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UID:28cb4e90-a6da-47a8-adc5-c2b4363579f3@serotonin-calendar
DTSTAMP:20260908T164932Z
DTSTART:20261010T100000Z
DTEND:20261011T170000Z
SUMMARY:KINBAKU - SHIBARI ART LEVEL4 /// SHAPES VOCABULARY /// Weekend Inte
 nsive
LOCATION:Rope Jam Studio\, 7 Fountayne Road\, unit2\, N15 4QL
DESCRIPTION:SHIBARI KINBAKU ART LEVEL 4 /// TIES & SHAPES VOCABULARY BODIES
 \, FORMS\, TENSION & CHEST HARNESSES Structure & Creation The Third Chapte
 r of Tiger Nawa Ryū Learn to compose. Rope…\nSHIBARI KINBAKU ART LEVEL 
 4 /// TIES & SHAPES VOCABULARY BODIES\, FORMS\, TENSION & CHEST HARNESSES 
 Structure & Creation The Third Chapter of Tiger Nawa Ryū Learn to compose
 . Rope creates lines. Lines create shapes. Shapes create physical\, emotio
 nal and relational states. Level 3 is a two-module immersion into the voca
 bulary of Kinbaku: floor forms\, body shapes\, hip structures\, chest harn
 esses\, tension and composition. MODULE A /// SHAPES VOCABULARY Floor form
 s\, hip structures and tension. MODULE B /// CHEST HARNESS VOCABULARY Tors
 o structures\, TK variations and Butterfly forms. After Level 2 developed 
 Aibu Nawa\, presence\, pleasure and deep listening\, Level 3 gives student
 s a broader physical language through which intention can take form. We le
 arn 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 rest
 raint. It may create a posture\, a feeling\, a visual image\, a sensation 
 or a relational dynamic between Bakushi—the person tying—and Ukete—t
 he person receiving. The same structure can feel grounding or exposing\, p
 rotective or vulnerable\, pleasurable or challenging. Its language changes
  through placement\, tension\, direction\, pace\, posture and intention. F
 ROM CONNECTION TO COMPOSITION Level 1 begins teaching you how rope works. 
 Level 2 begins teaching you how rope feels. Level 3 begins teaching you ho
 w rope composes. We study how the body can be folded\, opened\, compressed
 \, stretched\, turned\, framed and held. We explore how rope placement cha
 nges emotional tone and how maintaining or recovering tension keeps the ro
 pe precise\, responsive and alive. Students first learn clear structures. 
 We then examine their function\, adapt them to different bodies and combin
 e them into wider compositions. The objective is not to collect patterns. 
 Learn the form. Understand its function. Adapt it. Compose with it. WHAT Y
 OU WILL DEVELOP SHAPE VOCABULARY • Agura and seated forms • Hog Tie an
 d compression-based forms • High\, low and full Mermaid variations • H
 ip 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 structur
 e • Understanding tension as structure\, sensation and communication •
  Refining frictions without overloading the body BODY READING AND ADAPTATI
 ON • Reading compression\, folding\, opening and pressure • Adapting f
 or flexibility\, mobility and body proportions • Respecting breath\, joi
 nts\, 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\, vulnerabili
 ty\, restraint and power • How Aibu softness or Seme intensity can chang
 e the same form • Structure as the foundation for personal expression MO
 DULE A /// SHAPES VOCABULARY Floor Forms\, Hip Structures and Tension Satu
 rday /// 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 learn
 ed clearly and then explored through guided variations and adaptation. PAR
 T ONE /// TENSION\, DIRECTION AND FORM SHAPES AS LANGUAGE We begin by look
 ing 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 sti
 llness 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: • Ke
 eping tension alive thro\nhttps://www.tickettailor.com/events/ropejam/2308
 990\nSource: ENM Fam on Teamup
URL:https://www.tickettailor.com/events/ropejam/2308990
STATUS:CONFIRMED
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