NAWA

Lola Tiger Nawa is the founder of Ropejam Studio and creator of Tiger Nawa Ryū.

Lola’s relationship with rope began through competitive sailing in childhood, long before rope became an artistic, relational and philosophical practice.

More than twenty years of dedicated Kinbaku practice have brought together creative self-exploration with the study of Japanese rope disciplines.

Lola’s practice draws from Ippon Nawa, Aibu Nawa and Seme Nawa, with studies including internationally recognised teachers Osada Steve, Yagami Ren, Kazami Ranki, Jyuubei and Tenma Haru, alongside inspiration from the traditions and work of Osada Eikichi, Yukimura Ryū, Akechi Denki, Nureki Chimuo and Seiu Ito.

A philosopher, filmmaker, artist and creative director, Lola brings more than thirty years of yoga practice and teaching together with experience in music, sound, anatomy, movement, breath, rhythm, composition and visual storytelling.

These disciplines converge in Tiger Nawa Ryū: an approach to rope as technique, structure, communication, human experience and art.

INSPIRED BY

This course is inspired by Yukimura Haruki’s approach to Aibu no Nawa.

It is also informed by Lola’s studies with Osada Steve and by educational materials from the wider Kinbaku community, including the Kinbaku Academy Yukimura series, Yukimura Studies and selected historical materials hosted by the World Kinbaku Federation.

These influences are contextualised and developed through the teaching philosophy of Tiger Nawa Ryū.

WHO CAN ATTEND?

Completion of Tiger Nawa Ryū Level 1 is recommended. Equivalent experience acquired elsewhere is welcome.

MODULE A PREREQUISITES

• Single Column Tie
• Double Column Tie
• Basic frictions and consistent tension control
• The ability to tie cleanly without continually starting again
• Understanding of consent and fundamental rope safety

MODULE B PREREQUISITES

Module B requires the Module A skills plus familiarity with a Y-hanger and suspension upline, including their setup and purpose.

If booking Module B without Module A, please contact Ropejam Studio so we can confirm your experience is suitable.

The course is practised in pairs. Please attend with the person you will work with throughout your chosen module or the complete weekend.

AN INCLUSIVE LEARNING SPACE

Ropejam welcomes people of all genders, sexualities, bodies, identities and relationship styles.

We are proudly LGBTQIA+, FLINTA+, queer, trans, non-binary and BiPOC inclusive.

At Ropejam, difference is not something we simply accommodate.

We celebrate it. 🌈

Discrimination, harassment and coercive behaviour are not tolerated.

CONSENT AND SAFETY

Clear communication, stop signals, body checks and connected returns are integrated throughout the course. Consent remains active and ongoing.

Pleasure is never presumed. The Ukete’s verbal and non-verbal responses guide the pace, intensity and direction of every exercise.

Han Yuka Zuri is introduced through progressive weight transfer. The Ukete remains partially supported. No full suspension is required or taught in Level 2.

Every exercise can be adjusted for mobility, flexibility, pain, previous injuries, body shape and individual boundaries.

LIMITED CAPACITY

Each module is limited to eight duos, allowing every pair space, access to suspension points and individual guidance.

PROGRAMME

MODULE A /// SATURDAY

11:00 AM to 6:00 PM

MODULE B /// SUNDAY

11:00 AM to 6:00 PM

LUNCH EACH DAY

1:30 PM to 2:30 PM

Please arrive 15 to 20 minutes before your module begins.

WHAT TO BRING

• 4–6 ropes of approximately 6–8 metres
• One shorter rope, if available
• Safety shears or another suitable rope-cutting tool
• Water
• A warm layer and socks
• Personal comfort or aftercare items
• Optional notebook or blindfold

Limited communal ropes may be available. Contact us in advance if you do not yet own a suitable set.

Premium Japanese jute rope is also available to purchase, subject to stock.

WHAT TO WEAR

Wear comfortable, movement-friendly clothing. Close-fitting, non-slippery layers are recommended while learning because they make rope placement and body responses easier to observe.

Consider your skin sensitivity and the pressure created by rope. Vanilla, expressive or kinky clothing is equally welcome.

Come as yourself.

REFRESHMENTS

☕ Tea and herbal teas are available throughout the course.

Please bring your own lunch and snacks. Cafés, supermarkets and restaurants are within walking distance.

📍 HOW TO FIND US

Ropejam Studio
Unit 2, 7 Fountayne Road
London N15 4QL

⚠️ Make sure you go to Fountayne Road N15, NOT N16.

Enter through the courtyard at number 7. The metal and glass courtyard door is open. Follow the corridor on your right. Unit 2 is the second door on the right.

There is no need to ring or message when you arrive.

If you get lost, WhatsApp or call: 07772 955 639

🚇 TRANSPORT

Victoria Line: Seven Sisters—use the High Road/buses exit—or Tottenham Hale

Overground: South Tottenham on the Suffragette Line or Seven Sisters on the Weaver Line

Approximately 10 to 13 minutes’ walk.

Stansted Express: Liverpool Street to Tottenham Hale takes approximately 15 minutes. Stansted Airport to Tottenham Hale takes approximately 36 minutes.

LEARN TO LISTEN

The rope moves through your hands.

But the conversation moves through both bodies.

Presence becomes touch. Touch becomes communication. Communication becomes rope.

Discover the Art of the Loving Rope.

Unconditional Rope Love 🖤🪢