Understanding Energy Play, Vibration and BDSM

There is an idea that we "People of Leather" strike each other in order to cause pain, which will be metabolized into sexual desire. But that is a very basic and primitive way of viewing our complex interactions. There are many who view BDSM as a transcended and/or therapeutic experience, which borders on the edge of spirituality.

This ethereal and energetic art that we call BDSM revolves around an energy exchange between two or more enlightened individuals. It transcends the traditional heteronormative idea of intimacy and blends physical reality with the metaphysical. But in order to understand it, we must let go of the antiquated idea that our partner/s are here to inflict pain which we must endure until either our body converts it to pleasure or until they will be merciful enough to bestow release upon us.

I feel that it is important to state that the flesh doesn't have to be mortified in order for a person to have a transcended erotic experience. What is required is that the person guiding the experience has unique knowledge, understanding, and skills in the following 3 disciplines, in order to bring about an altered state of being in their partner which is colloquially called subspace:: 

Interpersonal Causality 

Erotic Body Dynamics

Energy Flow Techniques

One of the ways in which we bring about this altered state of being is by using impact or a simulated mortification of the flesh. Think of the body as a drum. The bones are like the wooden frame and the skin is pulled tightly across them. When we strike a drum, or in this case a person, vibrations are sent throughout the structure. When we are in tune with our partner we can use strong, regular, repeated patterns which cause a vibratory field that resonates deep within the individual's structure. This vibratory field is called Akasha and is similar to the primordial OM.

The Seven dhātu 

Akasha, in its Jain and Hindu forms, refers to an imperceptible 5th element that is closely associated with sound (vibration) and empty space. In Buddhist phenomenology, Akasha is divided into two parts: endless space (ajatākasā) and limited space (ākāsa-dhātu).  It is the ākāsa-dhātu or limited spaces within the body that we access through impact play.

But it takes time, patience, and precision in order to find the tonality that resonates for each individual. And because of the time it takes to find each body's tonal resonance, the process cannot be painful (in the traditional sense) in the beginning.

When the body feels pain, it then contracts. The contraction not only condenses the body, which inhibits and localizes the vibrations, but it also reduces the amount of empty spaces between tissue and organs. These empty spaces are the major conductors of vibration in the body, called the "Pathways of Akasha". These pathways channel the vibrations throughout the body, so it's important for the partner guiding the experience to remind the partner being directed (hereby referred to as the bottom), to relax and breathe. It is the breath that engages the sympathetic nervous system, which controls "fight or flight" and allows the body to expand the channels so the vibrations can flow freely.

One of the ways to find the breath is to find the Akashic OM. In order to find the Akashic OM, the facial mask must be found. The facial mask consists of the lips, bridge, and sides of the nose. In order to engage the facial mask, breathe in and out through the nose and project from the diaphragm. Once the breath has been found through the breathing exercise, make an "umhmmm" sound as if sincerely agreeing with someone. Once the lips, the bridge of the nose, and the sides of the nose are vibrating, the facial mask has been fully engaged. Access to Akasha - the vibratory field - can begin.

The next step is to blend the "umhmmm" sound with the OM sound. Slightly open and close the mouth until the vibrations are felt not only in the face, but also throughout the entire body. Once the vibrations are felt, notice how freely the vibrations travel through a relaxed and open body. Also, notice how the vibrations do not feel as intense in areas where the body has become more dense, such as in the legs or in the arms. The more dense or condensed the body becomes, the more resistant it is to vibration.So the partner (hereby referred to as the top) must instruct and remind the bottom to breathe and relax in order to let the vibrations not only enter but move through the body.

Being a guide, the top's most important tool is repetition. If you have ever put a child to sleep, you know that light repetitious pats on the back soon soothe them into a calm state that eventually leads to sleep. Notice that the impact used in the soothing of a child was not hard or painful but kind and loving. Essentially we are doing the same thing with our adult partners.

With this idea in mind, when we use impact with our partner, we are using a pattern that not only resonates with the person, we are also using what is called a metronome. (A term coined by Sir Nik Santanas) This means that we are making contact with the body at regular intervals. This not only takes the random nature out of the session... It replaces it with an air of predictability that gives the body time to relax and adjust to what's happening. This period is called the warm up period.

I liken the warm up period to an orchestra tuning up. It begins off beat and out of tune and totally devoid of direction. But once all the members of the orchestra get on the same page and are guided and directed by a maestro, they fall in sync with one another and produce a mellifluous sound (vibration) that can be felt. All of these tonal vibrations elicit emotions and feelings in a manner which cannot be conveyed in any other way.

What is really important is that we stay connected with our partners and that we keep in mind that this is the their journey. This is  their meditative experience and we, as tops, are there as facilitators to help them along their journey.

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