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WITD 201.23 Two Handed Technique Alternating Over the Shoulder40 viewsGuest Instructor: WillKnots, a staff member at the Woodshed Orlando. Will takes the over the shoulder (static) technique and shows how when the technique is done with two whips it becomes a dynamic technique. One of the whips is always in motion. Variations of this technique are to change the angle of delivery. Sometimes off of the bicep, sometimes as an underhand.
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WITD 201.22 Two Handed Technique Alternating Overhands and 4 Count Florentine52 viewsThanks to Guest Instructor, HunterChris, for teaching alternating overhand technique and a 4 count Florentine that could also be described as an over/under alternating forward figure 8.
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Caning 101.02 Canes vs Rods127 viewsThe tools of the caning trade: canes, and rods. The old distorted religious saying, 'spare the rod and spoil the submissive'. Learn the difference in a cane and a rod. Watch this video so see the tools of the trade and some pervertibles that make excellent rods from Dick's and your local agricultural supply house.
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Caning 101.01 Introduction to Caning and Bastinado167 viewsWith Whips in the Dungeon series of whip instructional videos completed, the next set of videos in the evolving Dungeon Play series is Caning. This series of short videos will chunk one technique or topic at a time until it covers what I normally cover in an hour and a half workshop. Practice of these techniques is encouraged at home with a pillow, stuffed animal or willing caning bottom.
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WITD 201.21 Whip Practice55 viewsWhip practice reviews throwing techniques using different targets. Gives practice time to connecting the rhythm of the whip with the tempo of the music. It also reviews footwork. Construct your own practice routines. The more mileage you cover with your whips the more comfortable you will be throwing them in the dungeon.
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WITD 201.20 Plait Count50 viewsPlait count? What the hell is that? Watch this video to quickly tell what plait count the whip maker used to construct your whip. 8 plait whips are common working grade whips found in tack shops or sold as budget whips. They are fine for sport cracking, but do not give the accuracy and finesse a 12 or 16 plait count whip will give the thrower. 12 and 16 plait whips are also considered working whips but a well make 12 or 16 plait count whip will easily give the accuracy and finesse in control needed for successful dungeon play. Plait counts 20 or higher are considered collector's grade whips.
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WITD 201.19 Self-Flagellation60 viewsSelf-flagellation involves flogging or beating one's self with any of the wide variety of whips used in dungeon play. Traditionallly it was done for religious discipline or for sexual gratification. Most often in BDSM it is done for erotic gratification in the pain and pleasure vortex. As masturbation is done for self-gratification so also the masochist can self-whip for sexual self-gratification. In this trying time of COVID, with challenges in playing with partners and in groups, self-flagellation perhaps has more applications due to viral circumstances and virtual relationships. Self-flagellation can be self-initiated play, but also can be directed play by the Top or Dominant when distantly separated from the bottom. If this video goes viral it might even be because I've found a new creative way for Moodstone to take her clothes off.
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WITD 201.18 Intentionality in Play51 viewsThe whip scene with any type of singletail whip is edge play. Regardless of the type of negotiations before play, achieving the results negotiated implies the finesse and ability to actualize intentionality in play. Watch this video to further this discussion. If you negotiated no marks, is the whip top accomplished enough and using the proper type of cracker to with a high probability achieve a successful scene with no marks. Negotiating no marks, and leaving the whip catcher all marked up is poor form. On the other hand, if marks were negotiated was the cracker choice smart to increase the probability of marks being left even with a finessed controlled puff scene as negotiated?
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WITD 201.17 Arts and Crafts49 viewsThis video will get the whip throwers ready for kinky camping events. Suggested materials are No 36 twisted mason line (it is fluffier and holds more paint, No 18 is what is used to make ladysally crackers for play), gel acrylic paints all the colors of the rainbow, tempra paint, drop cloth, parachord whips and canvases, or better yet living canvases to create living art (goggles, safety glasses, blindfolds, or simply closing the eyes recommended). Turn controlled puffs into brush strokes and parachord whips into paint brushes. Great use for parachord whips after the whip thrower has taken the plunge into kangaroo whips.
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WITD 201.16 Music and the Whip44 viewsMusic carries energy. . .sound energy. A whip makes a sound as it travels through the air, and another sound as it ends its travel. From a controlled puff to a crack, varying sounds. Think of a whip as a musical instrument. A whip transfers energy to the whip catcher as well as contributing sound energy to the space. Connects the thrower with the whip catcher. Connect with the energy of the music, connect that energy to the whip catcher with the added energy of the whip. Crack when the music screams crack, puff when the music does not support a crack.
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WITD 201.15 Footwork41 viewsRelating to What You Already Know WITD's approach with the 4 techniques for throwing whips is grounded in the adult learning theory that adults acquire new skills quicker by relating them to skills with which they already have experience. All 4 techniques are commonly used to throw floggers, cats, quirts, and dragontails. The same approach is taken to footwork. If you have experience throwing darts, fencing, playing tennis, ping pong, golfing, softball or baseball, etc. Relate the footwork in those activities to the footwork used to throw a whip. See what feels the most natural that correlates to past experiences.
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WITD 201.14 Sacred Space46 viewsA dungeon is a sacred space. Most cannot play in a dungeon daily. It is a special occasion to be honored, cherished, a place to share energy. Life is busy, many arrange schedules, take time off from work, merge schedules with play partners, travel many miles, spend varying sums of money and often have to stay overnight or several nights in a hotel. . .all for the chance of experiencing Sacred Space. It is NOT the time for whip practice, sport cracking, for loud talking as at a cocktail party. The dungeon orchestra is playing, soak in the music and the energy, share and cherish Sacred Space.
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