http://41.74.91.244:8080/handle/123456789/662 2026-05-12T16:22:27Z http://41.74.91.244:8080/handle/123456789/5226 Development of conceptual website design model for University of Education, Winneba, Ghana Opoku, N. University’s website functions as a virtual front door that serves as a critical point of interaction for students, prospective students, alumni, faculty, and the global academic community. Beyond providing information to its community, a university website reflects the institution’s identity and a strategic asset for communication. As the first point of contact for many prospective students and stakeholders, the design, development and functionality of a university website plays a crucial role in shaping perceptions about the institution and influencing decision-making. Despite the increasing reliance on platform for communication, preliminary investigation suggests that many Ghanaian university websites failed usability test and lack modern design standards. Again, there is no conceptual model that guide the design and development of university website. Hence, the study focused on developing a conceptual model that outlines the essential components of effective university website design and test it in the development of prototype website for the University of Education, Winneba. The study employed qualitative descriptive design to describe the experiences of users when interacting with university website and provide a snapshot of the existing selected universities websites. Again, a studio-based research designs was used to produce a prototype UEW website through creative design processes. The research employed the purposive and convenience sampling techniques with a total sample of six websites, two experts and fourteen (14) participants from selected Ghanaian universities. Observations, focus group discussions and interviews were used for data collection. Thematic, visual, and content analysis were employed to analyse data from the field. Findings from the study revealed that many selected Ghanaian universities’ websites fall short in structure, content, accessibility, and modern digital standards. It emerged from the study that many users experience “click fatigue” when locating basic information on university website. Users reported search functionality failures, by returning zero results for programme specific information such as courses description on the university web. The study concluded that the conceptual model developed has proven to be a robust and effective framework for guiding the creation of functional and user-centred university websites. The application of the model was used in developing UniSite WordPress theme and further used to develop a prototype UEW website demonstrated its practical relevance and adaptability. The study recommends the adoption of the proposed conceptual model as a standard guideline for designing Ghanaian university website. Again, web designers and developers should adopt the UniSite WordPress theme for designing university website to reduce time and resources required to design, develop, deploy and maintain the university website due to its functionality and user-friendliness. A thesis in the Centre for Research in Culture and Creative Arts, The School of Creative Arts, submitted to School of Graduate Studies in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba. JUNE, 2025 2025-06-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5179 A study of the picture making course at UEW and its alignment with Global contemporary Art trends Kumangtum, R.T. The University of Education, Winneba is currently a public university in Ghana with the core mandate to train teachers. It holds both the opportunity and responsibility to provide excellent teacher preparation for aspiring visual arts educators. Art is continually evolving, embracing innovative techniques, materials, and concepts that challenge traditional artistic norms. Art practices at UEW do not adequately reflect current world practices, because for over a long period, the school has maintained teaching almost the same techniques and methods of art, giving students a limited view of the art industry. The study adopts a case study design, allowing for a detailed examination of the depth of contemporary art practices among Picture Making students at the Department of Art Education, UEW. Participants of the study included Picture Making Lecturers, alumni and students who had at least completed 300 level of their degree programmes. It was realised that the content of the curriculum largely adopts the mimetic approach. Some lecturers had however made some efforts at chipping in a few contemporary art practices in their teaching instruction. Lecturers cited the operational Picture Making component of the accredited Art Education document and the Senior High School Visual Art curriculum as the factors that had for a very long time limited the Department from adopting contemporary art as an area of study for Picture Making. Through a document review of the Picture Making component of the Art Education accredited programme, it was observed that the curriculum leaned towards mimetic and formalistic theories in art practice. Consequently, the contemporary art genre has no place in the curriculum, creating a gap between the Picture Making classroom and the contemporary world of art. Student participants had very limited knowledge of the contemporary art genre. The findings of this research led to the proposal of a four-phased model for Picture Making instruction, and other strategies for incorporating contemporary art into the Picture Making course. The model combines both traditional and contemporary art methods, bridging the gap between the current Picture Making pedagogy and contemporary art practices. It is recommended that conceptual thinking, critical analysis, and interdisciplinary approaches to art-making should be introduced into Picture Making at UEW to provide students with a broader understanding and engagement in contemporary art. A Thesis in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) In the University of Education, Winneba 2025-06-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5148 Historical analysis of the Cultural significance and dress identity Politics of Ghana’s Parliamentary dress between 1951 to 2023 Donkoh, S. Despite Ghana's sixty-seven years of political independence, the historical trajectory and cultural significance of its parliamentary sartorial practices remain a significant scholarly lacuna. This study directly addresses this gap by undertaking a critical historical analysis of parliamentary dress culture evolution in Ghana from 1951 to 2023. Focusing specifically on the attire of Speakers of Parliament and members of the legislative bodies under their leadership, the study employs a qualitative historical design. Utilizing purposive and stratified sampling, a sample size of forty-four participants were engaged. Primary data was derived from meticulous analysis of historical records, archival photographs, stakeholder opinions, and targeted interviews. The investigation dissects the design structure, embedded symbolisms, and national identity constructs manifested in the parliamentary robes of Ghana's Speakers. It critically highlights the enduring influence of Western-sartorial overtones and documents the deliberate, post-independence incorporation of Indigenous Ghanaian elements under President Nkrumah’s National Personality concept. This shift signified a resurgence of local dress as an emblem of sovereignty and cultural reclamation. Furthermore, the study engages contemporary discourse, notably analyzing Speaker Bagbin’s recent advocacy for decolonizing parliamentary attire. It reveals the perspectives of parliamentarians and cultural custodians on formalizing Indigenous Ghanaian dress styles for parliamentary proceedings. The research also uncovers the tangible impact of parliamentary dress codes on Ghana's local fashion industry, illustrating how political attire influences broader sartorial trends nationally. Key findings illuminate the crucial, yet underexplored, role of clothing in legislative representation and identity formation within a post-colonial African state, Ghana. Theoretically, this study significantly advances understanding of the complex intersection between fashion, cultural identity, and political governance in postcolonial contexts, positioning Ghana within broader African and global discourses. It reveals parliamentary attire as a critical site for negotiating national identity, demonstrating the dynamic tension and synthesis between enduring colonial legacies and deliberate post-indigenous reclamation. Furthermore, the research documents the socio-economic impact of political dress codes on Ghana's local creative industries, informing vital policy debates concerning the formalization and potential legislation of culturally resonant parliamentary attire. Crucially, the findings underscore the urgent imperative for systematic preservation of this evolving facet of Ghana's cultural heritage. The study recommends: further historical research into pre-1951 colonial-era parliamentary dress to uncover obscured cultural expressions; Legislative consideration to formalize Ghanaian parliamentary dress culture; Establishing a dedicated parliamentary museum to preserve robes and artifacts, safeguarding this vital heritage for future scholarship and public engagement. A thesis in the Department of Music Education, School of Creative Arts, submitted to the school of Graduate Studies, in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba DECEMBER, 2024 2024-12-01T00:00:00Z http://41.74.91.244:8080/handle/123456789/5144 Folklore business in the creative economy of Ghana Arhin Jnr., B. O. Folklore, a vital component of Ghana’s cultural heritage, has been largely overlooked in the country’s creative economy. It has been observed that folklore business is declining with inadequate contribution to the creative economy of Ghana. The study sought to assess the folklore in the creative economy of Ghana. Using a mixed method, nine (9) participants were selected for the qualitative data through purposive sampling and four hundred and thirty-two (432) respondents were used in a questionnaire to collect the quantitative data. The stakeholder, cultural industry, diffusion innovation, and creative economy theories underpinned the study. Using the exploratory sequential design, the study gathered both qualitative and quantitative data through interview, observation, and questionnaire to collect the data for the study. The study recorded a significant contribution of folklore impact in the creative economy of Ghana, including branding, commercialisation and tourism potentials on a national scale. These were found to be avenues to reduce unemployment, increase tax revenue net and increase the Gross Domestic Product of Ghana. However, factors such as copyright, branding, and perception remain a major challenge on the commercialisation drive of the subject matter. Therefore, it is recommended that obtaining authorisation and fee paying for folklore commercialisation, should exclude the domestic folklore industry stakeholders in Ghana. Thus, the state should as soon as possible amend its copyright act to reflect the new dynamics of the populace views. Again, a national perception and branding drive of folklore tourism should be instituted through the National Commission on Culture and the National Folklore Board to create awareness and grant incentives to folklore commercialisation groups in Ghana. A dissertation in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies in partial fulfillment of the requirements for the award of the degree of Doctor of Philosophy (Arts and Culture) in the University of Education, Winneba OCTOBER, 2023 2023-10-01T00:00:00Z