This class explores how we approach forms, shapes, and patterns in sekibaku, and outlines the methods we use to introduce the fundamental katas of this style.
In sekibaku, unlike other styles, we do not depend on fixed patterns or rigid shapes.
There is no standard form, such as a “takate kote yagami ren,” that everyone must reproduce with identical steps and results.
Instead, this style encourages each practitioner to develop their own forms by combining fundamental techniques, adapting to the unique circumstances of each session, and, most importantly, to the individual being tied.
This approach has a clear rationale: sekibaku is a style composed of structured techniques and tools, all aimed at one purpose—fulfilling erotic desire.
By its nature, erotic desire is fluid and ever-changing; no two moments are exactly alike.
Relying on rigid patterns inevitably diminishes their effectiveness over time, regardless of past success.
It is unlikely that the same technique will produce the same erotic response with different people, or even with the same person at different times.
It is important to distinguish between moments of erotic play and those devoted to practicing or studying technique.
During study, we use forms—specifically, katas, which are set sequences of movements designed to practice a technique.
The basic forms covered in this course serve as exercises to develop skills, deepen understanding of the techniques, and learn how to apply and adapt them.
To practice katas effectively, a solid understanding of the fundamentals and proficiency in the necessary techniques are essential. Without a strong foundation, it is not possible to perform these exercises correctly.
The katas included in this course have been carefully selected for their pedagogical and practical value.
They are relatively simple, can be performed quickly, and involve few steps, making them easy to internalize.
Most importantly, they emphasize the correct application of basic principles.
Forms excluded from the course were omitted for safety reasons or because they are too complex to perform without direct supervision.
Basic Forms of Yagami Ryu
Historically, at the first level of Yagami Ryu, we work with five forms in each of the two technical branches: five in Toginawa Keitō (伽縄 系統) and five in Shoden Keitō (初傳 系統).
These should be understood as katas, not as fixed shapes, since they’re applications of technique that, when properly understood, allow us to adapt them to any person.
In this course, we refer to the katas by their generic names, rather than their specific applications (e.g., karami instead of karami gote), to avoid fixating on replicating a particular shape during practice.
Toginawa Keitō Forms
Karami (絡み)
The gote (chest harness) in its most basic form. We’ll use it to explore body management through rope, understanding balance and the activation of the tied person, as well as smooth rope handling by the person tying.
Tasuki (襷)
Tasuki is a dorsal band and the technical foundation for the “third line” of takate kote. It provides strong support for the tied person, and we’ll use it to study how to manage their activation during a session.
Kubinawa (首枷縛り)
A safe application of the ippon technique, used in the well-known “choker” of Yagami Ren. We’ll use it here to study the safe construction of anatomical restraints with the arms in front of the body.
Daku Shibari (抱縛り)
A simple technique that involves immobilizing the arms with the legs. As a “hands-in-front” restraint, we’ll cover it in the final lesson of the course.
Matanawa (股縄)
There are two approaches to ties in the pelvic-hip area: one focuses on balance, the other on stimulation.
These techniques will be addressed in the course’s final lesson.
Shoden Keitō Forms
Koden (古傳)
Inspired by traditional hojojutsu techniques, it’s visually distinctive for the diamond shape the ropes create on the back.
We’ll study it in this lesson, as it combines body management techniques and rope handling.
Kaeshinawa (返縄)
A gote construction using counter-tension, meaning the body is wrapped in two directions.
We’re not including it at this level, as managing the body with counter-tension requires greater mastery of body management and rope handling. Counter-tension is explored in other forms.
Ippon (壱本)
Often represented as a strappado variation with the arms in rotation. Doing this on the back is extremely dangerous, so we don’t teach it in this course. However, we will include a version with the arms in front of the body in the final lesson.
Generally, to keep things simple for students, we first study restraints with the arms behind, then with the arms in front.
Wakizarashi (脇晒し)
Refers to techniques for bringing the arms overhead and backward. Due to the difficulty many students face in safely achieving this position, and the risks of improper practice, we only teach it separately from the course.
Kannuki Shibari (門傳)
This is the signature chest harness of the Yagami Ryutakate style.
It’s not just a form for studying technique—it’s one of the most efficient and versatile chest harnesses in shibari.
We’ll dive into it in the next lesson, as its proper execution requires proficiency in the basic forms.
In every case, adaptation is key: the person tying must adjust to the person being tied, their physical condition, their emotional state, and the flow of the session.
We’re seeking responses; we’re not trying to arrive at a specific destination, and there’s no predefined goal. We need to flow and apply the right technique at the right moment.
So, in sekibaku, we’re not aiming to reproduce a shape with the ropes. We’re seeking responses, exploring desires, and revealing the most intimate emotional facets of both the person being tied and the person tying.
This is crucial: in sekibaku, both the person tying and the person being tied actively participate on equal footing.
We recommend reviewing the glossary entries for each of the forms mentioned in this class.