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In thinking of Kinbaku as a Ritual…

Article · November 2015

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Luke Paul Crocker

Classical Martial Arts Research Academy (CMARA)
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In thinking of Kinbaku as a Ritual…
Written by Luke Crocker

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.

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 with1:
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
Figure 1 CutieTie posed.
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.

1
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.

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