The Art of a Pin
Rachel Irwin
Nidan Essay
June 2025
Arm pins, bobby pins, cotter pins, hat pins, hitch pins, safety pins – the list can go on. They share the common purpose of holding something in place. Sometimes there is more than one use for a pin, and even some unseen depth to it. When considering the object the pin is being used for, it may also not appear the pin will be effective in serving its purpose. For this written piece, I am going to elaborate on my experience (thus far) with a ground arm pin I learned more in depth several months ago.
One of the basic ground arm pins used in Aikido is extending the Uke’s arm out 90 degrees or more from their body while bracing and applying pressure from one knee into the Uke’s side/rib area and using the other knee to brace/secure the Uke’s wrist against it; therefore potentially immobilizing the Uke from attacking. This basic pin is incorporated in the third tanto dai san technique. When I was practicing this pin, it was demonstrated to me that, not only is the pin effective, there is another layer to the pin that can be felt, but not necessarily seen. After the Uke is lying on their stomach, Torei takes the Uke’s arm and folds their elbow crook up while applying downward pressure on the Uke’s hand and knuckles, thus loosening/releasing the tanto from the Uke’s grasp and allowing Torei to disarm the Uke. Torei then straightens Uke’s said arm flat on the ground, positioning it at or above 90 degrees to Uke’s flattened body. As this is being done, Torei uses their left knee to brace the Uke’s torso and ribs while stretching Uke’s arm. Torei’s right knee is used to secure or pin the Uke’s wrist against it.
In my Aikido education and learning, up to this part of the technique, I understood the general finale to the pin was to apply downward pressure with the bottom “blade” of the Torei’s left hand onto the Uke’s triceps, while actively stretching the Uke’s arm. It was here that I was presented with another layer (of sorts) to amplify the effectiveness of the pin. Instead of applying the standard downward pressure with the blade of the left hand placed on the top of the triceps, Torei can place the blade at the bottom of the Uke’s triceps, apply pressure as they slide up the Uke’s triceps to ultimately feel the muscle separation. It was an unexpected revelation that sparked intrigue and a want to learn more pins of similar nature. It was also an addition to my pin repertoire that I was eager to share.
After successfully executing the pin, as well as experiencing it being executed on myself, I have a new level of appreciation for this kind of pin. Superficially, it looks similarly to other Aikido pins. When in fact, there is more dimension or depth to it than meets the eye – just like some of the other pins. The small ridges on a bobby pin are what hold and lock the hair in place. The angle of cotter pin legs can determine the secureness of the object it’s holding. The sleek and slender metal hat pin, artfully confining hat and hair in place – not only does it keep the hair secure, but it can also be used as a weapon. The art of the pin isn’t just outward appearances; it’s the layers that go into it. Could more knowledge of human anatomy aid me to understand more of the potential layers the Aikido pins offer? Possibly. At the very least, it’s a catalyst for exploration and thought while practicing in the dojo.
Comments are closed