--- title: "Myths in shibari (1-5): is shibari an art?" date: 2026-10-22 author: "Sr. Interior (流庵殿)" intro_image: "https://shibari-dojo.online/images/metodo/mtd0601en_sq.webp" fulltext_image: "https://shibari-dojo.online/images/metodo/mtd0601en_lg.webp" categories: - name: "Methodology" url: "https://shibari-dojo.online/mtd-en.md" tags: - name: "Art" url: "https://shibari-dojo.online/tags/art.md" --- # Myths in shibari (1-5): is shibari an art? ![Myths in shibari (1-5): is shibari an art?](https://shibari-dojo.online/images/metodo/mtd0601en_lg.webp) **Shibari** is riddled with myths, that is, with mistaken ideas and falsehoods that, over time, come to be accepted without question. By *myth* we mean here accepting an idea as true without subjecting it to critical analysis and without needing clear support from facts or evidence. This acceptance ends up creating **stereotypes and misconceptions** that take deep root in popular culture. The first of these myths arises precisely when we try to determine what is and what isn’t shibari. In fact, it is not a single mistaken idea, but several that converge on the same point. And it may be more interesting to analyze where they come from than simply to say whether they are true or false. One of them is the idea that **shibari is an art**. Something elevated, cultured and refined. For some people, admitting that we are attracted to something dirty, sexual and brutal—something as refined, in certain contexts, as tying a tomato plant to a pole or a donkey to a post—is irrelevant. For others, however, there may be some discomfort or even shame in admitting certain sexual tastes and appetites. And here an important distinction should be made. If we understand art in the sense of the **fine arts**, shibari is not an art, at least not by definition. And, of course, not all shibari can be considered art. Claiming that would be like saying that every doodle made with a pen in the margin of a notebook is art. This does not mean shibari cannot be part of an artistic work. It can. **It can be used as a technique, as a means of expression or as part of a creative process**. But that does not automatically make anything done with a rope art. ## When can it be considered art? Determining what is and isn’t a work of art is much more complex than it seems, and it still sparks debate even in academic circles. One of the usual criteria is **the creator’s intention**. If there is a will to convey an idea, an emotion or an aesthetic experience, we may be looking at an artistic proposal. From this perspective, for example, a piece of shibari work that tries to evoke beauty through suffering could be part of an artistic discourse. **Cultural and historical context** also matters. The existence of a tradition, cultural recognition or the capacity to produce social impact can help determine a work’s artistic value. We might think, for example, of **Andy Warhol** and the way his work transformed certain assumptions about what could be considered art. Obviously, shibari as a discipline has neither that reach nor that significance. Another element is **technical skill**. Even in some of the most disconcerting or unsettling artistic expressions for the viewer, a trained eye can recognize the technical mastery of whoever made them. This could also apply to shibari. Here, however, an important problem arises: there is no unified technical standard and, unfortunately, the technical level found in much of what is publicly presented as shibari is quite poor, when not downright questionable. Far from automatically reinforcing its status as art, this aspect may work precisely in the opposite direction. **Emotional impact and conceptual value** are other elements that may come into play. And shibari can undoubtedly produce impact. Someone watching a shibari performance for the first time may have an intense emotional reaction. But that doesn’t necessarily prove that shibari is art either. That impact may come from the performance being watched, from the music, the lighting, the staging, the body or the relationship built in front of the audience. Another performance, using the same ropes and the same techniques, could be completely flat and of no interest at all. In those cases, we would probably be talking about an artist who uses shibari as one of their means of expression, regardless of whether their work could also be done through other techniques or disciplines. We also often come across avant-garde or state-of-the-art proposals that surprise the public at a given moment, but whose force fades when they are later seen outside that context. There are other factors related to social and cultural legitimation as well: presence in galleries and museums, institutional recognition, criticism or, quite simply, the market. Today, for example, graffiti can be recognized as a form of artistic expression. Shibari, however, tends to get that label far more automatically. Sometimes because someone read somewhere that “shibari is an art” and simply repeats the claim. At other times, probably, because it is more comfortable to use that word to keep some distance from its association with sex, pornography and sadomasochism. There are at least half a dozen other criteria that could be used to assess the artistic status of a discipline. And, of course, any of the criteria above **could also be used to defend exactly the opposite position** to the one I set out here. This analysis does not aim to close the discussion. It is an opinion and one particular way of approaching the problem. But when we decide to call something art, we must also be prepared to judge it from that perspective. And that brings in elements such as subjective appreciation, context and, like it or not, the market. At this point it is interesting to compare, for example, the installations and works of **Hajime Kinoko** with those of **Shiota Chiharu** and draw our own conclusions. ## So where does the myth come from? One possible explanation is the attempt to **romanticize or justify an erotic practice or the consumption of pornographic material**. That need not always be the case, but it is probably part of the phenomenon. Especially if we bear in mind that shibari began to spread in the West during a period closely tied to countercultures and the underground. Once the culture industry puts a label on something, it is not easy to remove. There may also be a terminological issue. Part of the problem probably comes from the interpretation of the English term *art*. When we talk about shibari, in many cases it would make more sense to talk about **arts and crafts**, that is, art understood as a trade, a skill or a technique belonging to a guild. The Japanese term ***jutsu* (術)** fits this idea much better. Because, if we think about it, tying historically belongs to the world of trades. Sailors, farmers, herders, merchants and workers of every kind have always used rope. They have developed knots, lashings and tying systems adapted to specific needs. Tying down a load, securing an animal, holding a structure together or handling a boat required specific knowledge. Technique. Experience. Craft. And that idea of **trades and guilds** is important. Remember it. --- This series of articles gathers the ideas and arguments set out in the online talk “Myths in Shibari,” organized by **Shibari Colombia** in April 2025. ## Custom Fields **Content Type — The formal and communicative nature of a piece of content, based on its documentary function.:** Article **Knowledge Type — The nature of knowledge according to its role within practice.:** Knowledge **Field of Study — The specific area of practice that the content focuses on.:** Principles **Corpus — A structured body of reference knowledge that underpins the content.:** Industry **Criteria — A cross-cutting perspective that defines the emphasis or intent from which the content is approached.:** Entertainment **Summary — A brief synthesis of the content that presents its main topics, purpose, or most relevant aspects.:** Why calling shibari art is one of its most widespread myths: criteria for assessing a work and where the idea comes from.