The Spirit of Bamboo

The Spirit of Bamboo

by M. Yu
June 8, 2005

Nothing exemplifies the spirit of Zen like bamboo. Unlike the mighty oak that symbolizes pride and strength in western civilization, bamboo is a grass, modest, simple. The oak grows large slowly, over a long period, it drops tiny seeds in hope of reproducing under the right circumstance and when old, is cut down and its hard solid body redeemed and used to make things of a lasting, almost eternal nature. Bamboo grows quickly, its body hollow and empty. Each culm or stalk is an expression of a hidden, buried source, the rhizome under the ground. The culm, when cut, gives itself easily because it is not separate from the unseen source that lies humbly buried. It is reborn from that same source; each culm is different but the same in this way. When it is cut and used, it is understood that it is not forever; it will decay and rot. This is not avoided but embraced, knowing that its renewal is quickly growing from the ever present but hidden source below.

Photo by Tatu

The oak and bamboo can be seen as symbols of a Christian and Buddhist approach to life. One is based in solidity and permanence; the other in useful emptiness and transitory beauty. One is about the slow growth of strength and form; the other is about flexibility and adaptation.

These symbols and ideas are important to understand our Kinbaku art and rope play. It is helpful to see ourselves and what motivates us to follow the way of rope. The way we study and learn, the relationships we develop, the encounters we have, will all influence and be influenced by the way we approach this way of rope.

The history of bamboo in Kinbaku art is as old as Shibari itself. It is inextricably tied to it. As Hojojutsu evolved through Shibari and into Kinbaku, bamboo was there in each of its incarnations. During the Hojojutsu days, Hashirodaki ties, (ties using a pole, usually bamboo) were common. The poles used in Hojo ties were spears, pikes, sword scabbards, cut bamboo culms among many other things. These were used, as hojo ties are, for prisoner control, transportation, interrogation and torture. Also, at times during the Tokogawa or Edo Era, there was severe persecution of Christians and their sympathizers. Some of the most dramatic art of the time depicted many vicious crucifixion ties done with wooden and bamboo poles. These were encouraged to be seen, as were the real suffering of the victims, as it sent the current political and social message to the public. There are even photos from the end of the Edo era showing some of these tortuous and terrible ties involving poles. It was also during this time that some of the Ukiyo-e, woodblock prints, began to be produced containing images of bondage done for sexual pleasure.

In the late 19th century, master artists like Yoshitoshi, and later the great Itoh Seiyu, revived and transformed Hojojutsu and the older Ukiyo-e sexual art into the SM themed rope art now called Shibari. Much of the work of Itoh and others during this time contained Shibari done with poles and bamboo that were shown as mops, brooms, wooden posts, shovels, rakes etc. These works were extremely influential to the next generation of Shibari art which contained much the same themes, such as sexual pleasure, psychological impact and other aspects of SM themed art works. Around the mid 20th century, this trends and evolution of ancient restraint, including the use of bamboo, became extremely popularized in books, magazines, films, nightclub acts, and advertising etc. As the art changed so did the techniques; it was to be done on cared for partners and repeatedly and therefore needed to be done safely. As the art of Shibari came to be done humanely, pleasurably, safely and for its more beautiful aspects; it transformed once again, into what we now know as Kinbaku.

With the pioneering efforts of rope artists and illustrators such as the great Nureki, Kita Rieko and even western bondage artists such as John Willie and many others, the post- WWII era launched a new trend and excited interest in Shibari and Kinbaku. Of course, all through this development and evolution of this art, was carried a fascination and admiration of traditional elements such as hemp rope, tatami and most importantly, bamboo.

Now, in the 21st century, with a new generation of people using Shibari for BDSM play, the evolution continues. It is now not uncommon to see Shibari and Japanese style rope bondage combined with things such as latex and leather using multi-colored poly-propylene and nylon rope. The aesthetic of simple and natural things is being forgotten; it is being left behind for a more flamboyant, flashy and fashionable style. The straightforward and direct way of showing powerful emotions in an ordinary setting using everyday and naturally integrated things, has fallen quietly under the stiletto heels of a newly contrived synthetic pride that uses flash to dazzle and distract. This tendency, like most popular social and psychological trends, separates and diverts people from one another and from the event itself, instead of internally engaging them to experience the moment in its importance. Uncomplicated, unadorned and natural things, represented by the "Spirit of Bamboo" like bamboo itself, hemp rope and sincerity of expression are things cultivated by only a few artists and players. Yet these few have the power of the truth behind their work. The power of humble yet passionate, sincere emotions are the fuel that burns in the creative drive of the true Kinbaku artist. Instead of a complicated contrivance designed to show off, he/she uses the truth of the NOW and its genuine experience to wrestle the forces of affectation into a form of sincerity that achieves Kinbaku-bi, the ethereal beauty of bondage. This is the true "spirit" of bamboo.