Kazari (飾り) means “ornament” or “decoration”. This is anything in a shibari pattern that has no technical function. A typical example is the diamonds (hishi, 菱). Also, the creative “tucking away” of the nawajiri after the completion of a technical component is a kazari.
Osada-Ryû TK with 3 ropes and Kazari
Excellent bakushi spontaneously create a creative and aesthetically pleasing kazari. At the same time, they interact with their partner. You can see how experienced someone is by how well both are done at the same time.
In order to learn this, experience is needed. The basic patterns and basic techniques must be understood and mastered. When a bakushi understands the logic of rope flow, spontaneous creativity also develops.
A shibari pattern always follows the same structure. With these decorations, you can vary these patterns and change them visually. Thus, from the same basic techniques always creates something new.
Kemono shibari (獣縛り) is one of the basic patterns in Yukimura ryû. It is reminiscent of a trapped animal that has had its legs tied together. It is one of the classical ground techniques (Newaza, 寝技). It is already taught at the beginner level and is constantly being refined.
Kemono shibari from a lesson at Yukimura Haruki’s studio in Ebisu, Tokyo, in 2015.
Maete-hikiage shibari (前手引き上げ縛り) basically means “Pulling Game”. In this exercise, performed in a sitting position, the wrists are tied together in a Yukimura handcuff and the rope is deflected through the suspension point (Shiten, 支点). Then Bakushi exerts traction on the rope, guiding Ukete’s arms upwards.
However, the goal here is not to simply stretch the arms completely directly, but to create emotions between Bakushi and Ukete through communication via the rope. The point is to find the balance point between Bakushi and Ukete. The communication takes place exactly at this balance point.
In the process, it can go back and forth depending on how the dynamics and communication unfold.
Maete-hikiage shibari. A nawajiri exercise from the Yukimura ryû.
There is no specific goal and no time limit because it’s all about togetherness. The Maete-hikiage shibari is a warm-up exercise that helps Bakushi and Ukete to adjust to each other.
Minarai means “learning by seeing”. This technique is used in many Japanese crafts. In the early days, an apprentice watches the master without actively doing anything himself. Only through the active and concentrated watching he already learns something.
When the student pr apprentice starts actively doing something for the first time, the body has already developed a feeling for the correct movements. Of course, these movements cannot yet be executed correctly. But the learner feels how it should feel and can correct himself better.
The same principle applies to shibari. If you watch an experienced person closely for a long time, you can learn a lot. Once you actively pick up the rope, your understanding of how it is all done will already be within you. Since shibari is often seen on stages and at private events, every opportunity to watch it should be utilized. Fans of certain Bakushi sometimes travel long distances to take advantage of every opportunity to watch them. Every performance is a chance to make minarai.
Attentive and focused watching plays a big role in Japan. The connection between eye and hand transmits a feeling for the “right” movement. Shibari is especially suitable for this kind of learning because it follows its own rhythm.
At the same time, however, this can create problems. If the movements are too clear and predictable, the bakushi can not surprise the ukete. Even the (uninformed) audience can thus recognize the style of the bakushi over time. In part, techniques have been developed in response, the purpose of which is not obvious, so as to preserve the element of surprise.
Nawajiri is the term for the longer part of the rope. It is also called the “running end”. The nawajiri can also be the end of the rope just before the knots. It can be actively used for communication with the model and plays a great role as a real and metaphorical connection between the bakushi and the model.
The work with the Nawajiri is an essential part of the training. Especially in Yukimura-Ryû it plays a prominent role. This minimalist style emphasizes tension and requires great sensitivity and experience.
Nijûbishi (二重菱) belong to a group of shibari patterns that play an important role in Osada-ryû. They are based on the hishi, a diamond. This symbol is a stylized water chestnut and also appears in Japanese heraldry. Numerous family coats of arms (Kamon, 家紋) contain this symbol and it also appears in the company logo of the Mitsubishi car brand.
There are many variants and they are popular mainly because of the symmetrical shape. In addition, they show the skill of a bakushi, as great dexterity is required. Dexterity and the ability to maintain contact with the partner at the same time come to full fruition here.
The back resembles a Takatekote, but there are also possibilities to use Hôjô-Nawa techniques. Depending on the construction, even suspensions with these techniques are possible. It is important here that the weight distribution and the tension in the rope are perfectly matched.
Ri (理) is a unit of length equal to approximately 3.9 kilometers. As a measure of length, it is often used to measure distances, for example between cities, and is the standard measure for this purpose, similar to the English mile or the German kilometer. Today, the metric system is generally used in Japan, but in novels, the ri is still frequently used to indicate distance.
It is part of the Japanese Shakkanhô system, which was used to measure lengths, areas, volumes, weights and money.
Seme (責め) means “torture” or “torment” and refers to restrictive or painful shibari. Traditional patterns, such as the Gyaku-Ebi (逆海老吊り) fall under this, for example.
The term originates from the Japanese Middle Ages and is also used there in theater. In the Kabuki theater of the Edo period, this term was used to describe particularly gruesome death scenes. Thus, the relationship of shibari with the theater is also confirmed in this technique.
The artistic representation of pain is thus part of the performance.
Kabuki actor on a poster
However, pain plays a different role in Japan than in Europe and the USA. In the West, seme is often understood as “painful”. Compression, and restrictive postures are equally important. Numerous shibari styles therefore contain complex patterns that include steadily increasing rope tensions.
Suspension mit Seme
Seme can be used with great emotional closeness, but also very distant and “cool”. It occurs in every style. Even in Yukimury-Ryû, which is known for its “stroking rope” (Aibu-nawa, 愛撫縄), it plays a role. Seme thus has a physical, emotional and verbal dimension.
In Yukimura-Ryû, the so-called kotoba-zeme plays an important role. This does not have to involve verbal (acted) belittling, but can also simply create a strong emotional reaction through intense whispering or breathing. There is a connection between the kotoba-zeme and the use of ki (気) when both are connected with the breath.
Semenawa (責め縄) means “torture rope” and is often translated that way. However, depending on the style of bondage (流, Ryû), there may be different meanings. Physical pain plays a big role, but is not the only element.
In Europe and the USA, Semenawa is often associated with painful patterns and suspensions. The cultural background plays a big role here. The translation “torture rope” reminds of medieval torture practices, so pain is an obvious theme. Especially people with a background in BDSM often emphasize this aspect. However, this falls short. Semenawa is more complex and subtle and far more than just a way to create pain with ropes.
Ishidaki torture from the Edo period
The Japanese word for medieval torture is gômon (拷問), which corresponds to the German term “hochnotpeinliche Befragung.” Thus, medieval torture is something other than pure “seme,” but it inspires many positions and patterns in shibari.
IBasically, there are two levels that need to be distinguished. The technical level, that is, what is done with the rope, and the emotional level, that is, what is generated in the head of Ukete.
Physical and mental aspects of Semenawa
Physically, Semenawa is always demanding. It is more restrictive, tighter, and uses more rope. The posture is often created and fixed by the rope, leaving little room for movement. The rope enforces a posture, even if it is strenuous or uncomfortable. Another important aspect is feeling the pressure, compression and tightness in the pattern.
Mentally, Semenawa creates a feeling of helplessness and hopelessness. Ukete feels that something is happening to him / her, which is largely beyond their own control. Bakushi shapes and guides, following his/her own plan, the rope is the tool used to realize this image, pattern, pose or idea.
Ukete feels how hopeless the situation is and must endure the situation. Enduring is central here and does not only refer to pain. The situation as a whole must simply be endured, no matter how exposed, helpless or at the mercy of Ukete.
Suffering as a motive
So it is about suffering as a central element. Ukete is to endure something, and not only on one level, but holistically. To purposefully emphasize physical suffering in order to later rather expose and thus emphasize mental suffering can create a special charm, if Ukete is willing to follow it.
If there is a strong preference for physical suffering, it makes sense to focus on this aspect. If ukete is more sensitive to mental suffering or ambivalent feelings, this aspect should be emphasized. In any case, both are seme, regardless of whether ground techniques or suspensions are involved or which pattern is chosen.
Sun (寸) is a traditional Japanese unit of length equal to about 3.3 cm. Ten suns are one shaku. This unit of measurement is no longer in use; Japan uses the metric system. However, traditional crafts still produce items that correspond to traditional lengths. An example is the traditional bamboo flute (shakuhachi) or the rectangular towel tenugui.
