I have never heard much said about using the multiple contact points that rope affords. Although I have long employed this idea, I have recently started to solidify it into my theory. I am not saying all the ideas are new by any means but I have never seen the principles consolidated into a single theory. I include many elements in my teaching as I believe, although to use it fully one needs very good dexterity and rope control, it should be learned at the very start. Making students aware at an early stage makes it natural to tie in that manner. This is so much easier than breaking established habits at a later stage when many ties become more technical and thus require more concentration. The method can be applied with a single length of rope so doesn’t require complicated ties to achieve the fullest results. The use of ‘3-point contact’ enhances the sensation and control that you impart, extending the richness of the language of rope as a tool of communication. I will be exploring this in my next tutorial DVD set. Of course, many rope handing techniques are designed to facilitate the act of tying, so why make life hard for yourself by not learning them at the outset?
The 3-point contact theory divides the rope into three distinct parts. I will describe them below:
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The first part
I regard the ‘first part’ is that portion of the rope between the last point of contact with the skin of your partner and your thumb and forefinger. You are controlling the rope between thumb and forefinger, aren’t you? If not, you are likely to be tying like a toddler scrawling with a crayon held in their fist. The purpose of that grip is to feel the tension and control the rope more precisely. It is like the bridle of a horse and can convey all manner of subtleties. It affords a certain delicacy of touch. If need be, this can be ramped up by closing more fingers on the rope to tighten ones grip.
It also allows you to run the rope into position as one might apply adhesive tape and simultaneously remove twists automatically. Watch the Japanese pros at work and you will see this virtually every time. You can even trace an existing wrap with the outside edge of your thumb tip to ensure exact placement of the next one without looking.
I advise keeping the first part short, usually, as this affords greater control and precision. Think about it. Where do you hold a pen? What happens to your writing if you control it from the opposite end? The precision goes. Same with rope. If you work very close, you can not only pull with rope; surprisingly, you can also push with it! What I mean by that is one can lock ones hand or fist against their body to provide opposite tension. For example, picture yourself coming around the second shoulder when tying a box-tie. Your hand has just brought the rope behind their shoulder. If the ‘first part’ is sufficiently short, you can twist your fist to lock against their back bringing tension into the rope. This then means that you can push and pull. Pulling using the rope, pushing with the fist whilst limiting the degree of forward movement with the rope. It also permits a certain amount of sideways control but one must remember that it is hard to arrest movement in the direction of the other shoulder with this means of control. When you push that way, be sure to have another way to stop them falling.
The second part
The ‘second part’ is between your thumb and forefinger and the other hand controlling the rope. So like when Osada Steve says “Make a stick”, you have the tension between these two points. This ‘stick’ can be used to avoid contact with skin when you need to move rope fast without causing burn or to deliberately direct the rope onto the skin, especially onto erogenous zones. Obviously, one needs to slow down when doing it to avoid burn but with the right speed, tension and force over sensitive areas it undoubtedly produces an effect. It can be utilised with the rope stationary to produce pressure of a comforting or sadistic nature. A clamp can be improvised by trapping the chosen part between the doubled ropes and twisting or puling to achieve the desired effect. The ‘second part’ serves also to control, e.g. to raise your partner’s head by lifting it under their chin or turn it to the side by changing the direction of pressure. I often do this in performance to show the audience the model’s expression. The only limits are your perverted imagination 😉
The third part
The ‘third part’ is the remaining rope. Sometimes this ‘third part’ merges with the ‘second part’ if you release the grip with that hand. This will occur if you throw rope around, for example, when tying a chest wrap. However, let us assume the ‘second part’ is controlled as described in the section above. Thus, this hand will be dragging the section between it and the knotted ends. Control it as it can whip around with surprising speed if you are tying quickly and don’t pay attention. It’s a fault I need to watch in myself, particularly when my tying gets fast and enthusiastic. It’s good advice for rope bunnies to watch the rope ends as it is all to easy to catch one in the eye, which is not most people’s idea of erotic pain. That’s not to say that in less vulnerable areas that it can’t be calculated to whip around.
Think where this rope shouldn’t be going. Keep it clear of wedge points like under legs or feet on the floor, crooks of arms, between hands or wrap around points like legs when standing. This is why it is wise to throw rope away in the direction of tying. Sensitive rope handling will detect any telltale change in friction, so if it starts to drag, work out why and don’t just pull. You could cause rope burn or rip out a piecing and it makes your flow ugly at the very least.
So where should this rope be going? To me, it usually wasted running over the floor. The floor doesn’t feel, nor is it likely to be the focus of your play but your partner does and should be. Thus, it makes sense to sometimes route the ‘third part’ over parts of their body that will excite, tease and tantalize assuming that is your objective. Old favourites are top of the list: inner thighs, neck, lips, genitals and so on. Changes in speed or even withdrawing the contact are further nuances that can build anticipation. Sometimes it’s not what you do but what you might do that is the hottest. After all, the mind is the biggest erogenous zone.
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We will shoot some video or photos to clarify this later.
Clear intent is the secret of communication. If you don’t know what you want to say, how can you say it? You will be incoherent. The more effectively you use language, grammar, vocabulary, structure and expressiveness, the better your communication. So it is with rope. I hope this concept expands your repertoire of communication. If it doesn’t you already know more than me or you are doing it wrong.