Philosophy

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My philosophy of rope is heavily influenced by Barkas & Addie, whom I've learnt from several times. Barkas' book, "Archaeology of Personalities", discusses an 'interview' metaphor of rope bondage.

 

Following from the idea of a rope scene as an interview, I endeavour to focus as much of my attention as possible, during a scene, on the person I'm tying. In a society in which women are seen exclusively as sexual objects, men are seen according to what they can do, and non-binary people aren't seen at all, it is vital to me that the rope-scene space is radically different; a space in which the tied person is seen fully, non-judgementally, with unconditional positive regard: free from expectation or obligation. 

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When this space can be created, then play is possible. Johann Huizinga theorised that self-aware play is what separates humans from animals. I am put in mind, when tying, of his words:

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“Our point of departure must be the conception of an almost childlike play-sense expressing itself in various play-forms, some serious, some playful, but all rooted in ritual and productive of culture by allowing the innate human need of rhythm, harmony, change, alternation, contrast and climax, etc., to unfold in full richness.”
― Johan Huizinga, Homo Ludens: A Study of the Play-Element in Culture

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Using theories on play, ritual and sacred space, combined with a trauma-informed, neuro-affirmative approach, I believe that rope can transcend ordinary life, entering a sacred 'play-space', or as I call it: a 'rope-space'.

 

Here, true communion and the constant flow of question and answer are joined to unconditional positive regard, the curiosity of play and the sacred ritual of worship. Here is where the magic lies, where, in one symbiotic moment in time, I can dance with my partner from instinct to instinct, following and leading, seeing and being seen, finding healing and harmony in touch, movement and sharing.