https://iiste.org/Journals/index.php/ADS/issue/feedArts and Design Studies2024-02-23T04:46:16+00:00Alexander Deckeradmin@iiste.orgOpen Journal Systems<p><span id="internal-source-marker_0.04939836589619517">Arts and Design Studies <span id="internal-source-marker_0.04939836589619517">is a peer reviewed journal published by IISTE. The journal publishes original papers at the forefront of arts and design research. The journal is published in both printed and online versions. The online version is free access and download. </span></span></p><p><span><span>IISTE is a member of <a href="http://www.crossref.org/01company/17crossref_members.html">CrossRef</a>.</span></span></p><p><span><span>The DOI of the journal is: https://doi.org/10.7176/ADS</span></span></p>https://iiste.org/Journals/index.php/ADS/article/view/61937Journal coverpage2024-02-16T01:37:32+00:00Journal Editord@d.comJournal coverpagehttps://iiste.org/Journals/index.php/ADS/article/view/61938Explorations in Curriculum Studies: The “Why” of Curriculum Inquiry, The “What” of Curriculum Inquiry, The Current State of Curriculum Inquiry and the ‘Curricular’ in Curriculum Inquiry2024-02-16T01:37:32+00:00Dorothy Morgan Zard@d.com<p>In this paper we discussed comprehensively, the; “why” of curriculum inquiry, “what” of curriculum inquiry, current state of curriculum inquiry and the “curricular” in curriculum inquiry. When discussing the question of the “why”, the next best alternative that comes to mind is the “rationale”. In another breath, we are referring to the very foundations of the curriculum. In this direction the “why” of curriculum inquiry relates unswervingly to the coming together of ideas that seek to provide comprehensive answers to the intent of the curriculum. Paying attention to the “what” of curriculum inquiry, we referred to the curriculum domains or processes such as policy making, development of the curriculum, evaluation, change in the curriculum, decision making, activities or fields of study, and forms and language of inquiry to be the subject matter of curriculum inquiry. In the same light, we discussed the two main types of curriculum inquiry namely; the guided inquiry and the open inquiry. Following that we discussed the “current state of curriculum inquiry. It was realized that the three categories constitute the broad fields of curriculum inquiry; however, they are curricular in differing ways. Curriculum inquiry is therefore a practical research centrally concerned with the inner work or real-world practice of schooling within the societal, institutional and instructional context in which schools are situated and function. It is a prescriptive undertaking whose ultimate purpose is centered on the advancement of schooling. Therefore, curriculum subject matters, curriculum development, curriculum evaluation, curriculum implementation, curriculum policy development and analysis are always the key topics and pre-occupations of curriculum inquiry.</p> <p><strong>Keywords: </strong>Curriculum, Curriculum Inquiry, Curriculum Studies, Curriculum Development</p> <p><strong>DOI:</strong> 10.7176/ADS/109-01</p> <p><strong>Publication date: </strong>January 31<sup>st</sup> 2024</p> <p><strong> </strong></p>https://iiste.org/Journals/index.php/ADS/article/view/61939Graphic Design Students and Social Media Usage: A Check on New Media Literacy2024-02-16T01:37:32+00:00Albert Boamahd@d.com<p>Digital media's growing impact on education is a defining feature of the twenty-first century. Research indicates a notable void in knowledge on the degree of active engagement with new media literacy that students in diverse fields, such as graphic design, exhibit. Using the New Media Literacy Framework, this study attempts to address this gap by objectively evaluating the graphic design students' new media literacy abilities. The study adopted a quantitative descriptive survey to identify, analyse, and describe the new media literacy skills of Graphic design students towards social media use. A purposive sampling technique was used to select 150 active students based on the four-continua skills as indicators from the New Media Literacy Framework. The findings of the study indicate that Graphic design students have high levels of functional consuming, critical consuming, critical consuming, and functional media literacy skills. Additionally, regression analysis conducted to establish what influences design students’ new media literacy skills revealed the predictors as; the type of social media used by design students, students' level, gender, and the area of specialization of the design student.</p> <p><strong>Keywords:</strong> new media literacy, social media, Graphic design students.</p> <p><strong>DOI:</strong> 10.7176/ADS/109-02</p> <p><strong>Publication date: </strong>January 31<sup>st</sup> 2024</p>https://iiste.org/Journals/index.php/ADS/article/view/61940Readiness to Enter the Workforce: Perceptions of Graphic Design Students Against Market Demands2024-02-16T01:37:32+00:00Nicholas Opokud@d.com<p>Studies have revealed that employers of newly hired graphic design graduates are not well prepared. Interestingly, this triggers further research to discover insight to the workforce readiness gap among graphic design students. This present study then sought to explore the perceptions of graphic design students in their quest to enter the workforce in their demand of the market. To that end, an online survey questionnaire was designed and administered to 102 graphic design students enrolled in the final year of their undergraduate degree programme. The study revealed that there are deficits of professional competencies in the area of coding, responsive design and prototyping tools. Meanwhile, graphic design students assessed their creativity, handling deadline and project management competencies as the high. The findings of this study are useful for improving the education and employability of graphic designers as they provide a consistent language to pertinent stakeholders about the requirements for new entrants to the graphic design industry.</p> <p><strong>Keywords: </strong>work readiness, graphic design students, perceptions, employability,<strong> </strong>market demands</p> <p><strong>DOI:</strong> 10.7176/ADS/109-03</p> <p><strong>Publication date: </strong>January 31<sup>st</sup> 2024</p>https://iiste.org/Journals/index.php/ADS/article/view/62124Gambus Ensemble and Zapin as Identity of Malay Arts in Riau2024-02-23T04:46:16+00:00Yunaidi .d@d.comFirdaus .d@d.comM. Arif Anasd@d.comSuryanti .d@d.comAli Sukrid@d.com<p>Gambus and Zapin are art forms that have thrived within the Riau Malay community. The Gambus is characterized as a musical ensemble, while Zapin manifests as a dance form, often accompanied by musical elements. Both arts have their origins in the cultural influences of the Arab world, linked to trade and the spread of Islam. Over time, Gambus and Zapin have evolved alongside traditional Malay arts, transitioning into forms that range from traditional to creative and modern, and have become integral to the artistic identity of the Riau Malay society. This article explores the roles and presence of both Gambus and Zapin within the Riau community. The study gathers data through field studies and literature reviews using qualitative research methods. The findings reveal that the Gambus ensemble and Zapin dance have become potent symbols of identity for the Riau Malay population.</p> <p><strong>Keywords</strong>: Gambus, Zapin, identity, Riau Malay arts</p> <p><strong>DOI:</strong> 10.7176/ADS/109-04</p> <p><strong>Publication date: </strong>January 31<sup>st</sup> 2024</p>