Pinning Techniques

In 2002/2003 Sensei David Walker (head of the Jitsu Foundation) introduced some additional syllabus requirements in the form of some restraining techniques. These techniques are typically used at the end of a throwing technique where the jitsuka wishes to restrain an opponent rather than disable them by rendering them unconscious or applying a full application lock, etc.

Whilst there are many such options, the ones listed below are now recognised as techniques to be taught formally to jitsuka in their grading preparations. They should also be taught so that the jitsuka can move smoothly from one to the next for demonstration purposes.

Each technique is described below as applying it to the right arm. These restraints are equally applicable to the left.

Pin 1

With uke lying on his left side, the tori kneels on uke with the right knee on the side of uke's body by the kidneys, and the left knee on the neck (carotid arteries are a good controlling spot) leaning down into the base of the jaw so that the knee does not slide off. Tori takes uke's arm across his right thigh, with elbow against the thigh. Slowly uke uses both hands to apply pressure down to uke's right arm to apply a straight arm lock. The placement of the left knee stops the uke from rising, and if necessary the uke can lean their upper body into the lock to get additional pressure. This is equivalent to the first arm-lock.

Pin 2

In the same kneeling position as for the first pin, the tori bends uke's right arm so that the forearm is parallel to the ground with elbow pointing at tori and the hand bent at the wrist do that the fingers point down. Bracing uke's elbow against tori's right hip and with hands cupping uke's wrist, tori draws uke's hand in towards him along the line of the forearm. This is equivalent to the second wrist lock.

On the street it may be more appropriate to have an opponent's elbow pointing up instead of in towards the tori. Then tori can simply stand up pulling the opponent's wrist up. Gravity and the opponent's weight then work against the combined strength of tori's arms and thighs. This will inevitably destroy the wrist - it is not to be used in training sessions without exceptional care and attention due to the large potential for sesious injury.

Pin 3

From pin 2, the uke may remain in the same kneeling position. Keeping the right hand on the wrist, the left arm should be fed over the top of uke's right forearm and back underneath so that the back of tori's left hand settles against the inside of uke's right elbow. Letting his right hand slide back to support uke's elbow, it is then simply a case of rotating the forearm in an anti-clockwise direction until a shoulder lock is applied. Care must be taken to rotate the forearm as though around a spindle placed halfway along its length. This turn will give maximum effect with minimum effort.

Should more rotation be required to get the lock on a supple individual simply detangle the left arm (keeping control by constantly applying pressure) and use the left hand on uke's right wrist - this position should allow for a deeper rotation.

Pin 4

From pin 3, tori rises to his feet and keeping hold of uke's right wrist with his left hand applies pressure with his right hand to uke's right elbow. Using his left foot, tori steps around uke's head and sweeps uke's left arm tight into the body. The right foot follows around and applying further pressure against the arm (and propping with the left foot), tori forces uke to roll onto his front.

From here tori steps forwards slightly onto his right foot and applies pressure directly down onto uke's hand and wrist (in the same manner as the second wrist lock). Body weight may also be added to this (assuming tori is tall enough of course) to make the lock as effective as possible.

Pin 5

Pin 5 is versy similar to pin 4 except that the outside edge of tori's left foot is placed into the crease between uke's right arm and shoulder. Applying pressure with the foot and leaning uke's right arm in over the uke's back applys an additional shoulder lock as well as making it extremely hard for uke to move at all. The lock still includes applying pressure to the wrist.

Pin 6

The final pin is very powerful and great care must be taken when practising it. From pin 5, tori steps over uke's right shoulder and places his left foot by the right side of uke's head. Keeping control of the arm, tori kneels down onto his right knee so that he is kneeling over the right shoulder. Next tori slides his left foot across to the right as though assuming a cross legged position. Depending upon tori's flexibility it may also help to tuck his right leg underneath his buttocks when assuming this position.

Tori must bend uke's right arm so that his elbow points out to the right and his forearm is tucked tightly into the point at which tori's left thigh meets his hip. Ideally this arm position should be attained as the tori is kneeling down.

From here tori slowly rises up and forwards into a kneeling position. Tori should keep uke's arm pinned in place by using his own until the full pin is applied. Depending upon the suppleness of the uke tori may even need to lean forward into this pin. A powerful shoulder lock should be applied at this point.

If a more powerful pin is required, tori may also apply a wrist lock as on the previous pins, and pinning the elbow in place slide uke's right forearm along his left knee to describe a shallow arc (the same idea as in pin 3). These two additions should guarantee a tap on pretty much any opponent.

In order to release uke, always sit back down into the semi-cross legged position, and detangle uke's arm. Standing up will quite simply dislocate uke's shoulder - do not do this unless you have due cause (i.e. never in the dojo).

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