Scene Dynamics

(A discussion on the ebb and flow of play.)

    I attended a convention a couple of years ago and was very fortunate to attend a workshop with Guy Baldwin , author of Ties that Bind and Slavecraft as well as numerous articles on the Lifestyle. Though I didn't really come to any new understandings, he had a way of breaking it down into easy to understand steps which make the lesson easier to relate. I have added, subtracted and modified according to my own views and understanding. 

1.    Negotiation

2.     Invitation

3.     Stimulation

4.     Assimilation

5.     Recovery

    Except for the first step, this pattern repeats through every scene. The most important attribute in a bottom is the honesty of their reaction to any stimulation. I do not agree with the opinion that “bottoms” should sit perfectly still and not react to things. This is not about the denial of stimulation, but about the indulgence in that activity. What I desire is a bottom that reacts honestly to the things which they experience. I feed off their reactions, their body’s movements, their sounds and the reactions of those who witness the scene. This free exchange is not possible with someone who is preoccupied with thoughts of what the “Top” might want them to do in any given situation or how they might be perceived by those around them. It should be easy to be a “bottom”, just be honest with your feelings and your reactions. This is a complex dance with infinite steps and twists and turns which should never get stale or grow old.

1.      Negotiation*:

Function: noun
: the action or process of negotiating

1 a: to arrange for or bring about through conference, discussion, and compromise

    This is the most important step of all. I could easily do a couple of hours of discussion on this one step alone. If this step is completed in an honest, concise manner, the following steps should provide a most fulfilling experience for all involved. There are no rules to the negotiations, no minor or major participants. At this level, all should be equal in stature and no subject should be taboo. This would be the time to state your interests, your limits, your knowledge of your own reactions to expected situations and types of stimulation. If conducted correctly, each party should come away with a common understanding of the events to follow whatever they may be. If you find that your negotiation does not arrive at a satisfactory situation for you, it is in your best interest not to partake. This point goes for “Tops” as well as “bottoms”. 

   2. Invitation*:

1 a : the act of inviting b : an often formal request to be present or participate
2 : INCENTIVE, INDUCEMENT

    This is what I want the bottom to do when play commences. (This is to assume that we have successfully negotiated the scene and that there is a level of trust between myself and the bottom.) They have the ultimate control here, and no safewords should need to be uttered if I am watching my bottom and successfully reading them. I allow them to invite my stimulation to their body. Simply sticking out their bottom, or turning a thigh or rounding the shoulders and tossing the hair, leaving the back exposed. These are requests I need no words to understand. This is all the inducement I require. {The bottom offers their butt for attention, the breathing is deep and pronounced}

   3. Stimulation*:

1 : to excite to activity or growth or to greater activity : ANIMATE, AROUSE
2 a : to function as a physiological stimulus to b : to arouse or affect by a stimulant (as a drug)

    As a good Top, I tend to start very slow, often not even offering enough stimulation to warrant a reaction from the bottom. I am taking my time to wake up the skin and get it ready for whatever I have in store. This will reduce bruising and also allow a longer session with a greater intensity possible. Once I have reached a level of stimulation where the bottom is beginning to react by shifting or pulling away, I will allow them the time to decide just how they feel about what is happening to their body. This brings us to the next step. {I smack their bottom with a leather strap sharply, while they exhale.}

   4. Assimilation*:

1 a : an act, process, or instance of assimilating b : the state of being assimilated
2 : the process of receiving new facts or of responding to new situations in conformity with what is already available to consciousness

    The process of receiving new stimulation and taking the time to decide just how one feels about it, adding it to the previously available data and processing it to attain a new awareness of the situation. This is really the most important aspect of scene dynamics as it pertains to the “Tops” conduct of the scene. By allowing a substantial amount of time for the bottom to assimilate the new stimulation, you allow them to gain the maximum benefit. The time needed to assimilate a new sensation will be longer than for a repeated sensation. {The bottom sucks in a deep breath while tucking their butt in and withdrawing. The butt is seen to flex, the overall body is tense.}

   5. Recovery*:

1 : to get back : REGAIN
2 a : to bring back to normal position or condition
3 a: to save from loss and restore to usefulness : RECLAIM

   This may at first appear as a continuation of assimilation, but the body tension will begin to ease as well as there being an apparent regaining of strength, breath and composure, particularly if the stimulation was sharp. Once this aspect of the scene is completed, the bottom may signal this fact with another invitation. {The bottom begins to relax and breathing regulates, the butt is reintroduced and even teasingly wiggled as an enticement.}

Aftercare

   Though I do not include this as a step in my Dynamic, it is an invaluable consideration when conducting a scene in a responsible manner. Many times the play we participate in can result in feelings of vulnerability, and physical weakness which should be considered. As responsible “Tops” it is our duty to return the bottom to a pre-scene condition before discharging our control. Pre-scene setup should include something to wrap the bottom up in to ward off chills which may follow the scene as well as orange juice or other refreshment to maintain the blood sugar levels especially in those who suffer from low blood sugar maladies.

   The argument continues as to what “sub space” really is. Is it the desirable result of the body’s production of endorphins and adrenalin or is it a condition closer to shock? I have seen both types of results and would always prefer that the “sub space” reached with me be the kind that is a result of endorphins. This naturally produced drugged stupor is much more to my liking than the mental vacation some will take as the brain removes its involvement in activities for its own safety. To best achieve this, give the body the opportunity to react to the stimulation provided.

   You might consider keeping a journal of your experiences, cross matched to the individuals you have enjoyed a scene with. This will give you valuable information for future encounters; though you should never assume things are the same or that reactions to the same stimuli will be similar on successive encounters. You should always negotiate a scene beforehand, monitor the play partner during and after the scene, include aftercare and for an extra measure of safety, include a phone call within 24 hours of any play to insure no lasting issues.

   Trust me, once you get this down it just flows so easily you don't need to think about it. While this may be a little over-simplified, I think that with thought and practice, it will give you a better dynamic with your bottom, leading to infinitely better scenes for both of you. There is no higher compliment than the statement that; though the “bottom” contemplated calling their “safeword”, they found it unnecessary due to the “Tops” proper reading of the situation and the “bottoms” reactions to it. As always I welcome your comments, compliments or criticism.

In Leather,

Robert  Lowery
http://www.tampafetishparty.com

“Those who hear not the music, think the dancers mad.” This quote is ever prophetic in our lifestyle and community. Take every opportunity to share your music in a positive and uplifting way.

*All explanations of terms are from the Merriam-Webster dictionary which can be found online at http://www.merriam-webster.com I have chosen to only include the explanation or example which best suited my need in the situation stated.*