ARTS EDUCATION IN and talk about a painting not only require THAILAND: WHY IT high level cognitive, visual, and language 1 skills, but also extensive contextual MATTERS knowledge, which only a background in the humanities can offer. The author Cristina Penn Schoonmaker2 analyzes several works of art as well as discusses modern aesthetics to argue that the arts are an integral part of the human experience, and therefore, should be included in general education courses at ก ก the tertiary level.
The soul never thinks without an image ก - Aristotle -
ก ก More and more reputable state and private ก ก ก ก universities in Thailand have attempted to adopt an American model of a liberal arts ก ก education, and yet many of the very ก ก objectives of this classical curriculum— namely to create a well-rounded, ก ก enlightened, and cultured citizenry, have been lost in translation.
ก In recent years, Thai policy-makers and ก parents have lost sight of the original American model by becoming product ก driven consumers who view education as a ก ก brand name commodity and seek to hasten their children’s education in order to have their offspring join the workforce or the family business—thereby becoming Abstract “productive” members of society. This mindset was brought home in 1999 by
Prachuab Chaiyasarn, the Minister of The humanities, especially the visual arts, University Affairs at that time, when he are often neglected at Thai universities announced that universities should focus because they are perceived as rarely on becoming a “university for industry” or yielding tangible results. This paper aims a “university with industry” (as cited in to demonstrate that learning to decode Mounier and Tangchuang 2010:104).
1 ก ก Universities that primarily cater to 2 ( ก ) Lecturer, Department of business and industry belie the very Humanities and Languages, Mahidol essence of a liberal arts education and put University International College, Mahidol Thai students at a major disadvantage in University, Nakorn Prathom, Thailand an ever-changing world. Since the Thai
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
Ministry of Education (MOE) certified on have no choice but to recognize that September 6, 2010 that the GED would be Thai students today are being short- an acceptable alternative to high school, changed; they are being deprived of a we, at Mahidol University International shared body of knowledge, not only of College, (MUIC), witnessed a marked their own rich cultural traditions and increase in the number of very young those of others, but of cultural universals applicants who were foregoing high school as well. in favor of a GED. Indeed, our university went from a handful of GED applicants Without a solid foundation in the prior to 2009 to over 1300 once the MOE humanities, our students may become mandated this change (MUIC Office of business savvy, but they will also remain Admissions 2009-14). Of particular culturally illiterate and have virtually little concern to us was that parts of the GED, understanding or knowledge of the world namely the language arts and social they live in or the complexities and studies sections, were “western” centric, richness of the human experience. By not thereby depriving these students of their providing a balanced curriculum that own cultural, social, and historical includes both professional training and heritage, which they would have otherwise knowledge of mankind's incredible legacy, received in high school. In fact, the GED creativity, and potential, educators will was never intended to replace high school, leave Thai students ill-prepared to face the but rather it was created for World War II challenges of the modern world or to have veterans who were unable to finish high a meaningful impact on society, the school as they had been drafted to serve country, or humanity as a whole. Broudy their country. goes so far as to say that “without such studies [the humanities or liberal arts] the Another significant issue is the rise in resources for the intelligent popularity of vocational majors at the comprehension of the tasks of life in a free undergraduate level in Thailand. By society are virtually impossible. Only the examining the curriculum of the most study of the arts and sciences provides the prestigious American liberal arts concepts and images with which life is programs at the undergraduate level such construed by the educated mind” as Harvard or Yale, as well as other top (1985:213). The humanities offer us the colleges3, one would be hard pressed to essential tools to decipher who we are, or find business or international hospitality once were, as a people and civilization. and tourism management as potential Because they focus on understanding the concentrations. And yet, these types of human experience, the humanities majors have become quite common at invariably encompass a variety of Thai universities, including MUIC, disciplines from philosophy, religion, and Bangkok University, and Rangsit literature to language and the arts, as well University. If we add globalization and as many other fields of study, including ASEAN’s goals into the equation, we some of the social sciences. Each of the disciplines that make up the humanities 3 See the following websites for comparison: provides us with greater insight into http://catalog.yale.edu/ycps/majors-in-yale- understanding the human experience— college/ both past and present. https://college.harvard.edu/academics/fields- study/concentrations
2
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
Much of what we know of our past comes According to Mounier and Tangchuang to us through the arts—be it in the form of (2010:107), the Thai Ministry of pottery, sculpture, painting, music, Education, like those in other countries, architecture, or literature, among others. has come to regard the mission of higher Thus, the various disciplines in the education as needing to meet the demands humanities, and more specifically the arts, of the labour market, rather than fostering have an indelible symbiotic relationship an academic environment that transmits a insofar as one cannot exist without the shared body of knowledge upon which other. In short, the arts feed the cultural and scientific scholarship is built. imagination, encourage creativity, teach, It is this very paradigm shift in higher and move us, as well as develop our education that has made many Thais, cognitive and problem solving skills, but including some administrators, educators, most importantly, they improve our and parents believe that the arts are quality of life (Broudy 1979:348, Dewey superfluous ornamentation that has no 2005:39, Eisner 1998:8, Richmond, intrinsic or academic value; consequently, 2009:102). they do not merit the curricular attention that other disciplines such as math and The Thai National Curriculum of 2008, science deserve. Basic Education Core Curriculum B.E. 2551, does indeed include arts education This paper aims to dispel these beliefs by from grade 1 to grade 12 and demonstrating that the study of the acknowledges its benefits insofar as the humanities, especially the visual arts, not “learning of the visual arts develop only promote the development of a creativity, artistic imagination, beauty national identity, and an insight into as appreciation, aesthetics, and worthiness, well as an understanding of other cultures which affect the quality of human lives”. and world-views, but more importantly, Primary and high school students learn the study of the arts foster cognitive, to understand “the relationship between linguistic, as well as other essential high the visual arts, history and culture” and level skills. Finally, we will propose learn to appreciate the “values of suggestions on how the visual arts can be artworks representing the cultural integrated across the curriculum and heritage, local wisdom, Thai and encourage Thai universities to include art universal wisdom; art appreciation and appreciation as well as art history courses application in daily life” (2008:209). in the general education curricula. And yet, once Thai students enter university, arts education is virtually The arts teach us who we are nonexistent. An artificial divide has been created whereby students who demonstrate Without a doubt, some of the greatest a predilection for the arts study studio or benefits of arts education are establishing the performing arts at specialized a strong cultural identity, interpreting, and universities such as Silpakorn University, understanding the world in which we live. among others, whilst the majority of Thai In studying the arts, Tom Anderson university students receive little or no maintains, “students should attain a sense formal instruction in art history, art of their being in a cultural continuum, of appreciation, or aesthetics. having roots, of owing their cognitive and cultural foundations to those who came
3
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
before …” (1990:138). The study and Buddha is the most abstract of the images appreciation of the arts allow us to of the Buddha, a tribute to the Thai ability comprehend that cultures do not develop to blend religious meaning and literary in isolation and that each culture absorbs descriptions with a sophisticated artistic elements from other cultures. However, it sensibility to produce a remarkable and is how we shape these influences, and original creation of transcendent what we do with them that make a people spirituality in a human form” (1993:179). culturally unique. Art and culture are Why is the 14th century Walking Buddha irrevocably entwined; they are, indeed, the such an important turning point in human experience. Buddhist iconography?
Traditionally, most Thai art is religious in Firstly, it is sculpted in the round, and the subject matter mainly because Buddhism Buddha is depicted as walking, with the plays such a vital role in the people’s heel of his right foot slightly raised, daily life. Thai Buddhist art can be typical of Sukhothai statuary. The graceful divided into three major periods, namely and sinuous lines of the body, delicate the Mon or Dvaravati period from the 7th features and gestures coupled with his to the 10th century, the Lanna, which flowing diaphanous robe are undeniably emerged near Chiang Mai around the late and exclusively Thai. And secondly, 11th century, and the Sukhothai period, according Leidy (2008:271), it also echoes which arose around the 13th century. the humanity of the Buddha and his final Although most westerners are familiar reincarnation, which are of great with Buddhism, they are oblivious to the importance to Thais, while serving as a fact that many Buddhist images found in paradigm of awareness to both monks and Thailand have Indian and Sinhalese laity. influence, or that the Sukhothai style Buddha4 is the most uniquely Thai Unfortunately, most Thai mural paintings religious icon. Fisher (1993:178) and prior to the 18th century, have been lost. Rawson (1967:145-150) concur that However, the tradition can still be found in images of a standing Buddha have always Thai illuminated manuscripts, or folding existed, but it was the Sukhothai masters books. The illustrations are typically Thai who were able to capture movement in in style and are recognized for their such an elegant and graceful manner. delicate lines, bright colors, magical figures, as well as their mythological and Sacred Pali scriptures, which described the religious narratives, such as the Ramakien Buddha as having 32 stylistic or Buddhist cosmology, among others. characteristics, or Lakshanas, found in They are considered throughout the world nature, were the principal sources of as one of Thailand’s greatest artistic inspiration for Sukhothai artists. contributions, and yet they remain sorely According to Fisher, “the Sukhothai neglected not only in secondary and tertiary education, but also in Bangkok’s 4 See National Museum, where these artifacts http://www.britishmuseum.org/explore/highlig are poorly maintained and displayed. hts/highlight_objects/asia/b/bronze_figure_of_ the_walking_b.aspx The visual arts not only offer us the http://www.hermitagemuseum.org/html_En/12 opportunity to learn about our own /2006/hm12_4_1.html
4
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
cultural heritage, but they also allow us to Kahlo could never be confused with a understand people whose cultures are very Spanish artist, for everything about her different from our own. As the number of was uniquely Mexican. Her vibrant color international schools and colleges grow palette, iconographic references to her exponentially in Thailand, insight into the beloved Mesoamerican indigenous culture, cultures of the languages students learn as well as her role in the “Mexicanidad” becomes increasingly more important. movement, whose principal objectives were to remove the remaining shackles of The arts teach us about other Spanish imperialism, and later the United cultures States’ political and economic influences, place her as one of the most important and th Our students at Mahidol University influential Mexican artists of the 20 International (MUIC) are all multilingual. century. Janice Helland (1991:1) explains Although the language of instruction is that Kahlo’s form of “Mexicanidad” English, most study a third and some even preferred Aztec imagery in her art rather a fourth foreign language as well. In the than Mayan or Toltec because it last few years, Spanish has become the represented her desire for a “unified, most popular European language at our nationalistic, and independent Mexico.” university, and like so many other Kahlo equated herself with the Aztecs, in languages, it is spoken in a number of part, as a reaction to Spain’s brutal and countries, each with its own distinctive bloody conquest of Mexico (1519 to traditions, artistic, and cultural heritage. In 1521). Indeed, the destruction of the Aztec addition, the majority of our students study Empire forever altered the course of abroad for anywhere from one trimester to Mexican history, but more importantly, the an entire academic year. Thus, students are core of its culture. According to Helland, not only given the opportunity to use their Khalo’s anti-Spanish imperialism sentiments language skills outside the classroom, but coupled with her antipathy of the United more importantly, they are able to States’ interference in Mexico’s internal experience a foreign culture and all the affairs drew the artist to idealize the complexities and uniqueness of another Aztecs as “the last independent rulers of worldview. When students study abroad, an indigenous political unit” (1991:1). they not only have to learn to navigate the unknown, but also create a new identity In her Self-Portrait on the Borderline while still maintaining their own cultural between Mexico and the United States, roots. The challenge of balancing two very Frida Kahlo stands as a vertical axis, on different, and often, conflicting cultures is the border between two very different powerfully conveyed by the Mexican worlds, the United States, or artist, Frida Kahlo in her Self-Portrait on “Gringolandia,” the moniker she often the Borderline between Mexico and the used in reference to the US, on the right United States (1932)5, which she painted and Mexico on the left. The industrialized while living in the United States. United States is depicted as machine- driven, cold, desolate, and lifeless. Muddy grays and brownish tones are used for the 5 See http://www.frida-kahlo- skyscrapers and factory smokestacks, foundation.org/263801/Self-Portrait-On-The- which billow filthy fumes into the sky, Borderline-Between-Mexico-And-The-United- engulfing the American flag. In the right States-1932-large.jpg
5
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
middle and foreground, we find metallic and cosmos and to Kahlo’s identification pipes and machines, including an electric with her Aztec heritage. flood lamp, a sound amplifier, as well as a fan whose cables are deeply rooted into Most intriguing, however, is the depiction the earth. One cable, especially, deserves of Frida Kahlo herself, who stands on a our attention, for it is plugged into the pedestal, on which the following words are pedestal on which the artist stands while inscribed in Spanish: “Carmen Rivera the other end is attached to the roots of the painted her portrait in the year 1932,” colorful vegetation on the Mexican side. using her middle and married name rather Clearly, Kahlo is expressing her antipathy than the one for which she is known to the modern industrial influences invading internationally. Did she do so because she her homeland. The America Kahlo paints is felt overshadowed by her famous husband, a strange, barren, mechanical, and Diego Rivera, a renowned painter himself, inhospitable place that not only lacks or is she mocking the United States’ humanity but culture, as well. system of social stratification at the time— whereby women gained social recognition In contrast to the American landscape is through marriage? Another interesting her beloved Mexico, which Kahlo point worth examining is her western identifies with the Aztecs, the last attire. Unlike most of her other self- independent rulers prior to the Spanish portraits in which she wears traditional conquest. In the left foreground, we see Tehuana attire, she is clothed in a subdued the colorful flora in various stages of pink evening gown, accentuated with bloom and cacti indigenous to her native delicately laced white gloves. The bold land. Unlike the American side, life in all vivid colors of her folkloric Tehuana its magnificent colors emerges from the costumes and stunning headdresses are earth. Behind the flowers, in the middle gone; instead, we see a diminutive and ground, we find pre-Columbian figurines, muted Frida. In her Self-Portrait on the specifically Aztec fertility statues, and Borderline between Mexico and the United ruins. Lying nearby is a human skull, a States, Kahlo poignantly captures the direct reference to the Mexican festival El feelings of alienation and isolation, her día de los muertos, the day of the dead, attempts to adapt to a new culture, as well whose origin is, in fact, Aztec. As Helland as longing for her homeland. Anyone who points out skulls were often embedded into has lived or studied abroad can certainly the walls of Aztec temples as “a life identify with the emotions evoked in this sprouting from death metaphor” (1991:2). painting. Indeed, the arts give us a This dualism can also be seen in the upper common ground, a means of left, where Kahlo has placed an Aztec communication across cultures and sacrificial temple. Above the temple, we languages, of “a life lived – a life felt”. find a blood spewing sun and a crescent Stuart Richmond sums it up quite well, moon linked together with a bolt of when he says “art simply brings us into lightning, another reference to the Aztec intimate connection with what it means to practice of ritual human sacrifice. Thus, be alive using the tools and materials we see, on the Mexican side, a world rich currently at its disposal. As such, art is in history and culture where life and death most conducive to the answering of are interconnected, and as Helland questions concerning how we ought to (1991:2) asserts intimately tied to the earth live, for art above all explores the very
6
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
pith of human existence” (2009:102). If we take, for example, Jacques-Louis McCarthy, Ondaatje, Zakaras and Brooks David’s The Death of Marat (1873)6, we agree insofar as the aesthetic experience can readily infer from the title that the man provides the viewer with new references in the painting is Marat, and he has just that allow one “to become more receptive died. However, unless we have some to unfamiliar people, attitudes, and inkling of the French Revolution or who cultures” (2004:48). Jean-Paul Marat was, much of the significance of this masterpiece is lost on The arts teach us to see the untrained eye. To decode this painting, the viewer must know that Marat was a All cultures express what they value most journalist and the editor of L’ami du in some form of the visual arts. When we peuple, Friend of the People, an extreme look at the great gothic cathedrals of pro-revolutionary French newspaper and Reims and Notre Dame, we don’t need to that he suffered from a painful skin be medievalists to grasp the importance of disease, which required him to work from the Christian church in Europe or the role his bathtub. It was there that Charlotte religion played in the lives of the people Corday, a young royalist, assassinated who built or sought spiritual solace in Marat by stabbing him in the chest on July these majestic edifices. As we glance at 13, 1793. Hokusai's prints, we easily sense the power and sanctity of nature; by the same David and Marat were friends and token, we do not need to have a ideological comrades, and thus, the painter background in Hindu art to appreciate the approaches his subject with great highly unique and stylized interpretation reverence. In fact, he has transfigured the of feminine beauty of Nihal Chand’s Bani radical revolutionary political leader in Thani, considered by many to be the death into a martyred hero of the people. Indian “Mona Lisa”. With just a quick Through David’s use of composition, look and without any formal training in the color, and light, he has created a neo- arts, the average viewer is able to arrive at classical Christ like figure, which bears a such basic conclusions. However, he has remarkable resemblance to the great only gotten a glimpse—a chimera of what Renaissance sculpture, the Pieta by these masterpieces have to say. Michelangelo (1498-1499) or to Caravaggio’s painting The Entombment of Novice viewers will often misread or Christ (1602-1603). overlook the very elements or context that render a particular work of art iconic Casual viewers often fail to realize that because they lack the historical, religious, painters, like authors, have points of views social, political, and/or philosophical and opinions that can be explicitly or background to decode its message. This is implicitly expressed. And, David’s public where the other disciplines of the expression of his own political position, humanities play such a vital role in helping namely as a fervent supporter of the us to see and understand. They provide us revolution, will often go unnoticed. By with a framework to begin exploring the layers of meaning not only simply in a 6 given work of art, but also all around us. See http://www.bc.edu/bc_org/avp/cas/his/CoreArt /art/resourcesb/dav_marat.jpg
7
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
carefully examining the bottom examine the different parts—or take stock foreground of the painting, David has of the seemingly “unimportant” things, placed three revealing objects at a 90 such as line, brushstroke, texture, etc. In degree angle, namely the bloodied fact, they often even fail to see the role weapon, or dagger, Marat’s limp right color and light play in conveying mood or hand holding his writing quill upright, and tone. As David Perkins points out much of a simple wooden box, which functions as art is “hidden” or “invisible”. He tells us both a table and tombstone, with the that “most works ... are largely invisible at inscription “A Marat – David”. The artist first[;] they gradually reveal themselves to sends a powerful, yet subtle, message that the patient eye and mind” (1994:36). Thus, is—through Marat’s writings and David’s we must train students to invest the time memento mori, remembrance of mortality, and pay attention to details, relationships, not only will the slain revolutionary live and capture the nuances in that in art, on but so will his ideals. Both the man and “small differences can have large effects. the revolution have been immortalized in They traffic in subtleties,” which, David’s The Death of Marat. according to Eisner (1998:5), is not something we are used to doing in daily Visual images, in particular, speak to life. By really seeing, we discover, we viewers in a universal language, and our marvel—we have an aesthetic experience. principal responsibility is to “see”, to internalize, and reflect on what is being The arts teach us to think expressed. Unfortunately, the act of “seeing” isn’t as simple as it seems. It As we begin to learn how to see through requires time and practice to develop as the artist’s eyes, to appreciate how he has well as background knowledge, which is mastered his medium, worked through where the humanities come in. We need to problems or limitations, made aesthetic train the eye to see all the subtleties, to and technical decisions to communicate penetrate the opaque, to understand artistic his intention or message, we are obliged to connections and decisions, to decipher question, for seeing art necessitates symbols, create meaning, and to reflect thinking about what we see. We must how this meaning is conveyed. But most begin a dialogue with the artist by asking of all, we must allow ourselves to feel—to questions and looking for answers in the be moved by what is before us and to pay art. Why did van Gogh choose to paint attention to what the artist is saying. In sunflowers so often? What did he see in short, we need to learn how to see in order them to want to spend weeks, months, and to have a true aesthetic experience. even years painting them over and over again? Why are some of the flowers in full The first step in learning how to bloom painted in rich golden shades while experience art is to give ourselves the time others are brownish and withering? Could to explore fully a work of art and there be some hidden meaning here? understand our reaction to it. Most Could he be depicting the cycle of life or untrained viewers approach a painting how ephemeral all living things are? If so, globally—that is—they stand at a distance does this theme come up in his other looking at the “big picture”; they rarely paintings, or only in his Sunflowers series? see beyond the content or subject matter. It is undeniable that artistic creation and They don't get up close and personal and appreciation require not only highly
8
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
developed intellectual skills similar to drawings or images grow in complexity. A those used by scientists and physician, for example, will visualize each mathematicians, but also knowledge to step of a complex surgery in his mind’s make the appropriate connections between eye prior to walking into the operating the parts and the whole, form and content, room, in the same way as an electrician as well as the “relationship between the might draw a series of diagrams as he arts and culture over time” (Eisner 2002: plans the wiring layout of a new building. 74). Assimilation of a work of art requires Artists do the same. They frequently make that we make full use of what we know of sketches or drawings, in which they think the world. It brings together all that we through ideas, understand structures and have learned in the humanities coupled shapes, work on colour or composition, with our own personal experiences. solve problems, and make modifications. The works of art we see hanging on a This process of seeing, questioning, museum wall are merely the translation of interpreting, finding confirmation, seeing “finished thoughts into visible models” again, reflecting on what has been (1969:129); they are the end product of an discovered, and constantly reevaluating, arduous process or journey. For Rudolf requires complex and highly developed Arnheim, “artwork is a form of visual forms of thinking, which all educators, thinking, and beyond that, all areas of regardless of their discipline, seek to foster human activity require the capacity of in their students. Like reading a text, dealing with visual imagery. And the seeing a work of art is not simply the training field for this is the visual arts” passive reception of visual images or (Pariser 1984:182). symbols, the act of seeing actually involves sophisticated forms of thought in We have seen that looking at a work of art the construction of meaning. Perkins is not merely a passive or “undergoing” argues that the arts provide a sensory point experience; quite the contrary, it is a of reference—an object that is “physically complex and dynamic binary between present as you think and talk, providing an artist and viewer. The renowned anchor for attention over a prolonged philosopher and educator, John Dewey, in period of exploration” (1994:98). his seminal work Art as Experience (2005:48-56), suggests that an object only Thus, seeing is unequivocally thinking. becomes a “work of art” when the viewer Rudolf Arnheim rejects the traditional is engaged in the creative process. Thus, dissection between the senses and the artist and viewer participate together in cognition and argues that perception and the aesthetic experience. In essence, they thinking are irrevocably interconnected. both contribute to the creative process; the Arnheim tells us that true “productive artist puts himself in the viewer’s position thinking in whatever area of cognition as he works and guides the potential takes place in the realm of imagery” perceiver’s eye. Similarly, the observer (1969:5). To illustrate this point, he must deconstruct this process, aided by the describes how we all use images, non- skills of the artist, of course, to truly mimetic drawings, diagrams, or sketches appreciate or achieve the aesthetic to think through a concept or work out experience. For Dewey, the artist needs a solutions to problems. As people’s discerning viewer to complete the creative thinking becomes more focused, the experience. Dewey tells us, “the esthetique
9
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
[sic] experience—in its limited sense—is Finally, more and more scholars have thus seen to be inherently connected with come to the realization that the arts are not the experience of making” (2005:50). only critical in understanding the world around us, but they should take their In short, experiencing the arts provide rightful place among the pantheon of the numerous cognitive benefits. First, they major disciplines, specifically along side foster imaginative and creative thinking— the sciences. Nelson Goodman, the they incite us to think outside the box. influential American philosopher and They encourage us to reflect, to founding director of Project Zero at comprehend the importance of detail and Harvard University, insists “the arts must see the effects of relationships, to find be taken no less seriously than the sciences innovative or unconventional ways of as modes of discovery, creation, and solving problems, as well as to look enlargement of knowledge in the broad beyond the superficial to find meaning. sense of understanding, and thus that the The arts provide a multitude of philosophy of art should be conceived as opportunities to analyze, form judgments, an integral part of metaphysics and and accept that, very often, as in life, there epistemology” (1978:102). Goodman’s are many ways to see and more than one contributions to the field of aesthetics are way to solve a problem, or interpret a of particular interest to us. His theory on work of art. They, as Eisner contends, systems of symbols or references, such as allow us to accept ambiguity, to explore the ones used in language, music, kinetic the significance of the particular, and and visual arts are essential in constructing “liberate us from the literal” (2002:14). and understanding the different worlds in which we live. To decode these symbols Anyone who has taught in Thailand is well often necessitates the use of one’s cultural aware that students in the public education background or other less obvious system are given few opportunities to references, which we must find and use. explore, think critically, much less think Goodman maintains that the eye isn’t abstractly, or discover meaning for innocent for it “selects, rejects, organizes, themselves. Thai classrooms are very discriminates, associates, classifies, and much teacher centered and rote learning is constructs” (1976:7-8). Thus, reception the preferred methodology. In pretty much and interpretation are inseparable. every public school classroom in the country, there is only one possible answer to Arnheim concurs in that “both art and any question posed, namely the teacher’s7. science are bent on the understanding of Re-evaluating the position of arts in higher the forces that shape existence, and both education may very well necessitate a call for an unselfish dedication to what is. paradigm shift that Thai pedagogues and Neither of them can tolerate capricious policy makers must inevitably face. subjectivity because both are subject to their criteria of truth. Both require precision, order, and discipline because no 7 For an in depth analysis of the problems comprehensible statement can be made facing the Thai educational system, see without these” (1969: 300). Similarly, Tangkitvanich, Somkiat and Sasiwuttiwat, Dewey was so convinced of the role of Supanutt. (June, 2012) Revamping the Thai intelligence in producing a work of art that Education System: Equality for all in TDRI he vehemently maintains: Quarterly Review.
10
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
must deconstruct these images in order to Any idea that ignores the discover meaning. Artists, whether their necessary role of intelligence in medium is language, paint, or marble help production of works of art is based us to see and understand the world around upon the identification of thinking us. This awareness, as Eisner (2002: 46) with use of one special kind of postulates, is epistemic. material, verbal signs and words. To think effectively in terms of A work of art allows inquisitive viewers to relations of qualities is as severe a go back in time, or remain in the present, demand upon thought as to think to stand in the shoes of another, and see in terms of symbols, verbal and the world from an entirely different mathematical. Indeed, since words perspective from their own. Because art are easily manipulated in speaks both to the mind and emotions, mechanical ways, the production of across time and cultures, it is, without a a work of genuine art probably doubt, the most all-encompassing demands more intelligence than universal language humankind has does most of the so-called thinking developed. Thus, the idea that verbal that goes on among those who language is the principal means of thought pride themselves on being or communication is erroneous, at best. ‘intellectuals’. (2005:47) Dewey vehemently maintains, “if all meanings could be adequately expressed The arts teach us to communicate by words, the arts of painting and music would not exist. There are values and Language is not the only way humans meanings than can be expressed only by communicate; we also communicate with immediately visible and audible qualities, visual images and have done so since our and to ask what they mean in the sense of earliest beginnings. We need not look any something that can be put into words is to further than the caves of Lascaux and deny their distinctive existence”(2005:70). Chauvet or the Venus of Willendorf and of The arts provide us with a window into the Hohle Fels, to understand that long before past and present, as well as insight to the written word existed, humans future generations about who we once communicated through imagery—be it were as a people. The artist tells us through painted images on cave walls or stories—universal narratives to which we sculptures. In fact, the written word can all relate. He can commemorate a developed much later, around 3200 BCE. specific historical or religious event, And, as writing established its own art fascinate us with the mundane, be didactic form in prose and verse, it also became a and emotive as well as playful or ironic; visual art with calligraphy—the marriage he can express strong political and social of the written word and visual form, prized opinions, or even have an agenda; he can by so many Asian and Arab cultures even allow us an intimate glimpse of people to this very day. Writers, like painters, going about their daily lives—the list of work with images, but unlike painters, possibilities is endless. they use the medium of language to create imagery while the reader uses the words Talking and writing about art is especially on the page to reconstruct images in his challenging, for they demand a linguistic mind’s eye. Both the reader and the viewer precision that very few other disciplines
11
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
require in order to communicate a specific became the foci. If we take, for example, experience, in our case, an aesthetic one. Willem de Kooning’s abstract In a sense, to talk about art forces us to use expressionist painting, Woman I8, viewers literary tropes that we don’t normally use, have no choice but to redefine their such as metaphor, synecdoche, or simile, concept of feminine beauty as they study which generally belong to the realm of the the seated female subject. How would one poet or writer. How do we describe a describe the ambivalence of this female specific shade of blue that distinguishes it figure, who is at once voluptuous and from all other blues? How do we highly sexualized, but who is also communicate to another how a particular formidably menacing and terrifying? She mood is set by the interaction of light and is reminiscent of the highly sensual and shadow? How do we translate into verbal erotic Paleolithic fertility figurines, language how or why a work of art deeply specifically the Venus of Willendorf we moves us? We must learn a new mentioned earlier. However, her hideous vocabulary because the discourse we use skeletal face, grotesque grimace, and on a daily basis is inadequate as it is threatening glare belie the very notion of unable to capture or do justice to the feminine sensuality. All the cultural aesthetic experience. female archetypes are found in this single female figure, for Woman I typifies the As we saw in our discussion of David’s dissonance of the feminine; she is at once The Death of Marat, talking or writing alluring and repulsive—beautiful and about the visual arts, which requires monstrous. De Kooning’s Woman I knowledge of the historical and political captivates us because the emotions it context in which the work was created, of evokes are so very raw and brutal. And religious iconography, of visual symbols, finally, how does one interpret and and a myriad of other things too, is verbalize De Kooning’s aggressive and challenging enough, to say the least. violent brushstrokes, his use of line and However, appreciating non-mimetic, or color that are equally disturbing? abstract art, is even more taxing for the viewer who has had little contact with the Most inexperienced viewers have trouble historical context or progression of art with abstract art, which is often echoed movements. Up until the mid 19th century when they ask the teacher “what is it?” or art was pretty much representational and “what is it about?” and often dismiss it as even mimetic– that is to say the artist’s meaningless scribble. The lack of mimesis primary objective was to capture the can be disorienting at first. Thus, the illusion of reality. unseasoned viewer must return to the artwork and continue his dialogue with the In the early 20th century, painters began to artist. Through the act of “thoughtful” move away from realism and visual seeing, as Perkins would say, using one’s references to focus on visual language, the background knowledge, and questioning, essence of subjects, and the medium itself. the layers of meaning will finally reveal Thus, the use of form, color, shape, line, themselves. When this occurs, students texture, space, etc. became the subjects of expression while pictorial representation took a backseat. The unconscious mind, 8 See fragmented images, and the spontaneous http://www.moma.org/collection/object.php?o bject_id=79810
12
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
will be able to express, and thus share, Thus, as educators, we must ask ourselves their visual and aesthetic experience. As why we place so little importance on the Dewey so aptly puts it, “…works of art are arts, especially when they have so much to the only media of complete and offer not only to our students but also to unhindered communication between man society as a whole? And, how can we and man that can occur in a world full of meaningfully bring the arts back into the gulfs and walls that limit community of classroom where they belong? We spend experience” (2005:109). years teaching our students how to read, and yet, we spend virtually no time Conclusion and teaching them how to see. Broudy sums up Recommendations this dilemma quite well when he says, “aesthetic literacy is as basic as linguistic We have seen how an arts enriched literacy” (1985:349). curriculum can provide students with insight into the complexities and Although the Thai government does universality of the human condition and of indeed recognize the significance and the wealth of mankind’s cultural benefits of the arts in its national 1-12 heritage—not to mention potential. The curriculum, most universities in Thailand arts would allow them to bridge the divide do not. This unfortunate situation could between diverse cultural and social easily be remedied in a number of ways. groups, appreciate the unfamiliar, and First, the universities would have to become personally engaged. Art reinforces acknowledge that the arts are as important the notion that viewers are both sentient as other disciplines in the development of and rational beings while offering a well-rounded and educated citizenry. opportunities to not only reflect upon their They could begin by integrating the arts own humanity but also to communicate with other subjects, such as foreign their personal aesthetic experience to languages, history, literature, philosophy, others, for art is indeed the most political science, etc., which would international of languages. As our research provide the students with an historical, has demonstrated, the arts foster the political, cultural, and social framework to development of critical thinking skills, study a work of art. For example, in an linguistic precision and complexity, an elementary French class, the teacher, understanding of the importance of detail instead of using flash cards, could use a and relationships, as well as new ways of still life by Cezanne or Monet to teach seeing the world. Indeed, as viewers learn colors, prepositions of location, to “see” and “peel” off the layers of vocabulary for the various objects in the meaning in a work of art, to use Perkins painting as well as countless other things. words (1994), they are forced to draw on Another example could easily be applied all their prior knowledge and experience to students whose language proficiency of the world around them. Likewise, has reached a level whereby they could be viewers must also allow themselves to be introduced to historical, political, social, moved by, or feel, the artwork that is literary, philosophic, and artistic before them, for only when the two movements. The instructor might begin converge can we say that they have had a with a discussion of World War I and its true aesthetic experience. aftermath in order to introduce Surrealism. The class would read excerpts from Andre
13
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
Breton’s Surrealist Manifesto, study a few This solution, however, should only be selected works of surrealist poets and viewed as a temporary one for the playwrights such as Guillaume Apollinaire curricular shortcomings when it comes to and Antonin Artaud, respectively, examine arts education at the tertiary level. The arts the artwork of Rene Magritte, Salvador should not solely be treated as a vehicle to Dali, Joan Miró, as well as Max Ernst to teach other subjects, but rather, they understand how this movement expanded should be viewed as academic disciplines throughout Europe as well as the rest of in their own right. Introductory art the world, and into other art forms such as appreciation and art history courses should film and music as well. not only be included but required in general education courses at all liberal arts By the same token, history and political colleges in Thailand. Universities that science classes have the potential of offer language and culture, as well as becoming far more meaningful when humanities majors must be persuaded to works of art are introduced into the place the arts in a prominent position in classroom. Whether we are teaching their core curriculum, for culture and the Napoleon’s invasion of Spain or the two arts are interdependent—the one cannot world wars, human suffering and the exist without the other. Thailand can no horrors of war are much more vividly longer afford to ignore the benefits of arts driven home when seen through Goya’s related disciplines at the tertiary level. It etchings, Los Desastres de la Guerra, the is, therefore, absolutely essential that Disasters of War, or Otto Dix’ WW I policymakers and curriculum developers prints, Der Krieg, the War. In fact, reconsider what it means to be an educated Catterall (2005:3) provides an excellent individual. After all, is higher education example of how Picasso’s masterpiece, only valued for its usefulness in securing Guernica (1937), can be used in a jobs? Shouldn’t universities strive to classroom of children, which could readily produce individuals who are not only be adapted to young adults. Students learn employable but also enlightened and to see that the arts are not only very cultivated? As Rudolf Arnheim so powerful political and social instruments eloquently reminds us, “without the of change, but also capture the human cost flourishing of visual expression, no culture of war. In addition, art can even be can function productively” (1957:5). brought into a mathematics class with the study of fractals—those mathematical References functions, intuited by great artists that create self-replicating geometrical figures Anderson, Tom. 1990. Attaining Critical found throughout nature, such as Appreciation through Art. Studies in snowflakes. Indeed, painters and sculptors Art Education. 31.3: 132-140. have long been interested in representing 9 the quantum world itself . Thus, the Arnheim, Rudolf. 1957. Film as Art. possibilities of the arts across the Berkeley: University of California curriculum are endless. Press. Arnheim, Rudolf. 1969. Visual Thinking.
9 Berkeley: University of California See Gavin Parkinson’s fascinating discussion Press. (2008) on the influence of modern physics on the Surrealist movement.
14
Downloaded from Brill.com09/26/2021 06:47:16AM via free access Arts Education in Thailand: Why It Matters
Broudy, Harry S. 1979. Arts Education: Helland, Janice. Fall 1990/Winter 1991. Necessary or just Nice? The Phi Delta Aztec Imagery in Frida Kahlo’s Kappan, 60.5:347-350. Paintings. Women’s Art Journal. 18:11.
Broudy, Harry S. 1985. Curriculum Kahlo, Frida. 1932. Self-Portrait on the Validity in Art Education. Studies in Borderline between Mexico and the Art Education. 36.4:212-215. United States. Private collection.
Catterall, James S. (2005). Conversation Leidy, Denise P. 2008. The Art of and Silence: Transfer of Learning Buddhism: An introduction to its through the Arts. Journal for Learning History and Meaning. Boston: through the Arts 1.1. Shambhala Publications.
David, Jacques-Louis. The Death of McCarthy, Kevin F., et al. 2004. Gifts of Marat. 1793. Royal Museums of Fine the Muse: Reframing the Debate about Arts of Belgium. Brussels. the Benefits of the Arts. California: Rand Corporation. De Kooning, Willem. Woman I.1950-52. Museum of Modern Art. New York. Ministry of Education, Thailand. 2008. Basic Education Core Curriculum B. E. Dewey, John. 2005. Art as Experience. 2551. Bangkok: Ministry of Education. New York: The Berkeley Publishing Group. Mounier, Alain and Tangchuang, Phasina. (eds.). 2010. Education and Eisner, Elliot W. 2002. The Arts and the Knowledge in Thailand: The Quality Creation of Mind. New Haven: Yale Controversy. Bangkok: Silkworm University Press. Press.
Eisner, Elliot W. 1998. What do the Arts Pariser, David A. 1984. A Conversation Teach? Improving Schools 1 (1998): with Rudolf Arnheim. Studies in Art 32-36. Education : 176-184.
Fisher, Robert E. 1993. Buddhist Art and Parkinson, Gavin. 2008. Surrealism, Art, Architecture. London: Thames and and Modern Science: Relativity, Hudson. Quantum Mechanics, Epistemology. New Haven: Yale University Press. Goodman, Nelson. 1976. Languages of Arts. Indianapolis, Indiana: Hackett Perkins, David N. 1994. The Intelligent Publishing Company. Eye: Learning to Think by Looking at Art. Santa Monica: The Getty Center Goodman, Nelson. 1978. Ways of for Education in the Arts. Worldmaking. Indianapolis, Indiana: Hackett Publishing Company.
15
Downloaded from Brill.com09/26/2021 06:47:16AM via free access MANUSYA: Journal of Humanities Regular 17.2, 2014
Rawson, Philip. 1963. The Art of Southeast Asia. London: Thames & Hudson.
Richmond, Stuart. 2009. Art’s Educational Value. Journal of Aesthetic Education. 43.1:92-105.
16
Downloaded from Brill.com09/26/2021 06:47:16AM via free access