Sansblague and Bergborg have been tying together since 2011. They have a rich background in performative practices, critical theory, didactics, martial arts and dance, all of which they bring into their teaching. Special efforts are made to develop workshop-formats that are non rigger-centric.

Sansblague and Bergborg have given a number of workshops in their studio in Stockholm, at “Shibaricamp” outside Gothenburg, at the “European Riggers Exchange” in Berlin, at the “Kinbaku Weekend” in Helsinki and at the “London Festival of Rope Art“. They have also repeatedly been the main teachers at the recurring “Stockholm Shibari Weekend“. In March 2016, they gave a number of workshops at the “International Rope Weekend” in Utrecht.

In 2015 Sansblague and Bergborg organized workshops in Stockholm with Dasniya Sommer & Frances D’Ath, Kasumi Hourai & Nao Nagasawa, Butterfly Bondage & Bergborg, Barkas & Addie and Gorgone & Misungi.


Tamandua is a swedish rigger but based in Berlin since a while back. They make their income working as a prodomme and spend the rest of their time, well, also mostly being a creatively pervy bastard.

Although a sadist at heart and never really having felt the desire to switch they came to a point in their devotion to kinbaku where they felt it was needed to also submit to the ropes. In an attempt to further embrace kinbaku and expand what their relationship to the practice can be.

In ropes Tamandua likes the idea of disciplining themselves to be able to lend their body as a material for the rigger to use and to feel the body trangress it’s limits and purpose.

Since they are very fond of putting people under high intensity and suffering as a rigger Tamandua strongly prefers to be tied in a similar way and to be forced to struggle to cope – claiming it’s a matter of karma or some kind of empathetic training!


I aim to develop an harmonious Kinbaku practice which emphasize human and evidence.
Movement, putting into motion, posture, unveiling our emotions, organic aesthetics and construction, searching for and exploiting paradoxes…these are my main tools and lines of research.

This pratice takes roots in my knowledge of the classical Japanese culture, Aïkido, massage and Arisue Go’s Kinbaku. It had since fed on the influences of other artists such as Kazami Ranki, Felix Ruckert, Otonawa Sensei, Shadow, Kasumi Hourai and Pedro…

Everything began in 1997 by studying Aïkido. It will then become the foundation for my Kinbaku (but also a life guide) : work about harmony, centre and posture. Therefore my Aïkido prism enabled me to comprehend the Japanese culture and philosophy, and became my first line of work and evolution.

At that time, I also improved my touch and my body knowledge through massage. I afterwards broadened this practice by travelling to Thailand (Chang Mai) in 2011. There I studied thai massage as well as biomechanics and trigger points in several schools leading to official qualifications.

As for my passion for tying plays, it started in an ingenuous way while I was a child. But the first images of Japanese bondage I saw on the net back in 1998 were like evidence clashing. My discovery path then was slow and tasty : first tie in 1999, followed by the preparation of ropes, the purchase of books in Japan. In 2008 I meet Arisue Go and start a classical study of Kinbaku.

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