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Dan Oniroku – novelist, publisher, producer

Dan Oniroku is the pen name of arguably Japan’s most famous SM/fetish writer, born in 1931 in Saga Prefecture as Kuroiwa Yukihiko. He himself said his penname could be read either as Dan Oniroku or Dan Kiroku, but the former is the name by which he is most commonly known. He graduated from Kansai Gakuin (Kansai Academy) with a degree in law, but in 1957 he won a newcomers literary prize for a short story and began his career as a professional writer. After he contributed the story Hana to Hebi (“Flower and Snake“) to the SM magazine Kitan Club, he became famous as an erotic novelist which became his métier. During his lengthy literary career he penned, edited or published over 159 literary works.

He began writing Hana to Hebi under the penname Hamamaki Kyotaro for Kitan Club in 1961, but lost all interest in it after only three chapters. He then met Minomura Kou and Tsujimura Takashi. With renewed interest he finished the story which was published to great acclaim in Kitan Club in 1962. The novel’s depiction of the psychology of SM was a startling literary departure for its day and became one of Dan’s major themes as a novelist. To date “Flower and Snake” has been serialized and/or republished numerous times and at least three successful motion pictures have been adapted from it. It remains Dan’s most famous literary work.

In 1969 he started his own production company, Oni Pro, and a year later affiliated with publisher Haga Shoten and, in collaboration with photographers and bakushi Totsuka Eisaku and Kayama Shigeru, began to publish high quality shibari/kinbaku photo collections on various themes. In 1971 he directed his own film entitled Nikujogoku and in 1972 began his successful collaboration with Nikkatsu studios on their “roman porno” series of erotic films. Many of his scripts starred the legendary actress Tani Naomi and their collaboration continued until her retirement in 1978 after the production of fifteen films.

Also in 1972 Dan launched his own “golden age” magazine, SM King. A quality publication employing the best writers and artists of the time, it got a lot of attention on its launch as a magazine employing, “only female editors.” In 1973 Tsujimura Takashi was appointed as “kinbaku shidou” for SM King and also wrote his famous “Camera Hunt“ column.

In 1989 Dan Oniroku announced that he was retiring from writing and devoted himself to the publication of the short lived chess magazine Shogi Journal (Author’s note: Dan was an accomplished amateur player of shogi – Japanese chess). However, in 1995 he returned to writing and published the mainstream novel Shinkenshi Koike Juumei. His other major works include: Ashura, Nikuno Kaoyaku, Yuugao, and Ori no naka no Yousei as well as a fictional work based on the life of Itoh Seiyu. In 2000 his witty and wise semi-autobiographical novel Bishonen was successfully brought to the screen by director Hiroki Ryuichi under the title “I am an SM Writer.”

Dan Oniroku has been honored many times over the years for his creative output and in 1999 his autobiography Hana wa Kurenai (“Flowers are Crimson”) was published. Ironically, Dan would have preferred to have been remembered as a serious writer and not one known mostly for his fetish work. However, his influence on the evolution and practice of modern Japanese SM and shibari/kinbaku is indisputable. He passed away in 2011 with his fame as the most important, influential and talented Japanese writer of BDSM material still undisputed.

Oniroku Dan memorial poster, stickers from his Oni Pro production company featuring his famous “Demon Six” logo and caricature and a collection of the author’s novels presented to Master “K” by his widow on the occasion of their joint interview for Mania Club Magazine – October 2013.

A Night of Memories

The turn out for Master K’s Gallery Shinjukuza talk was astounding

Over 70 people packed the room, hallway, stairs, and loft to hear him discuss the Japanese version of his book, The Beauty of Kinbaku.

The event, scheduled for 3:00-4:00pm, ended up extending two additional hours, allowing Master K to speak with guests and sign copies of his book.

Like so many of the events, this very mainstream audience was interested in the culture and history of kinbaku. Most of the questions were about history and art, as well as comparisons to kinbaku in America. The audience seemed keenly interested in how kinbaku is viewed around the world.

Following the talk, Master K was given a special invitation to attend a memorial event for the late Oniroku Dan, MC’d by famed actress Saotomi Hiromi that featured singing by Mrs. Kuroiwa and a tremendously moving rope performance by Naka Akira and his model Iroha.

When Master K arrived at the memorial service, Mrs. Kuroiwa took a long pause from the program to announce his arrival, note how much she thought of his book, and emphasize that everyone should read it!

Many legendary figures from kinbaku film, publishing and performance were in attendance. It was truly an honor to be invited and to attend such a moving, special, and memorable celebration of one of the major figures in the world of kinbaku.

 

Mr. Matsumoto, director of publishing for Sanwa, arranged a meeting between Master K and Aki-Sama, the widow of Oniroku Dan, perhaps the most famous kinbaku/SM personality in the history of Japanese bondage.

Aki-sama is a legend in her own right, as a singer and performer, but also as the keeper of Oniroku Dan’s estate and rights to his works.

She presented Master K with a number of treasured gifts, including some of Oniroku Dan’s personal effects and several lengths of “Oniroku Nawa” and a beautiful lacquered bamboo cane.

The three hour conversation that ensued ranged from discussions of film and literature to discussions of the personalities of many of the legends of kinbaku.

She talked very openly and frankly about the interests of Oniroku Dan and herself: who he liked, knew well and respected in the Japanese SM community, and what was important to him about rope, rope history, and Japanese culture.

Aki-sama’s view of the Japanese edition of “The Beauty of Kinbaku” was that it represents a window into Japanese culture and she believes “every Japanese person should read it.”

Meanwhile, the book is being reviewed and talked about in the Japanese mainstream press, including Nikkan Gendai, reaching an audience of 2 million people.

As one Japanese friend mentioned, “the book is causing a small cultural revolution in Japan” allowing people to enjoy something as art that was once considered shameful.

Needless to say, this has been an incredibly moving experience and a very humbling one.