Shingyoso in Shibari

Shingyoso 真行草

In Japanese culture, the term Shingyōsō (真行草) has it’s roots in many sources; This is a concept that can be found in everything from Toshi Keikaku (City, urban, and town planning; 都市計画), to the categorization of utensils found in Sadō (Tea Ceremony; 茶道), it is however most known for its use in Shodō (Calligraphy; 書道). In general this system can be thought of as a measure of formality:

  • Shin 真 represents the most formal or symmetrically structured. For city planning this would refer to the cities that have a rectangular perimeters and orthogonal axes, and are regarded as formal cities. [1] In tea ceremony, when offering tea to a noble, or at a shrine or temple, a matched set of bronze utensils from China is used with a specific utensil stand. These are really (formal) utensils.[2] In the case of calligraphy, this would be recognized for being quite crisp and font-like, often times with sharp serif while other times without any such flourishes. This would be used for more clerical situations such as temple administrative documentation.
  • Gyō 行 represents a semi-formal presentation of the art in question. for traditional urban settlements in Japan, gyō would be the castle town. These towns usually have a combination of the other two styles and may be called ‘Gyō‘ cities. The center area in castle towns usually follows the curve of the castle moat, while the perimeter may be more rigid or relaxed. [1] For Tea ceremony, this would represent utensils between Japanese ceramics and bamboo and that of Chinese steel wear, and as such, is semi-formal. [2] lastly, for calligraphy, this would be the equivalent to general handwriting found in English, commonly used for daily communication, note-taking, and illustrates a bit of character from the author. [3]
  • Sō 草 is completely informal, and though may not be welcome in many high-etiquette venues, is none the less appreciated for its Wabi-sabi qualities and character. The cities located further inland were developed along the water routes, and respond to the curves found in the rivers and waterways. These cities therefore are
    The character of “mu” (nothingness; 無) written in the three levels of formality.

    planned in ‘Sō’ style. [1] In contrast to these Chinese utensils there are ceramics made in Japan that have an earthy flavor and simple utensils made of bamboo and wood that bring out the quality of their materials just as they are. These are ‘‘ (informal) utensils. [2] Lastly, Cursive script. Also called Grass script. Flowing style, with slender lines, and composed with rapid fluid strokes. This is the type most often used in formal Japanese calligraphy.

Now that we have established the nature of the concept Shingyōsō, we get to the question of “what does this have to do with shibari?”

Hojojutsu 捕縄術

Well, as one may have been made aware of, many of the ties used in shibari, and many more that are still in development, were inspired, borrowed, or derived from Hojōjutsu, the martial art of rope arresting.

Interestingly, the practices of arresting the opponent with rope presents one of the most clear examples of Shingyōsō available in the martial arts. There are a few ryūha (traditions) in particular that made use of Shingyōsō quite explicitly, such as Ichiden-ryū, Taishō-ryū, Kentoku-ryū, Sasai-ryū, and Hōen-ryū, where many of the ties have variations that increased in complexity as they were considered more formal. Each stage expresses the progression from informal to formal via placement and complexity of the rope on the captive.

“Shingyōsō no Honnawa Funyū-ban” (真行草之本縄不入番) of Ichiden-ryū (一傳流).

Alternatively, for some traditions, the ties were divided up in measure of expected longevity, where was for temporary ties for use with the short rope in immediate capture situations, while Shin was the category for the more permanent ties performed using the longer rope, and of course the Gyō ties were for anything in between that.

Shibari 縛り

In the matters of shibari, it’s a bit more of an aesthetic of “completeness” or “unfinishedness”. Many times in class I’ll be showing a tie, and stop to state, “this is the tie”, and then continue either with the rest of the rope in hand, or with adding more rope. This pause is “sō”, it has done it’s job, but it gives the feeling of being incomplete. This can manifest in the examples from Ipponnawa, or from examples of Kuzushi (untidy, unbalanced; 崩し). The rope covers little and is often times asymmetrical.

An example of “so” (草) in shingyoso. A single length of rope expressing simplicity.

Though simple and for some dis-interesting, this level of informality requires the least amount of nit-picking (finite knot tying), as it is oftentimes covering the most space with the least complexity. This allows for greater flourish, flow, and a focus on other things (such as play).

Shin, by contrast, it a sort of complete, well structured, and solid seeming architecture of tying. Here, things are usually pretty symmetrical, and it is usually at this point that some would consider a box tie (for example) to be suspension worthy, though such may not always be the case.

“Tonbo Shibari” (Dragonfly tie; 蜻蛉), here is illustrating “gyo” of Shingyoso (真行草).

Finally, Gyō is in-between, it is neither highly structured, nor is it loose and relaxed like sō. This sort of level is often suitable for partial-suspensions. Interestingly, one could almost measure shingyōsō by how much rope is used: one rope is , two is gyō, and three is Shin, though it would be very shallow to say that this is the case, it almost equates here.

But to delve down that rabbit hole would be to digress. Shingyōsō in shibari is a matter of recognizing a certain degree of formality in the ties and the qualities that are made available thereof. More on the matter can be gleamed from the workshop on this very subject:


[1] Shintaro HanazawaYukio NishimuraTakeru KitazawaNaota NakajimaShin, Gyo, So: The Traditional Concepts of Spatial Design in Japan. (2004)
[2]  Omotesenke Fushin’an Foundation. Shin-gyo-so (formal semi-formal, informal) ranking of utensils. (2005)
[3] Schumacher, Mark. Shodou – Japanese Calligraphy, Literally “The Way of Writing”. (2013).
[4] Seiko, Fujita. Zukai Hojojutsu. (1986).

The Grand Finally Morpheus Bondage Extravaganza (MBE)!


After some ups, downs, and other crazy noise (which also led to some needed slowing down and reflection), I have been accepted into the final Morpheus Bondage Extravaganza (MBE) on October 1st!

Though teaching and performing bondage wasn’t the reason why I had gotten into shibari or suspensions. But after being approached about pairing up, I began my interest in suspensions and performing. So MBE soon became a bucket list item. However, for 2015 I was rejected, but then accepted for the 2016 Montreal MBE, which although awesome I had too much crap in my personal life that was detracting from my ability to perform.

So this is my last chance to mark off this bucket-list item, and naw that I have discovered my inspiration again, I’m confident that I can properly compensate for my Montreal performances!

My MBE performances for the night are:

And as I’m a little ridiculous like this, if anyone wishes to meet up for rope and/or general hangouts, before or after MBE, please don’t hesitate to contact me!

MBE Specials

There are two specials going on for MBE:

  1. We are down to the last 5 bundles of Osaka Jute Rope! Prices are currently:
    – 1 for $35
    – 3 for $100
    or MBE Special:
    – All five for $150!
  2. Special MBE 2016 – Toronto pricing between September 30th – October 2nd! 1 hour private class fro $30/hour, anything you want to learn! Contact us to schedule it in!


With HeatHawk13, AlexChance13, and CutieTie. Photos by iambic9 at @mbextravaganza

A photo posted by Shibari Dōjō (@shibaridojo) on Oct 6, 2016 at 8:52am PDT


ShibariChallenge – Practice on your own

In the Beginning, there was rope, and it was good

Waaaay back in January 2015, I thought up an idea where I would make it a point to tie something different every day, and it was to be called the ShibariChallenge. At that time, I didn’t have a proper partner, so it was mostly objects or myself. This forced me to be more creative with how I tied things, as flesh behaves very different from coffee cups.

Then (s)he created…

So everyday I made an attempt to tie something, anything, then I would post it online with the hashtag #ShibariChallenge, sharing it to Facebook, Twitter, and Instagram. This is largely done to encourage others that were in my position (not having a partner) to practice; showing that there was a way as long as they had the will. Thus, I found my own practice improved over that month by quite a bit. After all the only way to proficiency is consistency.

An example of using inanimate objects as practice tools.

After the first month however, I stopped this approach as all that work was the publicity that I needed for people to start asking me to tie them (wasn’t by design, people just got curious). Thus I began to have volunteer partners! From then on my focus shifted from practicing every day, to standardizing my ties and techniques.

Now more than a year later, I decided to start it again as it was quite fun and forced me out of the monotonous and the norm. Getting some new rope that I needed to break in might have contributed to it too.

And then it was good, very good…

So now I’ve been making it a bigger thing now and pushing it harder, and the response, though not overwhelming, has been inspiring! I’ve seen a lot of self ties, lots of chair suspensions, and stuffies get their rope fix in!

I generally use Instagram to propagate the ShibariChallenge as it lets you post from it to Facebook, Twitter, and Tumblr all at once, retaining the hashtag as well! So if you feel like giving it a shot, go ahead! it doesn’t have to be kinky or NSFR to contribute to the ShibariChallenge, jsut has to be rope and practice!

An example of using Space to express kinbaku.

Honor: Nawashi and Dorei


In a practice of Kinbaku and Shibari, it can be considered a matter of honor that the rigger will observe the model through their reactions and the expressions awakened by the rope. The rigger is perceived as deserving of those proposals through their demonstration of their ability to achieve balance between immobility, the lightness of the suspension, and the beauty of the whole, through expressions of the bottom. That is why an experienced rigger focuses on maintaining a constant visual and energetic contact with his rope, allowing the embrace of the strings flow naturally. An approach that is strong in this is Yukimura haruki’s approach to Shibari.

In a certain respect of skill in regards to the rigger, is considered a matter of honor to include the third rope in a takatekote (高手小手). It expresses an honor to the bound, the the rigger, his Sensei and spectators (in addition to providing more support surface, more comfort and safety).

At a certain point the skill of the rigger could be identified or judged for his skill if excess rope is left lose and left hanging in the front; breaking aesthetic singularity and leaving clutter in the presentation.

Simple single-point suspensions may be presented, but they do not tend to be spectacular and give off the impression of simple-mindedness if that is the only proposed presentation. All that is shown in these cases, is the high level of tolerance for pain for the tied model. One could say that there is no glory for the rigger if all they are attempting to present is how much pain they can inflict, or how their model endures.


The extreme positions and single-point suspensions should be achieved progressively, so as to go gradually leading to tied through an ordered set of consecutive presentations, to finally achieve the ultimate ideal.

A lot of presentations in Kinbaku and Shibari ties in hundreds of years of history since antiquity as some important parts of this practice does borrow from the presentation of prisoners in the feudal era, and also in considering how much it borrows from Japanese aesthetics, some of which  date back over a thousand years. That is why these tying patterns (kata; 形) are known for their historic charm and beauty for its distinctive oriental flavor, expressing what a great honor it is to be the rigger, as well as for the model.

Some of the borrowed Hojojutsu ties include:
hishi or Hishigata” (diamond)
“Kikkou” or “Nyugarame” (tortoise shell), recognizable by its hexagonal shape
ebi” tying the “shrimp” or” shrimp” in which the subject is sitting cross-legged (Indian style) and torso is strapped around the ankles in a submissively bent position.
tsuri” or “tsurizeme”: one of the classic torture techniques of Tokugawa Japan has become one of the mainstays of current Kinbaku and Shibari.

Other presented ties include the mushi imo (caterpillar tie; 芋虫), Kaikyaku kani (廻客蟹)) and teppo (rifle; 鉄砲) are much more recent and come from a time when it was intended that featured riggers such as Itoh Seiyu and Minomura Kou, baptized their bonds in the same way in which artists baptize their paintings or sculptures. These proposals, while not with as old a historical burden, are also of great honor because both Itoh Seiyu as Kou Minomura are considered the creators of what is now called Kinbaku and Shibari.

A Lesson on Humility for a Rope Top

There have been a few incidences that I have happened across recently that have, to me, express a sense of overconfident youth.

There is, in many cases, tendency for the rope top to try to put of a sense of confidence that is there to affirm a sense of security for the bottom. However, there is several things that should be looked at to fulfil such a security and safety in the bottoms mind.

In the kink community, it is very much not uncommon to be tying someone who has a history that could rise up and change the circumstance drastically and suddenly. What happens when memories of a forced restraint bubbles up under even a simple wrist tie? Under a situation of manic frustration and depression, even a simple double column tie can be a struggle to remove.

Something that can greatly reduce things like anxiety and unknown psychological issues is simply reviewing with the bottom your safety protocols; make sure that not only you know where your EMT shears might be, but also make it clear that your partner is also comforted in knowing that you can reach them easily.

A more subtle detail, that most are oblivious to and I learned from my background in both Japanese martial arts and medicine, is to avoid annoying the nervous system. In the context of ground ties, if you need to navigate around your partner, try to avoid stepping around the head or face. If you stand up to walk around or step over the model, avoid walking over the upper torso and head. The body strives to protect this area of the body, and thus the nervous system reacts and responds to this intensively. An example of this is when you drop the rope to the ground, notice how your partner’s face and/or eyes flinch, sometimes drastically.

It is a sign of youth to strive to express one’s confidence without attempting to build it in others.


The new addition to the Dōjō family! #Kitsune #foxspirit

A photo posted by Atemi (@luke.crocker) on Jan 14, 2016 at 10:10am PST


Considerations that Make Kinbaku a Deep Experience


As has already be explained, the practice of kinbaku is quite a bit more involved than simply binding the partner, and though it may involve some very primal or sexual energy, it far from equates to such. The art and science of kinbaku and shibari is an expression of beauty, functional bondage, and of course safety (Safe, Sane, and Consensual is still a thing). However, for it to be a practice, there needs to be principles, and for it to be a platform of artistic expression, there needs to be aesthetic elements. For this reason (and for the purpose of transmission of a body of knowledge), certain schools of thought, such as the founders of the Osada-ryu (Osada Eikichi and Osada Steve) had organized theories into practice.

Some such considerations are maters as tenouchi (inside of the hand; 手の内), that is the method of handling the rope, just as the calligrapher learns to hold the brush or the brick layer learns the trowel. The appearance and placement of the bindings; if the tie is for photos, consider the photographer, if the scene is for private enjoyment, consider what augments the model favorably. One starts to understand through practice that the conscious intention that they impose on the scene, on the model, influences it; changing it. And, as the opposite is also true, the theory of Muganawa (selfless rope; 無我繩) came to be developed.

Even in minimalism, one can achieve atmosphere. Some would argue that minimalism is required for atmosphere!

The bakushi must always be aware of every detail coming from the dorei (slave; rope bottom; 奴隷), what in ninjutsu, we call suieishin (水影心). Suieishin refers to the mind or heart (心) that reflects the formlessness (shadow; 影) of water (水). Which is like saying that water takes on the colour of its vessel. There is also the ergonomics (taisabaki; 體捌) and handling of the rope efficiently (nawa sabaki; 縄捌). One must be sensitive to the rhythm of the scene, manipulating it when appropriate, and knowing when to let it guide itself (merihari; 減り張り); not to impose inappropriately. There needs to be respect and calculation in regard to the distance and angle, both physically and emotionally, between the rigger and model (maai; 間合). And then there’s all those little tricks that seem to make the masters stand out from the rest (ura waza; 裏技).

One of the most appealing parts of kinbaku is that of connection between the top and bottom through the medium of rope (nawa no kankaku; 縄の感覚). This is not something that can be forced and requires at least a little intuitive understanding of muganawa. “Muga (無我) is a concept steeped in the Buddhist tradition. It refers to the ‘non-self’, emptiness, or being devoid of desire.” (Osada Steve).

As a spectator of Kinbaku, what to consider?


In the Edo period, it was considered a deep honor to deliver a prisoner to the magistrate, particularly in a considerately functional and aesthetic way. It was a peculiar honor for the prisoner to have been tied and prostrated; though shamed and humiliated, they were also significant enough to have such treatment.

One in the space, whether private, general practice, or in performance, kinbaku is best respected as a ritual. And as any ritual, a good viewer does not try to interact with the scene without having been previously discussed with the bakushi. Just as one does not interfere with a sermon in church. Now, I personally enjoy interacting with the audience when doing the quiet and small demonstrations that I often perform, but I am the one that usually initiates such interactions. It is also not a good idea to be too close to the scene (preferably with a space of about 4 meters, 13 feet of free space without obstacles), particularly since my particular style of nawa sabaki (rope handling), called hinawa (flying rope; 飛縄), has the rope flying around quite a bit at high speeds. If you do not respect this concern, it is solely your fault, it is ideal to not further interfere by making a scene out of it.

Arisue Go, in the documentary “Bakushi”, described some such etticate found in kinbaku:

  • A good bakushi will provide a unique and unrepeatable experience for the model and spectators. It is considered a matter of honor that spectators respect this experience keeping silent and expectant.
  • It is not well seen to touch the bakushi’s rope, trying to catch or touch the rope during the performance. The rope, as it was for the Samurai, are very precious and personal objects to each bakushi. This goes beyond the physical concepts involved. Besides that they are made of living natural fibers (hemp or jute; asanawa; 麻縄), which react to differences in pressure, temperature and humidity, and are the instrument with the bakushi to transmit the flow of their energy (ki; 氣) in a flux of charging and recharging. The strings are so important because they are the means by which the bakushi communicates his sense of “self” with the model, with the audience, and with the cosmos.

It is absolutely normal that something draws your attention during practice. But in order not to break the atmosphere that fills the session, it is good practice to wait until the end of the scene (until the last cord has been removed from the model or until the bakushi thanks those present) for permission to conduct an inquiry to the bakushi.

If you want to approach the bakushi, once the session is concluded. It is considered good practice to thank them for the offered experience and then ask what you want.

A good model is a person who comes to the experience of kinbaku, and the inner journey that they are to experience, allowing the artist to give (Indou wo Watasu; 引導を渡す, as they call it in Yukimura-ryu) without feeling inhibited. This attitude of introspection is often reflected in details like having your legs together and slightly bent, having ones body relaxed, arms at their sides, eyes downcast. The perception of the rope artist should clearly perceive any of these signs of the body and tie wisely and react accordingly.

Frederick Starr sitting in the seiza style. (Source Wikipedia)

Another very common posture to wait in is called seiza (correct seat; 正座). It is also used in martial arts. You kneel with knees about a fist apart (if female) or two fists apart (if male).

Many consider themselves honored to be bound by the bakushi and feel blessed to have shared such an experience. It would be considered an offense if trying to break free of the bonds or taken as a joke .

It is not considered good practice to “help” the bakushi in any way to move, catch things, talking and breaking the atmosphere or putting ones arms behind their back without the bakushi even doing anything . You can recognize a good artist in Shibari and Kinbaku just because you do not need to bring your arms to any position. He achieved that you do exactly what he wants you to do with your arms.

It is important to practice this art barefoot, especially because the ropes are jute (thus unfit to be washed). As a viewer, stepping on the rope of a binder is considered a serious disrespect. Because as was said before, rope is the medium for energy in this practice of the rigger, the rope is like stepping foot on the most intimate part of the bakushi. Depressing the rope using any type of footwear is even a worse offense. The rigger and model are the only ones who could step on the ropes during practice.

The rigger is responsible for ensuring the safety and welfare of the model at all times. The process does not end until the last string has been removed from the model’s body. Except in very special cases, it is considered a bad behaviour to let the model try to escape or untie by themselves or delegate this task to another person (unless a Master delegating this task to a student in order to teach).

It is normal that the rigger drops the rope on the mat as as it is removed from the model. These ropes should not be touched by viewers, and may only be approached again by the rigger or whoever he designates. It is considered a high honor for an apprentice to coil the rope of the Sensei .

These are only some details and perspectives in etiquette around kinbaku. However, these points of consideration are effectively covered simply by being respectful, considerate, and thoughtful of others and their practice. It is not necessary to remember hundreds of rules, only just lead a life of consideration.



In thinking of Kinbaku as a Ritual…


The practice of kinbaku is still quite young, even the supposed “masters” in Japan and around the world are still developing. It is an art still in a very early stage of development and standardization; at best we have contemporary shibari in that sense. Thus, we all have so much to learn and so many directions in which we can shape our own corner of the art! In many cases, those of us who have been there longer, or delved harder and deeper might have a body of knowledge for which they can share, and thus in order to create a curriculum, some things are formalized.

One of these such masters is the famous Arisue Go, a bakushi (rope artist; 縛師) who has worked in film and photography with rope for decades. In his book, Kinbaku: Mind and Techniques 2, he describes kinbaku as comparable to ikebana (flower arrangement; 活花), or ikezukuri (生き作り), in that it has been highly formalized in certain aspects (while he also emphasizes that the heart and technique must be one for the beauty to come out in the art). In many ways, this has been formalized into systems of thought such as Osada-ryū, Yagami-ryū, and so on, which include with them not only individualized and stylized techniques, but also morality, codes of ethics and issues of “honor” in the practice of Kinbaku and Shibari. Much of which can seem like mere protocol but within encourages considerations of not only physical safety, but also the protection of the models emotional and psychological state, and harboring feelings of reverence, respect, and dignity for the model.

Though it has been established that Shibari and Kinbaku did not originate from the Japanese martial arts of Hojōjutsu (the science of arresting with rope; 捕縄術), many of the practitioners these days have been shaped and inspired by some of the similarities and thus continue to derive both technique and philosophy from the martial arts. Thus, the foundations of etiquette, ethics, and moral codes start to be shaped by those who love shibari and kinbaku, whether practicing or not.

One of the things that bakushi were inspired by was the four rules that came to be institutionalized in hojōjutsu, and remain today as cornerstones of current Kinbaku and Shibari are:

  1. Do not let the prisoner escape their bonds.
  2. Not to cause any physical or mental harm to the prisoner.
  3. Do not allow any other schools see the techniques applied.
  4. The bonds must be beautiful, symmetrical, and artistic.
CutieTie in the “plea tie” (tangan shibari; 嘆願縛). 

This situation, among the rigger (Samurai in this case) and recipient (prisoner in this case) was a highly formalized ritual. Both the public exhibition of the prisoner to the people who saw the Samurai walk before being delivered to court, were acts that entailed a great amount of humiliation, but also of great honor, for the prisoner as they were significant enough to be displayed; not simply executed quietly. That duality between humiliation and honor, appears to be contradictory, they gave thanks to the respect for the ways that both developed.

In relation to the four rules of late Hojōjutsu, the famous bakushi, Dan Oniroku created his own variation regarding the qualifications for the models he enjoyed working with[i]:

  1. She must look good in a kimono.
  2. She must have lontg jet black hair.
  3. She must have a certain amount of body fat, so that the bondage ropes make a clear impression on her skin.
  4. She has to be graceful under duress with strong facial expressions.

In Shibari today, the situations are quite different in some ways but similar in others. We do not deal with prisoners, nor speak of judgments, courts, or the like as in the days of Edo era Japan, but definitely keep the concepts of honor in the ritual of the bonds. Thus, also remain Shūchinawa (soft style touch with ropes leading to humiliating poses and situations; 羞恥縄) and Semenawa (torture with ropes; 責め縄) as the two most common ways you can take a session of Shibari or Kinbaku.

Works Cited

Master K. Beauty of Kinbaku. New York: Suirensha, 2015. Book.


[i] Please note that this is the preferences of one man, not an industry standard. This listing is referenced from Master K’s Beauty of Kinbaku, 2nd edition, page 80.

Shibari Demonstration at M4!

So last Tuesday, after a wonderful trip to Niagara, Ontario, HeGiWa and I randomly decided to shoot down to Club M4 to check out their Fetish Night (Turns out it’s also the transsexual and cross dressing evening, but that’s not really a problem). I had the craving for some rope exhibitionism (the only exhibitionism that I’m really into), and upon a quick search, found that Club M4’s price was right for us.

Performing the “flying mermaid” at Singe, a performance at Club M4 in Etobicoke, Ontario. Model: HeGiWa.

Upon arrival, I was asked if we were doing a demo, in which case, as an educator by nature, I was more than happy to oblige!

We cruised through a couple of suspension transitions, and HeGiWa seemed to be in great shape that night regardless of the fact that we cruised from Barrie to Niagara, back to Barrie, and then down to Etobicoke all in the same day. The audience was great, even with a heckler, and asked some good pertinent questions throughout. The music was decent, though not very loud as it is a classy swingers club; not a dance club.

Apparently everyone enjoyed themselves and in the end we were asked to come back!

So this upcoming Tuesday were coming back! Around 11PM or so HeGiWa and I will hit the stage again and do a demo for the world. If any one has any questions there, they are more then welcome to ask us that night! And if you ask really nicely, I may be willing to tie you too!

Here’s the relevant links to the event pages:


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August’s Atemi-ryu Chuden Workshop review


Tonight commences our third Atemi-ryū shibari workshop, and such a lovely class it was!

“Shoden wo Okuden” The first forms are the deepest – the advanced is a harmony of the basics.

This was also the first non-beginners workshop for Shibari Dōjō. The fact that it was an intermediate level workshop definitely kept some away, but there was a lesson that I wanted to express with such a thing. Lately I have been expressing that the advanced kata (forms, patterns, or models) are very simply and quite literally made up of the basics. That is also to say that the beginning techniques are also the most advanced.

Accordingly, the first kata that we examined was the Atemi-ryū variation of Hishi Shibari (Diamond Tie). This is a tie that can be challenging for someone fresh to shibari, yet with a little perseverance the studious can extrapolate all sorts of lessons from this form and walk away with a very solid chest harness!

We also practiced a simple hip harness. One might wonder why we might practice a hip harness when there isn’t a determined suspension curriculum in Atemi-ryū. It is simple, the hip harness makes a considerable amount anchor points for use in the mizuhiki style.

All in all, we had great people come out and make this workshop priceless. Thank you everyone who showed your support through encouragement and participation!