When the arms are immobilized, it doesn't just limit the upper body's ability to act; it also alters the body's overall posture, affecting breathing, balance, and the sense of control.
Important Note: Most of the techniques that inspire the forms we use in shibari were originally designed to torture or cause harm. In other words, the well-being and safety of the bound person were not a priority.
For this reason, it’s critical to keep the risks in mind and apply these techniques with care, caution, and common sense.
The initial grip should target the forearm, as this is the area that provides the greatest restriction.
If you try gripping at the elbow or wrist, it’s not only dangerous due to the pressure on a joint, but it’s also less effective, as it allows the bound person more arm movement.
The goal is to find the point farthest from the body that gives us the best control, and in this case, that point is the forearm.
In earlier versions of this course, and in many other sources, it was recommended to "give a slight downward tug on the arm, then gently rotate the shoulder from the grip point."
As of today (April 2025), we’ve revised this part of the course. Here’s why.
When we pull the arm "outward or downward," we’re slightly separating the humerus from its resting point in the shoulder, so to speak.
On its own, this movement isn’t necessarily problematic. In fact, creating that space in the joints can feel pleasant. It’s also necessary if we want to achieve protraction of the shoulder-scapula complex.
However, if we then rotate the arm while it’s in this separated position, we’re rotating it with that gap. While this movement won’t "grind" the joint, it’s highly unlikely that the humerus will return to its proper position in a centered way. As a result, it becomes difficult to stabilize the joint. If it does realign properly, it’s purely by chance, meaning we’re taking unnecessary risks.
Let’s now explore how to reduce this risk and address the tricky step of "bringing the arm back."
Protraction vs. Retraction
First, let’s clarify these two concepts related to movements in the shoulder-scapula complex.
In the context of the shoulder-scapula complex, protraction and retraction refer to the movement of the scapulae (shoulder blades) across the surface of the ribcage:
Protraction:
This is when the scapulae move forward, away from the spine. It happens when the shoulders are brought forward, such as when pushing an object or reaching the arms out in front.
The main muscles involved are the serratus anterior and pectoralis minor.
Retraction:
This is the opposite of protraction, where the scapulae draw closer together, moving toward the spine. This occurs when the shoulders are pulled back.
The muscles responsible include the trapezius, rhomboids, and various stabilizing muscles in the upper back.
So, let’s understand that restrictions with the arms behind the body involve retraction, while those with the arms in front of the body involve protraction.
A quick note: While we talk about restrictions with the "arms" behind or in front, the joint we’re actually working with is the shoulder.
Note:
At this level of the course, we won’t cover restrictions with arms at the sides or overhead, as these require ranges of motion that many people cannot safely achieve.
Influence of Martial Arts
Another factor to consider is the influence of martial arts on shibari.
Let’s be clear: martial arts are not designed for erotic experiences but for combat. Even in their gentlest forms, their essence is rooted in conflict and incapacitating an opponent.
Certain shibari styles are heavily influenced by the martial arts backgrounds of their masters. For example, Yagami Ren incorporates aikido techniques into his style, while Osada Steve’s judo experience is evident in his approach.
You might think this martial arts influence, with its proven techniques, is a positive thing—and it can be. But there’s a catch.
Mastering any martial art takes years of dedicated practice, and let’s be honest, time is something we often don’t have.
Moreover, the original purpose of these "imported" techniques isn’t to create an erotic experience but to defeat an opponent in a fight.
If we look at the mechanics of, say, movements used to bring the arm behind the back, we’ll see they’re often designed to throw the bound person forward or, worse, to dislocate the shoulder joint.
Everyone is free to engage with the level of intensity and risk they find acceptable, provided they’re fully informed about the risks and their consequences and communicate this clearly with their play partners.
But as instructors, it’s our responsibility to avoid teaching techniques that are inherently dangerous or harmful, especially when safer, simpler alternatives exist for the same purpose.