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.
The rin (厘) is a traditional Japanese unit of length, equal to about 0.0303 cm. It belongs to the Japanese Shakkanhô system used to measure lengths, volumes, areas, weights and money.
Rin sind heute kaum mehr gebräuchlich und spielen im Shibari keine besondere Rolle.
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.
Takatekote (高手小手) is the name of a classic shibari pattern. It is one of the most famous and widespread patterns. The forearms are placed at least horizontally on top of each other and tied together with a “single column tie”. Then several layers are wrapped around the torso and fixed at the back. This pattern is taught in almost all schools and always differs in certain points.
The Takatekote (short: TK) contains all the essential basic elements of Shibari. In a way, this pattern is like an alphabet of basic techniques. That is why so much time is spent teaching it. Besides the techniques, it also offers many opportunities to interact with the partner.
It is one of the most stable and refined patterns in shibari. Therefore, the TK is also used for many advanced suspensions and transitions.
Due to the symmetrical structure and because the TK encloses the whole upper body, it is easy to attach decorations (“Kazari”). This makes the Takatekote also a solid base for longer sesssions or performances and can always look different.
Tension literally means “tension”. Usually it refers to the rope tension, i.e. how tightly or loosely it is tied. In Yukimura-Ryû, however, it also refers to the emotional tension in the model and the bakushi. Both aspects influence each other and can be used to create intense moods.
The complex relationship between the rope tension and the emotional tension opens up its own playing field, which can already be used to design entire sessions. As in many other cases, the parameters tight/loose tightening and low/high emotional tension can be combined at will.
Tenugui (手ぬぐい) are narrow rectangular towels. They are 30 cm wide and 90 cm long and made of thin cotton. Tenugui are dyed or printed in different ways. There are two types of motifs: traditional patterns or pictures. Classic patterns are for example dotted mame-shibori or hishi shapes.
Particularly popular motifs are animals or plants, family crests (kamon, 家紋), traditional caricatures (Chôjû-jinbutsu-giga, 戯画) or motifs from woodblock prints (ukiyoe, 浮添え). There are numerous traditional patterns, such as the dotted mame shibori (豆絞り) , but waves or stylized plant leaves are also common.
Kendo fighters wear them under the helmet to catch the sweat. Some particularly beautiful Tenugui are also hung on the wall as pictures.
Tenugui are very useful in shibari as blindfolds. This makes it easier for the ukete to focus on non-verbal communication. Many bakushi use tenugui to practice blindfolded patterns.
