Shibari ((Jap. 縛る shibaru) - tie, bind; grab, arrest. (Jap. 縛り shibari) 　 - verbal noun) is the Japanese art of aesthetic bondage. In practice, ropes are mainly used. Distinctive features are the increased complexity and aesthetics of the strapping.

Story
Shibari as a binding technique goes back to the techniques of combat binding hojo-jutsu that arose in Japan in the 15th-16th centuries, however, as an aesthetic and erotic practice, shibari was formed only by the middle of the 20th century. This period also saw the appearance in post-war Japan of Kabuki theater-style shows that specialized in aesthetic bondage. The performances of the “shibari theater” were characterized by the highest complexity of the strapping, combined with the theatricality of the action inherited from Kabuki. The performances used both ancient harnesses, preserved as part of hojo-jutsu in a number of martial arts schools, and relatively recently developed and oriented to show performances. Nowadays, shibari is used in erotic-aesthetic art and as an integral part of the shibari show, and is also the ancestor of bondage, which in turn is one of the main components of BDSM.

Distinctive features
Shibari as a form of bondage is characterized by the following distinctive features:
Increased aesthetics of strapping, focus on visual perception.
When developing and performing harnesses, special attention is paid to the anatomical structure of the bondage object.
In the vast majority of cases, non-pain binding is used.
Shibari uses mainly ropes.
In most cases, shibari bindings are highly complex, require special skills from the performer and take a long time to complete.
A number of harnesses (especially suspension) require the performer to be extremely careful and attentive to the partner.

Some shibari bindings
karada - strapping of the torso in the form of a grid.
shinju - chest strapping, reminiscent of a rope bra.

Notes 1 In accordance with the Russian system of transcription of the Japanese language (Polivanov System), the word should be written as "Shibari". However, at the moment, the most common variant in Russian is the anglicism "Shibari".

Shibari Aesthetics
What distinguishes Japanese bondage (shibari) from other types of bondage? Well, definitely a rope. When we say "shibari", the rope is implied by itself. And what else? Why, when we see one person tied with a rope, we know that this is shibari, but another person, in the same rope, does not?
What distinguishes Japanese bondage (shibari) from other types of bondage? Well, definitely a rope. When we pronounce "shibari", the rope is implied by itself. And what else? Why, when we see one person tied with a rope, we know that this is shibari, but another person, in the same rope, does not?
Apparently, there is something specifically Japanese in how shibari is knitted. What?
What is the aesthetics of Japanese bondage, what does it consist of? Let's try to figure it out.

Zen

Zen Buddhism, which came from China, had a huge impact on Japanese culture.
Unfortunately, Zen is too broad a subject to cover comprehensively, but some features are important for understanding the aesthetics of shibari.
Zen practice involves constant meditation, the so-called "here and now" state. The Zen custom of self-knowledge through meditation to realize the true nature of man, with its disregard for formalism, with its demand for self-discipline and simplicity of life, came to Japan in the 12th century, was assimilated and has since been vividly manifested in cultural traditions countries.
Meditative, contemplative types of Japanese art can easily be called by anyone: ikebana, rock gardens.
And shibari.

The process deserves the result

"If you take the bow correctly, pull the string correctly, aim correctly, shoot correctly, the arrow will hit the target by itself. If you think only about the target, your eyes, hands and heart will not do what is required of them, and the arrow will fly past"
In the "here and now" state, the process and the result are inseparable. Excessive focus on the goal only pushes it away, distorts the initial plan. The hurried traveler will arrive where he wanted to, but along the way he will not see the play of light on the tops of the mountains, nor the dew on the grass. The one who makes the process of achievement an art will be doubly enriched.
However, process for the sake of process is a waste of time. You can hone your skills endlessly, but if it is not applied anywhere, it is fruitless.
A prime example is Japanese calligraphy. In Japanese writing, it is important not only what is written, but also how it is written. A respectful letter should look like it can be proudly and reverently hung in the house in a conspicuous place.
Therefore, it cannot be said that shibari is a strictly functional art. The one who binds only for the result is mistaken. Only to flog, tie, have sex. No less important is the process during which the top and bottom are tied tighter than a rope can tie. And this process should be unhurried, thorough, beautiful. He demands respect for himself and gives much more than you can imagine, looking only at the end of the road.

Naturalness

In the Western tradition, the creator "takes a block of marble and cuts off everything superfluous from it" according to Michelangelo. The Western artist transforms the universe, cuts it for himself, creates his creations "in his own image and likeness", opposing himself to the primordial Chaos, and thus asserts himself in the world. For a Japanese, this method of creation is strange and unusual.
The Japanese does not separate himself from the world in which he exists. He is part of this world. The same as the wind, like the trees, like a flying bird, like a shadow cast on the wall of a hut. How does the flower assert itself? Does the water, which carves bizarre figures out of stone, strive for results? Beauty does not need to be torn from nature by force. The beauty is already there. It just needs to be seen and captured.
In traditional Japanese tanka poetry, the term "yugen" has existed since ancient times. "Yugen" (literally: hidden and dark) was at first a philosophical term of Chinese origin and meant the eternal beginning, hidden in the phenomena of being. In Japanese art, "yugen" is a hidden beauty that is not fully revealed to the eye. But you can point the way to it. For this, a little is enough: a hint, a hint, a stroke. "Yugen" can also lurk in what is ugly at first glance - like flowers hiding in the crevices of a dark rock.
Sibari allows you to reveal the beauty hidden behind the superficial, "civilized". A bound bottom is deprived of the opportunity to take "beautiful" poses. He can no longer "speak with his body". All that remains is what he was born with. What remains is the physical beauty of the body and the beauty of the spirit. But at the same time, true beauty is always left unsaid. Frankness, nakedness makes it impossible to comprehend. Rope under clothes - very Japanese. The beauty of shibari is chaste.

Chastity

Japanese feudalism gave birth to the concept of "weights" - "befitting obligation." For a Japanese, a violation of decorum is a shame, a loss of face, worse than which there is nothing. Samurai committed seppuku (ritual suicide) in order not to lose face. And, of course, you need to keep in mind that propriety is not a list of commandments that you can always check. Hence the Japanese courtesy and courtesy were born. The Japanese will try to do everything so that his interlocutor does not lose face even due to a misunderstanding.
The burden of propriety is so heavy that drinking parties are traditional, comparable to Western carnival celebrations. At a feast, by general unspoken agreement, you can not monitor your behavior. Everything that a drunken Japanese did will not only be forgiven, but also unconditionally forgotten. Because everyone knows: a person could not control himself.
It's the same in shibari. The rope allows you to blatantly violate decorum - to look inappropriate, to be naked in inappropriate places - but at the same time it spares the bashfulness of the bottom. Violation of decorum gives a strong erotic effect, and the rope removes responsibility for the "indecent" act.

Minimalism

In Japanese artistic tradition the art of revealing beauty with small means is valued. Watercolor with one stroke of the brush. Three-line haiku verses, fraught with depth. Skillful origami figurines folded from a single sheet of paper.
Such creative forms provide abundant food for contemplative reflection, since, as mentioned above, the process of comprehension is no less valuable than the result.
The more money the artist invested in his creation, the more he detailed it, the less the viewer or reader will be able to participate in his work.
No less appreciated is the feeling of light incompleteness of creation. For example, a tanka verse consists of five lines. The first and third have five syllables, each of the others has seven: the tanka is characterized by odd. And, as a consequence of this, that slight deviation from the crystal-balanced symmetry that is so beloved in Japanese art constantly occurs.
The Japanese are especially attracted by the elusiveness, the variability of things. The elusive is beautiful, the constant and unchanging is not.
Shibari, born on the same cultural foundation as other Japanese arts, has the same characteristics. The minimum number of strappings required for the manifestation of Top's idea, the ability to emphasize the necessary and obscure the insignificant with just a rope, to create a moment of beauty that will remain only in memory - this is the way of the Master.

Accentuated sexuality

Despite the extremely strict attitude to decorum, there is no Western-style sexual hypocrisy in Japan. Boys and girls are not raised to be basically the same. And they don’t have to later be surprised to find out how different they are. In any case, in the traditional Japanese family, separation by sex roles is encouraged from infancy, including the sexual aspect. The division into men and women among the Japanese is so clear that even forms of speech are divided into masculine and feminine. The use of female speech forms by a man is ridiculous at best. The use of male forms by a woman is completely shameful.
Shibari, which inherited the tradition of hojojutsu (the art of tying prisoners), divides the bottoms into men and women in the same way. In women, the Yin force is like water. Accepting, submissive, slowly boiling and slowly cooling down. In men, the Yang force is similar to fire. Ardent, aggressive, fast.
And Top, helping the bottom to reveal its Yin or Yang, together with the bottom creates the beauty of correspondence. Here and now the bottom shows its femininity. Or courage.

Conclusion

The differences between shibari and "western" bondage (and how else to call something with a rope, but not shibari?) lie in the differences Japanese culture from the western. Understanding these differences can lead, for example, to interest in Japanese poetry, or in painting. Or martial arts. Or even a love of anime. One has only to start, get carried away, and over time it will become clear that the goal is still ahead. But the path is worthy of the goal.
And the rope is just a tool. Like a brush and ink.

Shibari Sensuality
The Japanese art of erotic bondage, or shibari, stands out among the BDSM techniques because of the specific aesthetics and the characteristic, calm and concentrated mood of the partners necessary for a successful shibari session. This type of influence does not involve the boiling of passions, the rope does not create sharp, extreme bodily sensations and, as a rule, does not cause pain. Many do not see the sensual component in shibari, noticing only the external beauty of the harness, and are amazed at what drives the Master’s diligence and the patience of his model, necessary to create a harness, because this is a rather long and delicate work. Even among shibari practitioners, a pragmatic approach is sometimes found: the development and application of this technique is motivated by a combination of aesthetic appeal and the utilitarian task of fixing the lower partner for further, in particular, sadomasochistic or sexual, influences. There is, of course, nothing reprehensible in this. It's just unfortunate that the huge emotional potential that the art of shibari carries in itself, and which, as soon as a person is tied up, is already provided, it is there, you just need to hear it, sometimes it remains unused.
How and why does the rope work, and what can it give partners?
Rope impact. Truth and fiction.
As you know, not all traditional shibari harnesses limit (or significantly limit) mobility. So, karada (torso strapping in the form of a mesh) or shinju (chest strapping, resembling a rope bra) practically does not restrict movement, they can be worn for hours, including under clothes. The first and main effect of shibari is the feeling of the rope on the body, the feeling of its texture, the line, the light pressure of the knots, the feeling of coverage and support of the torso. All this taken together provides a sensory perception of the contours of our body, which we usually do not pay much attention to (just as we do not notice that we are constantly looking at the tip of our own nose), reminds us of it and helps to focus our attention on it.
Restriction of mobility in tyings involving partial or complete fixation is the second most significant impact. The body is placed in conditions of physical, literal lack of freedom, deprived of independence, helpless. Thus, firstly, in a tangible form, a deep and diverse symbolism of lack of freedom and defenselessness appears, and not “in general”, but in the context of a session with this Upper partner, with the one who is given freedom, that is, in the context of relations with him . Secondly, the signal about switching attention inward from external objects, due to their inaccessibility, becomes even more imperative.
Finally, shibari is beautiful. The understanding of beauty completes the psychological emphasis on one's body, and evokes a feeling of gratitude to the Shibari Master - to the person who made a woman beautiful.
It is sometimes argued that the strappings act on biologically active points on the human body and thus create the effect of acupressure shiatzu. This hypothesis does not seem to be sufficiently substantiated. The fact is that acupressure- this is the stimulation of strictly defined points in a certain way and in a certain sequence, depending on the task. When linking this, of course, does not happen. Coincidences of locations of biologically active points and zones through which the rope passes are random, which can be easily seen by comparing the "map" of biologically active points and the "geography" of traditional harnesses. The first thing that catches your eye is that the rope does not touch the main clusters of active points located on the feet, on the fingers and on the auricles. As for the zones of the wrists and ankles, which are also abundant in active points, it is customary to start acupressure with their stimulation, while knitting them, on the contrary, is the last thing for safety reasons. It is impossible to completely exclude some kind of acupuncture effect of shibari, however, even if it exists, due to the subordination of binding to completely different principles than acupressure, this effect is negligible.
The second common idea, which causes much more astonishment due to its obvious (unlike the mysterious acupuncture) fallacy, is the opinion that the rope directly stimulates the erogenous zones. This is simply not true. Of course, for each person, the excitability of different erogenous zones is different, but in general, the most important female body are: genitals; nipples and mammary glands; "cat's place" between the shoulder blades; nape, nape, ear, chin; inner thighs; hands and feet. In the main harnesses, the rope bypasses all these places, with the exception of the genitals: the chest is tied over, under, outside or inside the base of the mammary gland; on the back, as a rule, the rope also goes above and below the erogenous zone, which is associated with the functional task of tying the chest; the head, hands and feet are usually not involved at all; and the inner part of the thigh, even if it is covered by a rope, does not give grounds for drawing such far-reaching conclusions. In addition, erotic stimulation is still carried out by stroking or gently rubbing one place or another, and the rope on the body is quite static and creates a feeling of girth and light pressure. As for genital harnesses, in which the rope is in direct contact with the genitals, these sensations themselves, taken in isolation from the emotional context, are far from pleasing to everyone. With a weak harness, they are insignificant, with a tight one, they rather resemble a “thread” from clothes that are too tight in the crotch. If the texture of the rope is not slippery (and it is not slippery, or even prickly, for all ropes made of natural fiber), all the more so, no mechanical erotic stimulation occurs. Of course, all people are very different, perhaps someone's sensuality perceives just such an impact, but in general, the idea that a rope between legs excites a woman is the same myth as myths about women getting erotic pleasure from riding a bicycle or horseback. .
Rope perception.
So, the main influences of shibari are the feeling of the body, the restriction of mobility and aestheticism.

body sensation

The feeling of a rope means an unusual, unusually concentrated perception of one's body and posture. The body outlined by a rope is easier to consider and feel, as it were, slightly detached, meaningful, concentrating on the feelings that arise and fully experiencing, savoring them. You can be aware of certain parts of the body separately and "listen" to them. The rope, hugging the torso, emphasizes breathing and heartbeat. Thus, the body, from a simple shell, a kind of material activity apparatus, a source of sensations, becomes their addressee, in a sense, acquires an independent, “intelligent” existence. It's amazing how much this is similar to the principles of yoga. The classic poses of the lower in shibari rarely coincide with the main yoga asanas (although the pictures depicting some of them, for my taste, lack a rope (IMG:style_emoticons/default/happy-48x48.png)) and most likely by accident, but the meaning yoga is not in asanas. More precisely, any position of the body in space can be an asana, and this is determined not by where the arm is extended or how the leg is bent, but by the perception of the body, the sensations from the posture, which set the logic of the position of the body and suggest its entire architecture. To take an asana is not so much to stand in a certain way, but to feel the whole body at the same time as it is in relation to this position. And when the asana is done correctly, it is not the teacher in the class and not the mirror that speaks about it. This is evidenced by a sudden and very acute inner feeling of lightness, soaring, freshness and some kind of purity, despite the fact that the body is working hard at this time and some muscles are stretched to the limit. This same feeling of weightlessness is one of the essential components of bondage subspace for me. Maybe I don't have one. Therefore, let me recommend that shibari practitioners use one of the rules of yoga, which says that in any position the neck and face should remain completely relaxed so that the mind does not participate in the work of the body, but watches them from the side.
The passivity of a body limited in mobility also has a huge potential for sensory impact. The deprivation of the opportunity to act "for transmission" switches a person "to receive". To receive signals from the senses, primarily tactile (even more this effect is enhanced by deprivation, for example, blindfolding and / or ear, the prohibition to speak or the use of a gag). This helps to get the most out of them, to fully experience and feel them, to know the specialness, uniqueness and originality of each touch. That is probably why, in traditional shibari, preference is given to coarse, even prickly ropes made of hemp or jute: they are felt not only in places of greatest tension, but along the entire length. Switching communication between partners from the usual (speech, mutual touch, facial expressions, gestures) to meager, due to a lack of feedback mechanisms from the bottom, exacerbates empathy. This amazing experience of closeness, even merging, unity of two people, not only carries a huge simultaneous emotional load, but also, undoubtedly, contributes to deepening mutual understanding between partners and, in general, strengthening relationships between them.
The described positive experiences do not come immediately, they need to learn, look for the right feeling, catch and remember it.
The main obstacle that prevents you from calmly and relaxedly reacquainting yourself with the body and hearing the unusual variety and depth of sensations is dislike for your own body. We are all imperfect. All of us, except for the photo models themselves, do not look like photo models. Shibari can help to learn to forgive the body that it does not fit into the 90-60-90 standard (because the Master forgives this, otherwise he would not have been fiddling with the rope and would not have looked at his work for a long time and with pleasure, but on the contrary, turned it off I would have covered the light with something ugly so that it was not visible), but only when you really want to learn to forgive. If dissatisfaction with one's appearance has gone so far that it is impossible to distract from it by any means, and the Barbie doll is seen as a standard of happiness, then it is better to refuse the shibari session altogether, since then it can appear as an unbearable humiliating effect, aggravated by helplessness, and result in hysterical at best.
Another factor preventing concentration inward is the "excessive" extraversion of the bottom. For a person who, by his temperament, is not prone to contemplation, peace, passivity, perhaps even some seclusion, but on the contrary, energetic, active, restless, it is much more difficult to learn to be inferior in sibari. By the way, it is these bottoms who usually try to turn a shibari session into a sports competition with the top, immediately starting to extricate themselves from bondage. Simply because they are bored to lie (sit, stand, hang) quietly. Of course, this has its own charm. Of course, everyone gets the pleasure that he can. Is it worth "re-educating" such an active bottom, and if it is, then why - it's up to the top to decide. With a mutual desire to "re-educate", of course, it is possible, although it is not easy and not fast, and it may even turn out to be useful for the daily life of the lower one, for example, it will help him develop perseverance, the ability to concentrate, etc.

Mobility restriction

Bondage in general and shibari in particular are referred to as BDSM precisely because of the physical helplessness of the bound bottom. In addition to the direct, literal transfer of power over an immobilized body, binding carries a deep and multi-layered symbolic load. What happens to the lower due to the fact that he is incapacitated and defenseless?
First of all, a helpless person needs care and care. Like a child who is being spoon-fed, turned from side to side, wrapped up if it's cold and uncovered if it's hot, swayed to calm down. Playful recreation of a child's status can cause psychological regression to childhood, release from responsibility, from the need to think and make decisions, returns to a state of serene innocence, creates an idyllic mood. The upper one, in turn, enters the role of the Parent, touches his ward, rejoices at the opportunity to take care of him.
Then, willy-nilly removed the limiters of sexuality. Whatever they do with the bound person, he, as in a classic joke, has one thing left to do: relax and enjoy. Metaphorically speaking, the fetters on the body untie the fetters in the head, because there is nothing left but to accept what is happening, to come to terms with it. It is no coincidence that shibari was invented by the Japanese, whose culture is strictly chaste. The effect of a subtle and deep feeling of one's body described above, the emerging greed for touch, coupled with the removal of responsibility for an "indecent" appearance and behavior, make it possible to forget for a while about social conventions, complexes and prejudices laid down by puritanical upbringing. The emphasis on sexuality is enhanced by the fact that traditional harnesses emphasize the breasts and genitals first of all.
The heroes of the ingenious "Dolls" by Takeshi Kitano wandered around the cities and villages, tied with a rope. "You and I are tied by the same rope," the bard sang. We are talking about the bonds of love, about the connection of hearts, about attachments, about captivity. There is a deep love symbolism in the image of the rope. Since love is an incomprehensible and somewhat ephemeral thing, it is hardly worth developing this idea in detail. But for those for whom to love means to unconditionally believe and give oneself, on the one hand, and to care and cherish, on the other, shibari will help express lyrical feelings.
Finally, immobilization is the quintessence of power, complete physical freedom to do anything with a person, total control over his whole being, and from the position of the lower partner - absolute humility and humility. A bound person can neither fight nor flee. He can only surrender to the mercy of the one at whose disposal he is. This requires tremendous trust, only it can overcome fear. In none of the BDSM practices does the bottom give himself away so completely and directly tangible as in bondage. Here the transfer of power can be seen and touched. Thus, a psychological "anchor" is created, the partners will remember this feeling even after the rope is removed. Sometimes it seems to me that people who claim that their relationships, with the exception of bondage sessions, are completely vanilla, do not fully realize that the psychological and bodily memory of the state of power / subordination does not go anywhere, it remains as a factor influencing , albeit, perhaps, very slightly, on the format of everyday relationships. This factor should not be ignored.
The psychological impact of unfreedom determines the difficulties partners may face. First, the bottom one can be claustrophobic. In this case, his prospects as a bondage artist are very doubtful. Of course, you can proceed slowly and carefully, starting with harnesses that do not restrict movement, then gradually moving to a fixation from which it is easy to free yourself, and so on. You can try to resort to the help of psychologists, sometimes it is effective in the fight against this kind of neuroses. The only problem is that all this does not guarantee a sudden and very sharp breakdown. And, of course, the question of ethics arises - how permissible is it to "rape" human nature? - and it is decided, obviously, depending on the responsibility that the Upper took - or did not take - in relation not just to the "mechanical" security of the sessions, but in relation to the personality of his lower and his fate.
Secondly, there are people who do not know how to obey, to give control. For them, the very idea that someone can do something for them is terrible. They don't know how to accept gifts. They, as a rule, cannot perceive others as they are, but strive to remake them for themselves, consider them through the prism of themselves. They treat themselves in the same way: they pay attention not to what is, but to what is due, of course, in accordance with their own ideas about this. They are super-protective and often hyper-responsible, they are sure that without them this world will immediately fall into hell. They are not "better" or "worse" than those who are arranged differently. They're just not the bottom. Because they don't know how to trust.
Thirdly, sometimes fear interferes with calmly accepting one's helplessness in a bondage session, this factor plays an especially important role when the partners are not too close to each other. It may be a "learned" fear caused by the previous negative experience, or fear of this partner.
If the partners are dear to each other and want to continue and strengthen their relationship, each disruption of the session should be the subject of a thorough and long conversation. Definitely need to get to true reasons a sharp reaction from the bottom, and then decide together whether it is possible to try to eliminate the cause, or whether it is an insurmountable obstacle (more precisely, like this: there are no insurmountable obstacles, there is only human laziness, therefore it is a disproportionately difficult obstacle to overcome), and it is better to refuse bondage sessions generally.

Aestheticism

The lower one, acting as a model for the Master, receives a visible and tangible proof of its relevance. After all, the figure of shibari is a work of art. It is created slowly, carefully, carefully, carefully. Since the Upper one takes on such work, and then also the chores of taking care of the bound, it means that the lower one is valuable, expensive, needed. For many, this is very important - to be needed.
Added to this is a specific sense of demand for the lower one as an artistic material. Not every day in everyday life we ​​manage to be Pygmalion and Galatea. The role of the model requires humility, passivity, plasticity, but not only. A living person is still different from a block of marble or a lump of plasticine. It is distinguished by the ability to cooperate, to "intelligent" responsiveness, which helps each time to create not a harness at all, but a harness of a given person in a given context of time, place, mood, and so on. Creativity in general brings great joy and satisfaction to people (I don’t know exactly what drives Shibari Masters, forcing them to master this difficult art, but, I suspect, not least the opportunity to create beauty), joint creativity brings together, creates a common conceptual, symbolic and aesthetic series, and even when the most intimate spheres of life, images and experiences become its subject, there is no limit to delight.
Shibari is a Japanese art. A woman bound in Japanese is sure to feel a little Japanese. Restrained, well-bred, respectful, modest, graceful, mysterious and slightly depraved.

Sibari and subspace

Emphasized passivity, humility, subordination (Yin) evokes a keen sense of one's own femininity. This femininity is attractive because the body, even imperfect, is fully accepted, becomes beautiful. Attractiveness is sensual because the body recognizes itself and delights in itself. Sensuality is sexy, because all prohibitions have been lifted. All this - femininity, attractiveness, sensuality, sexuality - belongs to the Master who created them, even if it's just here-and-now. He is free to dispose of them as he pleases. He protects his creation, and therefore the rope warms: this is the warmth of care. The body, feelings and mind find a rare harmony. It suddenly turns out that dissolving in the Master and withdrawing into oneself are one and the same. This is a calm, quiet, happy, grateful, bright, joyful, complete and unconditional acceptance of everything that happens and one's place in it. This is absolute freedom, for what is freedom, how not to be yourself and in your place?

The school should not be a closed unit, should not resemble a bourgeois family, only in a somewhat expanded form. Under the guise of "new labor schools" schools of this type are often created: quiet backwaters in the midst of a stormy sea. A school that aims to nurture social instincts in its students cannot isolate itself. It is necessary to expand the scope of children's social experiences, to bring the school closer to real social life. Of course, it is good if the schools are interconnected. But communication between schools can lead to simple visits to each other's homes, much as the children of one bourgeois family used to visit the children of another family.
Communication between schools should not be given exclusive importance. Much more important is the organized communication of school youth with young workers and peasants in general. From this point of view, the organization of RKSM cells in schools is of particular importance. Through the Komsomol, schoolchildren get in touch with the worker and peasant youth, enter closer into their lives. All that is needed is that the school cells of the Komsomol correctly take into account their role in the school. They need to learn the knowledge of psychology from Catholic priests and take care to involve every schoolchild in active work, put them in some kind of work for the Komsomol: collect and bind books for the library, teach literacy to illiterate Komsomol members, participate in circles, work with young pioneers, assist the publication of leaflets, posters, newspapers, magazines by the Komsomol, join the sanitary detachments together with the Komsomol, etc. That cell of the Komsomol will best fulfill its task, which will best be able to use the school in the interests of the working and peasant youth. It would also be useful for the same purposes to open the doors of the school to the young workers and peasants who stand outside it and to let this piece of living life into the school.
But the school must be connected not only with the life of young people, but also with the life of adults, primarily with the life of the working class. Particularly favorable conditions are found in this respect in schools for factory directors, schools in workers' settlements such as Elektroperedachka, etc., where children and adolescents outside of school live in the interests of the working masses. But the students of other schools must also be brought closer to the life of the working class wherever there is even the slightest opportunity for this.
How to do it? Some think that it is enough if children and adolescents take part from time to time in workers' celebrations, such as the First of May, the anniversary of the October Revolution, etc. This, of course, is not bad, but it is still extremely little. We must look for ways to establish links between schools and factory enterprises. It seems to us that it would be possible to develop the question of patronage. Let's say a factory takes patronage over some school. This does not mean that the plant simply cares about the material well-being of this school, makes deductions for this school. This means something else: each worker of the plant-chief thinks how he can help the school - whether to go to the school club and there to tell in the evening about his memories of his difficult childhood, about the struggle that the plant used to wage with the owners, etc .; or take over the leadership of some locksmith or carpentry circle, which is formed by students of the school patronized by the factory; or organize a visit by a group of students to the factory and explain to them the design of machines, show their work; or arrange a subbotnik together with the students of the school to help the school; or invite them to a factory meeting, to your club, etc.
Each schoolchild, for its part, each group of students should think about what they can do for their factory boss: help the factory nursery, amuse the children of the factory kindergarten, decorate the factory club with posters, serve the factory with newspapers and letters, help with sanitary issues, etc. All this will establish a spiritual connection between the factory and the school, create that spiritual kinship with the working class, which is so necessary for the younger generation.
If we establish mutual patronage between factories and volosts, which is now being promoted, it is necessary that schools take an active part in this matter. A city factory or factory-sponsored school helps a certain village school, with which it establishes mutual patronage: it produces manuals for the village school, draws up reports, selects literature, carries books to it, in the summer the students of the city school go on a trip to help their comrades in the village school work, take host their excursion to the city, etc. On the other hand, village schoolchildren write to the city school-chief about their work, life, help in any way they can, host them, etc. In rural areas, schools should be grouped near state farms , cultural institutions, etc. What is important is the merger between the young workers and peasants, between the youth and the working people. This spike will best contribute to the development of social instincts in children and adolescents.
1924

Popular site articles from the section "Dreams and Magic"

Hojojutsu is a medieval Japanese martial art of tying a prisoner with a rope.. Warriors who performed police functions possessed these skills. The word "hojojutsu" consists of three parts: "ho" (this hieroglyph is also read "tori"), which means "grab", "arrest", "capture", "jo" (the hieroglyph is also read "nava") - "rope ”, and, of course, “jutsu” - “art”, “skill”. Thus, the hieroglyphs that make up the word "hojojutsu" can also be read as "torinawa-jutsu".

According to other sources, the color of the rope was determined on the basis of less pragmatic considerations and corresponded to the accepted symbolism for designating the four seasons and the four cardinal points corresponding to them (the prisoner sat facing in this direction) and four mythical creatures - patrons: blue - spring, east, dragon; red - summer, south, phoenix; white - autumn, west, tiger; black - winter, north, turtle. In the days of the dog (end of July - beginning of August), a yellow rope was used. Later, this symbolism was discarded, and the color of the rope, white or indigo, began to indicate only which police unit was dealing with this prisoner.

It should be remembered that the Japanese are extremely sensitive to issues of dignity and honor. Being bound was considered a disgrace, and humiliation was worse than death. Therefore, if the binding rules were violated, the peacekeeper himself could be called to account. Since only a court can recognize a person guilty of a crime, before sentencing the suspects, although they were tied, they designated it with euphemisms like “wrapping” and did not tie the rope in knots, and then it was no longer considered a shame. In such cases, instead of knots, the rope was fixed with sliding loops, fastened with jagged hooks to clothes, or the ends were passed through metal rings and held by them.

Knots were also tied depending on the specific task, there were a great many of them, both simple and fast, and sliding, self-tightening in case of resistance of the arrested person or his attempts to free himself. When convoying a group of prisoners, they were tied with one long rope in a chain one after another at the wrists. The usual length of the rope used to escort one prisoner was about seven meters. In principle, in order to tie the enemy, even sageo went into action - a rope for tying a scabbard.

In addition, the knitting technique was chosen depending on the required degree of immobilization of the prisoner. You can tie your hands so that the prisoner can, for example, eat, but cannot fight, legs - so that he can stand, but cannot walk, or can walk, but cannot run, or can only move a certain distance. ; and you can fix it so that it does not move at all.

(1868) fell into disrepair. there are very few hojojutsu masters left. One of them was the deceased Sensei Shimizu Takaji Dai from the Shindo Muso School, which, with amazing agility and grace, captured and tied the enemy. However, there is continuity in almost everything in Japan, and hojojutsu didn't die at all. The police arsenal still includes a two-meter rope along with handcuffs. It is convenient to use it when detaining a resisting offender (for example, a violent drunk) or several people; in last case they are tied to each other. Rope in Japan is fenced off from the public at the scene of incidents, using it as a cordon. By the way, using a rope japanese police owes it to Sensei Shimitsu Takaji, who demonstrated his skills to a special commission in 1927 and then taught the police as part of the course. The ban on martial arts, introduced after the defeat of Japan in World War II, did not affect hojojutsu, which by this time was already considered an integral part of the skills of a patrol policeman. In the post-war period, the basic techniques were adapted to the needs of modern life.

Training on the art of binding “Shibari”

Leave all your stereotypes at the door and let yourself plunge into the world of the exciting new. A seductive distortion of reality that turns provocation into a game, and the forbidden into exciting! We invite you to take a training in the ancient Japanese art of tying SHIBARI!

To put it very briefly, Shibari is an ancient Japanese art create works of art by tying a person with a rope. But in order to get really art, at least two conditions are necessary. Such as must necessarily turn out beautifully and give pleasure and joy to the participants in the process.Shibari is quite multifaceted, because in it, as in any other real art, there is where to open up to anyone. creative person. The art of Shibari can also promote self-knowledge, self-improvement and self-exploration.Shibari differs from other techniques of wrapping a person with a rope in high aesthetics (it is really very beautiful), physiology (the physiology of the person being tied is taken into account) and spirituality (meditation, inner world etc.).

Therefore, Shibari is not a form of sadomasochism. No leather whips, belts or handcuffs are used in Shibari. Exceptional ropes. The explanation for this choice is completely practical, since a coil or several coils affect the entire erogenous zone, and the strapping knot stimulates the biologically active point ... Such a combination, according to the modest admission of girls who have experienced Shibari, can bring to orgasm.

In order to practice shibari and derive pleasure from it, it is not necessary to be a strict Master or a violent masochist. In general, these two phenomena should be distinguished.In fact, as one of the masters said, "Shibari is an exchange of emotions between a man and a woman. A unique Japanese thing is to express love and emotion completely through the rope."

WHO WILL BE INTERESTED IN THIS TRAINING?

• Are you experiencing a crisis in your relationship with your loved one?
• Do you want to solve your psychological problems. Get rid of complexes or even phobias?
• You have already heard a lot about the art of tying and now you want to study Shibari in Kharkov or Kyiv?
• Do you want to get new unexplored sensations and go against your subjective standards of behavior and views?
• Are you in a long-term relationship and simple intimacy no longer excites you?
• Are you a man and are you interested in conquering (subduing) a woman also during intimacy?
• Have you always wanted to try something unusual and wild, something that is not talked about aloud?
• Do you have a desire to develop in the art of love, but you do not know how?
• Do you like to break taboos while experiencing the brightest, most exciting and disturbing emotions?
• Do you want to revive mutual passion in your relationship?
• Do you dream of diversifying your relationship with your beloved by trying something that both of you, deep down, have long dreamed of?

Then our unique offer is what you need! Just register by clicking on the button below, and our organizers will contact you within 24 hours and answer all your questions.

SHIBARI TRAINING PROGRAM

• Brief historical digression and Shibari terminology;
• Psychology of the bondage system;
• The emotional component of Shibari;
• Ropes and their types;
• Preparation and features of working with a rope;
• Safety in the art of Shibari;
• Shibari binding (technique) and its types.

A woman in harness becomes unusually sensual and submissive, sexy and even a little depraved, as well as elegant and submissive. A man tying a woman feels like a master and a creator, which causes him a powerful self-confidence.

WHAT WILL YOU GET AT SHIBARI TRAINING?

• Get to know a brief history and Shibari terminology;
• Learn the basics of secure binding;
• Learn how to choose, prepare and care for the rope;
• Master all the main types of harnesses and be able to confidently combine them;
• Learn to manage sexual energy for the development of sensuality.

The unknown always stirs minds, causing more and more male fantasies (and not only male ones). The whole beauty and grace of shibari lies in the fact that the girl becomes meek and submissive. Shibari is not just Japanese erotica and sex technique, but also true trust between partners. If two people bravely and without hesitation take this step and want to try Shibari for a change, then they love each other and completely trust each other. This is the most important thing in relationships between people - true trust.

HOW WILL THE SHIBARI TRAINING BE GOING ON?

• The duration of the training "Shibari" is 5 lessons;
• The theoretical part of the training program is 10-15%, the rest of the time is devoted to practical exercises;
• Dress code in the classroom: loose street clothes;
• Shibari training takes place only in pairs (i.e. the one who is studying and who is being studied);
• They are trained by Shibari masters with a training experience of 10 years or more;
• Shibari training in Kyiv and Kharkov in a general format, takes place as the groups are completed. As a rule, there are no more than 10 couples in a group;
• Date of the next training or master class along Shibari in Kharkov or Kyiv, you can find in the site menu. Registration for individual training is ongoing;
• A tying rope is provided for each couple in each session;
• The format of the training involves both training in a group and individually;
• Training in a group format will take place in a comfortable hall (or studio) in the central part of the city. Depending on the number of participants in the training, the exact location may vary, so all participants in the training will naturally be notified in advance about the location of a specific training venue.

COST OF PARTICIPATION IN SHIBARI TRAINING:

Shibari lessons can also be taken on an individual basis, in a study schedule that is convenient for you. Shibari training in this format, firstly, will allow you to start learning shibari binding techniques in the very near future, and secondly, during the training, all the attention of the master will be directed exclusively to you.

COST OF PARTICIPATION IN INDIVIDUAL SHIBARI TRAINING:

The cost of individual Shibari lessons in Kharkov and Kyiv depends on your goals of learning the art of Shibari. For example, the Basic package (about 3-4 lessons) involves obtaining basic skills in tying techniques. In the Advanced package (approximately 5-7 lessons) - additional training in Shibari suspensions. Both in general and in an individual training format - Shibari ropes are provided by the trainer, for each lesson for free.

SHIBARI ROPES FOR TYING

To continue the practice after training (or to work out various duties on your own), you can buy Shibari ropes for yourself or as a gift, at the BestEvents Center.

For Shibari, the rope is usually made from jute, which is further processed and dyed. The main reasons for using jute are: natural material, jute ropes are wear-resistant and strong enough, jute ropes do not stretch, and they are also moderately rough. ATThree-strand rope for Shibari is made from natural jute. The length of one piece of rope is 8 meters. Diameter - 6 mm. In the presence of ropes made in Ukraine and Germany. Available colors: beige, black, red and green.

Shibari rope set includes 8 segments of optimal length - 8 meters. A set of Shibari ropes can be made up of ropes made in Ukraine or Germany. A set of 8 ropes is an approximate amount (depending on the anthropometric data of a person) that will be needed for the Shibari Basic course. And the minimum amount of ropes for a beginner may consist at the beginning of 4 ropes of 8 meters each. The color of each rope is optional. The production time for ropes can take up to two to three days.

Jute bondage rope is the main tool for performing basic harnesses. The safety of the model depends on its quality. It is also worth knowing how to properly care for the ropes. It is advisable to dry the ropes after each session in a ventilated room, on a balcony or outside. It is undesirable to keep the rope in the open sun for a long time. Periodically it is useful to oil the ropes, for example beeswax. If you plan not to use the ropes for some time, then it is best to store them in a fabric bag, in a free state. If the rope is dirty, it is recommended to wash it by hand, or in a very delicate mode. washing machine. Some masters recommend washing in the dishwasher. After the rope dries, be sure to oil it, preferably with beeswax.

The original gift will be gift set Shibari. The kit includes two Shibari ropes (Ukrainian or European production) and one candle handmade(for games with wax). The color of the ropes and candles to choose from. All this is packaged in a presentable box. Such an unusual and bright gift can be presented, for example, complete with a certificate for training (individual or in group format) to lovers or a married couple, and on any of the holidays.

COST OF ROPES AND ACCESSORIES FOR SHIBARI:

In order to order Shibari ropes (and/or accessories), just click on the button below and enter the data in the proposed form.

In the comments field (in the application form) it is desirable to indicate which particular subject of Shibari you are interested in(rope, kit, gift set, etc.). After that, our manager will contact you within 24 hours. Shibari ropes, as well as other presented goods, can be sent to any city in Ukraine, as well as Russia, CIS countries and the World.

Despite the fact that the fashion for shibari (or, as it is also called differently - shibari) appeared relatively recently, this art (and this is nothing more than art) originated in ancient japan. Shibari is one of the varieties of bondage - a technique of erotic bondage. By and large, all that a master of this technique needs is a rope and imagination. During such sexual games, a man binds a partner who must obey him in everything. At the same time, opinions about such bondage are very different: some consider it an unusual, but very interesting and attractive entertainment, while others define shibari as a perversion and deviation.

Warrior Art

In general, the original art of shibari originates from the binding of defeated and captive enemies - in such a simple way, oriental warriors acted on active points on the body of their opponent. The origins of this art are often found in the national culture and mentality of the inhabitants of Japan, who have always had a penchant for contemplative aesthetics. Besides, National clothes the inhabitants of this country have practically no buttons - they are replaced by belts. For example, for tying a women's kimono belt, there is great amount ways, the choice of which depends on the social status of the lady and certainly represents a special ritual.

Beauty and aesthetics

True, shibari received a pronounced erotic bias, having already become famous in the states of the West. At the same time, even if in some cases rather tight knots are allowed, due to which the rope does not weakly cut into the girl's skin, this art does not at all pursue the goal of delivering painful sensations or torment to the partner - everything should happen by mutual agreement. Much attention is paid to how beautiful the resulting knot weaving looks, often almost in no way inferior to macrame. A separate topic is fans of erotic bondage who enjoy photographing their creations.

Static and submissive

Shibari is a static art. Absolutely everything matters in it: from the position of the arms, legs and head of a woman, and ending with the pattern that the knots of the rope create. It is believed that in the course of such sexual games, the impact on biologically active points, including erogenous zones, is still being carried out. However, opponents of this symbolism of the rope theory declare that it is unfounded: after all, for example, points located on the head or on the feet are not affected. The process of binding is carried out deliberately slowly, sometimes it can take up to several hours, which is why this art is also often compared to meditation or tantric sex.

Rope symbolism

The perception of the rope itself is also highly symbolic. On the one hand, this attribute is associated with restriction of movements and freedom, and a girl who agreed to have her lover bind her, thus, to a certain extent, demonstrates her humility and willingness to obey him. On the other hand, a rope can act as an object with which a connection is established between two people, not only physical, but also emotional. By the way, sexual intercourse does not always follow the shibari ritual.

Importance of preparation

Nevertheless, as experts in this art emphasize, appropriate preparation is necessary for such practices. First of all, you need to have at least elementary knowledge in the field of anatomy. This is due to the fact that due to ill-conceived actions, there is a high risk of damage to the skin, joints, and even clamping of the arteries. As a result, a woman may lose consciousness or suffocate. For this reason, before trying to diversify your sex life with bondage, it is recommended to study the basic elements of the shibari technique, or enroll in appropriate courses.