History of shibari without myths. Part 3: Analysis of shibari in our days.
Era Heisei (1989-2019)
At this time, shibari undoubtedly crossed borders and captivated Western audiences forever.
A generational change has begun in Japan. The old masters, born before the war, were reaching the end of their careers, making way for new and emerging talents.
For the Japanese, being recognized abroad is a sign of status and quality (another of their cultural traits). During this time, many of these emerging artists traveled to the West to hold workshops and perform shows to build their reputations and advance in the Japanese adult industry.
This new wave included riggers such as Yagami Ren, Hajime Kinoko, Kasumi Hourai, and others.
It was a period when technique took center stage and underwent significant evolution. Competition among riggers-both internationally through workshops, and locally through increasingly sophisticated shows-driven them to refine their skills and define their unique personal styles.
As shibari gained popularity in the West, and instructors and venues began offering training while using Japanese names to attract students, many riggers responded by establishing their own brands, “ryu” (schools) or “kai” (guilds), and certifying instructors and schools to preserve their heritage and maintain authenticity.
This approach didn't necessarily mean that they developed a “style guide” or formal manual — it was primarily a commercial strategy to create differentiation.
However, in most cases, certified instructors spent a significant number of hours learning directly from the masters and demonstrating their knowledge and skills.
However, a notable feature of the Japanese tradition is its "classic" approach to teaching, which from a Western perspective often lacks structure and method.
In summary, when it comes to learning techniques (jutsu), the traditional method relies on imitation and repetition until skills are developed. There is little emphasis on analyzing or breaking down the individual processes involved.
The rationale behind this approach is that “if a technique has been used for hundreds of years, it has already been refined enough, and it would be a waste of time to analyze the how and why of each individual process.”
This methodology aligns seamlessly with the Japanese mindset and cultural approach, but not as well with Western perspectives. Moreover, it presents a potential risk when shibari practitioners learn techniques without fully understanding them.
One way or another, the Heisei era leaves us with shibari “popularized” across the West and Japanese masters refining and defining their styles under their own brands, such as Yagami Ryu, Naka Ryu, Osada Ryu, Kanna Kai, Ichinawa Kai, and others—all associated with a professional “organization” managing their activities and appearances.
Era Reiwa (2019-presente)
The Reiwa era began with promises of prosperity and stability, but soon things changed.
The economic and social effects of the measures taken by governments during the COVID-19 pandemic dealt a serious blow to the Japanese economy, while the political situation also entered a phase of change and unrest.
In terms of shibari, the suspension of public activities for nearly two years forced a business model shift, with many professionals turning to adult audiovisual production and attempting online training, especially for foreign audiences.
With the lifting of restrictions, a new factor of change emerged — a new audiovisual law that complicated the operations of small producers with large catalogs, resulting in a wave of closures.
It was during this period, in 2022, that shibari professionals began to focus their efforts on foreign markets, increasing the frequency of their visits and also raising their fees.
Since the West was eager for activity after the long closure, this model worked for a while.
For example, before COVID-19, a master would charge about $2,000 per workshop, but after the pandemic they started charging $6,000.
Likewise, they went from visiting the West once or twice a year (their business was in Japan) to more than 20 visits in 2024 (as was the case with Yagami Ren).
The unjustified price increases and the saturation of activities and workshops are now having the expected effect (as of summer 2024): a lack of interest on part of the public, and local instructors who offer the same or even better training than the Japanese masters.
Where will this dynamic lead? Only time will tell.
However, not all is doom and gloom in the sector. In the summer of 2024, the Kinbaku Expo was held in Tokyo, where the new talents of shibari were celebrated and confirmed. Names like Tenma Haru (天馬ハル), Coco (ココ), Kizuna (一ノ瀬 絆), Shishi Waka (獅子 若), and Sora (蒼空) are soon to be recognized, and they are expected to bring the change and renewal the professional scene so badly needs.
A less discussed, but notable effect of the recent changes is the spread of shibari as an erotic practice between couples, in private settings, outside clubs, movie sets, or public performances is evident in both, Japan and the West.
This is a positive development, for in the little over 100 years of history of this discipline, it has evolved and shown that when well understood and applied with logic, knowledge, and respect, shibari is a wonderful tool for deepening emotional experiences in the erotic realm.