This will be weekend of reflection and learning, but also of pleasure. There will be rare books and old magazines, translated texts, movie-clips, and excerpts from original interviews not yet published. Bring an open mind, a pen and a notebook. And of course, bring your ropes ...
ABOUT BERGBORG Bergborg's approach to rope is coloured by his background in contact-improvisation as well as his work as an academic researcher in the humanities. On his blog Kinbaku Books, he shares parts of his collection of historical Kinbaku-material with the larger rope-community. In addition to his regular rope-teaching, Bergborg has also during 2017–2018 organized a series of thirteen historically oriented evenings in Stockholm, called the "Kinbaku Salon", offering a broader context for the reception of Japanese rope culture. Bergborg has held versions of the format "Kinbaku Salon" for the Swedish summer "ShibariCamp" and for "Kinbaku Lounge" in Copenhagen. Find Bergborg’s book blog here: kinbakubooks.wordpress.com/
**FRIDAY 8th of FEBRUARY**
20.00–22.00 ITOH SEIU The theme for the first lecture is one of the absolute pioneers of Kinbaku: Itoh Seiu (1882--1961). In addition to some biographical storytelling, giving some context for Itoh's work, I will also make some general reflections about the uses of history in kinbaku. We will be analysing some of Itoh's images – both photography and artwork – and we will take some time to analyse the concept of "seme". Accompanying the lecture will be art-books, old dirty magazines, movie-clips, plastic toys and even some original sketches by Itoh. You will also get to hear excerpts from a few texts translated from the Japanese - some written by Itoh himself, but also parts of a text by Minomura about his relation to Itoh. Itoh can be a vulcano of inspiration.
22.00–24.00 ROPE JAM
**SATURDAY 9th of FEBRUARY**
11.00–14.00 MINOMURA KOU Minomura Kou (1920–1992), also know under his artist name "Kita Reiko", was one of the pioneers of Kinbaku. He had a direct influence for example on Nureki and Yukimura, indirectly clearly also on Naka – and, it could be argued, perhaps on all of us. In the early 1950s, Minomura was instrumental in the turn towards SM of the magazine Kitan Club. He was also the person behind both the tying and the texts in the first Kinbaku photo-book ever published. A key feature of his rope-scenes is an erotic dynamic involving contradictory feelings of embarrassment and enjoyment. There will be rare books and old magazines, translated texts, films and excerpts from original interviews not yet published.
16.00–19.00 NUREKI CHIMUO The impact of Nureki Chimuo (1930–2013) on Japanese rope culture is unique. In his role as a writer, he has also been an influential historian of this culture. Writing erotic stories in Kitan Club already in the early 1950s, Nureki grew close to Minomura Kou. As Minomura fell ill in 1980, Nureki took over his tying job for many magazines. For over a decade, Nureki then collaborated with master photographer Sugiura Norio – together they created an original aesthetic that has come to be iconic. Nureki was also the central figure of Kinbiken, the "Society for the study of the beauty of bondage", where Naka Akira discovered rope. Incredibly active long into his old age, Nureki wrote a book entitled Kinbaku - for as long as I live at age 78, and published a small booklet of kinbaku photos even the year of his death, named The Room of the Morning Light.
22.00–24.00 ROPE JAM
**SUNDAY 10th of FEBRUARY**
11.00–14.00 AKECHI DENKI "In SM, shibari is communication between two people using the medium of rope. It’s a connection made with rope between the hearts of two people." These words by Akechi Denki (1940–2005) have become famous – for good reasons. Akechi was a pioneer in several fields – as a creative rope-artist, an engineer and a performer. The distinctive style of Akechi, as a crucial inspiration for rope-artists such as Kanna, Osada Steve and Pedro, has had quite some influence on the European rope-scene. Akechi was also the first Japanese rope-artist that came to Europe to perform, in 1998. Through some texts where Akechi tells about his life, we will begin the evening by tracing his itinerary from his childhood and youth in a Japan defined by the war and the post-war sufferings, to his break-through as a rope-performer in the 1980s. Hit by a heart-attack when he was 19 years old, Akechi was told by the doctor that he would probably not live to see his 30th birthday. He recalls his reaction: "If I lived each day with double intensity, even though I may die when I am 30, it would be the same as dying when I was sixty." Drawing on a wealth of materials such as texts and images from old magazines, VHS-tapes and later DVDs, we will examine the development of Akechi's style and try to understand his outlook. "Sometimes the ropes move on their own and my hands just follow, and that is always an amazing experience. I just disappear. The shibari is always very beautiful when that happens."