Industrial design training is a significant area in Vietnam because this country invests much effort in developing this sphere. Industrial revolution 4.0 has resulted in the fact that digital technologies have become a fundamental means of design learning (Nguyen, 2020). This approach allows numerous individuals to become involved in educational activities without leaving their homes. Tien, Bien, et al. (2019) admit that approximately 200 students graduate from design training programs in Vietnam, and the abilities of such bachelors are quite high. However, this number of graduates cannot cover the internal demand for highly experienced and professional product designers within the domestic market.
The Reception of Students in the Study of Traditional Craft Villages
To begin with, one should clarify that traditional craft villages represent a significant part of the Vietnamese population. In particular, over 68% of the country’s labor force resides in these areas (Le Van Thang et al., 2018). These locations also attract many tourists because they offer painting workshops and souvenir shopping opportunities (Nhung, 2020). It is impossible to deny the fact that rural life occupies an important place in the country. That is why it is impossible to imagine any educational programs, and one from industrial design is not an exception, in Vietnam that would ignore these villages.
The information above explains why students are actively involved in the study of traditional craft villages. In addition to the facts above, these locations can provide learners with useful knowledge about their homeland. For example, Pham Hong et al. (2021) stipulate that these villages are famous for their uniquely designed products, including cups, bowls, and other items. Other experts admit that these villages are efficient in distributing the knowledge of traditional cultural values among students (Hung et al., 2021). All these findings justify the statement that students should be actively involved in the study of traditional craft villages to make them more familiar with Vietnamese culture and design patterns.
Young People’s Acceptance of Products with Meanings and Symbols from Traditional Art
Meanings and symbols from traditional art should be promoted among young people, and specific issues provide the rationale behind this statement. On the one hand, traditional art forms should be promoted to ensure that the youth understands the value of cultural heritage and engages in its protection (Le Hai et al., 2021). On the other hand, teenagers and young adults should highly appreciate their traditional art products because the latter improve the quality of life of many locals who earn money from manufacturing and selling these objects (Hai et al., 2021). Since the given items represent a great meaning for the entire nation, young individuals should respect and value them highly.
Now, it is reasonable to comment on how young people consider products with traditional art. According to Lan et al. (2021), local cultural features are useful marketing tools to impact the youth. Le et al. (2020) also admit that sociocultural characteristics can significantly impact buyers’ decisions. In addition to that, some experts clarify that cultural values can influence consumers’ intentions regarding online book shopping (Nguyen et al., 2020). Finally, Trinh (2019) mentions that representatives of the younger generation are likely to prefer local brands. All these findings reveal that the youth is more likely to accept products with symbols and meanings from traditional art.
Teaching Methods of Designing New Products
Within the sphere of design education, various trends are topical and beneficial in Vietnam. On the one hand, Devisch et al. (2019) advocate for introducing intercultural student exchange. The rationale behind this suggestion is that it has the potential to make teaching efforts more effective because students with diverse backgrounds can enrich the learning environment (Devisch et al., 2019). The given approach ensures that the students from different parts of the country become familiar with traditional decorative art. On the other hand, educators in Vietnam decided that their design education should have utilized the benefits offered by the industrial revolution 4.0 (Brosens et al., 2021). That is why modern design schools implemented various technological advancements, and these interventions were said to improve education outcomes significantly. Simultaneously, it is worth admitting that modern technologies do not result in the fact that they displace traditional decorative art. On the contrary, the technological improvements and the intercultural student exchange were introduced to highlight the importance of cultural design. All these efforts are combined to achieve more aesthetic effects in the sphere of industrial design education.
Discussion
The findings above consider a few aspects that deserve attention. Firstly, the industrial revolution 4.0 has affected many spheres, including design education, but it is reasonable to limit the impact of technological advancements. Even though innovations positively affect education effectiveness, they can make the process inanimate. This narrative does not mean that machines and highly technological products should not be used. However, it is necessary to implement them and make sure that they do not result in any barriers to learning about the beauty of national culture and art.
Secondly, the literature review has demonstrated that craft villages represent an essential issue for Vietnam. A significant part of the nation’s population resides in these areas, while they are also considered the treasury of local art and culture. Since local people invest much time and effort in producing souvenirs and other handicraft objects, these locations can be a visiting card of Vietnam. Furthermore, these villages are said to improve the overall sustainability of environmental management in the country (Tien, Phu, et al., 2019). That is why there is no doubt that the local government should promote the development of these villages and ensure that the local people and tourists are provided with decent living opportunities.
Thirdly, the review of the current training approaches demonstrates that Vietnamese students are offered good conditions. On the one hand, it relies on technological advancements, which makes the educational and training process grounded and practical. On the other hand, the inclusion of local arts and the reliance on the traditional craft villages’ experience ensures that students become familiar with local culture and art. Thus, the given dual approach to training is likely to generate positive educational results.
Conclusion
The given research paper has overviewed the state of design education and training in Vietnam. The extensive literature review has demonstrated that traditional art and culture should be a significant element of this process. According to numerous experts and scholars, traditional art villages are widespread in the country, and these locations have managed to secure and are currently distributing local culture and art through souvenirs and other items. Consequently, it is reasonable to include the experiences from these villages in design education. Another piece of the rationale behind this statement is that symbols of traditional culture and art are effective marketing tools in modern Vietnam. Finally, specific attention has been drawn to the fact that the industrial revolution 4.0 affects education, highlighting that technological advancements should not prevent students from learning the beauty of national art and culture.
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