Thailand is facing the critical turning point to readjust the country in order to stay on and move forward in the world arena.  Since the last several years, the country has experienced economic, political, cultural and social crisis. Various sectors in Thai society recognized that what could redeem the country from the downward spiral is the reform of Thai education.   Thus, in 1997, drafting of the National Education Act was initiated. For the first time in the country history, the drafting process involved over a quarter of a million participants of all stakeholders. In 1999, The National Education Act B.E. 2542 (1999) became official. In the Act, the crucial point in the learning process, is to acquire the thirst for knowledge and capability of self-learning on a continuous basis. The learning reform is to attach highest importance to learners. 
          For many years up until now, most of art activities in schools mostly involve students with creating art works. Very limited stances have aimed at connecting students to lives outside the classrooms. The purpose of this paper, in terms of art education, is to look into the lessons from the past, the situations at present, and also to project into the future. 
        Guided by the framework of education in the National Education Act guides us, we have to move on and expand art education to cover wider perspective. In addition to create art works, the approach we need to pay more attention is in the responsive mode.  (Chapman,1978) 

Rationales underlining desirable art education
         Chapman (1978) stated that general education provides for personal fulfillment, nurtures social consciousness, and transmits the cultural heritage to each generation. In practice, school programs should be planned in relation to the child, the subjects that comprise the cultural heritage, and society. Subsequently, the purposes of art education should stem from those in general education. School art programs encourage personal fulfillment by helping children respond to their immediate world and express its significance to them in visual form. Through studies of the artistic heritage, children learn that art is related to cultural endeavors of the past and present.  By studying the role of art in society, children can begin to appreciate art as a way of encountering life and not view it as simply an esoteric frill. 
         In terms of personal fulfillment through art, Chapman (1978) explains that when children use art as a means of expression and as a way of responding to life, it becomes a source of personal fulfillment. She emphasizes that learning to perceive expressive forms is just as important as learning to create them. The two modes of art experience are dynamically interrelated; both are essentially creative processes. 
         The basis for understanding students' unique development in seeing, thinking, creating, and designing should be considered basing on research in psychology, anthropology, and sociology. (McFee and Degge, 1977)   They proposed a model for working with children. The model shows differences in students' readiness for art, the effects of the social and physical classroom environment, student responses to art class experiences, and the ways these experiences influence their creative work and criticism of art. A key goal for art education is to increase students' range of experiences to give them a more comprehensive basis for evaluating and creating art and to give them an environment for living.  In addition, new experiences must be appropriate to students' readiness. 
        Two assumptions about art education could be set as a framework for suggesting desirable approaches to art education are as follows: 
        1. The key purpose of education is the growth and development of individuals from wherever they may be to wherever their aptitudes for creating and comprehending may lead. 
2. Individuals can only survive in viable humane societies. For people to develop their own unique life patterns as well as humane, interdependent, shared environments, they all need to understand the impact of their design decisions on each other. (McFee and Degge, 1977) 

Thai People's Way of Life
        Thai people have been known having very close tie with their religion, Buddhism. (Continuing Education Center and Translation Center, Faculty of Arts, 1998, Khemmani, and others, 1996, and Rajadhon, 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, Rajadhon, 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. Also, Buddhist rites and ceremonies also have a festive function, which attracts interests from all in the village communities.  Because of the concern about hierarchy, Thais are quite sensitive to the age and seniority in their everyday social interaction, both in terms of appropriateness of conversation and behavior. 
        In Podhisita's study (1998), 5 sets of the relationships between Buddhism and the Thai world vies 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 there being any possibility of mobility.  Moreover, individuals are seen as either 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 Thai belief, a person is who he is and where he is because of who he has been and what he has done. This Buddhist view is strikingly different from that of Hinduism. For the Buddhist, it does not matter who one is but what one does; whereas, for the Hindu, one does what one does because of who one is. (Keyes,1978 quoted in Podhisita,1998) 
        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 quoted 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 which 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 whishes is to be a genuine Thai. 
        The individualism aspect seems to bring the lack or weakness of strong adherence to the social groups. Subsequence of this may partly account for the weakness of many social, economic and political activities in Thailand which require strong grouping (group discipline, sense of belonging, etc.) to be successful. (Podhisita, 1998). 
        The socio-cultural context, particularly in relation to religious rites, reflects in the school calendar and topics and contents in creating art works for school students through out the year. 
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. 

Structure of Thai Education System
        At present, education in Thailand 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 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 and 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 three years at the lower secondary education level, Core subjects. The component is 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 prepare all 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 accord with the stipulation of section 81 of the Constitution that "...there shall be a national education law..." 
        The process of drafting the National Education Act until the final approval took extensive length of time for almost two years. The drafting was made on a number of significant bases: 1) Basis of academic information, 2) Scrutiny by scholars, 3) Participation of all stakeholders, 4) Public relations, and 5) Public polls. 
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;..." 

Approaches to art education
        In the next two years, in accordance with the National Education Act, Thailand will require all children to attend schools for nine years.   Thus we are in the process of developing curriculum and instruction towards the direction as stated in the Act. Scholars in all related areas are now engaging in conducting studies and suggest alternatives to complement the development. The current educational system, which requires six school years in compulsory education and also what happened in the past should be considered in order to see problems and to project the desirable end that art education can serve in the future curricula. 
        In the primary and secondary school curricula, we can see that art education mainly put the emphasis on studio-art activities, which are those in relation to creating art works. In addition, these activities are mostly close-ended of "how-to-do" activities within the classroom environment. There is very limited stances linking them with the student's real life and society in general.  Although the art appreciation and applying art to real life usage appear in the art curricula objectives, in most of the actual art lessons, at best, this matter is incorporated in the art activities as a by-product of the studio activities. 
        This problem also occurs elsewhere outside Thailand. In the review of Moore (1994), he includes the results of Goodlad's study in 1984 concerning American schooling. The student at all levels viewed art education with the discouraging impression that...they went little beyond coloring, polishing, and playing. Subsequently, the students rated the art instruction as easy and relatively unimportant. There was also ample evidence that school children as well as their parents wanted and expected more of art education. 
         In terms of learning about images, Freeman (1996) states that the results indicated that the secondary students in the United States learn only the surface information. Findings also showed that students do not tend to understand the communicative power of imagery or look critically at images, unless they are specifically taught to do so. 
        Similar findings were found in Thailand. Chanswast (1996) conducted a study concerning the verbal responses to works of art of Thai elementary students where four levels of responding were used as a framework. These levels were composed of description, formal analysis, interpretation, and evaluation. It was found that over 65 % of the responses fell into the first level, description. The other three levels each shared around 10 % 
Teaching art criticism also earns more attention in order to pursue the desirable ends of art education. Value of art criticism is in their inherent opportunity that helps students create and derive meaning from visual art. However, the present situation shows very little promise towards the teaching of art criticism. Mc Sorley (1996) reports that there were no stated implications of the art teachers' roles as teachers of art criticism beyond their claim of fostering art appreciation. Specifically, the teachers' conceptions of teaching art criticism were those indirect applications as 1) a selection of art works for presentation, 2) a stimulation for learning, 3) the demonstration of an expertise, 4) the fostering of a learning process, 5) a momentary reflection and 6) a joint exploration. 
        The desirable art education should include both creating or expressing and responding or consuming. Chapman (1978) states that together with creating art, learning to perceive expressive forms is also important. It is sometimes necessary to get children out of the studio, and to try to detect what general internal resources children have that they can call on. (Freeman, 1996) Even within the drawing behavior, Stokrocki (2000) explains that it is not simply a mechanical act of image-making, but a process of interaction between children's minds and the storehouses of their past experiences. 

Roles of culture and real life in art education
        From the point concerning the lack of consideration for real life experiences, this part will give the review of evidences in relation to  the roles of culture and real life in art education. 
        Stokrocki (2000) identifies art education in Brazil that school art stereotypes were among a few problems mentioned in relation to children's underdeveloped drawing abilities. The other related socio-economic influences included art's low status, poor teaching conditions, peer imitation and hyper commercialism. Moreover, there were evidences of traditional and popular culture schema and deep space. 
        In another study, Kaneda (1994) studied art education situation in Nepal and reported that the spread of formal education in Nepal had not brought with it either an attempt to reconcile contemporary and traditional practice or a sense of what good contemporary practice might be. 
        Freedman (1997) reports that there were indications that students make cultural associations when looking at images that come from a rage of sources which influences the ways in which they construct meaning. The cultural associations included intergraphical references that go across various types of images and mottoes that reflect national and institutional ideals. 
        Concerning the problem in relation to art teachers, Duncum (1999) makes an observation that we have tended to keep our professional lives and personal lives separately, teaching the fine arts but in our own time accessing everyday aesthetic sites. 
        Mc Sorley (1996) concludes that the teachers' perspectives failed to take into consideration of life-world of the learners. Non of the conceptions addressed any of the wider issues that art criticism may embrace, such as multiculturalism or gender equality. In addition, they failed to reflect any manner of a philosophical or theoretical base from which art criticism is being taught. The author suggests that the teachers' lack of understanding of what involve the teaching of art criticism, has implications for not only teacher training programs in art, but also for the quality of teaching and learning in art criticism in schools. 
        In his study in relation to postmodern view, Pearse (1992) points out that as we approach the twenty-first century, optimists would envision an art education in which local cultural practices are valued. The differences of those historically marginalized by virtue of gender, race, ethnicity or class, are celebrated, and the cultural artifacts of all places and times are valid "texts" for study by art educators and students. 
       Aesthetics is another essential for art education at school levels. Particularly, that in which called upon the everyday experiences. Students' constructions of their identities through the sites of the everyday need to be made problematic and not left unreflective, even unconscious, where it is especially powerful. It is necessary to move beyond phenomenalogical encounter and study the social worlds from which images emerge and in which they function (Duncum, 1999). 
       Duncum (1999) explains that ordinary, everyday aesthetics, experiences are significant than experiences of high art in forming and informing one's identity and view of the world beyond personal experiences. 
 

        In a way, it extends the sources of art consumption. Duncum (1999) includes in his review Hall's remarks in 1996 that there existed a large and growing class happy to support the aesthetics of consumer society. They are those who find through their own selection from the myriad signs and images that make up everyday life the resources for their own sense of self. 
        Duncum (1999) explains that conventional view of art education is in a narrow views of it as drawing heavily on fine art. However, a growing number of art educators view art education in a wider perspective. That is, art education is primarily about the contribution of visual material culture makes to knowledge, values, beliefs and attitude, irrespective of the kind of visual material investigated. 
        In accent, everyday aesthetics involve immediacy, participation and desire. Duncum (1999) compares fine art aesthetics with everyday aesthetics. Fine art aesthetics stresses the cultivation of distance, which delays gratification and cultivates refinements. On the other hand, everyday aesthetics emphasizes involvement. It provides immersion in dreamlike states and a revealing in immediate pleasure. The focus of the everyday are objects, events, places, and experiences that for most of us, children and adults alike, form part of ordinary, daily life. 
        The essential role of culture also can be seen from the way creativity works. (Wilson, 1982) He explains that creativity is seldom achieved through the production of utterly new but rather through taking those things which belong to culture and using them in individual ways, resulting in images that are often novel and unique. 

Implications
        Balancing modes of learning art: More attention should aim towards desirable goals of art education by including both modes of learning, expressive and responsive, in planning art curricula for Thai children. In doing so, we should look into the proportion of each mode in accordance with preparing the children to be well-educated citizen who would be able to live happily in the local as well as global society. 
       Although the expressive mode has long been exercised, improvement is still needed. Creating artwork activities should be made to become more meaningful and fully make use of the essential elements of art education. The process of cognitive skills as well as the process of producing art work must be seriously considered.  In addition, it should be interrelated with responsive mode of art learning in order to bring about the total value of art education. Bringing responsive art content such as aesthetics, art criticism and art history into classrooms, may be new for many art teachers, but they need to pay more attention to this, because it is the important part in preparing children to live in the real world where most of them will become art consumers rather than art producers. 

        Roles of culture and way of life: Both teachers and students need to adjust their role in the educational environment. The Thai people's way of life reviewed earlier reflect the uniqueness of Thai culture, however, some of those may become  obstructions to the pursuit desirable art education goals. 
        The view of hierarchical relationships of people, particularly between teachers and their students, by the expression of both sides is one of the uniqueness of Thai culture. However, the reasons constituting this hierarchy need to be reviewed. It should become mutual relationship on both parties. It will be very little meaningful if we treat respectfulness superficially. Students should not only pay physical respect to his/her teacher or to show their respect just because he/she is their 'teacher.' Rather, teachers should become respectful upon their actions. 
        Students should respect the actions their teacher in performing desirable roles in educating students. In other words, the 'merit' of the teacher will come into play in order to gain the students' respect. On the other hand, the teacher should respect his/her students as human beings who are in the process of growing. Art activities provide opportunity for both parties to exercise this matter. Art education aims for students' self-expression, originality, and creativity. These will become possible only when the teachers recognize and express the respect in the students' works. 
        The characteristic of 'cool heart' is also another Thai culture strong point. However, it will be useful when used in the appropriate situation. To suppress one's emotion and not becoming easily excited may inhibit the chance for them to express their true feelings in the art work. Thus, the teacher must try to encourage his/her students to freely express the feelings and ideas in their works. However, the concept of 'cool heart' may be appropriate in the art lessons dealing with the content in the responsive mode. The lessons involve the classroom group activity. That is, in addition to learning the content, the students need to perform appropriate social interaction. Other than learning to express their opinions and ideas, they need to learn to accept those of others. This is where 'cool heart' should be exercised; not being anxious when confront problems, 'not getting angry easily', and to suppress one's emotion and not becoming easily excited or emotionally disturbed. 
         Together with the characteristic of 'cool heart,' the individualistic sense of the Thai people should be made to be beneficial to art education. The individualism implies free and independent souls which in a good sense, is a good foundation for a democracy society. However, this trait can bring the lack or weakness of strong adherence to the social groups. Therefore, art educators should selectively make use of Thai traits in promoting students' growth. 

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