This guide explains each step of the hon musubi technique, detailing its execution, purpose, and practical use.
Preparation
To perform this exercise, you will need a soft material such as rope, cord, or fabric. Preferably, use twisted natural fiber rope. You do not need a long piece; one meter will be sufficient.
In the initial learning phase, you do not need another person, as this is a tie you can practice on yourself or an object.
The primary goal is to understand the mechanism of the tie. Before you begin practicing, it is essential to familiarize yourself with each step and its specific function, as these are designed with a concrete purpose rather than to make things unnecessarily complex.
Step-by-Step Instructions
Note: You may have noticed that this tie is commonly constructed with two wraps of rope. However, we will begin with a single wrap. Once you master the technique, you can add complexity with a second wrap, although it is not always necessary in practice.
We will proceed step by step: understanding each movement, executing it slowly at first, then increasing speed, repeating multiple times, and finally progressing to the next step.
The first step is to "wrap" with the rope.
Experiment with different ways of doing this: throwing the rope with flair, guiding it smoothly, etc. In many scenes, this will be the first contact between the tied person and the rope. Imagine different scenarios and replicate them in your practice.
The purpose of this wrap is to establish a dynamic in which we begin managing the person in bondage (not tied, in bondage!).
It is not merely about encircling their arm with the rope but about signaling, in some way, what will come next. It is a " threat," whether gentle or intense, depending on the tone you set and the nature of the scene.
With a simple gesture, you should be able to set the tone of the session.
Key Considerations:
- Direction of the wrap: Inside-out or outside-in? This depends on your next step. If you want to bring the joint into internal or external rotation, the wrap's direction will be crucial. This aspect is explained in detail in Koden Shibari practice. For now, practice both directions.
- Pressure: None. This is not about tightening the limb like a tourniquet. Leave enough slack so that your four fingers can comfortably pass between the rope and the skin of the tied person. They will not escape.
- Sliding: This is a preview of a more advanced technique, but it is worth mentioning here. You can slide the rope over the skin—its texture and sensation can be highly stimulating. However, avoid rubbing it back and forth like dental floss. Ensure that your "communication" through the rope is clear, concise, and purposeful, with a unique direction.
- Shaking and oscillations: Do not shake the tied person while tying, as it is disruptive and unpleasant.
- Tension: Once the rope touches the tied person, the tension should remain constant. Imagine the childhood game of a string telephone with two cups: it only works if the string remains taut. The same applies here. If tension is lost, the tied person will stop feeling your presence, which is undesirable (remember the concept of sekibaku).
Once the rope completes its wrap around the limb or practice object, hold both rope ends in one hand, with the back of your hand facing "inward"—toward the skin of the tied person.
This is why leaving space is important. With a slight flex of your wrist, the rope tightens, bringing your bodies into contact and establishing a first point of control.
At this stage, the rope loop will be positioned over the working end.
The second step is to "block" the rope.
After wrapping, you now have control over the tied person (or should, and here I like to clarify that it is not merely a "tied person" but rather a "person in bondage").
Blocking the rope stabilizes this control, preventing from unraveling.
If using twisted rope, leverage its natural structure by wrapping the loop around the rope, forming a spiral where the two "ropes" meet. Its shape resembles a fusilli pasta twist.
Now, hold the rope by the closest parts of the loop and the working end, leaving the locking (fusilli) between your hand and the tied person.
This space between your hand and the lock, and between the lock and the body, allows for different ways of managing the tied person by using force vectors and movement.
Practicing on yourself is an excellent way to notice how varying distance, pressure, or angles changes the sensation. Do not expect dramatic differences—this is a world of small details that, together, create something profound.
This "friction lock" (fusilli) is not very secure—it can slip and, if unattended, come undone. Do not worry, but stay mindful.
The third step is reinforcing this friction lock.
Note: This step differs depending on whether you are left-handed or right-handed. Left-handed individuals often do it naturally, whereas right-handed individuals may struggle, as it is a "left-handed" motion. We take advantage of the rope’s natural braid, which is typically left-twisted.
To reinforce the lock, hold both rope ends and make the fusilli flip over itself, forming a "shell" or lumaconi shape.
This "flip" significantly enhances the rope’s stability.
Caution: This tie is not designed to withstand heavy loads or extreme forces. If subjected to excessive tension (e.g., 100 kg), it will likely come undone and will not be efficient or safe for restraint. However, for our purposes in this course, it is more than sufficient.
The final step is securing the structure with a knot.
The simpler, the better. If the knot shown in the video seems complex and you know a similar one that feels easier and more comfortable, use it. What matters is that it serves its purpose and builds your confidence.
Ensure the knot meets these criteria:
- It must not be a slip knot. It should not tighten or shift when pulled.
- It must not collapse. No matter how tight it gets, it should still be easily undone.
- It must be quick and easy to tie and untie. If it can be done with one hand, even better, though this is not a requirement.
What about the leftover loop?
Initially, do not worry about its length. In fact, a longer loop is preferable when starting out.
Aesthetically, and if it serves no specific function, a shorter loop is better—it avoids interference, entanglement, and is visually cleaner. However, if it is too short (just a few centimeters), there is a risk of it slipping and the knot coming undone. While not a disaster, it is best to prevent rather than fix such issues.
Likewise, some techniques require a very long loop, as seen in kanuki shibari, though we will not need it for now.
Practice Recomendation
Many people find that the moment they place the first rope on their partner or close the first tie is so intense that it disrupts the erotic tone, leading to frustration due to a lack of skill in handling the rope.
This issue is easily solved: practice until you become fluid enough to execute the tie without looking, without needing to focus your attention on your hands as they work the rope.
The hon musubi is something you can practice during idle moments—while watching TV or commuting by bus.
With just over 200 repetitions, you should develop the muscle memory necessary to, at the very least, avoid frustration every time you attempt the tie. After 1,000 repetitions, you will start to feel confident in your ability. After 10,000 repetitions, you will begin to truly understand it.
Recommendations
- Do not practice this technique for more than 5 to 10 minutes at a time.
- If you practice one day, take two days of rest before resuming.
- First, practice on an object to understand the movement.
- Once you can execute it correctly 10 out of 10 times, practice on your own body to grasp the tension and pressure dynamics.
- When you can perform it correctly 50 out of 50 times on yourself, ask someone to be your practice model. I emphasize “practice” because you should repeat the tie multiple times to ensure fluidity and comfort in your technique.
- Be humble and listen to feedback from the person assisting you. And, of course, thank them for their patience and apologize for any clumsiness. However, do not feel ashamed of not being a master—learning requires making mistakes, and without mistakes, there is no progress.
If you get stuck and cannot follow the tutorial, reach out via the website contact form or Telegram. We can arrange a video call to guide you step by step.
Once we reach a certain age (beyond 25), learning new skills requires different processes than when we were younger. A certain level of frustration is necessary. Keep going!
A Word of Caution
Attempting to learn or execute advanced techniques without fully understanding and mastering each step of this tie is highly irresponsible.
At this point, experienced practitioners might be thinking: “I’ve mastered this technique; I’ve been using it for years.”
Well, then I suppose you are capable of conducting an entire session—fully and satisfactorily—using only a single column tie.
Impossible? impossible is nothing. You simply need to know and understand the technique, use your creativity, and, above all, listen to your partner.
Each step in the tie offers a control point. Experiment with how you can use it to introduce play, even without progressing further.
Control is exerted, management is exerted. The moment you stop exercising them, they vanish.
Do not think of ties as a sequence with a fixed start and end that must be executed in one continuous motion. That is unnecessary. Enjoy every step of the process, and feel free to pause or change direction at any time.
In sekibaku, we typically use this version of the “basic knot.” It is not mandatory—if you are more comfortable with a different version, you are free to use it.
What matters is that you can use the process of creating a single column tie as a tool for communication and control.
Try conducting a session using only a single column tie. Nothing more.
Tying hands behind the back in record time is impersonal. It wastes a moment that will never be repeated, a moment that is unique: the first contact, the instant when restriction is established.