Learns for My skills

Learns for My skills

Asean song

Exercise for cognition  

Asean 

Answer questions by Asean 

can you write name country in paper and drawing 

ASEAN ECONOMIC COMMUNITY IS COMING IN 2015

ASEAN ECONOMIC COMMUNITY IS COMING IN 2015

Thailand may encounter both crises and opportunities when the Asean Economic Community is implemented in a few years. But if Thais prepare thoroughly, the AEC would not affect them that badly and they may even find opportunities, academics said recently.

However, after seeing no concrete move towards preparing for the AEC by the government, Visanu Vongsinsirikul, director of Dhurakij Pundit University’s Asean Community Preparation Centre (ACPC), the most influential body with the power to prepare the country for changes, called on the government to think and act as soon as possible. Otherwise Thailand would lag behind other countries rather than be able to grasp the opportunities.

“Thailand has advantages over other Asean countries in terms of geographical features, weather, races and cost of living. The question is how can we make use of the advantages we have?” he said.

“Foreign languages, English in particular, are our big problem. But we can learn them,” he said.

“We cannot escape the AEC. Even if we don’t want to work in other Asean countries, citizens from those countries will certainly come to work in Thailand,” he said.

The government should put preparing for the AEC on the national agenda.

“Prime Minister (Yingluck Shinawatra) should assign each ministry to study what it should do and present its own proposals to the premier. Then, the ministries implement the proposals. If the government tries to achieve good preparation and successfully does that, it will be the government’s great accomplishment.”

ACPC is trying to educate people about the Asean community, including the AEC, to help them understand Asean and inspire them to find possible opportunities in the new setup.

ACPC has provided seminars and courses on the Asean community to requesting agencies, including educational institutions, and has invited experts on Asean to share their knowledge.

It has joined hands with the Thailand Development Research Institute to carry out research on the state of preparation of institutions in basic, vocational and higher education in Thailand and compare that to Singapore, Malaysia, the Philippines and Indonesia.

The centre has also surveyed business owners on how they think the AEC will affect their business, what they want the government to do to help and what kinds of employees they want.

The ACPC will help them voice what they want so that they can seek assistance from the government. The survey results will also be used as a guideline for education so educators will adjust their curricula to produce more qualified workers for the AEC.

Entrepreneurs and educators should work together to revamp curricula.

However, most teachers do not understand the AEC well enough while officials at the Education Ministry who shape policies show inadequate preparation.

The ministry should find more people with English communication skills and let them teach at schools. The curricula revamp should encourage students to think analytically and be able to solve problems so they are able to handle problems when growing up. Teachers should study and understand the ways of life and cultures of other Asean countries, he added.

Wiriyah Ruechaipanit, founder and coach of www.eduzones.com, a popular education site in Thailand, said students should keep four things in mind to deal with the coming challenges from the AEC.

“Only a bachelor’s diploma is not enough. They should learn an occupation, like cooking or haircutting, that will give them more job opportunities. They should learn how to search for knowledge by themselves. When studying what they like, they should study it deeply. Lastly, they should not forget to adhere to what people consider as morality,” he said.

“Now, teachers use only 50 per cent of their capacity. They are interested in and alert to the challenges, but they have been working in the same system for a long time. I’m not sure how much they will be able to prepare students,” he said.

So, teachers should work harder and think “out of the box”, he added.

Both academics recently hosted seminars together in each region of the country to inspire teachers to prepare themselves and their students for the AEC. The ACPC plans to organise more seminars in more provinces this year.

“Don’t wait until we experience the impact as it may be too late. We should prepare ourselves first,” Visanu said as a warning to his fellow countrymen.

อ่านต่อ: http://www.thai-aec.com/139#ixzz23X56uAro

Music of Thailand

The music of Thailand reflects its geographic position at the intersection of China and India, and reflects trade routes that have historically included Persia, Africa, Greece and Rome. Thai musical instruments are varied and reflect ancient influence from far afield - including the klong thap and khim (Persian origin), the jakhe (Indian origin), the klong jin (Chinese origin), and the klong kaek (Indonesian origin). Though Thailand was never colonized by colonial powers, pop music and other forms of modernAsian, European and American music have become extremely influential. The two most popular styles of traditional Thai music are luk thung and mor lam; the latter in particular has close affinities with the Music of Laos. 

kruang sai

laos duang dean

จีนขิมใหญ่

จะเข้ห่างยาว

 

Songs in Thai

Songs in Thai
you can see and leads pass VDO in your like

Fon Sao Mai 

 Sri-Nuan 

The Nora

Serng Kratip

Dance in Thailand

Dance in Thailand

รำไทย Ram thai 
Is the main dramatic art form of Thailand. Thai dance, like many forms of traditional Asian dance, can be divided into two major categories that correspond roughly to the high art (classical dance) and low art (folk dance) distinction. Thai classical dance is originally derived from the culture ofKhmer classical dance.

Central Sri-Nuan is a typical dance of Central Thailand. Its great popularity is due to the beautiful choreography and the sweetness of the music that accompanies it. The lyrics and music evoke the sweet nature of Thai girls. The dance is also an expression of the yearning of a young man won by such great charm. Teut-Teung (Drum Dance) The teut-teung drum, a typical instrument used in Thai folk music, is played throughout the country to accompany the parades held at traditional festivals. It is said that the modern style of the Teut-Teung dance was created by some music teachers. Farmers Dance (Rice Growers Dance) This is a modern dance created by the Thai Ministry of Culture. The dancers wear the rice growers traditional costume and the dance itself enacts the daily activities of these workers who are the backbone of the nation. The ballet opens with the farmers as they come to plough and sow the fields. When they are sure that the rice is growing well, they gather together to pray to Mae Po Sop, the goddess who protects rice-growing. Lastly, the harvest is celebrated with songs and dancing. Combat with Short and Long Sticks, and with Swords These dances are inspired by types of combat that are typical of Thailand, in which either sticks or swords are used. The skilful use of the short stick depends on the agility of the fighter, who must attack and always remain close to his opponent, while the combatant who takes up the long stick must maintain a certain distance from his rival to use his weapon effectively. The art of sword fighting has been practiced in Thailand since the beginning of time, and, traditionally, a ceremonial dance is performed prior to combat. Northeast Serng Kratip Khoa This dance is performed during traditional celebrations. Usually the word serng is added to the name of the domestic object used on stage by the dancers. In the case of the Serng Kratip, the dancers carry the typical rice baskets, known as kratip. Their movements imitate those of the women who bring food to the men working in the fields. The choreography is accompanied by music with a lively rhythm. The instruments used are a long drum, charb (cymbals), grab (a kind of castanet), mong (gong) and the kahen (like an old-fashioned syringe). Fon Phu Thai This dance is part of a propitiatory ceremony performed by the Phu Thai tribe, who live in the Northeast of the country. The music that accompanies it is played on typical instruments like the gong ching (a tribal drum), along with other drums and pipes. The gong ching plays a fundamental part because it sets the rhythm for the dance. Serng Krapo (Coconut Dance) Krapo is the word for coconut in the Northeast dialect. The dance illustrates the activities of a group of nubile girls from the southern part of the region, known as I-San. The dancers hold two coconut shells, with which they execute complex choreographic movements, shaking them, tossing them or tapping them lightly. This dance is often accompanied by the sound of the pong lang, a kind of upright xylophone, made of strips of wood arranged according to the musical scale. I-San Bantheong (The Happiness of I-San) This is a series of folk dances usually performed on festive occasions. The swift, harmonious movements are accompanied by folk songs associated with the Northeast region. North Fon Sao Mai (Silk Weaving Dance) Fon is a type of dance in northern and northeastern Thailand. It is performed in groups and has very slow, graceful, and almost meditative movements. Fon Sao Mai depicts a traditional profession of northern Thai women in silk weaving. The dance imitates different processes of silk-weaving. For generations, silk production is one of the top home industries in northern and northeastern Thailand and the neighboring country, Laos. Dance of the Nantha-Peri and Pu-Cha Drums The nantha-peri is a drum characteristic of the northern region of Thailand, which is used for two purposes: to spur on warriors prior to battle and to pay homage to the Buddha in religious ceremonies. The pu-che, on the other hand, is a type of drum used by the tribes that live in the north: the Tay Yai, the Tai Lue and the Tay yan. It is used to accompany various dances including the sword dance, and the kai lai and king ka lai dances. Sword Dance This dance is inspired by an ancient martial art that requires tremendous courage and strength, and excellent reflexes. The dancers balance a number of swords on different parts of their bodies while fighting off their rival with a sword sheath. Ka-Lai Dance Beginners learn to execute graceful and balanced movements through the choreography of this dance. King-Ka-La Dance The hand movements and steps of the female dancers, who wear spectacular fan-shaped costumes, evoke the movements of a bird. The Sounds of the Mountains The music that accompanies this dance is played on wind instruments characteristic of three tribes in the North of Thailand: the pi hom (a gourd pipe) of the Tai Lue, the pi joom of the Tay Yuan and the kan nam tao (a gourd flute) of the Li Saw. Candle Dance Typical of the Thai Kheun tribe, this dance is performed in honor of the Buddha. The female dancers pay homage to the divinities that protect the eight cardinal points of the Earth, asking them to pass through the candlelight in homage to the Buddha. Khan Dok Dance The striking choreography of this dance of blessing expresses the calm, serene temperament of the northern peoples. Choeng Tua Auk-son Dance This dance, performed in the Buddha's honor, is characterized by a complex choreography inspired by the calligraphy of the ancient alphabets of the northern regions and by the movements used in martial arts. The Sounds of Lanna, the Ancient Kingdom of the North This music is played on two instruments typical of this region. The phin-phia is a stringed instrument whose body is made from a coconut shell. When he plays it, the musician rests the shell on his bare chest, then moves it or presses it to achieve the desired tonality. In the past, the phin-phia was the instrument used by youths to court the maidens of their village. Few musicians still play it. The sueng is a stringed instrument, made of teak or hard wood. It is played by plucking the two metal or brass strings with a horn plectrum. South The Nora The Nora is a traditional dance of Southern Thailand (in South Thai language called the "Chatri"), whose origins lie in various legends of which there are different versions. The choreography of the Nora dance varies from region to region, but is generally composed of 12 positions and 17 movements. Nora Tua Oon This very refined version of the Nora requires great interpretive skills and experience. To learn this Nora it must be studied from a very young age, so that the body can achieve the flexibility necessary to execute the complicated movements. The female dancers, in fact, follow a demanding exercise regime and a strict discipline. Ram taeng Kae This is another elaborate Nora dance that requires great interpretative gifts. On the stage the protagonist launches a harpoon at the crocodile, whose back, lit by candles, is made from the trunk of a banyan tree. The female dancer moves round the writhing crocodile, poised to pierce its head at the right moment. Ram Nora Son Ram This is a basic posture, which is executed by concentrating on hand arm and shoulder movements, and on the equilibrium and movement of various parts of the body, and is accompanied by rather long lyrics. Ram Kien Pral - Yieb Louk Manao - Ram Ko Soet This advanced level of the Nora dance is usually performed during a competition between two groups of dancers. To intimidate the rival group, a male dancer strikes an effigy. In the version known as Yleb Louk Manao, the female protagonist stamps on three lemons symbolizing the hearts of the rivals. The dance is performed as a sign of victory. In the next dance the female protagonist asks the pran, the comical hunter, to give her a headdress as a symbol of her victory. This is a ceremonial ritual carried out to dishonor rivals and to encourage the members of the group, and is characterized by a certain sacredness, as can be seen from the style of the dance. Ram Nora Bot Pratom This choreography uses another basic posture, in which hand, arm and shoulder movements are synchronized with those of the head. Ram Ooak Pran In the company that performs a Nora, the pran or hunter plays the part of the fool. He usually wears a hunter's mask or headdress. His movements are often amusing, and designed to make the audience laugh. Each position is in harmony with the dynamic rhythm of the music. Ram Nora Klong Hong This advanced level of Nora is performed only on important occasions. The female protagonist plays the role of Hong or Kinnaree - a legendary creature who is half woman and half bird. According to a celebrated Nora teacher, this episode is partly based on the legend of Prasuton-Manora. The seven Kinnaree are playing in the lake in the middle of a wood. Struck by their beauty and lightheartedness, Pran Boon, the hunter, chases the maidens in an attempt to catch the youngest. The lively harmonious movements perfectly evoke Pran Boon's pursuit of the Kinnaree as she tries to escape. Ram Nora Tam Bot - Ram Ooak Pran In this dance the hand movements evoke the beautiful scenery of Songkhla Province in South Thailand. The verses of the song are accompanied by a very lively rhythm.