The gote poor execution is behind a significant number of injuries. Let’s explore the risks associated with these forms and how to avoid them.
Before diving into the technique for performing a gote, let’s first understand the inherent risks of this type of figure.
In practice, gote forms are highly effective for managing balance and posture in the person being tied.
However, even with the necessary knowledge or skills to execute them properly, they can be dangerous and carry risks.
Identifying the Risks
Broadly speaking, there are three types of risks when performing gote-style figures:
Lack of Skills or Knowledge
It may seem like a simple figure, but if not done correctly, it can become dangerous and lead to injuries.
The solution is straightforward: training and supervised practice with someone who has the required knowledge and skills.
And, of course, an honest commitment to personal responsibility.
Myths and Unfounded Information
The second group of risks stems from buying into myths or information with little to no basis.
Take, for example, the myth that the arms in a gote position should always be bent (in a box shape) and that the higher the hands are placed, the better the form.
Let’s clarify: when we talk about a “square” position, we’re not using the term literally but as a metaphor, since squares, as a geometric shape, offer great stability.
Preventing this type of risk involves seeking reliable sources of information and training, cross-referencing what we’re told, and, above all, ensuring that any definitive claim has a solid foundation—not just a “that’s how it’s done” or “because I say so.”
We shouldn’t assume something is done a certain way just because someone says it with confidence.
Pursuing solid knowledge and practicing healthy skepticism are essential tools for avoiding unnecessary risks.
It’s critical to ensure our shibari practice isn’t guided by baseless beliefs.
As for bending and “crossing” the arms behind the back…
We need to recognize that a large portion of the Western population cannot safely adopt this position.
In other words, their active range of motion doesn’t allow them to place their arms behind their back in a box shape without compensating.
And these compensations make up the third group of risks, which we’ll cover next.
What happens then?
The arms end up in this position passively, with the help of the person tying, without the person being tied engaging their muscles to hold the posture, leading to compensations.
When forces are applied, the body won’t be in the optimal position to distribute them, so those forces will act on tissues and structures not designed to handle them.
The body responds to what’s asked of it, but if we don’t know or understand it and push it beyond what it can do optimally, it will perform suboptimally, overloading structures like joints, tendons, and ligaments.
These overloads cause damage, which is often cumulative. A session with multiple compensations won’t necessarily result in an immediate debilitating injury or even noticeable discomfort.
But if we repeatedly subject the body to that strain, sooner or later, damage will show up, typically at the body’s weakest point.
As mentioned, compensations form the third group of risks in shibari. Let’s identify them and explain how to avoid them.
Compensations
If we don’t construct the gote correctly—if there’s no activation in the arms, if the shoulder isn’t properly rotated, or if the arms are placed too high (for that person at that moment)—it won’t be possible to maintain the posture actively.
One way to spot this is by checking if the shoulders are raised; that’s a clear sign the figure is poorly constructed.
You can test this by carefully applying upward vertical force to the torso from the forearms.
If the form is well-constructed, the torso will lift as a single unit; if it’s poorly done, the shoulders will rise, but the head won’t, resulting in the classic “shrugging” motion.
What’s the danger, and what’s the mistake?
In that case, the applied forces don’t lift the body upward but compress the neck, the cervical spine, and the entire structure between the neck and shoulders.
A mild effect might be muscle contraction in the area as the muscles absorb the energy.
If the muscles can’t handle it, soft tissues will take the brunt, increasing risks to the cervical area and the nerves emerging from it, potentially causing impingements.
None of these outcomes are desirable, and all pose significant health risks.
Another way to identify compensations is by observing the scapulae: they should lie flat.
If they’re protruding or “winged,” it’s a sign the form is incorrectly executed, and the body is compensating.
This usually happens because the arms are too high or too far back for that person at that moment.
With winged scapulae, achieving the “square” effect characteristic of the gote is impossible, which prevents creating the necessary vector to guide and support the body, placing the load on its weakest structure.
Proper muscle activation during the construction of the restraint, correct shoulder rotation, and respecting the active range of motion are key to keeping the scapulae flat.
Moving down the body, we need to watch the ribs, which shouldn’t jut out ahead of the hip’s vertical line.
This, of course, requires knowing their neutral position. Observing and palpating are ways to learn this.
When the ribs protrude forward, they displace the diaphragm, limiting both breathing and core activation.
Moreover, any forward displacement triggers a compensatory backward shift, which disrupts force distribution.
As stated—and we’ll repeat it as often as needed—any compensation is a risk, as it channels forces onto structures not designed to handle them, typically the body’s most vulnerable ones.
A side effect of compensations is that they make it extremely difficult for the person tying to manage the body of the person being tied, increasing the risk of injury or harm from improper handling.
If we detect this type of compensation, we need to correct it by guiding the ribs back to their optimal position, aligned over the pelvis. Ideally, suggest the movement to the person being tied; we can gently assist if needed.
The pelvis is a critical element in the body techniques used in shibari, so it can’t be overlooked.
We must ensure it’s not compensating and stays neutral, neither tilting forward nor backward.
A misaligned pelvis might look more visually appealing to an untrained eye, but it completely undermines the function of shibari.
Incorrect pelvic placement affects the entire body, reducing its efficiency and, if you will, its intensity. Few things will work properly if the pelvis isn’t well-aligned.
Correcting pelvic posture is simple: initiate a rotational movement in the desired direction. Depending on the posture, especially if on the floor, it may be necessary to reposition the entire body.
Injury Risks from Poor Shoulder Rotation
One of the primary anatomical risks tied to poor gote technique lies in incorrect shoulder rotation.
To provide good stability and support to the joints and protect tissues under the stress or load they’ll face, certain factors are crucial.
The shoulder should be in external rotation (backward), the humerus centered in its socket, the scapulae kept flat (pressed against the ribs and rotated inward toward the spine), and the muscles associated with the joint properly activated based on the loads or forces involved.
When working with a load—say, in a suspension—without proper muscle activation and with poor shoulder alignment, the body starts compensating in ways that are neither safe nor sustainable. The shoulder loses its natural stability.
This causes excessive strain on some structures while leaving others completely unprotected.
The most common result is tendon impingement, particularly in the rotator cuff, which can lead to inflammation, pain, and loss of strength.
Friction in the subacromial space can also develop, potentially causing bursitis or tendinopathies.
At the spinal level, if the core isn’t activated, load distribution is inefficient, which can lead to vertebral compression, especially in the lumbar or thoracic regions.
Additionally, if the scapulae are “winged” or open, stabilizing muscles like the serratus anterior or lower trapezius can’t do their job.
The body then compensates with the upper trapezius, neck, and other areas, which over time can lead to muscle knots or even nerve compression.
All of this not only reduces the effectiveness of shibari but can also trigger chronic pain, joint injuries, muscle imbalances, and even nerve impingements.
That’s why the key is always maintaining proper core activation, good scapular control, and correct shoulder alignment before applying any load.
To prevent these risks, the only viable option is using proper technique tailored to the physical conditions and capabilities of the person involved.
Let’s always keep in mind the maxim:
“If you can’t do it, don’t do it; and if you can do it, ask yourself if you really should.”
Needless to say, performing unnecessarily complex movements or using techniques clearly designed to cause dislocations is reckless. It’s a surefire way to get injured.