The Naka style TK

I have seen it said that Naka says that only he himself can tie in Naka style. I take this to mean that ‘whatever he does, is Naka style, because he is Naka’. So then ‘Naka style’ should be taken to mean something that is derived from or looks similar to something that Naka has once done or often does.

If we are reductionist in this way, we can summarise the Naka TK as being stemless, using reverse tension on the upper wraps, and not joining rope in the usual way.

There doesn’t appear to be a lot of tutorial content online for Naka style tying, so this is me piecing it together myself. Nothing here is necessarily authentic or legitimate… or safe! So with that in mind:

DO NOT USE ANY OF THIS POST AS A TUTORIAL OR AS FACT!
WHAT FOLLOWS IS MY OWN INTERPRETATION BASED ON WRITINGS AND VIDEOS I HAVE FOUND, AND GUESSWORK!
LEARN FROM IN-PERSON TEACHERS WITH EXPERIENCE!

His rope philosophy is that each rope is its own story. He typically does not join one end to the other, instead attaching into the tie itself.

Someone on FL

My current understanding of a Naka style TK

Stemlessness

Stemless here doesn’t mean that there’s no stem as such, just that the connection from initial single column tie to upper wraps is minimal i.e. not a T or Y shape in the back, but a very obtuse angle V. This means the tie might not be suitable for people who don’t have the range of flexibility to have their hands high in the back.

One rope at a time

Each rope having its own story here means one rope for the upper wraps, another for the lower wraps and kannuki, and then a third rope for any tasuki or other connections to the open and pattern the front of the chest.

Reverse tensioned upper wraps

Reverse tension on the upper wraps means that instead of forward tension, we have a series of counter tensions.

Forward tensioned lower wraps

The lower wraps are applied with forward tension. I assume that these are laid on less tightly than the upper wraps as in most TKs for the same reason: to avoid more pressure on the the nerves in the arm, as they are more likely to be present lower in the arm in this position.

Performance and demonstrations online

There are several performances online. The ones I have seen seem to focus on starting with a TK, an up line, then some variations on leg suspensions and futomomo transitions.

Watching these performances should give away some clues, but not with details or explanation.

Naka with Gorgone in Madrid

AKIRA NAKA PERFORMANCE @ Madrid 2014 COMPLETE PERFORMANCE from Zor Neurobashing Films on Vimeo.

Ignoring the intensity and emotion for a moment, here are the things I noticed about this performance:

• The TK was fundamental as it was where the primary upline was attached
• Reverse tension was used on the upper wraps
• There were two upper wraps
• The upper wraps went upward – the second one above the first
• Second rope is added with a basic knot, not lark’s head (there wasn’t the pull-through of a lark’s head)
• Second rope does lower wraps and kannuki with frictions only at the end
• Third rope only added after (partial) suspension
• Third rope started around the waist

Riggers delight

In addition to the notes on the above video:

• X friction and wrap of the wrists seem to end the first rope
• The bight is very long and probably used to tie off the rope at the end

Naka in Bondage Cafe

Shibari in Bondage Cafe – Akira Naka from Boris Mosafir on Vimeo.

Online tutorials

Watching tutorials online for TKs that state they are Naka inspired or old style gotes might give me some indication of the details I’m missing from the performance. Some of these may be derived from the Naka style, or derived from a common source.

Christian Red

Christian’s gote here is explained as a hybrid of elements from different schools. The V shape/stemless nature is Naka. The X friction is from Osada (and Kinoko etc?). Apparently the L friction is a feature of the Kazami TK.

• Gorgone’s TK goes: L friction, kannuki, L friction, kannuki
• Whereas this goes: L friction, kannuki, kannuki, L friction

I don’t know how much this affects things.

This TK begins with counter tensions just as I suspect the Naka TK is. Where Christian differs, I think, is the use of:

• continuous joined rope when doing the lower wraps
• L frictions instead of going over the stem back and forth to perform kannuki

• Starts with a quick release bowline on the wrists
• Counter tension upward on the upper wraps, catching the bight on the first counter

• Continue to make an X friction
• Trapping the bight this way apparently creates a more solid ‘stem’

• Make two wraps with forward tension, going under the ‘stem’
• Perform an L friction
• Kannuki on one side
• Kannuki on the other side
• Do L friction on the wraps, but not the kannuki line (I can’t remember if Gorgone’s does this or does L friction, kannuki, L friction, kannuki)

La quarta corda

LQC says this TK combines traditional elements (most likely akin to ‘Naka style’) and original solutions. I think this TK is more like Naka’s than Christian’s as I think the use of L frictions and joining rope is more of a deviation from Naka’s TK.

• He uses counter tensions for the first rope, but the second wrap not going above the first.
• He adds another rope without extending the first (each rope having a role)
• He does an x friction before doing the kannuki and then ties the second rope off to the ends of the first – Naka doesn’t do frictions between lower wraps and kannuki.

LQC starts with a somerville bowline SCT with an additional wrap (3) saying he doesn’t want the knot to collapse. Hajime Kinoko uses a honmusubi/reef knot because it loosens under pressure. These do appear to be conflicting opinions. LQC is right that a SB is far less likely to collapse, but I think Kinoko’s advice and preference revolves around the fact that a SCT in a TK shouldn’t collapse in the way it might were it an upline tied on with only a SCT with dynamic load creating the risk of collapse etc.

Perhaps the TK that LQC does allows for this risk that Kinoko seeks to avoid in another way, so I write this only to highlight a difference, and not to cast judgement.

He then applies counter tension on the upper wrap, but going underneath the first wrap, not above.

Over the ‘stem’ and counter tension again

He closes with a half hitch

A new rope is tied to the wraps one side of the central nexus and travels in the opposite direction

The wraps are made with forward tension over the stem/nexus – not going under the stem or wrapping the stem

He makes an X friction going behind up > across over > behind up > across, then go under the stem

Go straight into the kannuki

Go over everything, not behind, to do the other side’s kannuki

This rope then goes behind the stem coming out below the chest wraps but above the kannuki

To finish, tie off with the trailing strands from the first rope

Kink Academy / Stefano

• Start a single column tie with a long bight
• Counter tension on the first wrap
• Underneath the first wrap
• X friction then tie bight to working end
• Tie second rope horizontally around the stem
• The wraps have forward tension and go over everything at the back
• Continue to do kannuki without any frictions made
• The line from the last kannuki goes up and under everything on the opposite side at the back and creates an x friction by tying off to the bight left at the start of the second rope

	Naka	Christian Red	LQC	Stefano	Tamandua
SCT	Tatemusubi?	Quick-release SB	3 wrap SB	Honmusubi?
Upper wraps	Counter tension upwards	Counter tension upwards	Counter tension downwards	Counter tension downwards
Finish upper wraps		X Friction	Half hitch	X friction with bight tied to working end
New rope	Attached to upper wraps	Joined / extended	Overhand knot on upper wraps to side of x friction