The rise of Shibari and BDSM on platforms like TikTok highlights how mainstream culture is often more interested in the aesthetic and superficial aspects of subcultures than their underlying principles and ethics. Social media, in its vastness. While discussions around consent and trauma-informed play within the these communities are essential, they rarely surface prominently on platforms like TikTok. What does gain traction are instructional videos, typically presented within contexts of fashion, self-care, hyper-focus, and connectivity. However, captions, minimal material requirements, and in-app translations can be inferred as nods to inclusivity. But there are dimensions that remain unspoken. What nuances are being overlooked?

As a beginner facing content creator, my audience interaction is limited to discourse of that nature. I sought academic sources for resources on facets of my niche that I haven’t been able to access, yet have been plaguing the depths of my mind. The existence of rope bondage is common knowledge, yet more varied experiences of rope bondage are rare and the social world of rope bondage has been almost entirely overlooked. In Zoey Jones dissertation, she analysis the elements of the subcultural/ social and personal experiential, to dissect how relationships and communities are maintained and change and the serious consequences of harm, conflict, marginalisation and discrimination that can occur in this world.

I bring this up because conversations of this nature are generally not permissible on short form social media and it is an trajectory I would go down in podcast version in the future as I continue my research in this largely hidden world. Personal limitations of time and scope and over arching directive have also sidelined inquisition into the plethora of questions that have continually arisen as my journey has progressed. These quandaries reflect my need to align with sensitivity ethics and that changing approach on my niche would take considerable exploration of information and critical analysis.

Reflexivity in my research is paramount, especially given the distinct differences between my own background and that of the Shibari community I am studying. As someone who might be perceived as a typical white female, it’s crucial to constantly assess and acknowledge my own biases and cultural context. The Shibari world is diverse, spanning various geographies, ages, genders, and body types, and this depth and variety deserves careful, unbiased consideration. Yet to be addressed is the complex issue of cultural appropriation within this niche and I grapple with the thought that my participation may commodify and fetishize non-western practices.