Paper presented at The International Society for Education through Art:
[InSEA] 31st World Congress held in New York City,
United States of America, from August 19-24, 2002.

by

The research conducted by many of public and private institutes indicates that traditional art is one of 10 fields of knowledge of the indigenous or Thai knowledge together with agriculture, manufacturing and handicrafts, Thai traditional medicine, natural resources and environment management, community business, community welfare, organizational management, language and literature, religion and traditions. (Kaewdang, 2002) The outcomes of the past national development have shown that they have not been in line with the Thai way of life and Thai culture to the extent desired. Subsequently, we have to face many problems and culminating in crises. Development of public education follows the line of Western countries. From now on therefore, human development must be reformed so as to be in harmony with the Thai way of life and Thai culture. The Thai wisdom we have inherited forms an essential basis for human development through education reform. Cultural dimension must therefore be used in development (Srisalab,1999)

Thai traditional art is one of the most valuable and unique characteristics in the world. Traditional art, particularly Traditional Thai Painting has begun to fade out in the middle of 19th century when Western oil paints were introduced. Traditional painting no longer survives even in the remote villages. Only drawing some of the decorative motifs are taught in some schools (Lyons, 1990). It is the time for us to search for the way to restore and treasure the country uniqueness. At present, the country is at the crucial turning point. Thailand must aim for the way to stay on the competitive world while clearly consider the nation identity. In terms of education, educational reform has been initiated. This became Education Act in 1999 in which would be fully implemented in the next three years. All people responsible for providing education, specifically art education for Thai children must be prepared to reform their roles.

The purpose of this paper is to find desirable art education for Thai students particularly at the school level. While pursuing the universal knowledge in art and expression, the country traditional art and culture should be taken into consideration in order to elevate the nation identity and culture. This paper includes the reviews of Thai people's way of life, Thai traditional art, education in Thailand, contemporary approaches in art education and recommendations for teaching art education, particularly Thai traditional art to Thai children.

Thai people have been known for having a very close tie with their religion, Buddhism. (Continuing Education Center and Translation Center, Faculty of Arts, 1998, Khemmani, and others, 1996, and Anumanrajadhon, 1956). Podhisita (1998) explains that in Thailand, the orientation toward Buddhism is important and all pervasive. From birth to death, an individual is brought into involvement with various rites and ceremonies as he/she passes through successive stages of the life cycle. Buddhist rites and rituals are often suffused with non-Buddhist beliefs derived from Brahminism and animism (Podhisita 1998, Anumanrajadhon, 1956). In addition, the Buddhist temple plays important role in community life. Children are introduced to Buddhism early in their lives. Some village boys are sent to live in the temple as novices or as temple boys early in their teens. Women in both rural and urban areas are comparatively more involved than men in merit-making activities such as making daily offerings of food to the monks. In schools, from the elementary level to college, Buddhism is taught as part of the curriculum. Buddhist rites and ceremonies also have a festive function, which attracts interests from all in the village communities. Because of the concern for hierarchy, Thais are quite sensitive to the age and seniority in their everyday social interaction, both in terms of appropriateness of conversation and manner.

In Podhisita's study (1998), 5 sets of the relationships between Buddhism and the Thai world views were identified: 1) The world of hierarchy, 2) The world of merit and demerit, 3) The world of "bun khun," 4) The world of the "cool heart," and 5) The world of individualism.

Concerning the world of hierarchy, the Thai society is made up of positions that are hierarchical related. Each position in the hierarchical system is fixed. Individuals, however, are not necessarily bound to any given position without their being any possibility of mobility. Moreover, individuals are seen as higher or lower, younger or older, weaker or stronger, subordinate or superior, senior or junior, and rarely equal, in relation to one another. Thus, young people need to learn appropriate behavior concerning the hierarchy. They are taught to recognize the difference between "high place" and "low place" particularly as in the roles of adults and children, or teachers and students. This hierarchy is dynamic in nature because it allows movement in any direction. In the social order, according to the Thai belief, a person is who he is and where he is because of who he has been and what he has done.

The second aspect of Thai social life is the world of merit and demerit. This concept comes from the Buddhist 'kam. ' 'Kam' means actions, which implies those happened in the past life as well as in the present life. What gained by an individual in the past life would bring to effect at the present life. Whereas what one does at present would become in effect in the future life. Thus, the culmination of 'kam' garnered through past lives as well as the present one. (Kirsch cited in Podhisita, 1998)

The third aspect is the world of "bun khun," which can be described as any good thing, help or favor done by someone, which entails gratitude and obligation on the part of the beneficiary. What parents do for their children is bun khun; what teachers do in teaching students is also a kind of bun khun.

The fourth aspect is the world of the "cool heart," which implies many meanings. First, it implies a psychological quality of not being anxious when confronting problems. Secondly, it means 'not getting angry easily' when, in general, one would be expected to be. Thirdly, it may refer to the ability to suppress one's emotion and not becoming easily excited or emotionally disturbed. And finally, cool heart may simply imply indifference. In whatever sense it is used, cool heart is the characteristic of a stable personality.

Thai social life places strong value on overt calmness in social interaction. To express open anger, dislike and annoyance is considered improper. Thus, a basic rule in Thai social interaction is to avoid an open, face-to-face conflict. Avoiding of open conflicts and control of one's anger are considered to be not only an intelligent social response, but also a meritorious act.

Lastly, the world of individualism characterizes Thai people as free and independent souls. In some cases, the individualistic nature of the Thai personality refers to 'self-centeredness.' Values and behavior reflecting individualism and autonomy are rather usual in Thai culture. Thus, there is a popular phrase in Thai society that to do as one wishes is to be a genuine Thai.

The relationship between Buddhism and the Thai world view may constitute difficulties to adjust oneself either in the role of a teacher and a student. While current trends in art education promote self expression and student- centered art education, the aspects of hierarchy and "bun khun," may reflect teacher-directed teaching and in the way the students follow what the teachers may lead them.

The socio-cultural context, particularly in relation to religious rites, reflects in the school calendar and topics and contents in creating art works of school students throughout the year.

In order to review the Thai traditional art particularly in the case of Thai traditional painting, while art creation in relation to traditional art originally suggested by Stuhr (1987) could be classified into 3 categories 1) traditional art; 2) transitional art, and 3) transformative art, this paper emphasizes the first category, which covers historical uses of forms and materials. The framework for the review of Thai traditional art is derived from the study of Neperud and Stuhr (1993) including general appearances: how something looked, characteristics: references to the particular subjects, symbols, and things the people in that culture know how to make, and construction: how objects were constructed, crafts, or put together.

General appearances. Thai traditional social structure was largely centered on Buddhism of the Theravada school. The Buddhist temple or "wat" in Thai language was a mainstay of the Thai social system. Generally, the temple composed of one or two large assembly halls, the chapels and wihans, together with subsidiary structures such as libraries and memorial stupas, and residences for monks who were fed and supported by the local community. The support of the monks and the monastery, a cornerstone of Buddhist faith, brings merit to the supporters.(Ginsburg, 2000)

In terms of physical appearances, Lyons (1990) stated Thai traditional painting came in several forms which are mural paintings, decorations on "kor song" or the upper part of the side walls of pavilions, large cloth banner paintings which were made to hang in temples, and illuminations in manuscripts generally made from perforated "khoi" paper or palm leaf. Among the forms mentioned, the mural paintings were recognized as the most important type. They came in the form of fresco mural often found in one or more of buildings, which make up the wat complex.

A typical hall of a temple would have its walls covered with murals from a shoulder-high part to the dim reaches of the high ceiling. On the top part of the wall facing the main image of Buddha there is generally represented the Assault of Mara, the unsuccessful temptation and attack by Mara, an allegory of the victory over evil. Behind the image may be scenes of the Buddhist cosmos. The life of Buddha or Jadaka stories are usually pictured on the other two walls. These main story-telling murals are often surmounted by rows of seated Buddhas or kneeled heavenly beings in adoration. The majority of wats follow this arrangement but there are interesting exceptions in the minority.

In the murals from early or middle Ayutthaya, rows of past Buddha would cover the length of the walls. However, because the chapels and wihans of the Ayutthaya period do not have windows, lines would be used to divide and arrange the different episodes. In other words, in the narrative murals there is a type of continuous action although the scenes do not merge into one another. The important episodes are separated by an arbitrary zigzag line. In the later periods, instead of using this line, the more natural means such as a row of trees, a wall or a screen was applied. (Lyons,1990) This technique continued to be popular until the Ratanakosin era. (No Na Paknam, 2001)

The style of Thai painting has no shadows; time is not stopped at any particular moment. There is no western perspective with its fixed view and vanishing point. Thus, the spectator is allowed to rove through the painting. He may stand directly in front of an audience hall, or he may look down from the height into its courtyard, and he may do both at the same time if it seems necessary to the story. Distance is an illusion achieved by the relative placement or overlapping of figures and objects.

The composition is a combination of mass and line. The figures are drawn with an even, flowing contour, then filled with flat color and detail and ornament applied. Building, furniture, chariots, etc. are done in the same way, but the background is a very generalized landscape. The landscape is not significant, it is only the necessary but incidental setting for the action. (Lyons,1990)

The poses and gestures of the principal personages, the Buddha, deities, monks and royalty are formal and traditional stylized for easy recognition. The expressions were in the same way that of a movement in the Thai classical dance or dramatic postures quickly identifies role and emotion. (Lyons, 1990) At the same time the paintings emphasized the formal harmony between space, line and mass.(No Na Paknam, 2001)

Characteristics of Thai paintings. Conceptions expressed in Thai Traditional Paintings are mostly concerning human behaviors and ways of life in relation to Buddhism and their natural environments. The conception could be classified into 5 categories.

1) Behaviors of human and their inner nature. The expressions included the emotions of human such as love, greediness, anger, and mercy. For example, in the scene of fighting, it reflects several emotions.

2) Behaviors among human. Whereas the main contents of Thai traditional paintings depict those of Buddhism, they also included the actual life of the people in society within the particular time when the painters created the works. They show the relationships of people at different levels such as among the kings, the kings and their people, and among the common people. Through these relationships we can see the expressions of diverse or even contrast emotions. In some paintings, while the main characters are in sadness, the common people are flirting or children are playing.

3) Behaviors between the people and their environment, both in natural scenes and in man made constructions.

4) Behaviors of human and beliefs beyond reality especially the scenes showing life in hell.

5) Behaviors between human and moral value and conduct in the society. This was done by means of the analogy of good and bad through the scenes showing the previous life of the Lord Buddha.(Charoenwongse, 1992)

Thai traditional paintings has many roles and functions:

1) As decoration. It may be as an art piece or as a part of constructions. Besides expressing the beauty of aesthetic values, they are the means to enhance understanding in Buddha teachings. When one looks at the paintings, while he or she would get the sense of appreciation, he or she would also learn desirable moral conducts.

2) As reflection of social life. As mentioned before that the main purpose of the artists were to show the stories related to Buddhism. However, in the minor components, the artists also filled in the actual environment in their times, which generally were the everyday life of the common people. Thus the paintings are valuable resources for studying the people social life. Consequently, they reflect the Thai identity with the emphasis of Buddhism.

It should be noted that even though the history of the Lord Buddha life originated in India and the Buddha was Indian by birth, the artists could create the paintings combining the Lord Buddha within the Thai context. The paintings successfully present harmony and unity.

3) As an art work. The expression of Thai artists is not simply functional as an illustration but we can see artists' expression of emotion, concept and imagination through the lives and society of people at various status, from the royal figures to the common people. While generally, the traditional form and content may look similar, if we look into details, we can see uniqueness of work created by different groups of artists even though they lived at the same period of time.

4) As academic resources. Thai traditional paintings are multiple academic resources. In addition to the main concern of Buddhism, we can see history, social life, culture, economics, and many other aspects as the scholars conducting numerous research studies using the painting as their basis to elicit findings in aspects of their interest. (Chareunwongse ,1992)

Murals reflect the knowledge, abilities, culture, customs and ways of life of the people from all walks of life, from kings to commoners. The show the artists sense of nature during different periods. Paintings are like mirrors that reflect the events in each period or era. When studied in depth, the pictures reveal a process of development. (No Na Paknam,2001)

Concerning the forms in Thai paintings Charoenwongse (1992) indicates that they can be divided into four levels: Idealistic, combination of Idealistic and Realistic, Realistic, and Surrealistic. At the first level is considered the highest form, includes the Lord Buddha, kings and heavenly beings. At the second level, the artists followed the tradition transmitted from the past to express the content and philosophy of religion, includes high status people. At the third level, the artists employed their own expression and knowledge gained from experiencing the society and environment in their era, includes common people. These included emotion, atmosphere, history, ways of life, customs and traditions of people in the particular time. At the forth level which is the lowest one, includes creatures in hell. The artists used their imagination to create the work to express the emotion of terror and depression to warn the viewers to be cautious of the results of the wrong doings.

Historically, the themes of Thai traditional paintings had their own evolutions while the general purpose still remains the same. No Na Paknam (2001) observed the essence of each era. The themes of those early murals were mostly episodes from the story of the life of the Lord Buddha. The "Assault Mara" was popular, along with the "Dasajati Jadaka" or stories of the ten last incarnations of the Buddha. During the reign of King Rama III, some artists were influenced by Chinese art, the closely related to Thai art and very popular. In the reign of King Rama IV, there were great changes in mural paintings. Their characteristics were transformed from simple Buddhist themes intended to teach people, the murals became Dhama allegories. Not only did the mode of teaching changed, the style changed too. Western influence becomes apparent. Light and shadow, perspective, balanced spatial arrangements and proportion all become artistic concerns. People in the pictures wear western clothes. The famous artist of this period was Krua In Khong. He was the first to reform painting to adopt the technique of perspective. Artists of the later periods followed suit. Human anatomy was studied and figures in later paintings strive for a new realism yet, they retain the beauty of graceful linearity typical of Thai art.

No Na Paknam (2001) explains that although the murals were mainly concerned with telling an epic story, the lives of ordinary people were also depicted. Known as "Kak" pictures, these little asides about the lives of the people give sociological and anthropological information and record the tradition and customs of different periods. One can see here and there, even in the most sacred scenes, deftly painted vignettes of people working, playing, gossiping, and flirting. These minor characters and the animals are free to be themselves and they are shown realistically, often with broad humor. (Lyons,1990)

Construction. The style of paintings in early Rattanakosin still followed that of late Ayutthaya, but the techniques soon changed. Sombre colors were adopted for the ground. Natural scenery was still drawn first with human and animal figures sketched and applied by means of perforated "Khoi" paper. However, chalk powder was applied to the dark colored part of the wall and soot was patted on to the light colored area.

In large paintings such as murals, the artist first sketched human or animal figures. The sketches were done on Khoi paper to establish the desired dimensions, figures, expressions and gestures that had been rubbed over with a paste of black soot mixed with light glue or rice liquid. A light paint was then applied. When the desired effects of gracefulness or strength were achieved, a bold brush stroke was the applied.

Next the artist prepared a mural background of trees, hills, ground, palaces and houses, proportionate in sizes to the figures in the sketches.

Once the background was finished, the artist made little holes all along the lines in the sketches and placed these perforated drawings on the walls. He then beat a bag of chalk all over the perforated lines. The paper was then removed, leaving behind clear white lines of the sketches on the wall.

Paint was next applied on the figures such as the flesh and costumes and ornaments before decorative details were carefully filled in. Headdresses, bracelets and those parts that were to be painted in gold were first painted over in resin made from ficus trees before gold leaf was applied.

Finally, these figures were sharply outlined with red, a popular color, that would heighten the golden glow.

The traditional convention of the art of the earlier Rattanakosin Period was carried through the murals during the reign of King Rama V. That is powdered colors were mixed with glue made from natural materials such as the latex of certain trees which were very long lasting. The mixture used for the painting could be kept for several days before a new batch was required. When the work was done each day, a little water was added to keep the color from drying up.

Powdered colors or "si foon" were ground in earthenware of glazed ceramic mortars and covered with a lid to keep off the dust. A time-honored traditional method by means of tempera is a method that employs a paste of fine chalk powder mixed with glue, with white as a main ingredient to achieve color values.

During the latter period, for convenience and in order to save the time spent grinding powdered colors, and good quality glue was used instead of resin or glue from animal skin or tree.

Lyons (1990) describes that the subject matter in the paintings may appear to be restricted, yet in the hands of the Thai artist, it can include the whole life of ordinary man as well as those of superior beings. No Na Paknam (2000) explains that craftsmanship of mural painters during the early Rattanakosin period was unique in that it was started with the works of skillful masters, not with those of novices gradually developing their artistic skills.

It can be concluded that the process of creating the paintings included preparing the figures, the backgrounds, and touch up of the details.

From the review of Thai way of life and Thai traditional painting above, we can see that the two matters are related. The way of life reflected through the paintings. The reason is that the foundation of these matters are from the beliefs and philosophy in Buddhism. Specifically, the hierarchy is show in the relationships of figures in the paintings including the gestures, placing, the costumes and the painting styles. The merit and demerit aspect is shown in numerous paintings as being in heaven and in hell. The "bun koon" is typically reflected many paintings particularly those from Jadaka. The "cool heart" in the facial expressions, particularly the figures at the high level, the facial is almost does not show direct emotion. The individualism can be seen in the scene with the diverse or even contrast emotions. In the paintings, even though, the main story was in the serious or sad mood, common people were free to do what they wished such as flirting or children were playing.

Structure of Thai Education System. Before Thailand adopted the educational system from the West, we had had our own educational system which was informal and provided in three institutions; home, temple and palace. Parents taught children family occupation, social values and traditions while monks taught reading, morality and Buddhism. The palace was the place where all kinds of the nation's classical art were developed, preserved and taught.

The distinctive features of indigenous education are, of course, learning by doing, learning through authentic experiences, individualized instruction, and happy learning, all of which are hardly found in the schooling system of education.(Kaewdang,2002)

At present, education in Thailand is in the transitional period which soon will be changed. However, currently Thai education is organized in accordance with the 1992 National Scheme of Education that covers both education in a school-related system and from a way of life learning process. Specifically, education in a school-related system is provided by educational institutions, characterized by a class/grading system, and the use of curriculum specified for the level and type of education so as to develop learners in accordance with curriculum objectives. Education in a school-related system is composed of 4 levels: pre-school education, primary education, secondary education and higher education. Primary education is compulsory for children between 6-11 years old. It requires 6 years of study. (ONEC, 1999)

The curriculum at the primary school level, (revised version 1990), was first implemented in primary school grade 1 in 1991 and came into full effect in all grades in 1996. It does not single out subjects into fragmented courses, but it is made up of 5 learning experience groupings as follows: 1) basic skills group, 2) life experiences, 3) character development, 4) work-oriented experiences, and 5) special experience.

The content related to art education is included mainly in the third grouping, 'character development,' which deals with activities necessary for developing desirable habits, values, attitudes and behavior. Other activities, which are also in this group, include ethics education, physical education, music and dances, boy/girl scouts, red-cross youth or girl guide. While the learning activities in grades 1 and 2 are organized in integral units of all contents in the character development area, in grades 3 to 6, each content area is set separately. Activities in relation to art include drawing and coloring, modeling and carving, printmaking, creative works from materials, and art appreciation. The last topic, art appreciation is added in the grades 5 and 6.

The curriculum at the secondary education level, which subdivided into lower, and upper school curricula includes 4 component: 1) Core subjects, 2) Prescribed elective subjects, 3) Free elective subjects and 4) Activities. "Art for Functional Living" is included in the first component throughout the three years at the lower secondary education level, Core subjects. The core subjects composed of basic subjects that correspond to life and society in general and must be taken by all students. The Department of Curriculum and Instruction Development prepares the content of these subjects. The subject " Art for Functional Living " is designed as the combination among three study areas: visual art, music and dance.

The [Thai] National Education Act B.E. 2542 (1999). The Office of the National Education Commission [ONEC] (2000) described the process of drafting the National Education Act B.E. 2542 (1999) as starting from August 1997. The ONEC drafted the National Education Bill in accordance with the stipulation of section 81 of the Constitution that "...there shall be a national education law..."

On July1, 1999, the Bill received the final approval of the House of Representatives. On August 14 of the same year, His Majesty King Bhumibol Adulyadej graciously granted His Royal assent for the promulgation of the National Education Act B.E. 2542 (1999), which subsequently published on August 19,1999 in the Royal Gazette.

Several significant points could be found in the National Education Act. Section 22 in the Act states that Education shall be based on the principle that all learners are capable of learning and self-development, and are regarded as being most important. The teaching-learning process shall aim at enabling the learners to develop themselves at their own pace and to the best of their potential. Compulsory education shall be for nine years as stated in Section 17. Art is included in one of five knowledge areas in Section 23: "(3) Knowledge about religion, art, culture, sports, Thai wisdom, and the application of wisdom."

Another significant point is in Section 31 concerning educational administration and management. There will be a new ministry responsible for wider perspective of duties in which art is clearly accounted for. "The Ministry shall have the powers and duties for overseeing all levels and types of education, religion, art and culture;..."

Being highlighted in the Education Act, it is clear that art, culture and Thai wisdom are accepted as being key emphasis in Thai education, thus opens up stage for scholars and government offices to look into problems and find appropriate policies and action plans.

The Ministry of Education (1997) indicates that local wisdom has not been explored to enhance teaching/learning processes due to a lack of financial support; and no curricula which instills in learners desirable practices in relation to morality, ethics, discipline, environment protection and democracy.

Kaewdang (2002) describes problems of Thai education in general that in the past forty years, Thailand's economic and social development has placed an emphasis on industrialization and technology, which depended too much on Western knowledge and know-how. Even worse, such misguided development brought along with it several serious problems such as trade imbalance, urbanization, cultural and environmental destruction, all of which affect the quality of life of the people. The economic crisis that has occurred during the past three years was the outcome of such mistakes and warned us to reconsider, review and re-evaluate the country social and economic development plan. It is discovered that the country had pursued the western way of development and entirely neglected the country indigenous or local knowledge, the splendid treasure that has played important roles in building the nation's unity and dignity. Now it is the time the country to look back at her own philosophy, culture, and indigenous knowledge or Thai knowledge.

Kaewdang (2002) also explains main reasons behind the fading away of the Thai indigenous knowledge as adoption of education from the west, which focuses on modern knowledge. Along with the system is the professional teachers, who have also been trained by the modern system of teacher training; the lack of research and development in the field of indigenous knowledge; and the recognition of indigenous knowledge specialists as at the lower status than modern knowledge educators.

Srisalab (1999) reports that research has shown that formal education provided in school, considered as the process for fine-tuning society, does not allow the majority of learners to know about the development of Thai wisdom as much as desired. Moreover, the resource persons who are capable in transferring the knowledge are not only rarely found but also in their old ages. Therefore, knowledge and skills of the resource persons should be made to good use before they are gone with that kind of valuable knowledge.

Srisalab (1999) adds that although certain efforts have already been made by some public and private organizations, they are still not enough to encourage the revival of the nation wisdom due to an inappropriate policy making. She emphasizes that to establish and promote Thai wisdom into Thai education system require dynamic wisdom that is relevant to the way of lives of the people in everyday life. The policy for promoting Thai wisdom in education should be strengthen and be more relevant, appropriate, unique and in accordance with the learning process of the people living in both local and urban communities.

The Office of the National Education Commission (ONEC) as Thailand's national education policy organization, has conducted research on Thai knowledge in order to revitalize and return it to our educational system. ONEC has proposed to the government the national policy on Thai knowledge, establishment of the organization in charge, establishment of the Thai knowledge learning centers, remuneration for Thai knowledge teachers, and the government's commitment to support the operation of the learning centers. The research-based policy was accepted by the cabinet, allowing the implementation of the policy through the main strategies as follows: 1) Establishment of Thai Knowledge Council, which consists of Thai knowledge specialists, who will decide over the matters relating to the curriculum, the instruction, and the promotion of Thai knowledge. 2) Establishment of the National Research Institute for Thai knowledge and education, which will promote the research on Thai knowledge. 3) Establishment of Thai Knowledge Fund to provide support for the research, education and teachers of Thai knowledge. 4) Promotion of teaching and learning Thai knowledge in the three systems of education: formal, non-formal, and informal. 5) Honoring and rewarding Thai knowledge teachers, who have developed their expertise through informal education or self-learning, so that they will be recognized at the same level as certified school teachers. They will be encouraged to set up their own learning centers to transmit their Thai knowledge to the young generation in the community. And, 6) Formation of the Thai knowledge information network system to collect and disseminate information on Thai knowledge. The network will also be a channel that Thai knowledge learning centers can communicate and exchange information through the internet system. Kaewdang (2002)

Garber (1995) stated confusions about cultural diversity which includes 1) conceptualizing what constitutes cultural diversity; 2) studying a work of art or a cultural artifact from the perspective of mainstream culture that dominates most learning in schools; 3) studying other cultures is "homogenization; and 4) to "exoticize" a culture or people. Stout (1992) explains the problem of additive content. He terms it as "tourist" approach where sharing cultural experiences and creating craft became the ends in themselves. Many such materials built around amassing facts and replicating artifacts, limit learning to association and recall are the lowest levels of thinking. Teachers were promoting stereotypes through these generalized, superficial approaches. By presenting art within an anthropological context, teachers have avoided accusations such as "teaching witchcraft." (Bates, 2000) It is likely, however, that without a strong conceptual understanding of the complexities of culture, and without immersion in the patterns of a culture other than our own, that these efforts will oversimplify and misrepresent other cultures and their artifacts. (Neperud and Stuhr, 1993)

Stout (1997) describes teaching in the traditional art appreciation class as the traditional examination of principles of design and past the sampling of styles and anecdotal explorations of artists around the world. Concerning many teaching plans and instructional resources currently on the market such as teaching packets, videos, slides and software, all touting "multicultural content," contribute only add-ons, seldom taking learning beyond mere exposure.(Sahasrabudhe,1992 cited in Stout, 1997) Hart comments that learning at these levels is superficial mimicry, short-lived and disconnected from the rest of life. Such simplistic exposure mistaken for study sets a scene for failure.

Other than problems in actual teaching and learning, there are problems with other related personnel too. Hart (1991) argues that rather than children, it is adults, particularly the policy makers and teachers who determine and teach the curriculum, who are likely to have problems with a pluralist aesthetic. He cited Phyllis Gold Gluck (1978) to show that even those in charge of cultural policy in many countries including the United States and Canada, do not know what to do with "traditional" cultures. Soren (1993) observes that schools, museums, and performing arts organizations rarely are thought of as an educational collective that provides lifelong learning opportunities for students, visitors and audiences.

How children practice art forms is one of the important factors to take into consideration since it includes what they do outside school in addition to school art. Children in India understand this multiplicity and act on it daily. They learn both a traditional art system at home and western-style art at school and in extracurricular classes. They show no difficulty dealing with the two systems.(Chalmers, 1980 cited in Hart, 1991) Hart (1991) concludes in his review that children already understand that aesthetic criteria can be different depending on the artist and the viewer. Since children exhibit this flexibility, it might be expected that they would not have difficulty in grasping the concept of multiple aesthetic systems. However, teachers should expect a diversity of ethnic allegiance and aesthetic understanding and should not assume that traditional values and art forms are being taught at home or are being acquired through informal community involvement.(Neperud and Stuhr, 1993)

Hart (1991) concludes in his study analyzing formalist, anti-formalist and aesthetic pluralism that the pluralism is the distinctive approach, since it is the only one that depends upon real data about art and it makers. Stout (1997) suggests that knowledge is neither value-free nor value-neutral. The pluralistic position draws on many studies of art systems, which demonstrate that the whole dimensions of understanding are inaccessible if one does not consider the art in its cultural context, specifically in terms of the categories and intentions of its producers and consumers. He reviews that we have to recognize that each form or medium has its own aesthetic principles, techniques, and ways of conveying ideas. In addition, each form must be evaluated within and by its own self-generated set of standards and objectives. Moreover, Csikszentmihalyi (cited in Hart, 1991) states that we cannot understand our own aesthetic criteria of originality and innovativeness by looking solely at individuals. We need to consider the social, cultural and historical milieu in which the individual artist acts. Thus the creative genius is not a miraculous, context-free phenomenon.

As multiculturalism has expanded, so have many individuals' view of art. Art educators have found ways to present different kinds art expressions created by a wide range of people to serve a variety of functions within their cultures. (Bates, 2000)

Neperud and Stuhr (1993) argue that instruction only in school settings, even if taught by people from their culture, may be inadequate to ensure that traditional art forms will be created and valued. If contemporary culture desire to preserve certain values, specific instructional strategies appropriate to realizing those values, whether through formal or informal instruction, should be considered.

Forming the foundation for teaching and fostering critical thinking is one of the most powerful theories driving contemporary education; the concept that learning is constructive process. The heart of this theory is the idea that knowledge cannot be transmitted; we must make sense of things for ourselves. It includes three contexts: the interpretative context of students and teachers, the context of artist and artwork, and the cognitive and affective contexts.(Stout,1997)

Stuhr and others (1992) propose multicutural position statements as follows: 1) Advocate a socio-anthropological basis for studying the aesthetic production and experience of cultures (focusing on knowledge of the makers of art as well as the sociocultural context in which art is produce). 2) Acknowledge teaching as cultural and social intervention (in any teaching endeavor, it is imperative that teachers not only confront, but also be aware of, their own cultural and social biases). 3) Support a student/community-centered education process (the teacher must access and utilize the students' sociocultural values and beliefs and those of the cultures of the community when planning art curricula). 4) Support anthropologically-based methods (for identifying socio-cultural groups and their accompany by values and practices which influence aesthetic production). 5) Advocate the identification and discriminating use of culturally responsive pedagogy (that more democratically represents the sociocultural and ethnic diversity existing in the classroom, the community, and the nation). And, 6) Focus on the dynamic complexity of factors that affect all human interaction (physical and mental ability, class, gender, age, politics, religion, and ethnicity).

In his writing concerning multicultural reasoning, Stout (1997) summarizes that structural changes in pedagogy should have as the end, the establishment of a democratic learning atmosphere. Students should be encouraged in open-ended thought and where instruction has as and end, a self-constructed, critical understanding and appreciation of cultural diversity in all areas of life. Stout emphasizes that teachers should see themselves in the context of lifelong learners and to be willing to learn new thinking from new perspectives. In addition, if teachers are to cope with the complexities in multicultural art instruction, they must practice a particular kind of reflective teaching. Such reflectivity requires teachers to step back and take an introspective look at their own system of beliefs, examine the set of cultural assumptions under which they operate, and become cognizant of and confront their own cultural and social biases.

An ad hoc consortium of National Arts Education Associations (1992) states that all experiences contribute to an individual's education. The curricular and non-curricular education both are components of learning about the arts. Each complements the other, but neither is a substitute for the other. The ad hoc consortium proposes approaches to arts education in categories defined by their closeness to, or distance from, individual study. Arts entertainment: casual engagement with any art form already known, such as in magazines, advertisements or on radio or television. Art exposure: engagement structured to produce a new experience with the arts, such as a school field trip to a museum, theatre of performance facility without prior study. Art enrichment: engagement or experience crafted to support and educational activity, such as a school visit by an artist(s) after the study of the art forms, media or style of the visiting artist(s). And, arts education: engagement with the discipline as a body of knowledge and skills to be acquired and applied by the student. (An ad hoc consortium, 1992 pp. 31-32)

The country has realized the importance of the nation culture and heritage that are deemed as foundations to accomplish the nation identity and its strength. Traditional art is one of the most valuable treasures with the long history and unique expression. Individuals and organizations have been trying to fulfill this point by proposing a variety of policies and plans. Recommendations to improve understanding and appreciation of Thai traditional art are as follows.

Thai traditional art should be perceived as one particular model of work consists of a set of specific interrelate aspects. Thus, to understand and to appreciate the work, we must look from the standpoint of these factors. For instance, to evaluate the beauty of the works, the criteria must come from their own characteristics. However, while the works have their uniqueness, they share some similar aspects with those in society in general, especially the Thai culture. Thus, we should draw similarity of the works and contemporary culture to get the clearer understanding of the country identity. The comparison of the works from each period will provide the understanding of a development of the Thai traditional art.

Curriculum content, teaching and learning Thai tradition art should be considered to cover all the interrelated factors mentioned appropriate to the particular groups of learners in order to accomplish to the whole picture. The teaching approaches should provide opportunity for the learners to construct their own understanding by means of comparing with their own frame of experience to find relationship and contrast. Other than art lessons in school environment, the students should have opportunities to have first hand experience to learn at the actual sites with traditional art works. In addition, in designing art activities, teachers should employ variety of modes of teaching aiming at providing alternatives appropriate to certain group of people with specific readiness and interest ranging from informal activities to the formal education. Also, other than education for Thai people, educators should consider providing understanding of Thai traditional art to the global citizens.

All types of forces in relation to Thai traditional art should reconsider their roles and involvement in providing understanding of Thai traditional art. Art teachers should seriously review their teaching approaches aiming at fully understanding the value and all context of the matter. Staffs at the traditional artistic settings should expand their role in addition to their main duty. They should be able to perform as resource persons responsible for promoting Thai traditional art. Experts and educators should initiate programs to educate the related personnel. The cooperation among all the groups should be established. Other than the human factors, the works and particularly the settings, in addition to their main functions should be purposefully planned, to support educational function.

Lastly, there should be more studies and researches in relation to Thai traditional and art education. One of the studies should be concentrated on creating the database of Thai traditional art categorized into various educational and artistic purposes. In addition, a center to access the particular data should be established. This can be served as a basis information to plan art activities. The presentation of the data should be in the various forms including the electronic means such as electronic database, website and printed materials.

In conclusion, art education in Thailand should provide reasonable universal knowledge in art and also the reflection of the nation identity and cultural heritage. Thai traditional art, while serves the later, it compliments the former if we view it as one of the art creation models.