When Yukimura Haruki passed away, I attended a memorial session in his memory, led by his student and my future Sensei, Haru Tsubaki. That day marked a before and after in my practice as a rope artist, or rather, the boundary that separates my pre-history from my history in Kinbaku. From that moment on, I learned under the influence of his style and I am infinitely grateful to Tsubaki for transmitting it in each of our encounters. His photograph also watched over every one of my lessons, silently witnessing my progress. Later, I even discovered that the ties that had inspired me to delve into the world of ropes (in “I am a S+M Writer” by Ryuichi Hiroki) were from the Grand Master. Despite the distances of time and space that separate me from him, I can feel his energy in my ropes, and I try to transmit, although it may be just a small expression in comparison, some of what he contributed to the art of Shibari Kinbaku.
This fifth anniversary of his death finds us in a moment that still represents growth and expansion of Kinbaku in the world, particularly in Latin America, where this explosion, farther from Japan and with more difficulties in developing, is still in its early stages and with a less defined form than in other regions. Yukimura’s style, in this context, is a great pending subject that we are still navigating, and many are simply unaware of it.
Those who have been so generous as to surrender to our ropes always highlight that special quality we call “the embrace of ropes” which undoubtedly is part of what the Master taught us through our Sensei. Likewise, those who approach to observe will notice another debt in our constant effort to make what we do an expressive, intense, and profound experience. Yukimura’s Newaza, which inspires us, permeates us from beginning to end and has left a lasting mark on us.
Without his contribution, what we understand today as Shibari Kinbaku would not be the same. Especially because of his emphasis on practice as an energetic exchange rather than focusing solely on rope designs. This is even more significant in a discipline where beauty stereotypes in imagery and physical and acrobatic prowess often seize the attention of the unwary.
Today is a day of silence but also of love, and those of us who feel this energy in our ropes come together – in the way this difficult time allows – to remember and honor the great Master, without whom we would not be who we are, nor could we reach the depths we have reached with our humble art of ropes.
Julio Martín Pavón (JMP / Tinchor)
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