Last April I took part in an online talk where we discussed the myths surrounding shibari.
We define a myth as the uncritical acceptance of an idea—taken as true without question, without critical analysis, and without factual or evidential support.
This blind acceptance often leads to stereotypes or misconceptions that deeply embed themselves into popular culture.
Unfortunately, shibari is full of such myths—false beliefs and misconceptions accepted without scrutiny.
To begin with, the first myth arises precisely when trying to define what shibari is—and what it isn’t.
Rather than being a single isolated myth, this involves several overlapping ones that converge at the same point. Examining their origins together offers deeper insight.
One of these is the idea that shibari is an art form—something elevated, cultured, refined.
For many people, acknowledging that they’re drawn to something raw, sexual, even brutal—no more refined than tying up a tomato plant to a stake or a donkey to a post—feels irrelevant or even embarrassing.
If we understand "art" in the sense of fine arts, then shibari is not inherently art—at least not by definition, and certainly not all shibari can be considered art.
Claiming otherwise would be like insisting that doodles made with a pen on the margins of a notebook are art.
The artist’s intention, the purpose—or lack thereof—behind the work, and the market itself are key factors here.
Determining whether something qualifies as “art” is complex and opens the door to debate, even within academic settings.
Some of the criteria commonly used include:
- The creator’s intent: The desire to convey an idea, emotion, or aesthetic experience. In this sense, attempts to evoke beauty through suffering in shibari could arguably be seen as art.
- Cultural and historical context: Whether there’s a tradition, cultural recognition at the time, or a broader social impact. Think of Andy Warhol and how he shook the art world. Clearly, shibari doesn't carry that kind of weight or influence.
- Technical skill: Even in the most provocative artistic expressions, a trained eye can detect mastery. This might apply to shibari—but due to the lack of a unified standard of technique, and often questionable execution, this aspect distances shibari from the realm of fine art.
- Emotional impact and conceptual value: Shibari definitely has this. A first-time viewer of a shibari performance often feels an emotional jolt. However, this impact may come not from the shibari itself, but from the overall performance. Another interpretation could feel flat and devoid of meaning.
In such cases, we’d be talking about an artist expressing themselves regardless of medium or method—or more frequently, a piece that feels avant-garde or state-of-the-art in the moment, only to lose its strength in retrospect.
Other elements that grant legitimacy and recognition as art include inclusion in galleries, museums, or public acknowledgment.
Today, graffiti is recognized as an artistic expression, while shibari, when known only by hearsay, is often called "art" simply because someone read it somewhere, or to maintain a certain distance given its association with sex and sadomasochism.
There are at least half a dozen more criteria used to assess whether a practice qualifies as art—and of course, any of those mentioned above could be used to argue exactly the opposite of what I’ve just presented as my personal opinion.
That said, once something is labeled as art, it must be judged and valued accordingly—where subjective appreciation and market forces play crucial roles.
At this point, I invite you to compare the artistic installations of Hajime Kinoko and Chiharu Shiota.
But where does this myth come from?
Perhaps it stems from an attempt to romanticize or justify an erotic practice or the consumption of pornographic material.
It’s possible—especially considering that shibari spread in the West during the height of counterculture and underground scenes.
In the cultural industry, once something gets labeled, it’s hard to shake it off.
Partly, it may also come from a misunderstanding of the English word art. When referring to shibari, it would be more accurate to use the phrase art and craft—referring to a trade or skill rooted in a guild or tradition. The Japanese term jutsu fits much better with this concept.
If we think about it, tying—the act of binding—is a skill found in trades. Around the world, sailors, farmers, ranchers, and traders have always relied on ropes, using specific knots and bindings for practical purposes.
This idea of trades and guilds is important—keep it in mind.