Stan Schmidt

Freddie, a sharpnose frog, whose life is rocked by tragedy, sees beyond his traditional from role.

Through a mysterious encounter with Masahiko Tanaka, a Japanese Master of the Empty Hand, Freddie decides karate is for him! And, thorugh this, he gains some essential human insights.

A snake, who acquired his skills from none other than Freddie's hero, Tanaka, becomes Freddie's Sensei, and so begins the stimulating and unlikely pairing of frog as student, with snake as teacher.

The snake puts Freddie through a torturing regimen designed to reshape and hone the frog's Body, Mind and Spirit. He must discover at least three of the twelve maxims of karate before facing The Big Jump.

Stan Schmidt, born in 1936, is one of the world's most famous and internationally recognised karate masters. He was the first non-Japanese officially designated the title of Shihan (Great Master) by the Japan Karate Association (JKA).

Mr. Schmidt has an MA in Commucnications, had his own weekly column in a leading newspaper for two years, and has published three previous books including the international best seller, Spirit of the Empty Hand.… (altro)

Stan Schmidt was born in the cape Province of South Aftica on October, 6, 1936. He was educated at King Edward VII high school, and obtained a Master's degree in Communications at the University of South Africa. He first visited Japan in 1963 and since then has trained in Japan with the top Japanese karate masters more than 15 times. He is recognized by the Japan Karate Association as an international instructor of senior status.

In 1979, he was awarded the 6th dan rank-the first non-Japanese to attin this rank.

In 1963, when he first commenced teaching karate in South Africa, there were only one or two dojos and approximately 80 members. Today in South Aftica, the JKA (Shotokan) Association is comprised of over 200 dojos with more than 12,000 practicing members.

Currently, Stan Schmidt trains and teaches in Johannesburg, the 'Golden City.'

Contents

Foreword
Introduction
Åuthor's note
Chapter One The first step
Chapter Two A road of air, earth, water and fire
Chapter Three The first grading test
Chapter Four Training Gasshuku-Renewal of spirit
Chapter Five The early moring trainers A glimpse of things to come
Chapter Six Sleepless nights and the brown belt test
Chapter Seven A visit from the Japanese juggernauts
Chapter Eight Breaking boards and other barriers
Chapter Nine Entering the black belt realm
Chapter Ten At the crossroads-A choice of alternatives
Chapter Eleven A nest full of challenges
Chapter Twelve They hit hard, but with a smile on their faces
Chapter Thirteen You now have to look deeper
Chapter Fourteen Preparation to enter a foreign arena
Chapter Fifteen Entering the Japanese arena
Chapter Sixteen The hornet's nest-Japan squad training
Chapter Seventeen The master speaks-Your whole body is an eye
Chapter Eighteen Human beings emerge
Chapter Nineteen Creativit becomes a desperate need
Chapter Twenty Learning the art of asking the right questions
Chapter Twenty-one Third dan grading-A fight to close the distance between self and reality
Chapter Twenty-two Loneliness and discovering something truly precious
Chapter Twenty-three
Part 2 An analysis
1 Karate-do A play form wich has the potential for communicating something valuable to man
1.1 Communciation which fosters understanding and awareness
1.2 Communicatin which blocks understanding and awareness
1.3 Play-An ideal mode of humanistic communication
1.4 Experiencing rality-A fresh self awareness
1.5 Karate-A play form which communicates
2.1 The communicative potential of karate
Play represented as a ladder
2.2 The communicative play arena of karate
2.3 Prime categories of play in karate
2.4 Forms of play in karate
A. Social interaction-communication in terms of circumstance
B. Warm-up and calisthenics
C. Kihon-Basic techniques
D. Kata-Movements against imaginary opponents
E. Kihon-Kumte-Formalized sparring
F. Jiyu ippon kumite-Semi-free sparring
G. Jiyu kumite-Free fighting
H. Leadership and teaching
I Meditation
J. Social interaction-Communication in terms of well-being
2.5 Teacher's involvement with the student
2.5.1 Direct communication-Learning forms
2.5.2 Indirect communication-Creative involvement of the student
2.5.3 Teacher's distancing and timing
2.5.4 The true master sacrifices self
Conclusion
Bibliography… (altro)