SHIBARI KINBAKU ART

LEVEL 4 /// TIES & SHAPES VOCABULARY

BODIES, FORMS, TENSION & CHEST HARNESSES

Structure & Creation

The Fourth Chapter of Tiger Nawa Ryū

Learn to compose.

Rope creates lines.

Lines create shapes.

Shapes create physical, emotional and relational states.

Level 4 is a two-module immersion into the vocabulary of Kinbaku: floor forms, body shapes, hip structures, chest harnesses, tension and composition.

MODULE A /// SHAPES VOCABULARY

Floor forms, hip structures and tension.

MODULE B /// CHEST HARNESS VOCABULARY

Torso structures, TK variations and Butterfly forms.

After Level 2 developed Aibu Nawa, presence, pleasure and deep listening, Level 4 gives students a broader physical language through which intention can take form.

We learn how ties work, why they work and how they can be adapted to different bodies, moods and creative intentions.

The principle is:

“Let’s tie with intention.”

A tie becomes meaningful when it creates more than restraint.

It may create a posture, a feeling, a visual image, a sensation or a relational dynamic between Bakushi—the person tying—and Ukete—the person receiving.

The same structure can feel grounding or exposing, protective or vulnerable, pleasurable or challenging. Its language changes through placement, tension, direction, pace, posture and intention.

FROM CONNECTION TO COMPOSITION

Level 1 begins teaching you how rope works.

Level 2 begins teaching you how rope feels.

Level 4 begins teaching you how rope composes.

We study how the body can be folded, opened, compressed, stretched, turned, framed and held.

We explore how rope placement changes emotional tone and how maintaining or recovering tension keeps the rope precise, responsive and alive.

Students first learn clear structures. We then examine their function, adapt them to different bodies and combine them into wider compositions.

The objective is not to collect patterns.

Learn the form. Understand its function. Adapt it. Compose with it.

WHAT YOU WILL DEVELOP

SHAPE VOCABULARY

• Agura and seated forms
• Hog Tie and compression-based forms
• High, low and full Mermaid variations
• Hip Harness structure
• Ishi TK
• Armless Chest Harnesses
• Butterfly Harness
• Combining upper-body and lower-body forms

TENSION REFINEMENT

• Maintaining tension throughout a tie
• Recognising where tension is held or lost
• Recovering tension without rebuilding the entire structure
• Understanding tension as structure, sensation and communication
• Refining frictions without overloading the body

BODY READING AND ADAPTATION

• Reading compression, folding, opening and pressure
• Adapting for flexibility, mobility and body proportions
• Respecting breath, joints, nerves and circulation
• Understanding when a form needs to change
• Creating the intention without forcing a body into an idealised shape

COMPOSITION AND INTENTION

• Lines, angles and asymmetry
• Stillness and visual framing
• Exposure and protection
• Grounding, vulnerability, restraint and power
• How Aibu softness or Seme intensity can change the same form
• Structure as the foundation for personal expression

MODULE A /// SHAPES VOCABULARY

Floor Forms, Hip Structures and Tension

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

Module A develops a vocabulary of lower-body shapes and floor-based forms.

We examine how direction, tension and body position transform a tie into a composition. Each structure is first learned clearly and then explored through guided variations and adaptation.

PART ONE /// TENSION, DIRECTION AND FORM

SHAPES AS LANGUAGE

We begin by looking at the relationship between tie and form.

• How rope creates visual and emotional meaning
• Posture, pressure, direction and intention
• The relationship between the rope line and the body line
• Allowing stillness to reveal the shape
• Recognising when a form is complete

TENSION AS AN ELEMENT

Tension is not treated only as a technical requirement. It affects structure, sensation, communication and safety.

We train:

• Keeping tension alive through the tie
• Feeling where it travels through the rope
• Recognising when it has been lost
• Recovering tension efficiently
• Refining frictions
• Avoiding unnecessary compression

BODY LIMITS AND ADAPTATION

Before building deeper forms, we examine knees, hips, shoulders, spine, breath, circulation and nerve awareness.

The aim is not to make every body reproduce the same image. We identify the intention of the tie and adapt its structure so that different bodies can express it.

PART TWO /// FLOOR SHAPES AND HIP STRUCTURES

1. AGURA

Agura introduces seated structure and the emotional possibilities of a grounded form.

We explore:

• Grounding and containment
• Opening and seated vulnerability
• Folding without forcing
• Pelvic position and spinal response
• How rope direction changes the posture
• Adaptations for knees, hips and mobility

2. HOG TIE

The Hog Tie introduces compression, restraint and the relationship between the upper and lower body.

We study:

• Progressive folding and compression
• Exposure and containment
• Breath and spinal awareness
• Managing pressure and circulation
• Adjusting intensity without losing the form
• Understanding when compression becomes too much

3. MERMAID /// HIGH, LOW AND FULL

The Mermaid family introduces asymmetry and side-body composition.

We explore:

• High, low and full Mermaid variations
• Asymmetrical lines
• Side-body awareness
• Direction through the legs and torso
• Elegance, exposure and emotional tone
• Adapting the form to different proportions and mobility

4. HIP HARNESS STRUCTURE

We study the Hip Harness as both a structure and a compositional tool.

• Pelvic framing
• Grounding and lower-body control
• Exposure and support
• Directional tension around the hips
• Relationship between pelvis, legs and torso
• Adapting placement for different bodies

SHAPE INTEGRATION

Module A closes by combining the principles of tension, direction and adaptation.

Students explore how one structure changes through body position, rope direction and intention, creating different expressions without needing an entirely new pattern.

MODULE B /// CHEST HARNESS VOCABULARY

Torso Structures, TK Variations and Butterfly Forms

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

Module B expands the vocabulary into the chest, shoulders and upper body.

We study chest harnesses as structures for framing, restriction, support, exposure and composition.

The focus remains floor-based. No full suspension is taught.

PART ONE /// TORSO ANATOMY, BREATH AND DIRECTION

CHEST HARNESSES AS LANGUAGE

Chest harnesses can support, frame, expose, restrict or visually transform the torso.

We explore how the same harness changes through rope placement, body position, arm position and intention.

ANATOMY OF THE TORSO

• Ribs and sternum
• Shoulders and armpits
• Chest and breast tissue
• Breath and ribcage movement
• Front-body and side-body sensitivity
• Reading pressure, discomfort and numbness

BREATH-RESPECTFUL CHEST TYING

We train tension and support without unnecessary compression.

• Observing the breath before and during tying
• Understanding where rope pulls
• Keeping and recovering tension
• Recognising restricted movement or sensation
• Adjusting placement to the individual body

PART TWO /// CHEST HARNESS STRUCTURES

1. ISHI TK

We examine the Ishi TK as a structure with technical, emotional and visual functions.

• Structure, rhythm and placement
• Tension and direction
• Relationship between arms, shoulders and torso
• Body position and emotional tone
• Adapting placement to the Ukete

2. ARMLESS CHEST HARNESS

Students create torso structures without relying on arm restriction.

• Preserving shoulder and arm freedom
• Framing and supporting the torso
• Building structure around different chest shapes
• Combining stability with mobility
• Understanding when arms-free structures are more appropriate

3. BUTTERFLY HARNESS

The Butterfly Harness explores opening, framing and visual transformation of the upper body.

• Opening the chest and shoulders
• Creating expressive lines
• Exposure and vulnerability
• Adapting to different chest and shoulder structures
• Changing the emotional image through posture

4. HARNESS VARIATIONS AND ADAPTATION

We explore:

• Chest harnesses with arms free
• Chest harnesses with arms included
• Variations for different bodies and mobility
• Movement, comfort and stability checks
• Line and framing studies
• Combining chest harnesses with lower-body forms

COMPLETE COMPOSITION

The weekend closes by integrating upper-body and lower-body vocabulary into a complete floor-based composition.

Students choose and combine structures according to the body, intention and emotional image they wish to create.

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 this structure work?

What is each element doing?

What happens if its direction changes?

How does this body respond?

What can be created from the principles we understand?

The goal is not to reproduce Lola’s rope.

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

THE TIGER NAWA RYŪ JOURNEY

LEVEL 1 /// THE ART OF THE ROPE

Foundations & First Forms
Learn the language.

LEVEL 2 /// TIGER AIBU NAWA

Connection, Pleasure & Feeling
Learn to listen.

LEVEL 3 /// TIGER SEME NAWA

Challenge, Intensity & Transformation
Learn to deepen.

LEVEL 4 /// TIES & SHAPES VOCABULARY

Bodies, Forms & Composition
Learn to compose.

LEVEL 5 /// HAN YUKA ZURI

Partial Suspension & Transformation
Meet gravity.

LEVEL 6 /// THE SUSPENDED BODY I

Stillness, Static Full Suspension & Orientation
Find stillness in space.

LEVEL 7 /// THE SUSPENDED BODY II

Movement, Dynamic Suspension & Transitions
Move through space.

LEVEL 8 /// HASHIRA

Mastery, Integration & Personal Language
Make it your own.

Eight Chapters. One Evolving Language.

Each chapter builds upon the last, moving from foundational mechanics towards connection, challenge, composition, gravity, suspension, movement and personal expression.

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 developed through Lola Tiger Nawa’s ongoing research into floor-based forms, body manipulation, tension, shape-making and the visual language of rope as embodied composition.

It is informed by the wider Japanese Kinbaku tradition and contextualised through the teaching philosophy of Tiger Nawa Ryū.

WHO CAN ATTEND?

This is a Level 4 course.

Completion of Tiger Nawa Ryū Levels 1 and 2 is recommended. Equivalent experience acquired elsewhere is welcome.

You should arrive with:

• Confident Single Column and Double Column Ties
• Basic frictions and consistent tension control
• Comfortable floor tying with a partner
• Knowledge of at least one TK or Gote-style structure
• Understanding of consent, communication and fundamental rope safety

Please contact Ropejam Studio before booking if you are unsure whether your experience is suitable.

The course is practised in pairs. Please attend with the person you will work with throughout the 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 responsive releases are integrated throughout the weekend.

This course includes compression-based forms, hip harnesses, chest harnesses and torso structures. Particular attention is given to breathing, joints, nerves, circulation, flexibility, pressure and emotional exposure.

No full suspension is taught. Every exercise can be adapted for mobility, flexibility, pain, previous injuries, body shape and individual boundaries.

LIMITED CAPACITY

The weekend is limited to ten duos, allowing space, individual guidance and direct feedback.

Early booking is recommended.

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 the course begins.

WHAT TO BRING

• 6–8 ropes of approximately 8–10 metres
• One or two shorter rope pieces, 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, tension 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 weekend.

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 COMPOSE

The rope creates a line.

The line creates a shape.

The shape creates a state.

Technique becomes structure. Structure becomes composition. Composition becomes rope.

Discover the Vocabulary of the Body.

Unconditional Rope Love 🖤🪢