E-Lerng Artists Collective and Policy Proposals for the Development of Community Art in Thailand

Abstract

Although the concept of community art has gained increased attention in Thailand’s contemporary art scene, there remains a lack of sustainable policy support that is contextually grounded and responsive to the realities of local communities. Most community-based art initiatives in Thailand emerge sporadically, often lacking the institutional or governmental structures necessary for long-term continuity. Many projects are short-term and fail to embed themselves meaningfully within the communities they aim to serve, raising critical questions about sustainability, impact, and the role of art in social development.

This research explores the E-Lerng Artists Collective, a Bangkok-based group that has engaged in community art practices in the Nang Loeng neighborhood since 2008. Notably, E-Lerng operates independently from formal institutions, emphasizing long-term relationships, mutual trust, and grassroots participation as the foundations of their practice. Conducted by a practitioner–researcher with direct involvement in the group’s activities as an artist, curator, and volunteer, this study offers deep insights into the group’s internal processes and evolving strategies.

The objective of this study is threefold: (1) to investigate the history, development, and operational structure of the E-Lerng Collective as a long-standing community art initiative; (2) to analyze the socio-cultural and policy frameworks that enable or hinder community art in Thailand, using E-Lerng as a case study; and (3) to propose policy recommendations for sustainable community art support, grounded in lessons learned from E-Lerng and relevant theoretical comparisons.

This qualitative study employs mixed methods, including semi-structured interviews with artists, community leaders, and cultural policy experts; participant observation in Nang Loeng; and extensive document and media analysis. Key theoretical frameworks include the researcher’s original concept of “Community Art as Decentralized Social Infrastructure,” which views community art as a socially embedded structure driven by trust, reciprocity, and local agency—rather than top-down mandates. This framework is critically compared with Markusen and Gadwa’s (2010) “Cultural Infrastructure,” Kester’s (2004) “Dialogical Aesthetics,” Bishop’s (2006) “The Social Turn,” and Matarasso’s (1997) cultural policy critiques.

Findings indicate that the E-Lerng Collective exemplifies a decentralized social infrastructure model—sustained through long-term engagement, adaptive strategies, and non-institutional modes of organization. The group’s activities span beyond conventional art practices to include educational programs, local leadership development, creative resource management, and the revitalization of cultural heritage. Their work is transdisciplinary, bridging art with health, education, economics, and cultural sustainability through participatory processes.

Policy recommendations from this research emphasize the need for bottom-up support systems: flexible funding mechanisms, long-term infrastructure beyond short-term projects, and the creation of neutral platforms that facilitate collaboration between communities, state actors, and civil society without disempowering grassroots initiatives. The role of the state should shift from “leader” to “enabler,” supporting knowledge exchange and cross-sector networks rooted in real-world practices. These proposals highlight the potential of community art not only as a cultural tool but also as a pathway to holistic, inclusive, and sustainable social development.