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This qualitative investigation uses a participatory research method to document the traditional knowledge and state of fruit and vegetable carving in Thailand. Results show that successfully inherited traditional carving designs are simple and easy to learn. More intricate designs live and die as the artistic signature of the individual artisan and are not usually inherited. The intricacy of the displays will reflect the level and prestige of the events at which they are shown, which are primarily hotel banquets and contests. All modern fruit and vegetable carved displays are based on traditionally inherited principles. There are problems with the traditional craft in six major categories: materials, designers, sculptors, design development, inheritance and added-value creation. Ultimately it is important for all artisans to be well-trained in the traditional concepts of the art but creative and pragmatic in their design concepts.

This investigation, Mon dance: Creating standards to continue the performing arts of Thai-Raman, has the following objectives: 1) To understand the history, current conditions of and problems with Mon dance of the Thai-Raman; 2) To examine the standards of Mon dance; 3) To create standards to continue the performing arts of the Thai-Raman. This qualitative research was conducted in three central Thai provinces: Pathum Thani, Nonthaburi and Samut Prakan. Data was collected from documentary study and field data by means of observation, interview and group discussion. Workshops were also held with a total of 100 attendees, comprised of 20 key informants, 50 casual informants and 30 general informants. Data was validated using a triangulation technique and findings are presented using a descriptive analysis. The research highlighted current conditions and problems in dancing process, melody, costume, performers, time and rituals,which have similarities and contrasts depending on the environment and the social and cultural changes in each area. The standardization of the dance was found to be similar to the dancing process, melody, costume, performers, time and rituals. Traditions are not supposed to change in order to demonstrate the identity of Mon Dance. It was concluded that the dance process has 6 indicators and points were set in the performance judging criteria as follows: 170 points for the melody with 3 indicators, 195 points for the costume with one indicator, 30 points for the performers with six indicators, 80 points for the time with 2 indicators, 25 points for the rituals with 3 indicators and 40 points for meeting the assessment criteria. The passing score for the dance will be 80%.

This qualitative investigation synthesises the use of traditional knowledge in the architecture of Thai Buddhist temples. The focus of this paper is on the main worship hall of the temple, the ubosot. The research was carried out between August 2010 and March 2013 using data collection tools of interview, observation, focus group discussion and workshop. The findings show that current restoration projects neglect traditional knowledge of ubosot construction in favour of more modern techniques. Six problems with traditional knowledge in this field were identified: lack of inheritance, insufficient funds, poor budget management, skilled labour shortages, lack of historical records and no standardisation. This paper synthesises traditional knowledge of ubosot construction and outlines five steps for the successful application of traditional knowledge in the creation and restoration of ubosot: a) planning; b) creation and restoration using traditional methods and processes; c) evaluation of construction and restoration; d) correction and improvement; e) recording of results for use as a future guide and model. These results can be used as a model for future restoration projects in Bangkok and beyond.