Shibari

What is Shibari?

Shibari (縛り) as a Japanese term simply means ‘to tie’, and comprises all kinds of knots from present-wrapping ribbons to non-functional aesthetic knotwork. Though it now has developed to mean Japanese-influenced rope-based bondage (along with Kinbaku), it is mostly a western adaptation adopted by the BDSM community and erotica circles.

History

Rope bondage derives from an ancient Japanese martial art (hojo-jutsu 捕縄術), originally for restraining captives, thus within the context of torture and imprisonment, roughly within 1400-1700. However, the prisoners were supposed to be treated with honour, and thus different techniques of rope binding were used for different prisoners, showcasing the status of their captured prisoner.

During the Edo period in Japan (1603-1867), there were more than 150 schools of rope catching, with localities within Japanese vassal states developing their own binding methods. Tying the rope in public also entailed one person binding it and others forming a circle around them to prevent ‘leaking’ their secret art form. Different ways of binding were also signifiers of difference in class.

Of course, modern rope binding within the context of sadomasochism cannot be directly linked to ancient forms of rope binding, and could be at best said to be inspired or interpreted from it. Kabuki (かぶき), a form of Japanese dance-drama that was a popular form of entertainment for common people, often have dramatic plotlines and colourful aesthetics. With themes of war and nationalism that were relevant at the time, rope-restraining techniques were on display in these performances, which seems to have originated the performance and audience-focused perspective for rope binding. Instead of how ropes used to be tied at the back of the captives’ bodies so that they could not see the knots, now ropes were run across the front of the body for better visibility for the audience. This is important in the development of contemporary Shibari and other rope bondage, by setting the tone for Japanese sadomasochistic aesthetics. Engaging plotlines and tensions contextualising the torture of rope bondage within Kabuki brought together emotional stimulation and an aesthetic of rope bondage to achieve a sublimated beauty of suffering. Thus, through forms of art, such as Kabuki, and genre of Japanese paintings (Ukiyo-e 浮世絵) that utilised rope bondage as themes within expression of beauty, erotica and the social world, modern day conceptualisations of bondage developed.

Decolonising Rope Bondage through Shibari

Modern western sadomasochism concepts talk within dichotomies of master-slave, top-bottom, dom-sub and about restraint and domination. However, the letters of BDSM are not as easily separable with designating Shibari to the B(ondage), as it is not just a tool to restrict movement and tie people, but also a class and identity-induced humiliation with the potential to create pain and torture. There is an aesthetic of torture, but also a negotiation of controlling bodies with responsibility. Rope bondage has nuanced connotations, and far too intersectional to be categorised neatly within the vocabulary of a western ‘BDSM’.

Shibari as non-sexual, but as a healing practice

Rope bondage is commonly conceptualised with an erotic connotation. And while it can be utilised for sexual play, it can also be very non-sexual in nature. There is an aesthetic appeal to rope bondage, of tying someone up and admiring it as visual arts. There is space within Shibari practices to find your own interest, boundaries and desires.

Working with the body entails movement of the physical body itself, and thus serves as a point to connect with one’s own body. It also in turn moves a person mentally and emotionally, potentially serving as a healing point for trauma that the body may hold. It gives space for exploration, and encourages a new relationship with ropes and bondage and body.

Shibari, through creating intricate rope designs and knot placements onto the body, can also be seen as an artistic endeavour of framing the human body as a living canvas. Akin to forms of massage (such as Shiatsu), a Shibari experience is also designed to increase endorphin levels that lead to an adrenaline rush. Thus, it engages with the physicality of the body in nuanced ways as well. Japanese rope teacher and performer Asiana says, “Since rope is shapeless, it has no form, it can be adapted and adjusted to whatever shape or form the body has. At the same time, rope is a tool to fix a body in a shape that it cannot get into and/or hold by itself.” This illustrates the fluidity of ropes to physically engage with it creatively as well, and explore possibilities.

Humans are social beings, but navigation within the intricate complexities of human relationships and networks can be difficult in many ways. The language used within rope bondage contexts also signifies a great deal about human relationships, and virtually personifies inanimate ropes. Vocabulary such as tension, bonds, ties and connections display the personification of these activities, serving as a point to channel intrinsic tendencies of people to build connections and community as well.

Shibari practices can also foster connections with fellow beings, and encourage new ways to empathise and relate to people. It expands our imagination of ways of forming relationships, that are beyond rigid lines of sexual/romantic/platonic, and adds layers in shared experiences that relationships are built on. Shibari provides the opportunity to redefine our ideas of interacting and playing with people. For instance, two people who do not have sexual desire for each other now have the opportunity to be close to another person physically in a different way.

Thus, decolonising rope bondage also entails practising Shibari with a conscious effort to disconnect the natural connection that is made with erotic practices, though it is not mutually exclusive. This effort recognises the complexity of Shibari as a practice that holds value in its aesthetics, physical bond formations, non-sexual exploration of the body and building human connections.

Shibari as a queer practice

In rope bondage, a ‘rigger’ is the person who ties the ‘bunny’. Conventionally, the bunny is a woman who assumes a submissive role, with a more dominant man being the rigger. Shibari as a queer practice requires a subversion of the heteronormative aspects of rope bondage, in order to be a safe and brave space for queer people to bond and explore Shibari. A subversion of the power dynamic also breaks down ideas of a rigger being dominant and a rope bunny being submissive, to open possibilities through negotiations that are personalised and tailored to the people participating in rope bondage.

Shibari is quite an intimate practice, which necessitates developing trust-based bonds, playing with permission, exploring boundaries and taking caring duties and discovering new desires. In order to facilitate such an intimacy, we need to acknowledge power dynamics in bondage, that need to be de-hierarchised for fostering trust and safer spaces. With a structural imbalance that has always rendered queer and trans people and people of colour marginalised, it also becomes important to prioritise their needs. This sometimes involves facilitating spaces that do not include people from groups that are usually connected to their marginalisation. Regardless of intention and awareness, certain spaces require the prioritisation of queer and trans people and BIPOC in order to feel visible and safe enough to go on a journey of exploration and build community. This is why our Shibari workshop is BIPOC-centered and cisman-free.