Barkas and Addie are Vancouver-based rope educators who teach and perform world-wide. Their style is characterized by a focus on the process, interaction, and emotion of a rope scene. Together they run TheSpace2, Vancouver’s first dedicated rope space.

Barkas is a bondage artist and writer. They have developed the “Interview Metaphor” as a way of understanding rope bondage and placing focus on the person in ropes, “Ranboo” which is a highly dynamic and stormy way of doing and thinking Kinbaku, as well as the “City of Kinbaku”, a poetics of Kinbaku.

Addie is a switch and self-suspension enthusiast. She organizes regular workshops on dynamic self-suspension and versatile education both, for beginners and technically advanced. When co- teaching she focuses on bottoming information and discourse.


is a Berlin based, British born queer womxn of colour whose creativity runs through connection to energies, ritual and bodies. She creates art and altered states through the body and ropes. She has been practicing shibari for 10+ years as a rigger an occasionally as a model.


Ceci Ferox is a sexologist, kink activist, and rope nerd from Helsinki, Finland. They have been organizing rope events and teaching shibari since 2014. Ceci teaches japanese rope bondage from top, bottom and switch perspectives. They like to focus on elements of technique and communication rather than patterns and sequences. They draw on their expertise as a community educator to bring people together.

“My goal is to create safer spaces for people to communicate through rope.”

Ceci‘s tying is influenced by traditional Japanese styles as well as contemporary western organic and artistic tying. They fluctuate between hyper-technical and chaotic tying, but have a constant focus on connection and communication. Ceci‘s ties is created in the moment, inspired by each situation and partner.

“Rope for me is a medium for meditation, empowerment, intimacy, and sexy times. It is also about continuous learning and wonder.”


Karllana is a 28 year old shibari practitioner from Brasilia, Brazil who fell in love with shibari 9 years ago as part of her artistic exploration. She admires shibari as an art form that involves all kind of bodies in ropes. Karllana created “Entre Nós”, a shibari collective that aims to democratize and increase the reach of shibari for everyone who does not see themselves represented by a standard. “Entre Nós” was born out of the idea that between the knots of a rope, any body can be art. Karllana sees her work as a political act of looking at each other and therefore looking at the world.


I was introduced to shibari in 2007 and have been immersed in it ever since. My interest was initially sparked by the aesthetic; the seemingly organic structure of rope melding with flesh, in the works of Nobyoshi Araki, and other artists whose works I had collected in scraps from the few Japanese publications available.

As I began to practice it myself I also found an interest in exploring the potential of ropes to open up new ways to connect with the body, with other people, and the effects of pushing myself into seemingly ‘extreme’ psychological and physical states.
I began using shibari in performance in around 2009 and developed an interest in impermanent structures, and the fragile balances found between us, our environment, and within intimate connections.
Although I see shibari very much as an art form, it is also important to me that it’s roots in pornography are not glossed over; I see it also as a powerful way of reconciling any perceived conflict between art and sex and exploring the relationship between the two.


縄師 神凪 Nawashi Kanna(X-gender) and 神楽 Kagura are Japanese queer rope couple that have been together for 14years.

They have traveled around the world to teach and perform Japanese Kinbaku Kanna succeeded from 明智伝鬼 Akechi Denki and has developed.
Kanna style is Semenawa style which draws inspiration from Hojojutsu 捕縄術, is very restrictive and includes complete control of the body and often plays with the breath.

“We hope fewer people are hurt, sad or crying over the ropes.”
“We believe that rope has no gender or borders, and rope should be for everyone, and could be fun for both the rigger and the model.”


Pauline Massimo is an interdisciplinary human originally from Brazil and based in Barcelona, which mostly focused in perform, teach, photograph and organise Shibari related events professionally, but with experience background in circus, yoga, dance, plastic and conceptual art, and more.

They started into Shibari around mid-2012 and since then was a non-stop journey in self-discovery and learning process. They have been into a vast number of workshops and have equally experienced as a rope model, rigging and self-tying.

Pauline is educated and interested in the broader range that Shibari can provide as a practice, like classic Japanese style as more contemporary mixed styles, they are mostly interested in the mental and physical challenge that this practicum can offer as much as the challenge of creating experiences that adapt for different tastes and capabilities.


Sage (she/they/he) fell in love with rope in mid 2013 and heavily identifies as a “Rope Daddy”. Sage’s rope journey has been founded in deep connections with partners, working as a team with her partners, and encouraging mutual growth in rope. Sage has taught at events/cons across North America and has a passion for education. Their teaching philosophy is deeply rooted in partnership, inclusion and student centered learning. Sage is currently a steering committee member for NARIX, a moderator for the rope bottoming share group, founder and leader of Start Here a group that educates newcomers into the community that spans across 3 states.

Shakti Bliss Bunny (or B) is an educational facilitator, bodyworker, activist and indigenous witch from Austin, Texas. As a rope bottom she enjoys pushing herself mentally and physically while also balancing self care, self awareness and self study to further her journey and ride the fluidity of her philosophies of life. Through her education, activism and spiritual work she hopes to increase visibility and representation for people of color in kink as well as to add a fresh perspective to the ritual of rope, interpersonal connection and the handling of the physical and energetic bodies.


Sophia (she/her) is a heart-led, London based educator, whose interest and passion lies in what’s beneath the surface. She is curious about physical practices as tools for creative expression, to explore and move through the forever developing relationship between our bodies and minds. She believes challenging the status quo should extend to all aspects of ourselves and areas of our lives, to work towards liberation for all from oppressive narratives, structures, and systems.


Subay is a Shibari artist and founder of Kokoro Studio based in Hong Kong.

Subay was first introduced to Shibari eight years ago when she was fascinated by its aesthetics, eroticism and emotions.  She spent the first few years exploring and learning the different styles from several well-respected nawashi in Japan.  In 2014, she met and was deeply inspired by Yukimura Haruki sensei.  Afterwards, she dedicated herself to the study of traditional Japanese style.  In 2015, Subay met Naka Akira sensei and chose to focus her study on sensei’s style of semenawa.  She continues to explore her own style of semenawa which is both feminine and inclusive.

In March 2018, Subay had the honour of performing at Onna Matsuri (おんあ祭り) in Tokyo.  In November 2018, she had the privilege to tie at Naka sensei’s satsuei-kai (縄奈加會緊縛撮影会) and in November 2019, she assisted Naka sensei in his workshops in San Francisco.

Subay teaches and performs internationally, including Asia, Europe and US.  Her teaching focuses on the “why”, the feelings, the emotions, and provides insights on the perspective of both the rope top and the rope bottom.


‘I have a passionately sadistic streak and a deep love for the aesthetic realm of kinbaku.
Often tying in a way which can be challenging both for the one tying and the one in the ropes, my shibari usually demands a lot of technical clarity when in the role of a teacher. Despite this I believe that it is still important to also manage to leave room for personal adjustment and creativity.

I view kinbaku as a thing of continuous exploration – where new doors open as your go deeper and further with a partner, over the course of a session or over the course of a long partnership. Sometimes though, the magic that defines kinbaku can be just that one alluring image that sticks with you, a moment suspended in time.

For me, the core of kinbaku lies in the meeting between the aesthetic expression and the emotional or erotic intention of the practice. And the more ones tying develop, the more seamlessly the parts can intermingle.’