HOW CAN WE PREVENT NERVE INJURIES?

1. UNDERSTAND HOW ROPE AFFECTS US PHYSICALLY

Nerves are one of the most important aspects of the body to understand, simply because they are involved with the most rope play injuries. As discussed nerves can be damaged a number of ways, but thankfully, there are a few cues that can help you understand how close you are to long-term/permanent damage and how to fix it. There are three common rope nerve injuries: Direct Mechanical Stress, Indirect Stress, and Anoxia/Ischemia. Direct Mechanical Stress on the nerve occurs when rope is causing stress or compression on the nerve – pinching pain in one particular area. This can usually be adjusted by clearing your ropes and laying them a milimeter or two from their original placement. Indirect Stress is when pressure or compression is occuring indirectly to the nerve such as stretching, torsion or other physical stress – pain and fatigue from overextension of the body. Anoxi/Ischemia is when oxygen and blood supplied to the nerve are restricted; causing both sensory and motor nerve function to die – lack of feeling and movement. Both Indirect Stress and Anoxi/Ischemia have an undisclosed time limit with the only way of possibly preventing or adjusting it being memorizing anatomical diagrams and applying them to your body accordingly.

Understanding how blood flows throughout the body can also help you decipher between dangerous cues and the amount of time you have left in a tie. Your body has multiple modes of transportion for blood; the three to remember for rope purposes are Arteries, Veins and Capillaries. Arteries have thick muscular walls and usually live deep under muscle and tissue – making it less susceptible to compression. Veins are thin and more delicate – making them easy to compress. Because they run deep under tissue and muscle, as well as on the surface of a limb, it’s more susceptible to compression. When veins are compressed, they can plump up and become more prominent; making the tissue around it swell. With veins, you have at least 10-15 minutes of significant compression and blood-trapping before you need to worry about damage. Capillaries are the network of blood vessels that bridge Arteries to Veins. When too much pressure is applied, Capillaries can burst, creating red speckles on the skin. Knowing where these elements lay, and how they respond to lack of circulation, will help you better identify a problem. For example, skin color change means that blood is being trapped/restricted on that part of the body. The blood that had been pumped into it isn’t being given the access it needs to send that blood back to the heart. Think of wrapping a rubberband around your finger. That part of the finger will start to change color and slowly go numb, but once you release the rubberband, the discoloration disappears and feeling comes back completely.

Skin is a unique factor that changes with every body, but how skin intakes information and how it interacts with rope is generally the same for everybody. The layers of skin we want to focus on are the Epidermis (the outer layer that is exposed) and the Dermis (the layer underneath the Epidermis). These layers hold receptors that process stimulation (like touch, pressure and vibration). Receptors closer to the Epidermis tend to be more sensitive to light touch, can distinguish stimuli in a small area, and adapt to that stimuli quickly – you’ll relax faster into a tie and will soon forget small details (ex. rope texture). Receptors that are buried deeper (in the Dermis) are sensitive to stronger touch, can distinguish stimuli in a large area, and take longer to adapt to stimuli – deeper pressure keeps you aware of the tie you’re in longer, keeping them at the forefront of your mind. The farther apart the skin receptors are on our body (ex. calves, thigh, belly), the harder it is to distinguish the number of wraps. The closer they are in proximity as well as to the surface of the skin (ex. arms and fingers), the easier it is to distinguish them, especially when one line moves independently of the other.

A few other important facts to note: 1. Non-hairy areas of the body tend to be especially sensitive to rope (ex. fingers, palms, soles of feet, lips, labia minora, and glans penis). 2. Aged and extra/loose skin have different elasticity than younger, tight skin, making the possibilty of rope shifting more probable. Being aware of the tension of the rope and the friction any transition may cause will help you forecast a more comfortable rope scene. 3. Skin is only one layer of the body – the musles, nerves and veins that live below it need to be taken into consideration as well.

Your body has the ability to repair itself, but that’s not always guaranteed. Staying aware of of how the rope is interacting with your body at all times helps prevent injuries in the future.

2. LEARN WHERE AND HOW TO CORRECTLY PLACE ROPE

Now that we know some basics on how nerves, veins and skin factor into  our interactions with rope, it’s important to understand how they come together. Our bodies are layered in a way that make it easy for us to understand basic safe rope placement. An easy point to remember is that the thickest part of limb is an area that’s the most protected. If you look at your thigh, your bone is layered in muscles that help pad your veins and nerves. Compared to your wrist or ankle (which have little to no muscle surrounding the area), your thigh is going to be able to handle much more pressure and tension simply because there’s more “padding.” The more padding you have, the less likely the rope is going to come into direct contact with your bones, nerves and veins.

So how can we understand where it’s safe to place things if we can’t physically see them? By memorizing some basic anatomy and practicing the best placement on your own body in correlation with the diagrams, you’ll be more aware of safe points and areas that will put you at risk.

3. CLEAR COMMUNICATION

Tying is a conversation. No matter if you’re tying or being tied, communication during your scene often defines whether or not your tie will be successful. While there are different methods of communication (stop light system, safe words, etc.), being clear and descriptive is the best way to go until you figure out a system that works for you. To help break this down, it’s best to look at it from two point of views: the rope top and the rope bottom.

As a rope top, you hold several responsibilities. Before you even begin a scene, it’s up to you to establish a line of communication for what your scene will involve and what the rope bottom you’re tying with consents to. In this conversation, you should also be discussing how you need to receive information so that you can adjust, as well as observe, the rope bottom. Some basic points to discuss in regards to communication:

When is it most benficial for you as a top to receive information/correction from the bottom during your scene?

What isn’t appropriate communication (ex. cussing, silence, etc.)?

How would you like the bottom to communicate discomfort, pain or urgency (ex. ‘the wrap on my upper right arm is pinching’ OR ‘I need to come down now’)?

Is there anything you need to know about how the rope bottom’s anatomy, how they react to rope or compromising positions (ex. skin color change, injuries, etc.).

The more information you can receive as a top, the faster you’ll be able to react and adjust the situation. Making your needs clear with your rope bottom will also open the door to more successful scenes in the future.

As a rope bottom, it is your responsibilty to make sure your needs are known and understood. Even if you have experience with the rope top, it does not mean that they will be able to read your mind before, during or after your scene. A rope top’s role is to manipulate your body and mind, but they are unaware of what you’re experiencing unless you share it. You should always be clear about what you consent to and what your expectations are during the scene. During this conversation, you should also be communicating how you deliver information and will respond during your scene. Some basic points to discuss in regards to communication:

What check-ins you need as a rope bottom throughout your scene (ex. when you make a specific sound, before a transition, when your body is pulled in a specific direction, bending down to your mouth so they can hear you, etc.)?

How you’d like to communicate adjustments you need throughout your scene (ex. ‘the wrap on my upper right arm is pinching’ vs. ‘that hurts my arm’)

Any rope placements you already know work well for your body

Any other information the rope top should know regarding your anatomy or injuries, keeping in mind your condition in that moment

Tying is a collaboration and is only successful when all of the information is on the table. Whether you’re practicing or playing, understanding where the other person is at and what you want out of it is going to make for a winning experience.