--- title: "Yagami Ryu (鵺神流): how is this system of study structured?" date: 2026-10-22 author: "Sr. Interior (流庵殿)" intro_image: "https://shibari-dojo.online/images/metodo/mtd0410en_sq.webp" fulltext_image: "https://shibari-dojo.online/images/metodo/mtd0410en_lg.webp" categories: - name: "Methodology" url: "https://shibari-dojo.online/mtd-en.md" tags: - name: "Yagami Ryu (鵺神流)" url: "https://shibari-dojo.online/tags/yagami-ryu-en.md" - name: "Shoden shibari (初傳)" url: "https://shibari-dojo.online/tags/shoden-shibari-en.md" --- # Yagami Ryu (鵺神流): how is this system of study structured? ![Yagami Ryu (鵺神流): how is this system of study structured?](https://shibari-dojo.online/images/metodo/mtd0410en_lg.webp) The **Yagami Ryu** is a system for studying and practicing shibari developed by **Yagami Ren**. The school is made up of dojos and instructors authorized by Yagami Ren to teach his method, and of students who have obtained certifications attesting to their knowledge and understanding of the style. It currently has schools and practitioners in more than ten countries in Europe and Asia, as well as an online platform in Spanish and English with training content and study materials. By extension, the term **Yagami Ryu** also refers to the shibari style developed by Yagami Ren, characterized by a clear technical structure based on fundamental principles and the flexible combination of its elements. Its approach starts from the tradition of the Japanese martial arts and combines it with a contemporary approach to the body, communication and interaction between the people taking part. The system is not organized solely around learning specific figures or forms. Its aim is to study the techniques, understand the principles behind them and learn to adapt them to each situation. This capacity for adaptation is one of the system’s central elements. The same technique can lead to visually different results depending on the person, their physical condition, their state or how the session unfolds. Yet beneath those differences the same technical principles can be maintained. That is why learning is not geared toward reproducing a predetermined form exactly, but toward understanding the tools needed to respond to each situation. The study process combines technical learning with the development of physical skills, the ability to observe and listen, and personal work of analysis, self-knowledge and acceptance. In this sense, the initial goal is not to learn every technique available, but to gradually understand what is being done, learn to do it and then develop the ability to apply it in a personal, coherent way. Technique provides the foundation; adaptation allows that technique to respond to the reality of each interaction. ## Who is Yagami Ren? Yagami Ren is a Japanese rigger internationally recognized for his technical work and for developing his own approach within shibari. His approach brings together influences from the traditional martial arts and from different currents of Japanese shibari. The development of the style itself grows out of this combination of influences. If a line of reference had to be drawn, it could be placed in a relationship between **Akechi Denki**, **Akechi Kanna** and **Yagami Ren**, although influences from figures such as **Yukimura Haruki** or **Naka Akira** are also visible. As with other styles, the system reflects its creator’s experiences, interests and development. The **Yagami Ryu** does not claim to be an exact reproduction of an earlier tradition, but its own interpretation of shibari, built on different bodies of knowledge and experience. ## What characterizes the style? One of the fundamental characteristics of the **Yagami Ryu** is the importance it places on **adaptation**. In this system the main idea is not to reproduce figures identically. Two people can apply the same technique and get visually different results. This does not necessarily mean that one of them performed the technique incorrectly. The differences may be due to many factors: - The build and physical condition of the person being tied. - Their state and disposition during the session. - The context in which the interaction takes place. - How the session itself unfolds. - The intention with which the technique is applied. The reference, therefore, is not only the visual result. What matters is understanding what technique is being used, what function it serves and how it can be adapted without losing its fundamental principles. This way of understanding shibari requires observing and responding. There is not always a predetermined result to be reached. The technical application is built in relation to what happens during the session. In the **Yagami Ryu**, aesthetics also play an important part. Technique and adaptation are not treated as separate from beauty, but as parts of the same construction. The basis of the style is a set of fundamental techniques and principles, the *kihon* (基本), on which the various applications of shibari within the school are built. Many variations and combinations can be generated from them, which makes it possible to adapt the practice to different contexts, bodies and sensibilities. Each instructor, dojo or practitioner develops their own way of interpreting and applying these principles, with their own analyses, nuances and perspectives. A useful metaphor is coffee: the style would be the bean, and the instructors, dojos and practitioners the baristas who prepare it. The same bean can produce an espresso or a cappuccino, just as diverse interpretations sharing the same technical base coexist within the **Yagami Ryu**. ## Principles of the style The **Yagami Ryu** has no formal list of precepts. Some ideas that run through its practice can be pointed out, however, and although the set is surely incomplete, they serve as a reference. They are not essential for learning the techniques, but they help to understand the thinking behind the definition of a shibari style. ### Ma (間) and ma-ai (間合): we are two people An interaction doesn’t have to look like a bubble giving off hearts: it can also be a clash or a jolt. Beyond physical distance, this concept is a reminder that there are **two distinct people**, each with their own peculiarities. The approach, the contact and the interaction must always take those differences into account. ### Kankyu (緩急): tempo and rhythm Rhythm and managing the tempo during the session are key elements in the **Yagami Ryu**, since the work is with an emotion: desire. Keeping a constant, repetitive cadence does not help this process. That is why changes of speed, variations in intensity and, above all, pauses are fundamental elements of this management. ### Suki ma (隙間): sustained attention Literally, “gap” or “opening”; in the style it is understood as a “blind spot.” In a stage context, the term means not revealing the technique—neither to the audience nor to the person receiving it—maintaining unpredictability and adapting the direction of the session according to the aims of the interaction. ### Nagare (流): flowing You cannot know what is going on inside another person unless they say so, so to some extent you have to intuit it, assume it and act accordingly. This carries a high risk of error, which increases the further the session has progressed and the higher the level of desire. The kanji *nagare*, “flowing,” was chosen not in a holistic sense of letting oneself be carried along, but as a symbol of continuous renewal, like fresh water that is constantly renewed. Its opposite is stagnation. ## Two ways of applying the style Two ways of applying the style are distinguished in practice: - ***Shoden keito* (初傳系統)**, the strict mode of application: harsher in the intensity and tempo with which the technique is applied—not stronger or more painful—geared toward guiding the person being tied. - ***Toginawa keito* (伽繩系統)**, the fluid mode: based more on the other person’s reactions than on one’s own intentions. Fluid does not mean “loose.” These two approaches make it possible to study different ways of applying rope and of relating to the body, the technique and the rhythm of the session. Insisting on a linear progression (always moving in the same direction, in the same mode and at a constant pace) is the same mistake as getting stuck in a repetitive rhythm: the session loses its capacity to respond and, with it, its effectiveness. Adapting to the moment means interpreting what the other person is experiencing, and every interpretation carries a margin of error, because you are always working with incomplete information and in real time. That margin is inherent in the practice and does not indicate incompetence. An **error of interpretation** happens in the relational space: the person tying misreads the moment and responds accordingly. It is an accepted risk. A **technical failure** is of a different nature. It depends neither on the other person nor on the moment, but on the person tying not having mastered the modes well enough to move between them with ease: getting stuck in the strict mode or dissolving into the fluid one with no ability to correct is a limitation of the tool and shows little understanding of the technique. Confusing the two categories is also a mistake, because it treats as inevitable something that can be remedied with more technical preparation. The judgment of the person tying determines the way and the proportion in which the modes are combined in each session. **Managing the session is the responsibility of the person tying**, and that responsibility is not delegated to the mode: it is exercised by moving between the two with judgment, at the right moment. > The form of shibari I call **sekibaku** is made up of two elements: the relentless use of tension, which I call *shoden*, and the flexible handling of *toginawa*. Only when these two components are present does shibari become **sekibaku**. — Yagami Ren, 2024 > Strong is not always the obvious. Strong does not always mean tight. Strong does not always come from the rope itself. Our intention must be strong. — Yagami Ren, 2015 ## Areas of study The **Yagami Ryu** organizes its learning into three main areas of study: - Nawasuji (繩筋): the technique for tying the body with rope. - Taijutsu (體術): the technique for controlling the body. - Kyosho-gaku (急所學): within the ryu, it refers to the key points of the body for achieving certain effects. These areas do not work independently. Applying a technique may require knowledge from all three, and learning consists, progressively, in understanding how they relate to each other. The absence of one of them, or an unbalanced development of the three by the person tying, carries a high risk of accidents, injuries or unpleasant experiences. ## The five basic forms The first level of the system studies five basic forms: 1. ***Koden shibari* (古傳縛り)**. 2. ***Kaeshinawa shibari* (返繩縛り)**. 3. ***Ipponshibari* (壱本縛り)**. 4. ***Wakizarashi* (脇晒し)**. 5. ***Kannuki shibari* (門縛り)**. These forms make it possible to study different ways of using the body and applying the control techniques. Except for *kannuki shibari*, all of them are done, in their basic form, with a single rope. The aim of this first level is not to accumulate a large number of forms. Learning is organized progressively so that the amount of information does not take the place of understanding. First the principles are studied. Then their execution. Finally, the ability to apply them in an adapted, personal way is developed. ## Fuchin (浮沈) ***Fuchin* (浮沈)** is one of the main body-control (*taijutsu*) techniques studied at the first level of the system. It can be understood as a principle of movement based on rising and sinking, or on the alternation between “floating” and “sinking.” In the five basic forms, *fuchin* works as a common element on which other control techniques are combined. ## Three control techniques Alongside *fuchin*, three control techniques are studied at this level: - ***Tetori sankaku* (手取三角)**. - ***Kote tori* (小手取り)**. - ***Tenbindori* (天秤取り)**. These techniques are combined in different ways in the five basic forms. | Form | *Fuchin* | *Tetori sankaku* | *Kote tori* | *Tenbindori* | | --- | --- | --- | --- | --- | | *Koden shibari* | ✓ | ✓ | — | — | | *Kaeshinawa shibari* | ✓ | ✓ | — | — | | *Ipponshibari* | ✓ | — | — | ✓ | | *Wakizarashi* | ✓ | — | ✓ | — | | *Kannuki shibari* | ✓ | ✓ | — | — | This structure shows how the same technique can appear in different forms and how its application changes with the context. ## Grades and the learning process Learning in the **Yagami Ryu** proceeds progressively. At an early stage, students do not take on all the available techniques, combinations and areas of study at once. The amount of content that could be derived from combining the different techniques would be too much for initial learning. That is why the process seeks to establish a sequence: 1. Understand the concepts and principles. 2. Learn to execute the techniques. 3. Develop the ability to apply and adapt them. This path makes it possible to move from technical understanding toward more autonomous application. The aim is not to reproduce a particular form permanently, but to acquire the knowledge needed to understand what is happening at each moment and decide how to respond. ## Certifications The *ryu* is organized into grades, in the manner of traditional Japanese martial arts, and each grade is accredited with its own certificate. It distinguishes between students and instructors: instructors can certify students, but only **Yagami Ren** can certify instructors. Certification requires passing an exam; studying the style, by contrast, requires no certification and no exam. > At **Yagami Ryu**, people who approach shibari with curiosity and honesty are always welcome. Yagami Ren distinguishes between **style certificates** and **instructor certificates**. Completing a stage of learning within the style does not automatically mean being qualified to teach it. To obtain instructor certification, an additional assessment process must be passed. ## Development of the Yagami Ryu The style began to develop gradually between 2010 and 2015, a period in which Yagami Ren gathered and structured different ideas, experiences and references. The first international workshop related to this approach was held at **Gijón Shibari Dojo**. Between 2015 and 2020, the system continued to develop through the formulation of techniques and methodologies, as well as through the training and certification of international instructors. The pandemic interrupted this process and affected, as it did many other areas, the continuity of workshops, travel and in-person gatherings. After the borders reopened, Yagami Ren resumed intense international activity. The system’s growth and the consolidation of its methodologies continued to evolve unevenly in the different countries. Since 2024, the *ryu* has been going through a process of reorganization and updating to adapt to the current circumstances of its instructors and of the various countries in which there are spaces linked to the system. ## Yagami Ren’s texts on his style ### Presentation of the style (2020) Excerpts from the master class Yagami Ren gave in 2020, which launched this platform, in which he presents his style. In Japan (in 2020) the group of shibari practitioners is made up mostly of **adult industry professionals**, such as dominatrixes and riggers in porn films. **Yagami Ren** is a fun person, and therefore his shibari is fun too. No serious faces or stern looks. Japanese society evolved over time, giving rise to the development of different types and ways of living sexuality. Today there are, broadly speaking, four ways of approaching the experience of shibari/kinbaku: artistic, BDSM, erotic and many other less representative forms. **Yagami Ren’s shibari style is fundamentally erotic; that is, it seeks the satisfaction of sexual desire.** There are two broad groups of shibari “practitioners”: **Group 1.** Those who do not approach their sexual practice through genitality, generally for physical or psychological reasons. In these cases, ingenuity develops other ways of achieving full sexual satisfaction. > *To put Ren’s words in context, a note on Japanese society is needed. Various scientific studies have found that erectile dysfunction is much more common among the Japanese male population than among other peoples.* **Group 2.** Those who have no problems with genital sexual practices (intercourse) but do not find full satisfaction in them. Both groups want to achieve sexual satisfaction; however, for one reason or another, practices centered on genitality do not give it to them. In general, Yagami Ren’s shibari style falls into group 2. It is a style rooted in Japanese tradition. Based on basic techniques and concepts. It is a very logical style. The concept of “base,” “foundation” or “basic” used here always refers to the techniques or concepts on which something rests, the foundations on which everything else is built. > Art understood as “craft” or “discipline,” not as artistic expression. > *Note: Yagami Ren is a professional rigger. This means that many of his sessions are with people he meets a few minutes before the session and with whom he will not have a relationship afterward.* > In the Yagami Ren style, numbers are used “cabalistically.” Numerical sequences matter in managing the session. #### Taijutsu (體術): the way of using the body To visualize these forms correctly, we must start from an “Eastern anatomical conception” that differs from the Western one. The **theory of the circle** is based on movement, space and energy. A circular movement generated from a triangle is the basis of this theory. > An interesting application of trigonometry! :) #### Kyosho-gaku (急所學) This term covers a good number of applied techniques and knowledge from areas as diverse as biomechanics, the neurosciences or psychology. It works on stimulating the nervous system and controlling pleasure through rope and bodily manipulation. #### Shoden keito (初傳系統) and toginawa keito (伽繩系統): strict mode and fluid mode There are two main types of tying. *Shoden keito* consists of doing things from start to finish in the same way, with slight changes. Since the load builds up, it is important to watch the changes in the other person closely. *Toginawa keito* consists of quickly changing ties to reduce the load as soon as possible, depending on the other person’s reaction, the desired action and the posture. These are techniques that use few ropes (a small number) and are used mainly on the floor. ### First definition of his style (2015) This is the first definition Yagami Ren gave of his style, in 2015. > When we practice kinbaku as a discipline, we very often use the term *semenawa* to specify the exercise of torture / torment caused by the rope. > > “Seme” means threat and “Nawa” means rope. So it is a matter of threatening someone with a specific tie, with the rope. > > I want to explain how my style differs: obviously I do *semenawa*, but I prefer to consider that what I do is “*sekibaku*.” > > **Sekibaku means threatening by tying, but not only with the rope. The threat must arise from my own presence, energy and behavior, deliciously combined with the use of the rope.** > > It is a little different from *semenawa*, because I don’t depend only on the rope and the act of tying; my own ability to take control of the situation in many ways also plays a part: > > **Always innovate. SEKIBAKU is tying with a clear intention. Knowing the body, controlling the flow, with full understanding of the technique. With responsibility, with safety.** > > — Yagami Ren, “Psychology of Yagami-style semenawa. A study of perverted threats,” 2015 That is why the intention and emotional management skills of the person tying become so important. ## The Yagami Ryu in Spain **Gijón Shibari Dojo** is the official dojo of the **Yagami Ryu in Spain**. The school is led by **Ryuan / Sr. Interior (流庵殿)**, an instructor certified directly by **Yagami Ren** since **2018**. This dojo runs in-person and online training activities aimed at teaching and spreading the style, following the technical and pedagogical principles established within the Yagami Ryu. ## Instructors and dojos The instructors and spaces linked to the **Yagami Ryu** include: - **Ludvig** — Sofia Dojo Center, Bulgaria. - **Ryuan (Sr. Interior)** — Gijón Shibari Dojo, Spain. - **RopeEmotion** — North Rhine-Westphalia, Germany. - **Ash Snare** — Rope Dojo Melbourne, Australia. - **Etheros** — Tiey Studio, Antwerp, Belgium. - **Chris Be** — Shibari Dojo Munich, Germany. - **Steve** — Hong Kong. - **Bruce** — Beijing, China. ## 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.:** Scene **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.:** How the Yagami Ryu, Yagami Ren’s shibari system, is structured: branches, areas of study, basic forms and certifications.