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Odimba Rita
METH
ART
Digitally Signed by: Content manager’s
DN : CN = Weabmaster’s name
O= University of Nigeria, Nsukka
OU = Innovation Centre
Odimba Rita
Faculty of Art Education
Department of Fine and Applied A
HODS AND CHALLENGES OF TEACHING
T SKILLS TO THE PHYSICALLY CHALL
SOUTH EASTERN NIGERIA
OGU, JOVITA C.
PG/Ph.D/09/51858
i
: Content manager’s Name
Weabmaster’s name
a, Nsukka
Arts
G CREATIVE
LENGED IN
ii
UNIVERSITY OF NIGERIA, NSUKKA
DEPARTMENT OF FINE AND APPLIED ARTS
METHODS AND CHALLENGES OF TEACHING CREATIVE ART SKILLS TO
THE PHYSICALLY CHALLENGED IN SOUTH EASTERN NIGERIA
BY
OGU, JOVITA C.
PG/Ph.D/09/51858
A THESIS SUBMITTED TO THE DEPARTMENT OF FINE AND APPLIED
ARTS, UNIVERSITY OF NIGERIA, NSUKKA.
IN FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DEGREE
OF DOCTOR OF PHILOSOPHY (Ph.D.) IN ART EDUCATION
APRIL, 2014
iii
UNIVERSITY OF NIGERIA, NSUKKA
DEPARTMENT OF FINE AND APPLIED ARTS
METHODS AND CHALLENGES OF TEACHING CREATIVE ART SKILLS TO
THE PHYSICALLY CHALLENGED IN SOUTH EASTERN NIGERIA
BY
OGU, JOVITA C.
PG/Ph.D/09/51858
A THESIS SUBMITTED TO THE DEPARTMENT OF FINE AND APPLIED
ARTS, UNIVERSITY OF NIGERIA, NSUKKA.
IN FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DEGREE
OF DOCTOR OF PHILOSOPHY (Ph.D.) IN ART EDUCATION
APRIL, 2014
iv
APPROVAL PAGE
This thesis has been approved for the Department of Fine and Applied Arts,
University of Nigeria, Nsukka.
By
………………………………… ………………………… Dr. V.E Ali Prof. O.K. Oyeoku Head, Department of Fine and Applied Arts Supervisor
…………………………………
External Examiner
v
CERTIFICATION
OGU, JOVITA C., a postgraduate student in the Department of Fine and
Applied Arts, with registration Number PG/Ph.D/09/51858, has satisfactorily
completed the requirements for the award of DOCTOR OF PHILOSOPHY IN
ART EDUCATION. The work embodied in this these is original and has not
been submitted in part or full for any other diploma or degree of this or any
other university.
………………………………… ………………………… Dr. V.E Ali Prof. O.K. Oyeoku Head, Department of Fine and Applied Arts Supervisor
vi
DEDICATION
To my beloved husband, Mr. Ogu, Charles and his children, Elonna and Tonna
for their full support and motivations that sustained me all through the years of
study.
vii
ACKNOWLEDGEMENTS
A million thanks to God Almighty for making this enviable dream a reality.
The researcher wishes to acknowledge many people who have contributed in one
way or the other to the accomplishment of this task. First in the list is her thesis
supervisor, Prof. O.K. Oyeoku, whose professional guidance, encouragement
and co-operation at all stages helped in completing this work. Special
appreciation also goes to the Head of Department of Fine and Applied Arts, Dr.
O.G. Diogu and other members of staff for their cooperation during the course of
this study. The researcher also acknowledges with thanks the valuable
contributions of her colleagues in Alvan Ikoku Federal College of Education,
Owerri; Dr. H.C. Ngumah, Dr. Opara J.M., Dr. Ukwuoma, Dr. A.U. Anusiem, Mr.
R.N. Ikegwuonu, Mr. Eze Ngene, Mr. Benjamin Nwokedi, Mr. Joni Amadi, Mr.
Emeka Agbo and many others whose friendships and supports counted so much
in completing this work.
Also to the management of Alvan Ikoku Federal College of Education, ably led by
Dr. Mrs.B.C. Ijioma (the provost) for granting her the opportunity and
encouragement to rise to this enviable height in academics.
Finally, to her visionary husband and her entire family members, especially, her
father, Nze Iwuoha, B.O. and her mother, late Ezinne Theresa Iwuoha, her
brother, Dr. Chima Iwuoha and all other members of Iwuoha and Ogu families for
lighting the candle that has produced a great flame in her today. Your
contributions and support both morally and financially are highly acknowledged.
viii
ABSTRACT
The physically challenged graduate from special education secondary
schools established by the government to offer them special training without
meeting up with the objectives of establishing special education as stated in
National Policy on Education. For this reason therefore, the researcher sought
to investigate the teaching methods, materials and challenges that were faced
in teaching creative skills to the physically challenged with the view to making
recommendations for more appropriate ones if the existing ones were
inadequate. In doing this, four purposes were formulated, four research
questions were asked to guide the study while four null hypotheses which
were tested at 0.05 level of significance were postulated. Literature materials
that are relevant to the study were reviewed from both primary and secondary
sources. The design for the study was survey. The study was carried out in
five states of the South Eastern Nigeria. The Target Population for the study
was eighty (80) teachers drawn from the five special education secondary
schools in the South Eastern Nigeria. Purposive sampling Technique was
used because of the small size of the population. The instrument used for
data collection was a set of structured questionnaire tagged "Creative Art
Teaching in Special Education Survey Questionnaire", administered
personally by the researcher. The instrument was subjected to face and
content validation. The reliability of the instrument was also ensured through
a test -retest study. The data collected was analyzed using mean statistics
and interpretation was made on each item using the mean of 2.50 as the
bench mark for positive responses. The hypotheses were tested using
Analysis of variance (ANOVA) while statistical decisions were made at 0.05
level of significance. The study made eight findings which included that there
were inadequate provision of art materials, art teachers and learning aids to
the special schools and that the commonest method of art teaching in the
schools was the discussion method among other findings. The researcher
therefore recommended among others that many art skills should be taught in
special schools to avail the students of the opportunity to acquire wide variety of
skills to sustain them as well as employing more art teachers who will use
demonstration and individualized method of teaching in the class. Among the
implications of the study was that the use of discussion method for teaching art
could make learning meaningless, uninteresting and boring to the learners. The
relatively small size of the population was observed as one of the limitations of
the study while the researcher suggested that a similar study be carried out
using more schools in order to make for effective generalization.
ix
TABLE OF CONTENTS Pages
Title Page - - - - - - - - - - i
Approval Page - - - - - - - - - - ii
Certification - - - - - - - - - - iii
Dedication - - - - - - - - - - iv
Acknowledgment - - - - - - - - - v
Abstract - - - - - - - - - - vi
Table of Contents - - - - - - - - - vii
List of Tables - - - - - - - - - x
Illustration - - - - - - - - - - xii
CHAPTER ONE: INTRODUCTION - - - - - - 1
1.1 Background of the Study - - - - - - 1
1.2 Statement of the Problem - - - - - 9
1.3 Purpose of the Study - - - - - - - 10
1.4 Research Questions - - - - - - - 11
1.5 Hypotheses - - - - - - - - - 12
1.6 Scope of the Study - - - - - - 13
1.7 Significance of the Study - - - - - - - 13
x
CHAPTER TWO: LITERATURE REVIEW - - - - - 15
2.1 Definition and Categories of Physically Challenged - - - 15
2.2 Meaning, Origin and Development of Special Education in Nigeria 29
2.3 Factors Associated with Art Education in Special Schools - - 38
2.4 Art Materials, Tools and Equipment for Art Teaching in Special
Education - - - - - - - - 41
2.5 Methods of Art Teaching - - - - - - - 43
2.6 The Physically Challenged and Art Skills: Who Does What? - 52
2.7 Problems Associated With Learning Special Education Schools. - 54
2.8 Concept of Creativity - - - - - - - - 56
2.9 The Missing Link - - - - - - - - 62
2.10 Summary of Literature - - - - - - - - 65
CHAPTER THREE: RESEARCH METHODOLOGY - - 67
3.1 Research Design - - - - - - - - 68
3.2 Area of the Study - - - - - - - - 68
3.3 Population of the Study - - - - - - - 70
3.4 Sample of the Study - - - - - - - 71
xi
3.5 Instrument for Data Collection - - - - - - 71
3.6 Validation of the Instrument - - - - - - 72
3.7 Reliability of the Instruments- - - - - - - 73
3.8 Procedure for Data Collection - - - - - - 73
3.9 Procedure for Data Analysis - - - - - - 74
CHAPTER FOUR: PRESENTATION OF FINDINGS AND ANALYSIS
OF DATA - - - - - - - 75
4.1 Research Question One - - - - - - - 75
4.2 Research Question Two - - - - - - - 76
4.3 Research Question Three - - - - - - 78
4.4 Research Question Four - - - - - - - 79
4.5 Hypothesis One - - - - - - - - 82
4.6 Hypothesis Two - - - - - - - - 83
4.7 Hypothesis Three - - - - - - - - 84
4.8 Hypothesis Four - - - - - - - - 85
4.9 Summary of Findings - - - - - - - 86
CHAPTER FIVE: DISCUSSION OF FINDINGS, IMPLICATIONS,
SUMMARY, RECOMMENDATIONS AND CONCLUSION - - 88
5.1 Discussion of Results - - - - - - - 88
5.2 Implications of the Findings - - - - - - - 94
5.3 Recommendations - - - - - - - 95
xii
5.4 Limitations of the Study - - - - - - - 96
5.5 Suggestions for Further Studies - - - - - 97
5.6 Summary of the Study - - - - - - 98
5.7 Conclusion - - - - - - - - - 98
REFERENCES - - - - - - - - 100
APPENDICES - - - - - - - - 106
xiii
LIST OF TABLES
Table 1 - - - - - - - - - - 70
Table 4.1 - - - - - - - - - - 75
Table 4.2 - - - - - - - - - - 76
Table 4.3 - - - - - - - - - - 78
Table 4.4 - - - - - - - - - - 79
Table 4.5 - - - - - - - - - - 79
Table 4.6 - - - - - - - - - - 83
Table 4.7 - - - - - - - - - - 84
Table 4.8 - - - - - - - - - - 85
xiv
LIST OF ILLUSTRATIONS
Illustration I - - - - - - - - 69
Illustration II - - - - - - - - 69
1
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
In the world today, there are numerous individuals who are affected by
conditions that make them look different from what is regarded as the normal
pattern of life. In most developing countries like Nigeria, many of these
individuals are seen either standing or squatting at street corners of every
busy city begging for alms. Some have defects in talking, walking, seeing,
hearing, mental activities, among others. These individuals are referred to, the
world over, as disabled people, although in recent times, it has shifted from
the above to physically challenged. Broadly speaking, physically challenged
refers to those persons that possess impairments which limit the physical
functions of their limbs or any other part of their body. It could be described as
deviation or variance of an individual from the normal by a considerable
amount of traits (Heck 1953). The definition of physically challenged was
given by psychologists of old, from where all recent meanings are derived.
Kirk (1972) defined the disabled/physically challenged as:
Those who deviate from the normal children in mental characteristics, in sensory abilities and communication abilities; in neuromuscular or physical characteristics; in social or emotional behavior; in multiple handicaps to such an extent that they require modification of school practices or social education service in order to develop to their maximum potentials, (P.4)
2
Written from the educational point of view, Len and Sally (1981) saw the
physically challenged as; “those children who cannot be handled in a normal
class by the teacher; or children who are unable to achieve normal
educational goals within the normal education experience”. (p.12)
According to the National policy on education (FRN 2004); physical
challenges range from blindness, partial sightedness, deafness, hard of
hearing, mental retardation, social maladjustment, physical handicap, among
others, due to circumstances of birth, inheritance, social position, mental and
physical health pattern or accident in later life. Similarly, Okobia and Nwogu
(1995) listed types of disabilities as deafness, blindness, cripple, mentally
retarded, among others. According to them, deafness is the inability of the ear
to hear or perceive sound. Blindness is the inability of the eyes to perceive
light. The mentally retarded are the group of children with low intelligence,
while the physically impaired are those with physical body defects.
Whatever the nature of their challenges, this group of people still remain a
significant part of the society’s population whose condition is pathetic and
hopeless if left unsupported. Estimates of worldwide and country-wide number
of individuals with disabilities are problematic. The varying approaches taken
to define disabilities notwithstanding, demographers agree that the world
population of individuals with disabilities is very large. For example, in 2004,
the World Health Organization estimated a world population of 6.5 billion
people, out of this, nearly 100 million people were to be moderately or
3
severely disabled (Ugwuegbulem, 2010). In Africa, the rate of growth of
people with physical challenges are on the increase when compared with
the rate in the western world, probably due to poor conditions of living, or
accidents in later life and circumstances of birth as observed in a feature on
B.B.C. focus on Africa as referred to by Ogu (2012). According to it, about one
in every twelve people in Africa is physically challenged… about eight percent
of Africans have impairments which affect their lives in some way. In Nigeria, it
is estimated that about 19 million persons are afflicted with various disabilities.
They may have difficulty with seeing, hearing or learning. Some of them may
have been born with it, developed impairment in early childhood, or become
physically challenged later in life. The feature also observed with regrets that:
Traditionally, strong tribal religious beliefs appear to influence the way challenged people are handled. A challenged child in the family is sometimes thought of as a punishment from the gods for the sins of her ancestors. They can be thought of as bad omens and be rejected from their families to fend for themselves (P. 6).
Nevertheless, this group of people can be transformed to useful members of
the society, if properly rehabilitated. In spite of their challenges, they still
remain useful members of the society. Onyem (2000) clarifies this in his
statement that disability can be transformed to asset if properly rehabilitated.
This is because disability is not liability. Sometimes, some of these individuals
have very minute defects which do not affect their mental abilities such as the
hearing impaired, the visually impaired and the orthopedically deformed. It is
on record today that some challenged people have made tremendous
4
achievements in the march to human civilization, for example, former
President Roosevelt of the United States of America was a cripple. Steve
Wonder is a blind, but a celebrated musician/artist in the United States of
America. Other local examples include; Dr Peter Mba who is deaf and former
Head of Special Education Department, University of Ibadan. Alex Ndeazi is
from Uganda and was elected as the first deaf Member of Parliament in Africa,
Dr. Chuks Osuji (OON), is blind, yet, he is a renowned opinion research
consultant and publisher among others. From the above list, there is no doubt
that the physically challenged can contribute to the development of the society
if given equal opportunity with the normal individuals. A cripple can only be
handicapped if he has no aid to help him move about to perform the duties
demanded of him. Outside this condition, he is as relevant as the normal
individual. His mental capacity is as capable or even more as that of a normal
person. Similarly, a blind person is only challenged when it comes to his
inability to perform expected roles as regards vision where there is no visual
aid provided but definitely, not in mental activities. This is also applicable to
the deaf who can only be challenged in communication without any hearing
aid provided. It is against this background that both the government and
society at large make efforts to rehabilitate the physically challenged through
education and skills acquisition to make them both contributing members of
the society as well as independent citizens. This gave birth to the creation of
special education unit in the ministry of education to see to their rehabilitation.
5
This is in line with one of the philosophies of education as contained in the
National Policy on Education (2004) which stated that every Nigerian child
shall have a right to equal educational opportunities irrespective of any real or
imagined challenges each according to his or her ability. Therefore, special
education as documented in the above source is a formal special educational
training given to people (children and adults) with special needs who have
learning difficulties because of different sorts of handicaps and are unable to
cope with normal school class organization and methods.
Special education aims at:
(a) Giving concrete meaning to the idea of equalizing educational
opportunities for all children, their sensory, physical, mental, emotional
challenges notwithstanding.
(b) Providing adequate education for all people with special needs.
(c) To create opportunity for the physically challenged to fully contribute
their own quota to the development of the nation.
(d) Having opportunities for exceptionally gifted and talented children to
develop their talents, natural endowment/trait at their own pace in the
interest of the nation’s economic and technological development.
(e) Design a diversified and appropriate curriculum for all the beneficiaries.
The document also recommends integration as the most realistic form of
special education since challenged children are expected to live in the society.
Under this arrangement, special classes and units will be provided in the
6
ordinary school, while special schools, where necessary will be established for
the handicapped. Holding the same view, Adeniran (1989) agreed that special
education will help the physically challenged to adjust both socially and
emotionally to his challenges and modifying his behaviour accordingly. The
summary of the stated philosophy and goals of special education implies that:
there is need for equality of educational opportunities for all Nigerian children
and adults irrespective of the physical, mental, and psychological dispositions
as expressed in the National Policy on Education (FRN, 2004). However, the
introduction of special education is an innovation from the previous practices
where no deliberate educational provisions are made for this group of people.
Again, the provision gives them a sense of belonging to partake in the
development of the nation. Special education offered them is such that is
specifically tailored to their conditions with modifications in curriculum and
methodology in view of their handicapped conditions to enhance their
existence in the society.
In spite of the above provisions, FRN (2004) still recognized that sending them
to school is usually surrounded by learning difficulties because of their
different types of challenges. As a result of this, most often, they are unable
to adjust to the normal school programmes and methods. The above fact, as
well as their levels of understanding make it obvious that many difficulties will
be encountered in attempting to teach them in a regular class group. For this
reason, therefore, it becomes much more challenging in choosing who to
7
teach them, how to teach them, what to teach them and where to teach them.
Among all other subjects in the school curriculum, art has many educational
roles to play in the overall intellectual and skill development of the physically
challenged just as it does to normal children. This is because, in spite of their
physical challenges, they have the same need to develop their creative
abilities as do other children. To achieve this therefore, they need to be
exposed to studies and practices in art education, following more careful
approach with specialized methodologies and materials according to their
individual conditions. These strategies if effectively applied, will provide them
with creative skills that will not only help them to produce objects of artifacts
that would earn them sustainable livelihood, but will also acquaint them with
creative abilities to tackle problems in life endeavours and become meaningful
contributing members to the society. To this effect, special schools have been
established for their training and rehabilitation. Such special schools as
Special School for the Deaf and Blind Oji River, established in 1960 where the
first sign language training skills for the deaf was introduced in Nigeria; Pacelli
School for the Blind Children established in 1962, Atundaoju School for
physically handicapped children in Lagos established in 1965, Orlu Chelshire
Home Special Education Center in Imo State established in 1968, Imo State
School for the Deaf, Ofekata Orodo established in 1984, among others. In
addition, some model schools in the states of the federation have been
approved to admit some challenged children in mainstream. To reinforce their
8
learning, resource rooms and special teachers who have acquired knowledge
in special education are provided in the schools. Owing to their various
learning challenges as a result of their deformities, it takes longer than normal
for them to adjust to the normal school programmes. And as a result of this,
they require special approaches by the teacher. Therefore to develop their
creative abilities and skills, art education must be made their crucial learning
material. This is because art education involves creativeness, innovativeness
and imaginativeness as well as craftsmanship (Madu, 2010).
Art education, like the general teaching of other subjects, involves the act of
imparting knowledge and skills to the learner through various methods. This
has to be done appropriately putting many factors into consideration such as;
the nature of the subject, the condition of the learner, as well as the
environment to teach. The development of creative abilities cannot take place
in a vacuum. The fact that art is a creative endeavour justifies it’s necessity as
the bedrock of creative development which is not restricted to only producing
artifacts but also transferred to other aspects of learning in other subjects.
This is supported by Ozongwu, (2010, p.43) as he wrote, “Art is not flower but
root of education”. To ensure effective acquisition of creative abilities and
considering the condition of the learners, the teacher needs to acquire the
knowledge of psychology of teaching to enable him understand the individual
differences in learning situations and to adjust his teaching methods according
to their requirements. This means that the teaching approaches required for
9
the deaf is different from the blind and vice versa. These approaches can be
classified as the methods of teaching.
This research work therefore, aims at identifying the approaches, materials, as
well as the challenges faced with teaching creative skills to the physically
challenged in South Eastern Nigeria. The research will be carried out in some
special schools in the above states where physically challenged people are
trained. Art is not taught in schools to produce artists only; but also to
introduce in the students the spirit of inquiry and creativity through exploration
of nature and the local environment (Ekeada 1993). Although not all the
physically challenged can participate in all forms of art activities to develop
their creative skills, it is essential that the teacher, through his knowledge in
psychology of learning, chooses the appropriate approaches and materials
suitable for all categories of challenged students that will arouse their interests
into participating in those art activities according to their abilities to be able to
develop their creative skills.
1.2 Statement of the Problem
One of the objectives of special education as provided by the National Policy
on Education (FRN 2004, p.48) is to “provide adequate education for all
people with special needs in order that they may be self reliant and fully
contribute their own quota to the development of the nation”. This implies that
the society made enough provision for the training of the less privileged
persons, in spite of their respective conditions. Contrary to this, the physically
10
challenged most often graduate from schools without achieving the above
stated objectives. Instead, they sit and squat by the road sides of major cities
asking for alms or sometimes make incessant demand for the government to
offer them limited white collar jobs. This means that the training offered to
them in the schools has no impact in fulfilling the objectives.
Considering the above, therefore, the following problems come to mind:
i) There is need to examine the methods for teaching creative skills to the
physically challenged with the use of art education in special schools.
ii) There is need to examine the various aspects of art activities taught in
special schools and to various categories of the physically challenged in
order to enhance their creative abilities considering their respective
challenges.
iii) There is also need to examine the distracting factors/challenges
associated with art teaching in order to facilitate the teaching of creative
skills in special schools.
iv) Finally, there is need to suggest suitable alternatives for effective
realization of the objective where the existing ones are defective in
teaching creative skills to the physically challenged.
1.3 Purpose of the Study
The study sought to investigate the methods and challenges of teaching
creative skills to the physically challenged children in special education
11
schools in South Eastern Nigeria. The study specifically sought to accomplish
the following objectives;
1. identify the categories of physically challenged learners that are found
in special education schools.
2. identify the types of art activities taught in schools for the physically
challenged learners.
3. examine the methods of teaching art skills that could effectively develop
creative / entrepreneurship skills in physically challenged learners.
4. find out the challenges faced in teaching art skills to the physically
challenged in special education schools.
1.4 Research Questions
In order to direct the researcher’s focus in the investigation, the study was
guided by the following research questions:
1. What are the categories of physically challenged learners found in
special education schools?
2. What are the art activities taught in schools for the physically
challenged learners?
3. What are the methods of teaching art skills that could effectively
develop creativity in physically challenged learners?
12
4. What are the challenges in teaching the physically challenged in special
education schools?
1.5 Hypotheses
The following hypotheses guided the study:
1. There is no significant difference among the special education schools
in South Eastern Nigeria about the categories of physically challenged
learners taught.
2. There is no significant difference among the special education schools
in South Eastern Nigeria on the types of art activities taught.
3. There is no significant difference among the special education schools
in South Eastern Nigeria concerning the methods of teaching art skills
for effective development of creativity in physically challenged learners.
4. There is no significant differences among the special education
schools in South Eastern Nigeria on the challenges faced in teaching
the physically challenged learners.
1.6 Scope of the Study
The study covered one special education secondary school owned by the
government in each state of South Eastern Nigeria comprising Anambra,
Abia, Ebonyi, Enugu and Imo. It was delimited to finding out the types of art
13
activities taught in schools for the physically challenged in South Eastern
Nigeria. The study was also delimited to the hearing impaired, visually
impaired and orthopedically impaired that are found in the special
education schools as well as the methods of teaching art skills so as
to effectively develop creativity in physically challenged learners. The study
also focused on the challenges faced in teaching art skills in special education
schools.
1.7 Significance of the study
Art is a tool for creativity that fosters the development of creative skills
recognized in an individual. Therefore, it is accepted as an important aspect of
children’s education, including the physically challenged. In view of this, the
findings of this study will be beneficial to curriculum planners, students,
teachers, parents, government and the entire society in the following ways:
i. Provide vital information for the curriculum planners and teachers in
planning and teaching the physically challenged. This will help them
to determine the appropriate learning materials and approaches
suitable for teaching the various categories of the physically
challenged to accommodate their respective deformities in the
classroom as will be contained in the syllabus.
14
ii. Provide the physically challenged in the school the opportunity to
know the ways through which he/she can develop his/her creative
skills in order to be productive after training.
iii. Expose the physically challenged students to activities that develop
their creative skills such as art which contribute to their all round
development, intellectually, socially, emotionally and physically that
will tend to make them balanced individuals in the society.
iv. Provide relief to the parents when they watch their children who are
physically challenged possess creative skills that make them
productive instead of liabilities.
v. It will help to raise and propagate the image of art in special
education as the relevance will be fully exposed through the study.
This will further arouse research interests in the areas of art and
physically challenged.
vi. Provide an assessment document to the government and ministry of
education in particular to determine the level of success/ failure
recorded on their policies on special education.
vii. The society at large will benefit from the study. There will be
productive and skilled physically challenged people in the society
who will either practice art or fit appropriately into other creative skills
acquired during training. The result being that destitution will be
reduced.
15
16
CHAPTER TWO
LITERATURE REVIEW
This chapter reviews literature related to this study. The review is organized
under the following headings:
2.1 Definition and categories of physically challenged.
2.2 Meaning, origin and development of special education in Nigeria.
2.3 Factors associated with art education in special schools.
2.4 Art materials, tools and equipment for art teaching in special education.
2.5 Methods of art teaching.
2.6 The physically challenged and art activities: Who does what?
2.7 Problems associated with learning in special education schools.
2.8 Concept of creativity.
2.9 The missing link.
2.10 Summary of Literature review.
2.1 Definition and Categories of Physically Challenged:
In the context of this study, a physically challenged is a condition or function
judged to be significantly impaired relative to the usual standard of functions of
human beings which include physical impairment, sensory impairment,
cognitive impairment, intellectual impairment, mental illness and various types
(Edmos, 2010). For Heck (as quoted in Ogu, 2000), physically challenged is
conceptualized as “deviation or variance of an individual from the normal by a
17
considerable amount of traits”. Another definition of physically challenged that
seems more elaborate is the one given by Kirk in Ikwuegbu (2007) as thus:
Disabled children are those who deviate from average or normal children in mental characteristics, in sensory abilities, in neuromuscular or physical characteristics, in social or emotional behaviours, in communication abilities, or in multiple handicaps to such an extent that they require a modification of school practices or special educational services in order to develop to their maximum potentials (p.27).
The above two authors have conceived physically challenged from a
common perspective as a deviation from the ordinary or normal being,
resulting to the need for modification in learning activities in order to adjust.
Ekeleme (1987), Obimba (1999) and Hallahan and Kauffman (1988) also
agreed with the above view in their various definitions of physically
challenged as those who deviate from the ordinary and require special
provisions to realize their full human potentials. The physically challenged
sometimes may experience multidimensional defects ranging from defects
on some body organs as well as limitations on the person’s participation in
some areas of life activities. The United Nations Convention on the rights of
persons with physical challenges defined it as persons who have long term
physical, mental, intellectual or sensory impairments which in interaction with
various barriers may hinder their full and effective participation in society on
an equal basis with others (Edmos, 2010). Obimba (1999) adopted the
definition of physically challenged as given by the World Health Organization
as any restriction or lack of ability to perform an activity in a manner or
18
within a range considered normal for a human being. The writer further
observed that the World Health Organization (WHO) recognized three
dimensions of disability which include:
i. Body structure and function (resulting to impairment).
ii. Activity (resulting to activity restriction).
iii. Participation (resulting to participation restriction)
Ab initio, definition of physically challenged has been given by renowned old
psychologists as individuals that deviate from the normal to the extent that
they need special education services and other supports to attain their
potentials. In this light, Iwuama and Ekwe (2010) summarized the definitions
of Kirk, Cruickshank and Johnson, Heck, Len and Sally, Hallahan and
Kauffman, as well as Cruickshank and Orville in their various studies
recognizing four common features of the physically challenged individuals as
thus:
i. They are actually human beings.
ii. They are exceptional due to the fact that they deviate significantly from
the average or normal child either physically, intellectually, emotionally
and socially.
iii. As a result of the deviation, they cannot benefit maximally from the
classroom practice (education) meant for the normal or ordinary child.
19
iv. Consequently, they need modified or adjusted form of education in
order that they might benefit from education and develop their
potentials maximally to the limits of their disabilities and circumstances.
To crown it all, the study of physically challenged children is the study of
differences as regards adaptability in society. They are different in some ways
from the normal children. It is apparent to note that the condition is ambiguous
and that deformity in one dimension does not necessarily imply physical
challenge in other categories. In very simple terms, physically challenged is
understood to be a result of actual biological damage to a particular part of a
human body that results in a person having impairment, which contributes to
difficulties experienced by that person, and interrupts his functioning as a
person. They may have problems in thinking, seeing, hearing, speaking,
socializing or moving. Sometimes, a child may have combination of the above
defects as in the case of multi- physical challenges. Agreeing with the views
of the above authors that the physically challenged has one or more
deformities that make him look different from the normal person, it is
worthy to note that the deformities do not constitute barriers to what he can
do if properly rehabilitated. A visually impaired person can only be
handicapped if he cannot perform duties that require the use of the eyes. On
the other hand, if he has any visual support which helps him to carry out
activities requiring the vision, he is not handicapped but impaired.
20
2.1.1 Categories of Physically Challenged.
The National Policy on Education (2004) categorized physically challenged
persons into the following impairments; blindness, partial sightedness,
deafness, hard of hearing, mental retardation, social maladjustment and
physical handicap. While Ekeleme (1987) classified them into:
i. Visually impaired
ii. Speech/communication disorder
iii. Hearing impaired
iv. Physically and health – impaired (orthopedic disorder)
v. Learning disabled/difficulties
vi. Behaviour disorder/emotionally disturbed
Blindness: The eye is the organ of sight. It is the organ through which
individuals acquire knowledge of their environment by virtue of the light
reflected from or remitted by the objects within the environment. The inability
of this sense organ to carry out the above function is described as blindness.
According to Ogbue (1987), blindness is the inability to read prints after all
optical corrective measures have been taken. In this condition, the person
uses Braille as a medium for reading and writing. This condition implies total
loss of sight. Igbokwe (1982) agreed with the above that the sensitive organs
of the eyes are dead and have no sense of perception – in the case of
blindness. A more elaborate description of visual impairment according to its
severity was given by Lowenfeld in Ugwuegbulem (2010). For him,
21
a person is considered blind when his central visual acuity does exceed 20/200 in the better eye with correcting lenses or when his visual acuity if better than 20/200 has a limit to the central field of vision to such an extent that its broadcast diameter subtends an angle of no greater than 20 degrees. An individual’s visual acuity being 20/200 means that such an individual can see clearly objects not more than 20ft from him which an individual with good sight can see clearly from a distance of 200f(p38)t.
The partial sighted are best regarded as the medical corrective condition.
Their visual acuity falls between 20/70 and 20/200. Children in this group
need not be taught to read with Braille but need to have what they read
magnified or be written in large prints. A pair of reading spectacles is used for
clearer perception. In other words, it means that the blind are those whose
eyes cannot process light and images in such a way that vision will be
possible while those that are partially sighted can process light and images so
that only partial vision of the object seen is possible (Agbeti 1991). Individuals
with partial sightedness may suffer from serious myopia (near sightedness,
hypermetropia (far-sightedness) and astigmatism (blurred vision) as noted by
Abosi (1987).
2.1.2 Speech/Communication Disorder
Human development requires that individuals communicate with each other
for effective interaction. This interaction involves verbal and non – verbal
skills. The verbal skills involve the use of breath and muscles to make sounds
in precise patterns (words), while non – verbal skills involve use of sign and
gesture to express ideas.
22
Speech/Communication disorder is defined by Silverman (in Ebigbo 1992) as
a perceived deviation of the speech (what we say and how we say it).
Nwamuo (2010) described it as difficulties experienced by individuals while
speaking. Writing further, the author explained that speech is said to be
defective when the manner of speaking interferes with communication, when
the person’s manner of speaking distracts attention from what is said, or when
speech is such that the speaker is unduly self – conscious or apprehensive
about speaking. When the condition is observed to the above extent, Telford
and Sawrey (1981) recommended that special education or remedial
measures are necessary.
Causes of Speech/Communication Disorder
Nwamuo (2010) divided the causes of speech disorder into two parts namely:
The organic causes and the functional causes. According to her, the organic
causes are seven types and they include;
a. Cleft parlate which is the malfunction of palate with longitudinal gap in
the middle or on either side of the roof of the mouth.
b. Underdevelopment of other parts of the mouth and jaw.
c. Irregularities during development including missing and malformed
teeth.
d. Muscular paralysis of the larynx, and tumour or ulcer in or around the
larynx.
23
e. Loss of the larynx and nasal obstructions. On their own part, Telford
and Sawrey (1981) identified four functional causes of speech/
communication disorder. They include: failure to learn adequate
speech, wrong fixation of words, regressive speech patterns as well as
personality and emotional disturbances. They maintained that
identification of speech deformity can be made easily by family
members, doctors, psychiatrists, and teachers through observation, use
of systematic screening procedures or speech creationists or a team of
specialists. Diagnosis entails physical and developmental examinations
to find out any oral, developmental or other organic factors leading to
the disorder. These may include assessment of intellectual level and
audiometric evaluation and a Psychiatric examination.
2.1.3 Hearing Impaired/Deafness:
Individuals with hearing impairment can conveniently go through life and its
activities unidentified because there are no obvious physical characteristics
that distinguish them from the normal/hearing population as a result of this,
Ikpeazu and Onwuma (2010) said that their intervention strategies and
education came much later in special education after the visually impaired.
Through hearing, communication is made easy. The sense of hearing is used
in assimilating the communication pattern of an individual’s language.
Through communication also, one becomes socialized into the approved
roles, norms and customs of the society where he finds himself. There are
24
several explanations to the meaning of hearing impairment according to its
range of severity from mild to profound deaf and hard of hearing. According to
Igbokwe (1987), the conference of executives of American Schools for the
Deaf had defined the deaf as those in whom the sense of hearing is non –
functional for the ordinary purposes of life. For Ikpeazu and Iwuama, (2010), it
is the inability of the ear to detect a stimulus called “sound”. It is total absence
of sound. This implies that sound cannot be transmitted to the inner ear. The
individual cannot understand spoken words. In this condition, the person
resorts to reliance on visual cues in acquisition of knowledge. In the same
vein, Igbokwe (1987) defined hard – of – hearing as persons who have
difficulty in hearing loudly spoken speech but can hear amplified speech by
means of a hearing aid. The hard – of – hearing person has defective sense
of hearing, though functional but, not at optimum level. It is the mild degree of
hearing impairment.
Causes of Hearing Impairment: The causes of hearing impairment
include:
- Pre – natal (before birth)
- Peri – natal (during birth)
- Post – natal (after birth).
The Pre – natal factors include: diseases, infections or accidents suffered by
pregnant women such as German measles, mumps and influenza. The use of
25
poisonous drugs by pregnant women such as tranquilizers, heroine, cocaine
as well as other hard drugs not recommended by the doctor could affect the
babies’ auditory canals while in the womb. Other factors in pre-natal causes
include malformation of organs and hereditary traits which are easily
transferred from the parents genes to the unborn babies. Peri – natal factors
include those adversities that emerge during child birth which include
problems resulting from prolonged labour, difficult deliveries, especially
among mothers of less than 18 years and above 35 years of age – as well as
use of sedatives. The side effect of these factors, sometimes, may result to
damage in the baby’s auditory organs. Post – Natal factors that also cause
hearing impairment in the physically challenged include, among others,
problems encountered in the course of the person’s development such as:
a. Use of poisonous drugs like ear drops, quinine and antibiotics.
b. Diseases such as fever, mumps, measles and whooping cough which
may destroy the cells of hearing organs if not properly treated.
c. Constant exposure to loud sound may cause partial or total hearing
impairment.
d. Foreign objects in the ear such as insects, grains and stones can easily
damage some internal organs of the ear.
e. Interruption of blood circulation in the inner ear and growths like tumor.
2.1.4 Physical/Orthopedic Impairment
26
Various authors in special education give different explanations to the
meaning of the physical/orthopedic impairment. Nwaogu (1991) defined it as a
condition which excludes sensory handicaps like deafness, blindness and
speech defects but includes chronic conditions requiring constant medications
and those handicaps that interfere with the normal functioning of the joints,
bones and muscles to the extent that they retard a child’s ability to cope with
normal classroom conditions. While Njoku (2010) summarized physical
impairment to include conditions or deformities that interfere with the normal
use of bones, muscles or joints and this condition limits the effectiveness with
which a child can cope with the academic, social and community activities.
Physical impairment may restrict movement as observed by Ipaya (1983).
However, some children may have a single disabling condition while others
may have a multiple which could make them need special education services
for the acquisition of academic and social skills. Odebunmi (1992) mentioned
the two types of physical impairment as:
a. Neurological impairment and
b. Orthopedic impairment
Neurological impairment: This refers to physical impairment resulting from
malformation or injury on the spinal cord or brain. This condition may result to
non coordination of the body muscles, paralysis, perkinsin disease, cerebral
palsy, epilepsy, hydrocephalus, poliomyelitis and spinal bifida. Cerebral palsy
occurs when there is damage to the brain and it affects the ability to walk,
27
communicate and engage in other self help skills. Abang (1992) noted that
this condition is neither inherited nor contagious but is brought about by
shortage of oxygen to the brain.
Epilepsy is a disorder of the nervous system usually characterized by fits of
convulsions that end with brief loss of consciousness and deep sleep. The
seizure according to Abang (1992) is a sign of the functional disorder of a
group of nerve cells in the brain. The seizure reoccurs and comes on
suddenly. Hydrocephalus is an enlargement of the head due to accumulation
and unabsorption of the cerebrospinal fluid in the brain. This exerts pressure
on the skull thereby enlarging it to the extent that the neck may be unable to
support it as observed by Mba (2002). Poliomyelitis is caused by viral attacks
on the motor cells in the spinal cord during infancy. It is contagious in nature.
This condition could lead to weakness of the muscles or total paralysis of the
lower limbs in it’s victims. Ugwu (1994) claimed that it is not associated with
any sensory loss or intellectual defect. Spinal bifida is a condition brought
about by incomplete closure of the vertebrate column resulting in a protrusion
of the spinal cord into a large sack on the victim’s back.
Orthopedically impaired: Orthopedic impairment hinders the functioning of
the bones, muscles and joints. It could be congenital or acquired. When the
condition results from developmental errors, it is congenital, while the
acquired ones are those that occur due to accidents and other environmental
factors after birth. The resultant impairment could be amputation, skeletal
28
deformities such as brittle or fragile bones characterized by frequent and
repeated fracture of the legs and arms. Amputation is the surgical removal of
a part of the whole limb due to accident or infections. According to Njoku
(2010), the nature and degree of handicap determines the characteristics
shown by the person experiencing the handicapping situation. However, he
identified some characteristics associated with physical impairment to include:
Disorder of movement and posture, pain on the affected part of the body as
well as the supporting part, weakness and lack of co-ordination of other parts
of the body and paralysis of the affected part of the body.
Causes of physical impairments:
This is classified by Ugwu (1994) into three categories namely: pre-natal
causes, peri-natal causes and post-natal causes. The pre – natal cases are
encountered by the foetus in the uterus according to Ugwu (1994) which may
be caused by factors such as:
i. Irregular supply or lack of oxygen due to the malformation of the
placenta.
ii. Genetic factors which may occur as a result of gene malformation e.g
spinal bifida and sickle – cell.
iii. Maternal infections during pregnancy may also give rise to physical
impairment. Such diseases as measles, meningitis and veneral
diseases like syphilis, if not properly treated.
29
iv. Excessive exposure to x – ray therapy may destroy some body cells
that may lead to physical impairment.
v. Poor nutrition: Inadequate diet during pregnancy can lead to retardation
or malformation of body parts and consequently, physical impairments.
Peri – natal causes are impairments that arise at birth and they include:
a. Brain injury resulting from pressure on the skull which may be caused
as a result of inadequate pelvics.
b. Infections from the use of unsterilized equipment during labour.
c. Lack of oxygen (Anoxia) resulting from excessive sedation to reduce
labour pains.
On the other hand, post–natal causes are the causes of physical impairments
after birth has taken place. They include:
a. Inadequate nutrition: childhood malnutrition retards the development of
a child and makes him vulnerable to diseases that could cause physical
impairment.
b. Infections during childhood could also cause physical impairments such
as leprosy, measles, poliomyelitis.
c. Traumatic experiences such as motor accidents, burns, gun-shots and
bone fractures.
30
2.2 Meaning, Origin and Development of Special Education in Nigeria.
Today, special education is receiving attention and prominence compared
with what it used to be many years back. The recent attention is a reflection of
the conscious efforts by everyone, including the Federal and State
Governments to make education not just available but meaningful and
profitable to every child, regardless of his mental and physical disposition.
People are now aware that there are children whose educational needs are
difficult to be met by both the regular classroom teacher and in regular
classroom activities. Just as general education attempts to provide
appropriate instruction to children within the normal range of social and
intellectual functioning; special education seeks to ensure that special
children, that is, children who are exceptional in some ways receive
instruction appropriate to their capabilities and needs (Garwood, 1979). The
fact that there are children whose needs cannot be adequately met in the
regular classroom or by regular classroom teachers creates a vacuum.
Therefore, while general education caters for the normal children, special
education caters for those children not adequately catered for by general
education. Meanwhile, general education is the opposite of special education
and it uses standard curriculum with standard teaching methods without
addition/supports.
Ideally, special education process involves the individually planned and
systematically monitored arrangement of teaching procedures, adequate
31
equipment and materials, accessible settings and other interventions
designed to help learners with special needs achieve a higher level of
personal self – sufficiency and success in school and community than would
be available if the students were only given access to a typical classroom
education. Special education in developed countries is often regarded less as
a “place” and more as “a range of services”, available in every school.
Special education has been defined in many ways depending on the area of
emphasis. Sometimes, emphasis is made on the categories of disability while
sometimes, it is made on educational programmes and methodology for
remedying the disability. The National Policy on Education (2004) defined
special education with emphasis on categorization thus:
The education of children and adults who have learning difficulties because of different sorts of handicaps: blindness, partial sightedness, deafness, hardness of hearing, mental retardation, social maladjustment, physical handicap etc due to circumstances of birth, inheritance, social position, mental and physical health pattern or accident in later life, as a result, a few children and adults are unable to cope with the normal class organization and method. There are also the specially gifted who are intellectually precocious and find themselves insufficiently challenged by the programme of the normal school and who may take to stubbornness, and apathy in resistance to it (p. 36).
However, apparent specification on how to go about educating these
physically challenged children was not made. Herward and Orlansky (in
Adima (1991,p.110), have their emphasis on the educational programmes and
methodology and defined it as: “the individually planned and systematically
32
monitored arrangement of physical setting, special equipment and materials,
teaching procedures and other intervention designed to help exceptional
children achieve the greatest possible self-sufficiency and academic success”.
This implies that environmental setting is the apparent feature in special
education. For Smith and Neisworth in Ekwe and Iwuama (2010, p. 27), the
definition of special education is seen from the functional point as:
“Profession concerned with the arrangement of educational variables leading
to the prevention, reduction or elimination of those conditions that produce
significant defects in academic, communicative, locomotive or adjustive
functioning of children”. This school of thought defines special education from
the viewpoint of providing all the educational facilities that intend to
ameliorate the difficulties of the physically challenged. These provisions shall
either prevent, reduce or get rid of all their challenges to ensure that the
learners fully benefits from it. While the former definition laid emphasis on
providing the enabling environment for adequate learning, the latter
emphasized on the adequate provision of educational facilities that will
accommodate the various categories of special learners irrespective of their
challenges.
On his own side, Kirk (in Mba, 2002) maintained that special education is
used to denote those aspects of education which are applied to handicapped
33
and gifted children but not usually used with the majority of average children;
he expressed it thus:
Special education consists of the modifications, or additions to school practices intended for the ordinary child practices that are unique, uncommon, of unusual quality and in particular, are in addition to the organization and instructional procedures used with the majority of children (p. 29).
Pragmatically, special education is a therapeutic form of education offered to
children who show evidence of either under achievement or over-achievement
in class. By all considerations, special education is a humane education in so
far as it structures it’s teachings to the level and capability of the individual
child in order to ensure a successful learning experience (Nwaogu, 1992). He
further wrote that in order to achieve this aim, there is need for trained
personnel who use appropriate materials as well as employ special
methodology to maximize the development of the handicapped child. Even
though different authors conceive special education from different angles, they
all agree that it is an aspect of education geared towards educating all
children who are different from the average. Such differences may be in
mental ability, emotional stability or physical appearance. Although special
education is an integral part of education, there are specially trained teachers,
special curriculum content, special methodology and special instructional
materials. To this effect, Ogbue (1987) illustrated the specialty of this aspect
of education and wrote thus:
34
Special education is special because it involves a well trained teacher using special methods and instructional materials as well as a modified physical environment of education which are different from those normally used in regular schools to meet the individual needs of a child that is considered exceptional (p. 2).
2.2.1 Origin and Development
During the pre-Christian era in Europe, the handicapped were relegated to the
role of village idiots. They were maltreated, neglected and persecuted. But
with time, man sought to understand causes of disabilities and tried to relate
mental illness to physical rather than psychological causes. Ogbue (in Ogu,
(2000) accounted that special education began in Europe in 1760 when Abbe
deL ‘Epee opened a school for the deaf in Paris. In 1784, an associate of
Abbe deL ‘Epee, Valentine Huay, started the First residential school for the
blind after witnessing ten blind men being exploited for public entertainment.
Prior to this period, the handicapped were used merely as entertainers in the
palaces and as court jesters. It was after 1800 that institutions which were
established primarily by individuals sprang up all over Europe and America.
Later, these institutions began to receive financial assistance from
Governments. From the account given, it is obvious that education of the
handicap began to attract the attention of the public only after the education of
normal persons had taken firm roots.
35
Development of special education in Nigeria took almost the same pattern as
in Europe and other Western countries. Prior to the arrival of the missionaries,
the handicapped were treated with contempt and disrespect by all and sundry.
Essien (1982) said that people avoided the handicapped by throwing them
away into the forest to die or were destroyed at birth. He also maintained that
bow and arrow targeting were practised on the crippled individuals. Abang
(1981) admitted that the handicapped were left at the mercy of nature. Even
the Hebrew law recognized the unfortunate handicapped persons, although
they considered them an abomination and prohibited them from becoming
priests or even nearing the altar of God. In Nigeria, it was thought impossible
to educate the handicapped, rather, they were seen as perpetual beggars.
Although special education was later introduced, it took centuries after the
introduction of normal education before individuals began to think and embark
on it, as accounted by Ogbue, (1987). The first special education school was
established in 1953 by the Sudan Interior Mission (SIM) in Plateau State and
was named “Gindiri School for the Blind”. It was aimed at teaching the blind
boys and girls craft and Braille for basic literacy and to foster evangelical work.
The special education centre at Oji River was established in 1960 by Mrs.
A.F.C. Savory of’ the C.M.S. Church for the deaf and blind children. Its aim
then was to train the children, educationally and vocationally to be self
supporting and to encourage them to lead normal lives in the society. As at
1975, about 23 institutions were serving various categories of physically
challenged persons in the whole of Nigeria. Although the Government was
36
involved through grants and aids or sometimes by paying teachers’ salaries,
complete involvement in the education of the handicapped by the government
did not take place until the 1970s. The then Head of State Major General
Yakubu Gowon declared government’s interest in the Education of the
handicapped. To strengthen the existing schools, he directed that all State
Ministries of Education must establish Units for Special Education. This was a
major turning point in the history of special education in this country
(Ogbue,1987). At the moment, Nigerian senate had on the 27th of March, 2014
passed into 3rd reading, a bill prohibiting discrimination against the physically
challenged persons.
Again, professional interest is growing in special education now as many
institutions including Ministries (Federal and State) agencies, organizations
and individuals in the country cater for the physically challenged. Presently,
some Universities in the country such as University of Jos, University of
Ibadan, among others award degrees and higher degrees in various areas of
special education; while Colleges such as Advanced Teachers College Oyo,
award Nigerian Certification in Education (NCE). Kaduna Polytechnic now
trains people to work with the physically challenged. On the other hand,
Ugwuegbulam (2010) recalled that two eras have been identified in the
development of provision for persons with special need in Nigeria. The first is
the humanitarian/missionary era (1945-1970) during which provision of
services was dominated by private voluntary organizations (PVOs) and private
37
individuals. During this era, religious bodies (mostly Christians) were the
driving force behind establishing and maintenance of services and
programmes for children and adults with handicaps. During this era, the
attitude of the Government was somehow lackadaisical in matters concerning
persons with physical challenges. The second was the social service era
which saw the development of service. The country witnessed a significant
contribution from the government, in terms of commitment as well as inputs
and there was a relegation of the PVOs and private individuals to the
background. This era which commenced immediately after the civil war that
ravaged the country for three years, also saw the commencement of the
system of Universal Primary Education (UPE) and the eventual takeover of all
schools (including special schools) established by PVOs and individuals.
There was also the commencement of training programmes for special
teachers. The following institutions were either established or commenced
programmes in special education:
1. University of Ibadan started the Diploma in special education in 1974
and a Bachelor’s programme in 1976.
2. University of Jos started the Bachelor’s programme in special education
in 1977 and Masters in 1978.
It was also during the social service era that in 1977, the National Policy on
Education (NPE) was released. The release of this policy was a significant
turning point in Nigeria’s special education programme.
38
The aims of special education as stated in the policy are as follows:
a. to give a concrete meaning to the idea of equalizing educational
opportunities for all children; their physical, mental and emotional
disabilities notwithstanding.
b. to provide adequate education for all handicapped children and adults, in
order that they may play their roles fully in contributing to the development
of the nation.
c. to provide opportunities for exceptionally gifted children to develop their
skills at their own pace, in the interest of the nation’s economic and
technological development. In addition, the policy also contains the
following provisions that are beneficial to persons with special needs.
Setting up of a committee to coordinate special education activities conducted
by the Federal Ministry of education (FME) in collaboration with the Ministries
of health, Social welfare and labour as well as conduct census of persons with
handicap.
The social service era also marked the emergence of legislation that are
meant to address the problems of children and adults with handicap. It was
the Plateau state government that first enacted a law called ‘Plateau state
handicapped law which was introduced in 1981. Among other provisions, the
law stipulates that the education of children with handicap is compulsory and
provides for the rehabilitation needs of adults with handicaps. The law was
39
however, restricted to Plateau State which was just one among the then
nineteen states in the country (although Nigeria has thirty six states now). It
was in 1993, that the Federal Government enacted the first and only
legislation on the handicapped. The Nigerians with Disability Decree was
enacted to provide a clear and comprehensive legal protection and security for
Nigerians with disability, as well as establish a standard for enhancement of
the rights and privileges, guaranteed under this decree and other laws
applicable to the disabled in the Federal Republic of Nigeria.
2.3 Factors Associated with Art Education in Special Schools
Special education primarily helps to fix the special needs of students with
disabilities by providing individualized and personalized instruction to meet
their unique needs. This is because all children can learn and develop though
not in the same way and at the same rate. Supporting the above in an
empirical study carried out by Ogu (2000), it was proved that children with
disabilities are capable of learning and developing new skills, just as any other
child. Ekeada (1993) also maintained that three factors are pertinent in the
teaching of art in schools namely the art teacher, the method of art teaching
and the art materials available for teaching. He went further to stress that the
most important among the three factors is the art teacher. This is because the
art teacher is the motivator, the architect and the inspirator. All other factors
are manipulated according to the ability of the art teacher to achieve the
40
desired result. This factor was also buttressed by Conant and Randall (in
Ekeada,1993) thus:
…… no other person, no group, no amount of art materials, no physical facility, not even the community exceeds in importance than the art teacher – as the single element of greatest potential value in art education. No other person, thing or place can make such penetrating contributions to art education. (p.62)
The special and complex nature of art makes the art teacher in a special
school the driving spear head in art teaching. This is because while other
teachers in other subjects can play down on teaching their subjects and
recommending text books for the students to read up, the art teacher cannot
do same because of the simple reason that art is a skill and must be taught
with every commitment and supervision. Considering the abnormal conditions
of the children in special schools which give rise to various demands as
regards methods or strategies of teaching and materials involved, Schwartz
(as cited in Ogu, 2012) acknowledged that teachers were trained in the use of
special curricula, teaching methods and learning materials in order to impart
knowledge to the physically challenged children in special schools.
Writing further on the expectations of teachers in special education, he still
maintained that since the emphasis in special education, just as it should be in
all education, is on the abilities, rather than disabilities of the exceptional child,
the teacher is required to teach with patience, imagination, adaptability and an
ability to juggle the reality of the present with the goals of the future. Agreeing
with the above, Lerner (2000) observed that teachers have a marvelous power
41
in their hands, for they significantly affect a child’s life. Not only can they
modify curriculum content as needed and control the mode of instruction, but
they also set the climate of the learning environment. They can help or hurt
the children entrusted to them. For Marjoram (1988), every child is able to
learn; it depends on the effort of the teacher. Lee as cited in Ogu (2000)
observed that:
a good art teacher must know, first what he is teaching, (the methodology), the teacher must know both what he is teaching, and how to teach. Every teacher must be free to adapt his methodology to his own personality, to the particular needs of his students and to the given circumstances. This he does only if he knows the learning dispositions and abilities of his students. (p.13)
This goes to imply that in spite of the deformities present in the physically
challenged, they can cope with their normal counterparts on art skill
acquisition. The spear arrow to achieving it is the art teacher who possesses
special training on the various strategies to impact knowledge on respective
challenged children according to their short comings. Upon that too, the art
teacher is expected to study the individual learning dispositions and abilities,
especially when it concerns the physically challenged. In addition to the above
qualities, the art teacher in a special school should possess an outstanding
and remarkable amount of patience in order to tolerate the special learners.
This is very necessary because the special children usually need extra time,
attention and resources than their normal counterparts to catch up with
learning in the classroom. He should be able to follow every special child at
42
his own pace. Beyond his abilities and speed, the physically challenged is
known to loose interest in the activity because he can no longer cope.
Therefore, the art teacher should not loose sight of the above requirements
when teaching in a special class in order to ensure adequate learning by
the students.
2.4 Art Materials, Tools and Equipment for Art Teaching in Special
Education
The complex nature of art as a school subject makes it special and delicate
among other school subjects. This is because art is practical oriented and as a
result, no success could be recorded without appropriate use of materials,
tools and equipment. In selecting the media and tools of expression, Smith (in
Ogu, 2012) acknowledged that the teacher who makes efforts to provide
variety of materials and tools for children to express themselves is following
the accepted practice in art teaching. Children in general and the physically
challenged in particular gain understanding when concepts are developed
through their own experiences with concrete learning materials.
Garwood, (as cited in Edmos, (2010) while writing on the educational needs of
the physically challenged said this:
As with all children, his approach to learning is first through things he can see, hear, feel and otherwise experience as direct a way as possible especially through sensory experiences of all kinds… through the use of a wide range of educational media, much can be done to motivate, arouse and keep the interest of the handicapped child. Concrete illustrations, examples and
43
explanations must be used in teaching if we are to hold the attention of our students while helping them develop concepts which are accurate and useful in solving life problems (p.21).
Also emphasizing on the importance of the use of materials in teaching art to
children, Lerner (1997) agreed that:
Proper use of art material depends on the teacher’s knowledge of certain facts concerning them that affect teaching methods. Selection of materials for art teaching will depend on the type of art activity to be embarked upon but most fundamentally, also, the age, experience and the interests of the children concerned as well as what is available (p.12).
Ekeada (1993), added the following to summarize and advice the art teacher
on the type of art materials needed;
There is no much trouble as long as it is a matter of selecting the right materials for the right type of activity but in the second instance, the teacher will make sure that materials selected are easy, uncomplicated, bold to handle, harmless and cheap for children to work with. (p. 97).
Lerner (1997) agreed that for the special children in learning setting, the art
materials and tools to be provided should be manipulative in nature rather
than expecting them to draw or model recognizable objects. This means that
they should be allowed to manipulate or play with the art materials in order to
explore their possibilities fully like the normal children. As was earlier
pointed out, art materials and tools to be used in an art class depends on the
aspect of art to be studied. For a drawing class, the materials include pencils,
44
paper or drawing book, and the model to draw depending on the level of the
class. For painting class, the materials include; crayons, pencils, drawing
books, and water colour or poster colour, depending on the level of the class
also. For a sculpture or ceramic class (moulding), materials include clay
(prepared), paper marchie, and starch. Above all is a class with spacious
environment and of course water to wash off the materials as learning
progresses.
In addition to these general materials, Ogu (2000) also discovered in a
survey carried out that the deaf uses hearing aid instrument in the case of
mild auditory defect such as the hard -of- hearing. The blind was also
discovered to use tape recorder for understanding the instructions given by
the teacher as well as art models which they use their senses of touch to
feel and interpret the feelings of their minds through modeling. The
orthopedically deformed were discovered to use all art materials and in
addition, mobility aids such as calipers, crutches and wheelchairs.
2.5 Methods of Teaching Art
Generally, teaching is the act of causing knowledge in another in some way
(Collins, 1954). This is the commonest view of teaching with the longest
tradition. But for Offorma (1994 p. 82) “teaching is the systematic activity
deliberately engaged in by somebody to facilitate the learning of the intended
45
worthwhile knowledge, skills and values of another person and getting the
necessary feedback”.
Teaching is rooted in learning. The two concepts cannot be separated in the
actual educational process. On the other hand, method of teaching is the
systematic means of presenting subject matter and learning experiences
with a view to achieving set goals and objectives (Onwuka, 1997). In
discussing the methods of teaching art, the aims and objectives of art teaching
are given first. Both art educators and artists have suggested some
appropriate methods of approach as a guide to the teaching of art. These
suggestions include;
a. Motivation of the pupils towards learning.
b. Provision of suitable and various art materials for effective work.
c. The proper guidance of the pupil’s performance in art activities.
The first step in the method of teaching to both the normal and abnormal
children is motivation to arouse the interest of the children. Lerner (2000)
maintained that; Children must be motivated by their experiences to produce
art. As children live, if the new experience arouses their interests, and if it is
sufficiently reminiscent of former experiences, learning should occur.
Westwood (1999 p. 16) held the same view about the physically challenged
children and expressed that: “in school situation, informed, motivated and
flexible teachers using appropriate materials to teach pertinent subject
46
matter are the keys to success”. Suggesting methods and ways of motivating
the children in a class, the Nigerian Educational Research Council NERC
(1977) suggested story telling as a means of motivating the pupils. Shefali
(2010) supported the story telling strategy. According to him, the teacher’s
task is to help the pupils to recall an experience for expression. If this is so for
normal children, it might be difficult for the physically challenged with severe
auditory defect. Hurwitz and Day (2007) maintained that for the profoundly
deaf child, the eyes are the primary avenue for learning, as the child is
remarkably dependent on vision to maintain contact with the environment. For
the deaf, the teaching of art is a specialized subject, dealing primarily with the
sense of sight and touch. Generally, children are immature and cannot be
expected always to solve their problems and reach their goals to their own
satisfaction. Sometimes they must rely on the teacher for help. The disabled
child is most affected by this and needs the help of the teacher more. But
Musa, Ogbebor, Ekpeke and Kpangban (1992) objected to this and said that
dictatorial teaching methods are inappropriate to artistic development.
According to them, it subdues creativity. In addition, Smith (in Ogu, 2012) is
of the opinion that art teachers should not advocate copying. He contended
that copying inhibits children’s ability to experiment on new ideas. To this
effect, children and more especially the physically challenged, have the
chance to explore their artistic abilities, because no potential will ever be
47
realized or discovered unless a child tries and freely participates in an
activity.
On the effect of laissez –faire teaching method, Gaitskell and Hurwitz (in
Hurwitz and Day, 2007) suggested that it can be encouraged or disallowed.
In their view, the young children, especially those in the manipulative stage
may apparently benefit from occasional period in which the teacher does not
attempt to provide assistance. They also indicate that too many of such
sessions in sequence, have adverse effects on the art activities of children
who have advanced beyond the manipulative stage of development. For
Jameson (in Ekeada 1993, p.18), art education to the school child should
reflect “education through art and not education in art”. But regrettably, the art
experiences in which the handicapped child participates are often given by
special education teachers who may be familiar with the needs of the child
but are neither trained nor have a general understanding of the art and it’s
objectives. Supporting the above pedagogy, Attack (1980, p.12) writing on the
aims and objectives of art teaching to the physically challenged children said:
“teaching of art to the physically challenged is not aimed at making them
artists, but should help in their development of skills and abilities. It should
also stimulate the ability to organize themselves and their thoughts; …”.
To some people, physically challenged children cannot participate in art
activities; but Kirk (in Ekeada 1993, p. 42) objected and said that: “exceptional
children have the same need to create and to develop artistic skills as do
48
other children in spite of their disabilities”. To Tiedt in Ogu (2012), it all
depends on the effort of the art teacher to impact the knowledge. He
illustrated it thus:
To succeed in bringing about changes that will heighten the chances of the disadvantaged to be successful, teachers must be equipped with special knowledge and skills. Each teacher must know and understand the disadvantaged child… the teacher must know appropriate learning theory and be able to apply it. Materials and methods particularly suited to alleviating anxiety and improving the child’s self concept must be thoroughly familiar to her. Without such a background, his or her task will be that much more difficult and often impossible to fulfill (p.4).
This also implies that for an art education to be effective, the teacher will
first of all know the physical, mental, and emotional dispositions of the
handicapped in order to deliver art instruction that will benefit them in spite
of their respective dispositions. In addition to the above, Hurwitz and Day
(2007) recommended the following teaching methods for art:
a. Demonstrations: This is a teaching strategy whereby the teacher
shows the students how to use the materials following the processes
involved to form art works. During the process, the students watch
closely and with interest too while learning takes place. This is about
the best teaching methods in art because children like to imitate,
though known to consume time and energy.
b. Assignments: This involves the teacher giving the children home
works or works to do later based on what has been taught in the class
to be able to assess their level of understanding on the content taught.
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This method helps students to assimilate and consolidate the content
when it is still fresh in their memories. It enhances assimilation and
understanding on the students.
c. Audio-visual presentations:- This is another method of teaching
whereby the teacher introduces variety as a skill in his teaching by
reviewing one or two segments of a video tape that focuses on the
concepts, skill or understanding relevant to the art lesson after which
he can give an exercise on it for the students to prove their
understanding of the picture they had watched.
d. Lectures:- This method is usually employed when teaching theories of
art. The teacher can also use it to explain the concept to be learnt
before going into the studio to do the activity. For instance, before
starting the class on a ceramic project, the teacher can give students a
brief lecture about handling of clay, including the health hazards and
safety precautions that need to be understood when working with clay,
glazes and clay tools.
e. Individual work:- In this method, the teacher allows the students to
accomplish a task in art using their own initiatives and styles. This is
because every child needs opportunities for individual artistic
expression, and given the liberty without restriction, children bring out
the best of their creativity into play. This method allows the students to
explore.
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f. Group activities:- This method involves the grouping of students to
work on a project as assigned to them by the teacher. The various
groups can be asked to take up the different bits/segments of the
project that will lead to the final execution. This method encourages
learning of new knowledge and socialization among peer groups.
g. Reports method:- This method entails that the teacher asks the
students to study or observe something and give their reports when
they come to class. E.g. in preparation for an art class, on architecture,
the teacher may ask the students to study/ observe their various
houses to note everything about their buildings, the students will give
various reports based on what they see in their various houses. This
will aid understanding when the teacher presents the topic in the art
class.
h. Games: Games represent the play instinct transferred to art learning
situations. It can be rule governed or open ended. It may be
commercial games or games created by art teachers. The use of game
as a teaching method makes learning easier and fun for the students.
i. Field Trips:- The teacher uses this method to expose the students to
different locations outside the school environment. Such places as art
galleries, museums, and publishing/graphic design studios. Such trips
may be fund consuming but they serve as inspirations to the students
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and expose them to various aspects of arts which may not be available
in the school.
j. Guest Speakers:- This is a method whereby the art teacher invites
renowned and accomplished artists into the school in order to deliver
lectures to the students. This allows for interactions between the
students and the professionals. The guest artists may bring their
various materials for art which the students may not have access to in
the school environment to deliver their lectures. This method exposes
the students to new knowledge as they ask and answer questions
from the guest artists.
k. Dramatization:- The teacher uses this method to make experience
more vivid for children who often remember dramatizations for many
years. The teacher uses this method by assisting the students to act
out or dramatize situations that are educationally meaningful with
respect to the art curriculum. Eg. The teacher may ask a student to act
like one of the famous artists ever known. In preparation, the student
will choose one artist and study his dressing, works and other
biographical information about the artist. With this information
equipped in the student, he dramatizes the artist’s personality in front
of his class mates.
l. Exhibition method:- In this method, the teacher usually displays his
teaching materials and finished art works in the studio for the students
52
to learn from. Other works of art done by professional artists are also
displayed and referred to during teaching so that the students will draw
inspirations from them and get motivated. This is because many
children understand and learn easily what they see than what they
learn.
m. Discussion method:- This is a method whereby the teacher
contributes alongside with the students as they share their views on the
tropic to be learnt. This method calls for a lively mixture of ideas. In
this case, the teacher is not a solitary figure controlling a class from a
space between the desks and blackboard.
n. Individualized Instruction:- This method of art teaching entails
individual supervision of activities while the art lesson is going on by
the art teacher on the learners. In doing so, the art teacher visits the
students’ seats one by one to have a close look on whether or not the
students are doing the correct thing using the accepted procedures as
instructed. This method aims at making instant corrections on the
students’ works as their art works progress. Though time and energy
consuming, Hurwitz and Day (2007) admitted that it is about the best
method of art teaching because, it ensures that the students do the
right things following accepted rules and procedures. This is monitored
instantly by the art teachers while supervising the students’ works in the
class.
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Summarily, in any chosen method by the art teacher for the physically
challenged in teaching art activities the best result is achieved through
individual attention and treatment. This is because art programme is unique
and cannot be handled without immense commitment and focus. At the same
time, the physically challenged is unique in nature and requires unique
approach according to their respective challenges. Therefore, in teaching art
to them, the art teacher is required to employ close teacher/student
relationship as well as one on one measures to ensure proper understanding
of artistic procedures. In addition to the above, the art teacher should adopt
the strategy of step by step teaching practices or sequences concrete order
in which the learning materials are broken down into manageable bits and
followed thus, ensuring that the first sequences is well assimilated before
moving into the next-stage.
2.6 The Physically Challenged and Art Skills: Who Does What?
It is a common knowledge that not all physically challenged children
participate in all types of art activities because of the nature of their respective
defects, although they need to create and develop art skills just as other
children in spite of their deformities. However, the type of art skills practiced
by any physically challenged child depends on his sensory organs that are
sound. For this reason, the physically challenged child is not exposed to all
practices in art skills in the school. But Ekeada (1993) disagreed with this and
recommended that there is no need to limit the activities of the exceptional
54
children to the simple, follow – the – directions practise that are frequently
seen in the special classroom. Instead, they should be provided with the wide
range of activities presented to the normal child’s art training. Art is a way to
work with children who have disabilities towards the achievements of all sorts
of goals. Such goals as the coordination of motor muscles of the eye and
hand, acquisition of skills, acute recognition of colors, sequential matching of
objects, visual acuity, accurate interpretation of one’s inner thoughts and
feelings, to mention a few. In addition, regardless of the benefits of art, to the
child, art is fun, it engages gracefully, it is one medium where there is no right
or wrong answer. The child has all the liberty to express himself as much as
he feels without inhibition. It is also important to note that the physically
challenged child is deformed in one, two or even multiple sensory organs as
mentioned earlier on. As a result of this condition, he is inhibited on actions
related to the use of such deformed organs. Therefore not all of them can
participate in all art skills. Their participation however depends on their
sensory organs that are intact and the art skills that are possibly carried out
with them.
In an empirical study carried out by Onyem (2000), Ogu (2000) and Ogu
(2012) on disability and participation in Art skills, they discovered from their
investigations that the blind students do not participate in drawing, painting
and designing because of their visual deformity. According to the studies,
these aspects of art skills require visual perception and study of the
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objects/materials to be represented. As a result of their visual conditions, they
are inhibited from them. The studies also found out that the blind students
participate actively and perfectly without inhibitions on modeling, especially
with clay. Again, the result of the study revealed that the deaf and the
orthopedically challenged students participate fully in all forms of Art Skills
with little or no inhibition. This is because their visual sensory organ which is
the primary sensory organ for art skills is accurate. An exception also was
made of children with amputation of the upper limbs or paralysis of the hands.
But even in cases such as the ones mentioned above, exceptional cases
occur where the individual usually does his art in drawing and painting with the
pencil, crayon or brushes in the mouth supported by mouth holder or on the
toes.
2.7 Problems Associated with Learning Art Skills in Special Education
Schools.
The primary barriers faced by the physically challenged in learning art skills
are the ones caused by their various distinctive defects as observed by
Onyem (2000). According to him, inhibitions are being faced by some
physically challenged individuals towards their participation in art skills. For
instance the blind cannot draw, paint or design because he cannot see the
object to draw or paint and also cannot perceive colours to apply on
objects. Again, the person with orthopedic defects, especially where it affects
the hands cannot hold art materials to work with. UNESCO as contained in
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Ogu (2012) came up with some barriers associated with learning art skills in
special schools as including:
1. Inadequate funding of courses related to art skills acquisition. Teaching
of arts to students with disabilities in general education classrooms
takes specialist and additional staff to support students’ needs.
Coordinating services and offering individual supports to children
require additional money that many schools do not have particularly
in a tight economy like Nigeria. Inadequate funding can hinder
ongoing professional development that helps keep both specialists
and classroom teachers updated on the best practices of teaching
arts in mainstream and special schools
2. Negative attitudes of the society towards people with disabilities which
are often caused by a lack of knowledge and understanding. This may
sometimes lead to stigmatization. The situation is worse when it
concerns the physically challenged in general schools (in the case of
mainstreaming).
3. Some schools (both general and special) are not accessible to students
in wheel chairs and there are no other mobility aides such as
elevators, ramps, paved pathways and lifts to get in and around
buildings. Such learning environment may practically be difficult for
orthopaedically deformed children to cope with.
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4. The curriculum, especially where the physically challenged is
integrated in the mainstream system, does not always provide for their
special handling including teaching methods and materials.
5. Most importantly is the unavailability of trained art teachers and art
skilled personnels who also received training in special education. The
knowledge of special education will acquaint the art teacher/personnel
with the use of teaching methods suitable for all categories of
disability seen on the students in his classroom.
2.8 Concept of Creativity
The source of all civilization is human imagination or creative thinking as
observed by (Patrick, 2005). Chauhan (2000) defined creativity as the ability
to produce new forms in unconventional unique way. Nnolin (1997) surveyed
the definition of creativity as given by old psychologists this way: Eisner saw it
as a capacity possessed in some degree by all human beings. Hildebrand had
it as the ability to see new relationships between previously unrelated object
and ideas. Some other people believe that creativity is the ability to tap past
experience and come up with something new. Patrick, (2005) finally
summarized the meaning of creativity as the ability of being original as one
combines thoughts, ideas, objects, fantasies and visionaries of the universe in
order to produce unique results, ranging from tangible, such as piece of work
of art to some intangible forms of art such as poetry and music. According to
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Patrick (2005), studies of creativity have described traits of people who have
maintained or rediscovered the creative attitude. These include the abilities to:
a. wonder and be curious.
b. be open to new experience.
c. see the familiar from an unfamiliar point of view.
d. take advantage of accidental events.
e. make one thing out of another by shifting its function.
f. generalize from particular in order to see broad applications.
g. synthesize, integrate, find order in disorder.
h. be in touch with one’s unconscious, yet be intensely conscious.
i. be able to analyze and evaluate.
j. know oneself, have the courage to be oneself in the face of opposition.
k. be willing to take risks and to be persistent to work for long periods-
perhaps years in pursuit of a goal.
Creativity is an important tool which is indispensible in the child’s total
development as discovered by Obinaju and Ekeh (2012). Every living,
breathing human has the potential to be creative according to them. Each
person, the paper continues, is a unique individual capable of creating; it
comes with the human territory. Ogomaka (2004) also agreed with the above
that everyone is naturally creative to some extent. Although Patrick, (2005)
believed that we all have the potential to be creative, yet most of us have not
been encouraged to develop our creativity. While Ogomaka (2004) added that
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the creative tendencies of the pupils are made manifest through the teachers’
actions and dispositions. Supporting the above, the creativity Web as adopted
by Obinaju and Ekeh (2012) stated that creative ability can be learned,
improved upon and increased overtime. Therefore, while good teaching
methods develop creativity, and arose creative behaviors, bad or poor
teaching methods stiffle it.
According to Ajala (2004), good methods for developing or teaching creativity
include: originality, ability to produce something new which demands initiative
and vision as well as various ways of solving problems. All these can be
achieved through the following:
Divergent Thinking: Being able to notice relationship between two or more
things. For example, when a child is asked to compare and contrast.
Sensitivity: This is the ability to recognize that a particular problem exists.
This means that a creative mind does not gloss over issues but analyses
things critically.
Fluency: Ability to generate large number of ideas within specified time and
these ideas are such that can help in solving problems.
Flexibility: This has to do with willingness to accommodate new ideas, not
holding tenaciously to an idea when there are other ones.
Elaboration: This is the ability to explain difficult problems in the simplest
form that it can be understood.
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Redefinition: This involves changing or reinterpreting concepts without
alteration in meaning
Researches reviewed suggest the following guides as methods for
teaching creativity:
a. Ask open-ended questions to involve the child in general discussions.
For example, what would happen if there are no rivers? Such question
will stimulate free-thinking (i.e divergent thought) which would provide
scope for many possible answers, with no wrong answer.
b. Involve the child to challenge the assumptions under-lying the ideas
presented by you, the teacher.
c. Involve the child in the activities which stimulate creativity and fantasy.
For example: Present some meaningless similarities “I am a horse” and
let the child find out how it is possible.
d. Present some statements of observation to explore the possibilities of
its reversal, for example “The rose is red” Red is the rose”.
e. Involve the child in exploring activity, like making a list of as many
problems as possible related to environment, or list of things around
you.
f. Provide the child with as many activities and opportunities as possible,
for the expression of idea, which should be continuous, and in the area
of children’s interest.
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g. Whenever possible, provide the child with supplementary materials,
books and other experiences. The teacher should avoid emphasizing
the textual information.
h. Provide children with activities and projects which interest them and
give them openness to think originally and express their ideas in their
own way. Encourage the children to pursue their hobbies.
i. Appreciate openly whenever a child expresses creative behaviour like
asking unusual questions, giving unusual ideas and taking self initiated
action. Appreciate the child when he/she makes ambiguous statements.
j. Encourage the child to make as many arguments as possible about the
solution while solving the problems.
k. Do not always insist on correct answers. Allow the child to think and re-
think the correctness of the answer. Do not evaluate the goodness of
the answer but insist on the number of ideas. Quality of the answer is
taken care of when the child examines all the possible answers.
l. Make sure a child is not taunted by his friends, brothers or sisters for his
answers to the question posed by you. Do not make sarcastic and
insulting remarks in front of the child or on the child. Discourage self-
criticism.
m. Allow the children to think and express freely and find the facts for
themselves.
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n. Do not tell them everything. Let children do their best in finding the
solution to the problem without giving them any hint.
o. Do not encourage rote learning or memorizing of the facts. Allow them
to pursue as much as they want without bothering themselves about
giving the expected solution or answer.
All these statements stated above are in line with Adeyanju (1996)
recommendation on how the schools can enhance creativity which according
to him can be done through flexibility, humor, self-reliance, wholistic and
flexible teaching methods, use of projects, discovery and goal-directed
approach, use of color and wall chart, maps, illustrations, role-models, and
occasional laissez-faire strategies. The same idea is shared by Offor (2004)
who stated her own as projects, guided discovery, discussion method,
assignments and individualized instruction. Since one cannot give what he
does not have, a person teaching creativity method must enhance his/her
creativity by: trying to explain to a child the same thing in different ways, and
giving various types of challenging activities to the child as well as evaluating
the answers given by the child in different ways. These should also be seen
as methods for teaching creativity. In conclusion, Patrick (2005) remarked
that;
Creativity is as fundamental to experiencing and appreciating a work of art as it is to making one. Artistic creativity is an asset to society. Creativity developed through art experiences enhances problem solving and communication in other areas of life. For everyone, opportunities for creative expression develop our
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abilities to integrate experiences of the outside world with those of our inner selves (p.23).
2.9 The Missing Link
Participation in art activities by the physically challenged have been handled
and treated from different angles especially, talking about the benefits
derivable from it. Schwartz (1975) saw the physically challenged participation
in art as basically therapeuthic. According to him, art provides succor, relief
and joy to the physically challenged and makes them to momentarily, forget
the pains and agony which their bodily dispositions bring to them, thereby
allowing them to live in a world of fantasy whenever they are deeply involved
in it. Other authors such as Marjoram (1988), Lerner (2000), Lee (as quoted in
Ogu, 2000), Conant and Randall (as quoted in Ekeada,1993), unanimously
agreed in their studies on factors that help enhance learning of art in the
physically challenged that the art teacher is the driving force /spear head in
art teaching. According to them, all other factors are under the control of the
art teacher to achieve the desired result. On the needed materials for art
teaching to the physically challenged, Smith (1972), Tiedt (1968), Garwood
(1979), Ukaga (2007), Lerner (2000) and Ekeada (1993) all agreed that
children, especially the physically challenged learn art through what they can
see, hear or feel. They advocate that since art is manipulative in nature, the
art teacher should provide the right materials during art teaching for the right
64
type of activity for the respective categories of the challenged; considering
their age, experience and interest. They also advised that the materials
should be cheap, bold to handle, easy and uncomplicated for the children to
manipulate or play with in order to explore their possibilities fully like their
normal counterparts.
On teaching methods for the physically challenged, authors such as
Westwood (1999), Ukaga (2007) and Learner (2000) discovered that
“motivation” is the key to success. Smith (1972) condemned the act of copying
by the physically challenged during art activities, saying that it inhibits
children’s ability to experiment on new ideas. Agreeing with the above view,
Hurwitz and Day (2007), Musa, Ogbebor, Ekpeke and Kpangban (1992) as
well as Ekeada (1993) advocated that children should be allowed to explore
their artistic abilities because no potential will ever be realized or discovered
unless a child tries and freely participates in an activity. Therefore, the
appropriate teaching method for the physically challenged when teaching
art should be that which allows them liberty to express their feelings with
proper guidance and direction by the art teacher.
The above studies have helped to provide materials for adequate information
and knowledge on the physically challenged and their involvement
/participation in art. The review shows that scholars have focused mostly on
the therapeutic effect of art on the physically challenged, the type of
materials that should be provided during art activities, the type of methods
65
to be adopted during art classes and the importance of a good art teacher
on the artistic development of the physically challenged. However, no
researcher has any information on the state of art teaching in special schools
in South-Eastern Nigeria. Again, non has investigated on the methods of
art teaching as one of the factors that suppress creativity in the physically
challenged; particularly in the south Eastern Nigeria. Therefore, this research
study tried to expose the state of art teaching in special education
secondary schools in South Eastern Nigeria as well as art teaching methods
in the above schools as one of the factors that suppress creativity in the
physically challenged. The study also provided answers to the research
questions posed with adequate recommendations for improvement in art
teaching for acquisition of creative skills by the physically challenged in the
South Eastern Nigeria.
2.10 Summary of Literature
Related literature for this study revealed that much have not been covered in
the area of art teaching skills acquisition and the physically challenged in
creativity development in Nigeria particularly. Available studies in art skills
and the physically challenged children have shown that art is not a frill but a
requisite. Generally, art assists in establishing contact with a child’s
environment. The visual stimulation necessary for perceptual development
is provided by art. Art also helps the physically challenged children to cope
more readily with their physical environs by assisting them with colour
66
discrimination necessary for safety. Art can be a means of building
independence in an individual. This can be of particular importance to the
physically challenged person who usually must depend on others for so
much of his daily needs. Through art, the physically challenged can present
ideas that may be denied expression because of limited ability in handling
language skills. This is attributed more to the deaf whose hearing impairment
diminishes language skill and usually poses difficulty in language
acquisition. For people in this condition, their eyes and manual activities when
combined with their mental capabilities form their primary avenue for
learning and easy communication. Art education facilitates the effective
utilization of these senses.
From the aforesaid, the literature review has given various definitions of
physically challenged by various authors as individuals who deviate from
average or normal children in mental, sensory and physical abilities and who
require a modification of school practices in order to develop to their
maximum potentials. Categories of disabilities were listed as blindness,
partial sightedness, deafness, hard of hearing, mental retardation, social
maladjustment, physical handicap to mention but a few. Various definitions
of special education by various authors were reviewed from respective
viewpoints. Origin and development of special factors associated with art
education in special schools which include the teacher, the teaching methods
and materials for art skills were also ascertained. The concept of creativity
67
was equally verified. The categories of the physically challenged and how they
participate in art skills were explained. Finally, the problems associated with
the learning of art skills in special schools were discussed. From the review
however, there is no evidence that the challenges in teaching special learners
in the South Eastern Nigeria have been investigated. This study is therefore,
an attempt to fill that gap.
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CHAPTER THREE
RESEARCH METHODOLOGY
This chapter describes the methods used in carrying out the study which aims
at investigating the methods and challenges of teaching creative skills in
special schools in South Eastern Nigeria. In doing this, related literature to the
study were reviewed from textbooks, journals, magazines as well as
unpublished higher degree thesis. These materials helped in providing
existing knowledge/information on the physically challenged and their
participation in art. However, the methods used as contained in this chapter
include; the type of research design used for the study, the areas where the
study was carried out as well as the respondents that the researcher used
for the study. Others include, the instrument which the researcher used in
collecting information that helped answer the research questions and the
hypothesis. The instrument so designed was subjected to validation and
proved reliable through a pilot test in order to certify its adequacy and
consistency.
This chapter also highlights the process employed by the researcher in
administering the instrument to ensure high rate of response and return for
enhanced success rate. Finally, the method used by the researcher to analyze
the data collected which helped to answer the research questions and
hypothesis was also included. Therefore this chapter is arranged under the
69
following sub-headings: Research Design, Area of Study, Population and
Sample, Instrument for Data Collection, Validation of Instrument, Reliability of
Instrument, Procedure for Data Collection and Procedure for Data Analysis.
3.1 Research Design
The design for the study was survey. The type of survey used was
“descriptive” which according to Nworgu (2006) aims at collecting data on, and
describing in a systematic manner, the characteristics, features or facts about
a given population. As a survey therefore, the study aimed at examining the
methods of teaching creative art skills to the physically challenged in the
South Eastern Nigeria. Data was collected from both primary and secondary
sources. Textbooks, journals and magazines provided the secondary data
while the primary data was collected from the respondents using the
appropriate instrument designed for the study by the researcher.
3.2 Area of Study
This study was carried out in South Eastern Nigeria which comprise; Ebonyi,
Enugu, Abia, Anambra and Imo. South Eastern states are situated east of the
River Niger. They are the Igbo speaking group of Nigeria. They are
predominantly Christians, their common food is cassava flour (Akpu) with
various traditional soups. Their common occupation is farming and commerce.
Specifically, the study was conducted in Special Education Secondary
Schools owned by the government in the states mentioned above where the
physically challenged are trained.
70
71
3.3 Population of the Study
The total population for this study was eighty (80) teachers, comprising of all
the teachers in Government owned Special Secondary Schools in each state
of South Eastern Nigeria. Preliminary study carried out by the researcher
revealed that there were 16 teachers in the School for the Deaf, Ofekata
Orodo, Imo State. Odoakpu Special School for the Deaf, Anambra State had
14 teachers. Special Vocational School for the disabled, Oji River, Enugu
State had 21 teachers. Special Education Center for the Blind, Afaraukwu
Umuahia, Abia State had 23 teachers while State Junior Secondary School for
the Blind, Opeffia-Izzi had 6 teachers as shown below:
Table 1: Population
S/n School State No of teachers
No of Art teachers
1 School for the Deaf, Ofekata
Orodo.
Imo 16 1
2 Odoakpu Special School For
The Deaf.
Anambra 14 1
3 Special Vocational School
for the Deaf and Blind, Oji River.
Enugu 21 1
4 Special Education Centre for the Blind, Afaraukwu, Umuahia.
Abia 23 1
5 Ebonyi State Junior Secondary School for the blind, Opeffia-Izzi
Ebonyi 6 1
Total 80 5
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3.4 Sample of the Study
The study picked one special education Secondary School, established by
the government to represent the state where it is located. The researcher was
compelled to use Purposive Sampling Technique because no school among
the Special Education Secondary Schools visited in the preliminary study had
more than one art teacher which by all standards do not constitute a
population for a study of this sort. Therefore, the study used all the teachers in
the schools as mentioned in the population as respondents.
3.5 Instrument for Data Collection
The instrument for this study was a set of structured questionnaire tagged
“Creative Art Teaching in Special Education Survey Questionnaire
(CATSEQ)” designed by the researcher. It was made for all teachers in
Special Education Secondary Schools owned by the government in each
state of South Eastern Nigeria. It contained 50 items. Ideas and items in the
questionnaire were designed to elicit information on the type of art activities
taught in schools for special learners, the categories of special learners that
are found in Special Education Schools, the methods of teaching art skills that
could effectively develop creativity in challenged learners as well as
challenges faced in teaching art skills in Special Education Schools.
The questionnaire contained five sections. Section A contained 5 optional
questions and sought information on the biography of the respondents.
Section B contained 3 questions and sought information on the categories of
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physically challenged that are trained in the school. Section C contained 17
questions and sought to know the type of art activities taught in the school
for special learners. Section D contained 4 questions on the teaching methods
of art used to effectively develop creativity in the physically challenged.
Finally, section E contained 26 questions and sought to know the problems
faced in teaching the physically challenged in the school. The respondents
were expected to rate the extent of acceptance which they attached to each
item on a modified 4 point Likert Scale as shown thus: Very High Extent (VHE:
4), High Extent (HE:3), Low Extent (LE:2) and Very Low Extent (VLE:1).
3.6 Validation of Instrument
The questionnaire was subjected to face and content validation. Face
validation is the testing of the appropriateness of a questionnaire. According to
Nworgu (2006), it is used to indicate whether a questionnaire measures what
it contains. Content validity on the other hand was used to test how well the
questionnaire items represent some segment of knowledge. It was therefore
used to determine the extent to which questionnaire items were relevant to the
objectives of the study as well as the research questions being investigated.
In validating the face and content of the instrument, copies of the draft
questionnaire were given to specialists from different departments in the
University of Nigeria, Nsukka and Alvan Ikoku Federal College of Education
Owerri, who were relevant to the study. These specialists included two
lecturers in special education, two lecturers in Fine and Applied Arts and one
74
lecturer in Measurement and Evaluation. These specialists were required to
suggest modifications on the structuring of the items, as well as organization
and arrangement of the items. Their suggestions, modifications and opinions
were effected and the final questionnaire was produced and distribution to the
target population.
3.7 Reliability of the Instrument
In order to ensure the reliability of the research instrument, the researcher
administered the questionnaire on 20 teachers in two special schools in Rivers
state, two times within an interval of two weeks. This helped the researcher to
determine the extent of its consistency. It also helped the researcher to
discover and solve problems that came up from the instrument before the
final administration. The data obtained from the two administrations were
then correlated using Pearson Product moment Correlation (PPMC). The
correlation coefficient statistics result obtained was 0.96. This was considered
adequately high and reliable.
3.8 Procedure for Data Collection
The data for the study were collected from the primary source using
questionnaire. The questionnaire was administered personally by the
researcher, that is the distribution and collection of the instrument was carried
out by personal contact. This resulted in the high percentage of return
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recorded. The researcher requested that the whole questionnaire be
completed and returned immediately to avoid loss.
In some cases where the return rate of the completed questionnaire was less
than 50% on the first visit, the researcher visited as many times as possible to
ensure that a high rate of return was recorded for meaningful achievement of
the purpose of the study.
3.9 Procedure for Data Analysis
Responses from the questionnaire were scored using four point rating scale of
4 on the high side and 1 on the lowest level. All the options were scored in
the same direction. Mean statistics and simple percentage were used to
analyze the data so as to answer the research questions. Interpretation was
made on each item using the mean of 2.50 as the bench mark for positive
responses (mean scores within and above were accepted while below were
rejected). The hypotheses were tested using Analysis of Variance (ANOVA).
Statistical decisions were made at 0.05 level of significance.
76
CHAPTER FOUR
PRESENTATION OF FINDINGS AND ANALYSIS OF DATA
This chapter presents the results of the findings made from the study. It also
presents the analysis of data using the mean statistics. The data analysis
were made in order of the research questions and hypotheses one after
another.
4.1 Research Question 1: What are the categories of special learners found
in special education schools?
The categories of special learners obtained from the students’ personal files
are as presented on the table that follows:
Table 4.1: Showing number and percentage of categories of special learners
in the school
S/N ITEMS N %
1 Deaf 216 39.01
2 Blind 210 37.97
3 Orthopedically deformed 127 22.96
Total 553 99.94
Data presented on table1 showed that the number of the deaf and the blind
learners were 216 and 210 representing 39.01% and 37.97% respectively.
The orthopedically deformed were 127 representing 22.96% of the total
number of students.
77
4.2 Research Question 2: What are the art activities taught in schools for
special learners?
Items 4 – 20 in the research questionnaire were used to obtain data
necessary for the analysis of research question two. Mean statistics was
computed using the data collected. The results are as presented on the table
that follows.
Table 4.2: Showing the mean of art activities taught in the schools for special learners S/N ITEMS Total Mean Result
4 Modeling N Nx
80 200
2.50 +
5 Drawing N Nx
40 115
2.88 +
6 Painting N Nx
80 170
2.13 -
7 Sculpture N Nx
80 200
2.50 +
8 Dyeing N Nx
80 170
2.13 -
9 Cloth Weaving N Nx
80 170
2.13 -
10 Basket weaving N Nx
80 200
2.50 +
11 Mat weaving N Nx
80 200
2.50 +
12 Cane weaving N Nx
80 260
3.25 +
13 Book binding N Nx
80 200
2.50 +
14 Paper design N Nx
80 170
2.13 -
15 Stencil cutting printing N Nx
80 170
2.13 -
16 Banner writing N Nx
80 170
2.13 -
17 Bead making N Nx
80 170
2.13 -
18 Mosaic N Nx
80 170
2.13 -
19 Paper marchie N Nx
80 200
2.50 +
20 Collage N Nx
80 170
2.13 -
78
In the table 2 above, n stands for the number of respondents while x stands
for score. The sign + stands for positive response showing agreement, while
the sign - stands for negative response showing disagreement. Data analysis
therefore showed that modeling, drawing, sculpture and basket weaving were
among the art activities taught in schools for special learners. Others included
mat weaving, cane weaving, book binding and Paper marchie. The art of cane
weaving had the highest mean score of 3.25 and this was followed by drawing
with 2.88 mean score. Other items with positive scores had mean scores of
2.50 which is the bench mark for positive responses, whilse, other art
activities listed were scored below 2.50
79
4.3 Research Question 3: What are the methods of teaching art skills that
could effectively develop creativity in challenged learners?
Items 21 – 24 in the research questionnaire were used to obtain data
necessary for the analysis of research question three. Mean statistics were
computed using the data collected. The results are as presented on the table
that follows.
Table 4.3: Showing the teaching methods in the schools for special learners
S/N Items Total Mean Result
21 Demonstration method n
nx
80
170
2.13 -
22 Discussion method n
nx
80
200
2.50 +
23 Individualized instruction n
nx
40
85
2.13 -
24 Exhibition method n
nx
80
160
2.00 -
Data analysis therefore showed that discussion method was the popular
teaching method in schools for special learners, having a mean score of 2.50.
Other teaching methods as listed in the table were rated below the
accepted mean.
80
4.4 Research Question 4: What are the challenges in teaching learners in
special education schools?
Items 25 – 50 in the research questionnaire were used to obtain data
necessary for the analysis of research question four. Mean statistics was
computed using the data collected. The results are as presented on the table
that follows.
Table 4.4: Showing the mean challenges of teaching in the schools for special learners
S/N ITEMS Total mean Result
25 Inadequate classroom space n
nx
80
260
3.25 +
26 Poor ventilation in the classroom n
nx
80
200
2.50 +
27 Poor lighting of the classroom n
nx
80
170
2.13 -
28 Inadequate number of art teachers
n
nx
80
200
2.50 +
29 Inadequate seating facilities n
nx
80
160
2.00 -
30 Poor training of art teachers n
nx
80
190
2.37 -
31 Not all challenged learners participate in all art activities
n
nx
80
240
3.00 +
32 Some students do not show interest in learning art
n
nx
80
240
3.00 +
33 The number of periods for teaching art in the week is not adequate to cover the scheme
n
nx
80
260
3.25 +
34
The length of each period for teaching art is not adequate to complete the lesson plan
n
nx
80
210
2.63 +
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35 The physically challenged suffer stigmatization
n
nx
80
260
3.25 +
36 The physically challenged have low self esteem and self confidence
n
nx
80
200
2.50 +
Poor Provision of Art Materials such as:
37 Stove /heat source n
nx
80
200
2.50 +
38 Art studio n
nx
40
115
2.88 +
39 Pencil n
nx
80
200
2.50 +
40 Candle wax n
nx
80
160
2.00 -
41 Ropes n
nx
80
240
3.00 +
42 Dyes and dying accessories n
nx
80
160
2.00 -
43 Drawing books n
nx
80
200
2.50 +
44 Crayons n
nx
40
115
2.88 +
45 Poster colour n
nx
80
200
2.50 +
46 Brushes n
nx
80
200
2.50 +
47 Clay n
nx
80
240
3.00 +
48 Cotton cloths n
nx
40
115
2.88 +
49 Drawing boards n
nx
80
200
2.50 +
50 Water colour n
nx
80
220
2.75 +
82
Data analysis showed that the challenges of teaching learners in special
schools included inadequate classroom space, inadequate number of art
teachers, poor ventilation in the classroom and the length of each period for
teaching art is not adequate to complete the lesson plan. Other challenges
were that not all the physically challenged participate in all art activities, some
of them do not show interest in learning art, the number of periods for teaching
art in the week is not adequate to cover the scheme of work, the physically
challenged have low self esteem, self confidence, and suffer stigmatization,
as well as poor provision of art materials such as stove /heat source, art
studio, pencils, ropes, drawing books, crayons, poster colour, brushes, clay,
cotton cloths, drawing boards and water colour. They all have a mean rating
of 2.50 and above. However, there were low scoring on items 27, 29, 30, 40
and 42.
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4.5 Hypothesis 1: There is no significant difference among the special
education schools in the South East States about the categories of
learners taught.
An ANOVA test was used to test the significance of the difference among the
categories of learners in the five special schools. The summary is presented
on the table that follows
Table 4.5: Summary and result of ANOVA test
Source or variation Sum of
squares
Degree of freedom Mean squares F
Between 84.1 2 42.05 5.71
Within 564.9 77 7.36
Total 649 79
Result of the ANOVA presented on the table 4.5 showed that the F. calculated
value is 5.71 whereas for 2, 77 degrees of freedom at 0.05 level of
significance, the F critical value is 3.4. This indicates a significant difference
among the five schools for special learners. For this reason therefore,
hypothesis one was rejected. It is consequently proper to assert that there is a
significant difference among the special education schools in the South East
States in the categories of learners taught.
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4.6 Hypothesis 2: There is no significant difference among the special
education schools in South Eastern Nigeria on the types of art activities
taught.
An ANOVA test was used to test the significance of the difference among the
special education schools in South Eastern Nigeria on the types of art
activities taught.
Table 4.6: Summary and result of ANOVA test
Source or
variation
Sum of
squares
Degree of
freedom
Mean
squares
F
Between 56.6 2 28.03 13.8
Within 156.3 77 2.03
Total 212.91 79
Result of the ANOVA presented on the table 4.6 showed that the F calculated
value is 13.8 whereas for 2, 77 degrees of freedom at 0.05 level of
significance, the F critical value is 3.4. This indicates a significant difference
among the five schools for special learners. For this reason therefore,
hypothesis two was rejected. It is consequently proper to assert that there is a
significant difference among the special education schools in the South East
States in the art activities taught.
85
4.7 Hypothesis 3: There is no significant difference among the special
education schools in South Eastern Nigeria concerning the methods of
teaching art skills for effective development of creativity in challenged
learners.
An ANOVA test was used to test the significance of the difference among the
special education schools in South Eastern Nigeria concerning the methods
of teaching art skills for effective development of creativity in challenged
learners.
Table 4.7 Summary and result of ANOVA test
Source or
variation
Sum of
squares
Degree of freedom Mean squares F
Between 74.4 2 37.2 11.6
Within 244.9 77 3.18
Total 319.3 79
Result of the ANOVA presented on the table 4.7 showed that the F calculated
value is 11.6 whereas for 2, 77 degrees of freedom at 0.05 level of
significance, the F critical value is 3.4. This indicates a significant difference
among the five schools for special learners. For this reason therefore,
hypothesis three was rejected. It is consequently proper to assert that there is
a significant difference among the special education schools in South Eastern
Nigeria concerning the methods of teaching art skills for effective development
of creativity in challenged learners.
86
4.8 Hypothesis 4: There is no significant differences among the special
education schools in South Eastern Nigeria on the challenges faced in
teaching special learners.
An ANOVA test was used to test the significance of the difference among the
special education schools in South Eastern Nigeria on the challenges faced in
teaching special learners.
Table 4.8: Summary and result of ANOVA test
Source or
variation
Sum of squares Degree of
freedom
Mean squares F
Between 65.6 2 32.8 10.78
Within 234.2 77 3.04
Total 299.8 79
Result of the ANOVA presented on the table 4.8 showed that the F. calculated
value is 10.78 whereas for 2, 77 degrees of freedom at 0.05 level of
significance, the F critical value is 3.4. This indicates a significant difference
among the five schools for special learners. For this reason therefore,
hypothesis four was rejected. It is consequently proper to assert that there is a
significant difference among the special education schools in the South East
on the challenges faced in teaching special learners.
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4.9 Summary of Findings
The following findings were made from the study:
1. The categories of learners found in the special schools are the hearing
impaired, the visually impaired and the orthopedically deformed.
2. The art activities taught in schools for special learners included
modeling, drawing, sculpture and basket making. Others included mat
making, cane making, book binding and paper marchie.
3. The commonest teaching method used in teaching learners in special
schools was discussion method.
4. The challenges of teaching learners in special schools included
inadequate classroom space, poor ventilation in the classroom,
inadequate number of art teachers, and the length of each period for
teaching art is not adequate to complete the lesson plan. Other
challenges were that some of them do not show interest in art, the
number of periods for teaching art in the week is not adequate to
cover the scheme, the physically challenged suffer stigmatization, they
have low self esteem and self confidence, poor provision of art
materials such as stove/heat source, art studio, pencils, ropes, drawing
books, crayons, poster colour, brushes, clay, cotton cloths, drawing
boards and water colour.
5. There was a significant difference among the special education schools
in the South East States in the categories of learners taught.
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6. There was a significant difference among the special education schools
in the South East States on the types of art activities taught.
7. There was a significant difference among the special education
schools in South Eastern Nigeria concerning the methods of teaching
art skills for effective development of creativity in challenged learners.
8. There was a significant difference among the special education schools
in South Eastern Nigeria on the challenges faced in teaching special
learners.
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CHAPTER FIVE
DISCUSSION OF FINDINGS, IMPLICATIONS, SUMMARY,
RECOMMENDATIONS AND CONCLUSION
This chapter deals with the interpretation and discussion of the results of the
study. It also highlights the implications of the results, recommendations for
action based on the results and suggestions for further studies. The chapter
also presents a summary of the study and highlights its limiting factors.
Conclusion based on the findings of the study was equally made.
5.1 Discussion of Results
Data presented on table I for research question 1 showed that the number of
hearing impaired students was 216 representing 39.01% of the total number
of students. The orthopedically challenged and the visually impaired learners
were 127 and 210 representing 22.96% and 37.97% respectively. The findings
showed that the greatest number of learners in special schools was the
hearing impaired. These categories of learners are much easier to be taught
art skills. This is so with the orthopedically challenged who are mostly
mainstreamed in many regular schools because with little facility especially in
the area of mobility, they could be conveniently taught. The hearing impaired
and the orthopedically deformed can easily manipulate art materials and
participate in many arts and crafts. Supporting the above findings, Onyem
(2000), Ogu (2000) and Ogu (2012) on disability and participation in Art skills,
had earlier discovered from their investigations that the visually impaired
students do not participate in drawing, painting and designing because of their
visual deformity. Again, the result of their study revealed that the hearing
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impaired and the orthopedically challenged students participate fully in all
forms of Art Skills with little or no inhibition. This is because their visual
sensory organ which is the primary sensory organ for art skills is accurate. An
exception also was made of children with amputation of the upper limbs or
paralysis of the hands.
Data analysis presented on table 2 for research question 2 showed that
modeling, drawing, sculpture and paper design were among the art activities
taught in schools for special learners. Others included mat weaving, cane
weaving, book binding and paper marchie. The identified art skills are useful
to special learners for livelihood. In line with this, Arhein, (2004) had already
recommended in his earlier study that the most useful type of education for
the physically challenged is art education. According to him, the teaching and
learning of art skills enable the special learners to achieve some degree of
independence and functionality. This is consonance with the
recommendations of Ekeada (1993) That there should be no limits to the art
activities provided to the challenged children but instead, they should be
provided with the wide range of art activities presented to the normal child’s
art training adding that the challenged children have the same need to create
and to develop artistic skills as do other children in spite of their deformities.
Data analysis on table 3 for research question 3 showed that discussion
method was the popular teaching method in schools for special learners
possibly because of lack of art materials for practical demonstrations and
unqualified art teachers. The use of non practical teaching methods in Schools
for special learners has been decried by Hurwitz, and Day, (2007). According
91
to them, non practical teaching methods tend to make learning very theoretical
and this is contrary to the essence of establishing schools for special learners.
They posited that theoretical education for the physically challenged would
only make them remain potential dependants. Supporting the above also,
Attack (1980) agreed that teaching arts to the physically challenged is not
aimed at making them artists but rather advised that it should help in their
development of skills and abilities as well as stimulating the ability to organize
them and their thoughts. Recognizing the above, Jameson in Ekeada (1993)
believed that art education to the school child should reflect ‘‘education
through art and not education in art’’. However, the researcher observed in the
study that the above objective is neglected in practice because the right
teaching method of art which should comprise of both demonstration and
theory is not followed, may be as a result of inadequate provision of qualified
art teachers and personnel who may be familiar with the needs of the child but
are neither trained nor have a general understanding of the art and the
objectives. Therefore, it is the belief of the researcher that if provision of
qualified art teachers are made who in turn use appropriate teaching methods
in imparting the knowledge in art education to the physically challenged, it will
help the learners in acquiring artistic skills for entrepreneurship and
independent living.
Another finding made from data analysis on table 4 for research question 4
showed that the challenges of teaching learners in special schools included
inadequate classroom space, Poor ventilation in the classroom, inadequate
number of art teachers and the length of each period for teaching art is not
92
adequate to complete the lesson plan. Other challenges were that not all
challenged learners participate in all art activities, the physically challenged
have low self esteem and self confidence, and not all challenged children
show interest in art, the number of periods for teaching art in the week is not
adequate to cover the scheme of work. Inadequate provision of art materials
such as stove /heat source, art studio, ropes, drawing books, crayons, poster
colour, brushes, clay, cotton cloths, drawing boards and water colour. In
some of the schools visited, there was no indication that the learners are given
special facilitations. Some do not have good seats for the learners. In line with
this finding, UNESCO (as contained in Ogu, 2012) discovered that some
barriers associated with learning art skills in special schools included
inadequate funding of courses related to art skills acquisition. Teaching of arts
to students with disabilities in general education classrooms takes specialist
and additional staff to support students’ needs. Coordinating services and
offering individual supports to children require additional money that many
Schools do not have particularly in a tight economy like Nigeria. Inadequate
funding can hinder ongoing professional development that helps keep both
specialists and classroom teachers updated on the best practices of
teaching arts in mainstream and special schools. Some schools (both
general and special) are not accessible to students in wheel chairs and there
are no other mobility aides such as elevators, ramps, paved pathways and
lifts to get in and around buildings. Such learning environment may practically
be difficult for orthopedically deformed children to cope with.
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Most importantly is the unavailability of trained art teachers and art skilled
personnel who also received training in special education. Despite the obvious
challenges posed by various deformities and at various degrees on the
physically challenged, which are either, inherited, or acquired through
accidents or ill health, the researcher observed that there are numerous
challenges as indicated in the study which are surmountable only if extra care
and adjustments are made by both the school authorities, parents,
government, teachers as well as the challenged learners too. In the case of
inadequate number of art teachers, literature reviewed showed that the art
teacher is the spear head, the motivator, the architect and the inspirator in
the teaching of art and all other factors are manipulated according to his
ability to achieve the desired result (Ekeada, 1993). This assertion was
supported by Lerner (1997) who observed that teachers set the climate of the
learning environment. In addition, Hurwitz and Day, (2007:77) documented
the findings of the study carried out by Doris Guay on accomplished art
teachers saying that “art teachers generally moved throughout their
classroom, providing reinforcement and encouragement. They sought to
maintain a calm, personal approach, keeping individuals on task by personal
closeness. They never appeared to be rushed”. These are expected roles of
the art teacher where they are available. But regrettably, these roles are far-
fetched in the special School under study because there are limited number
of trained art teachers.
The study found out that there are significant differences among the special
education schools in South Eastern Nigeria in the categories of
94
learners taught, in the art activities taught, concerning the methods of
teaching art skills for effective development of creativity in challenged learners
and in the challenges faced in teaching special learners. These facts may be
explained in the years of existence of the different schools and the funding
attitudes of individual state governments. Perhaps that is why Edmos (2010)
advocated Federal Government take over of all schools for special learners.
This is expected to reduce differences in the quality of education given in the
schools. The resultant effect being that enough qualified art teachers/
personnel will be employed to teach art skills adequately, with fair incentives
to make them steadfast in their jobs. Also, various art materials will be
provided for practical demonstration/production in various art endeavours.
This will help the learners choose areas of specialization, reduce challenges
faced in teaching art to the physically challenged in terms of structures,
facilities and learning aids. However, this opinion was upheld by Kirk (in
Ekeada, 1993) when he discovered in his study that the physically
challenged have the same need to create and to develop artistic skills as
do other children in spite of their disabilities.
Again, the fact that there are no enough qualified art teachers in the
schools studied as revealed in the findings could be the reason for the
differences observed on the methods of art teaching. If the teachers do not
have good knowledge of arts because they are not trained in art theories
and practices, they lack art skills and cannot give what they don’t have. It
then becomes inadequate to ask them to teach art skills in the Schools
which is a common practice in some schools including normal schools. This
95
is done to ensure that the subject is represented in the school time table
without minding the implications on the learners. The need for qualified and
committed good art teachers had earlier been buttressed by Ekeada (1993).
According to him, there are three factors that are pertinent in the teaching of
arts in schools namely: the art teacher, the art teaching method and the art
materials available for teaching. He further emphasised that among the three
factors, the art teacher is the most important because all other factors are
controlled by him to provoke learning. The need to provide infrastructural
amenities that aid the learning of the physically challenged is facilitated by the
fact that they are handicapped in carrying out some various life activities.
The need to provide such structures/facilities as mobility aids for the
orthopedically deformed, visual aids for the visually impaired and hearing aids
for the hearing impaired had been decried by UNESCO (as contained in Ogu,
2012).
5.2 Implications of the Findings
The findings of the study have the following implications:
1. One of the results of the study is that many art skills were not taught in
schools for special learners. This could imply that the learners would
graduate without functional skills to help develop their creative abilities.
2. Data analysis showed that discussion method was the popular teaching
method in schools for special learners. The use of discussion instead of
demonstration method as widely recommended for practical studies
96
such as art could make learning meaningless, uninteresting and boring to
the learners. This jeopardizes their creative abilities.
3. The insufficiency and inadequacy of materials for teaching art skills in
schools for special learners could imply that not much art skills are taught
to the learners.
4. The fact that not more than one art teacher is employed in the special
schools studied is enough indication that art is not taught adequately.
This implies that a single art teacher cannot handle all the contents in
the scheme of work for all the classes in the School.
5.3 Recommendations
Based on the results of the research study, the following recommendations
were outlined.
1. The findings of this study should be made available to the policy
makers in Federal Ministry of Education, Principals/Administrators of
special education schools where they can serve as a source of
information for curriculum improvement on the acquisition of creative
skills among the physically challenged.
2. The findings should also be made available to all qualified art teachers
who may be posted to special schools as a directory document to
guide them on the most appropriate way to teach art skills to the
physically challenged to be able to meet with the objectives as stated
in the National Policy on Education.
97
3. Many art skills should be taught in schools for special learners. This could
enable the learners to graduate with functional skills that will develop their
creative abilities for self reliance.
4. The use of discussion instead of demonstration method of teaching could
make learning uninteresting and boring to the learners. Teaching of arts in
schools for special learners should be practical, demonstrative and
individually supervised to enable them acquire art skills.
5. The schools for special learners should be adequately funded; the
insufficiency and inadequacy of materials for teaching art skills in schools
for special learners should be addressed by the government and funding
agencies.
6. The Federal Government should adequately and wholistically take over the
running of schools for the special learners. This will enhance the teaching
and learning processes both in art and other subjects.
7. More art teachers in various specialties should be posted to special
schools to ensure that various art skills are taught to special children. This
will help them acquire various skills instead of a limited one or two skills.
8. A few physically challenged individuals who were able to acquire some
form of creative skills while in school should be encouraged by the
government and other financial institutions/individuals by providing them
with soft loans or donations to set up their entrepreneurial business to
make a living. This will serve as motivational strategies and inspirations to
others.
5.4 Limitations of the Study
98
During the course of the study, the following limitations were observed:
1. The questionnaire was meant to be filled by the art teachers in the
special schools initially; but the preliminary study later revealed that
there weren’t enough art teachers in the schools under study,
therefore, all the teachers in the schools were used as population for
the study in order to get enough responses for data analysis. Certainly,
this affected the responses and the results too; because some of them
do not understand the contents of the questionnaire items as to respond
appropriately.
2. Most of the teachers used in the study were reluctant to respond to the
questionnaire given to them because they didn’t see the need to do so
owing to the fact that the study was not being conducted in their
areas of studies. This may have affected their responses.
3. The study heavily relied on the use of questionnaire for data collection.
This means that the validity of the findings would also depend on how
accurately the respondents supplied information.
4. The research sample was relatively small. This could make
generalizations of the findings difficult.
5.5 Suggestion for Further Studies
The following suggestions are made for further studies:
1. The study should be carried out using more schools for special learners
in Nigeria.
2. Attitude of employers towards the training of special learners should be
investigated, especially in the area of development of creativity using
other skills.
99
3. Further research should be carried out to determine other areas of skills
acquisition that help develop creative abilities in the physically
challenged.
5.6 Summary of the Study
The study investigated the challenges of teaching creative skills to special
learners in South Eastern Nigeria. The study was motivated by the
researcher’s desire to ensure that the goals of establishing schools for special
learners in Nigeria are focused upon. In order to sharpen and direct the study,
four research questions and four hypotheses were formulated. The sample
size consisted of eighty (80) teachers who teach in government special
secondary schools that teach art skills in the five states of the South East
States of Nigeria.
Data were collected by means of a researcher – developed structured
questionnaire called “Creative Art Teaching In Special Education Survey
Questionnaire” (CATSEQ). Data were also analyzed using Mean and Analysis
of Variance statistics. The study revealed that not much art skills were taught
in schools for special learners and the prevalent teaching method was
discussion method because of lack of materials for demonstration. The
findings also showed that the facilities for art teaching in the schools were
inadequately provided and recommended that art teaching in schools for
special learners be made practical oriented so that the learners would be
helped to acquire functional skills for their livelihood.
5.7 Conclusion
100
In order to realize the stated objectives of teaching arts in Special
education schools which include among others, to provide adequate
education for all people with special needs in order that they may be self
reliant and fully contribute their own quota to the development of the
nation (FRN, 2004: 48), the method of art teaching if improved from what the
study discovered to what it recommended as appropriate will enhance skills
acquisition by the physically challenged. It will help the learner learn the skill
as the teacher carries out the demonstration following the procedure. It will
also enable the students carry out the skills following the accepted principles
and procedures. Again, if the federal ministry of education and authorities
concerned employ more qualified art teachers (specialists in various art
fields) in all Special Education Schools in South Eastern Nigeria, there will
be adequate provision of art teachers as obtained in other subjects. This
will help in realizing that art is given a fair attention in all the special
schools. Again, the art teachers will not feel over worked. Also if the
authorities make adequate provision of materials and other necessary
learning aids to special schools, the art teachers will not lack materials for
demonstration and at the same time, the students will not lack materials for
practical skills. The fact that the physically challenged are special in nature
and need extra motivations and reinforcements than the normal to help
boost their interests in school necessitates the above.
Therefore, the study concludes that if the above findings are
implemented effectively in special secondary schools, they will go a long
way to ensuring that the challenges encountered in teaching creative skills
101
to the physically challenged are surmounted by effective teaching of art
skills. This will avail them with numerous art skills to help them become
self reliance and productive members of the society.
102
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108
APPENDIX 1
CREATIVE ART TEACHING IN SPECIAL EDUCATION SURVEY
QUESTIONNAIRE (CATSEQ)
Department of Fine and Applied Arts,
University of Nigeria, Nsukka.
July, 2012.
Dear Respondent,
Questionnaire on Teaching Creative Skills to the Physically
Challenged; The Study of South Eastern Nigeria.
I am a post graduate student of the above institution presently conducting a
research on the above topic. The study seeks to investigate the challenges
of teaching creative abilities to the physically challenged in special education
schools in South Eastern Nigeria.
The attached questionnaire (TCSPC) is therefore, meant to seek your
opinion on the art teaching methods/materials/ problems and art activities
that are practised in your school.
Please assist in completing the questionnaire as honestly and carefully as
you can, and return to the bearer. You are assured that your responses will
be kept in strict confidence and no attempts will be made to associate
responses with individuals or institutions.
Thank you for your co-operation.
Signed
………………………… ……………………… Prof. O.K. Oyeoku Ogu, Jovita C. Supervisor Researcher
109
SECTION A: Personal Data (optional)
1. Name of School:
2. Sex: Male ( ) Female ( )
3. For how many years have you been teaching in this school?
( ) 0-5yrs ( )5-10yrs ( ) Above 10 yrs
4. What is your area of specialization?
5. What is your highest academic qualification? ( ) NCE ( ) B.Ed
( ) M.A/M.Sc ( ) others
Instruction: Please Tick (√) the appropriate response that is most application
to you.
SECTION B
CATEGORIES OF PHYSICALLY CHALLENGED THAT ARE TRAINED IN
YOUR SCHOOL.
Instruction: Kindly tick (√) to indicate which of the following categories of
physically challenged that are found in your school.
S/N ITEMS
1 Deaf
2 Blind
3 Crippled
110
SECTION C
THE TYPES OF ART ACTIVITIES TAUGHT IN SCHOOLS FOR
SPECIAL LEARNERS.
Instruction: Please indicate by a tick (√), the extent to which the underlisted
art activities are taught in your school using the following rating scale:
Very High Extent (VHE) 4
High Extent (HE) 3
Low Extent (LE) 2
Very Low Extent (VLE) 1
S/N ITEMS VHE HE LE VLE 4 Modeling 5 Drawing
6 Painting
7 Sculpture
8 Dyeing
9 Cloth Weaving
10 Paper Design
11 Banner writing
12 Stencil cutting /Printing 13 Book binding 14 Basket Weaving
15 Cane Weaving
16 Mat Weaving 17 Bead making
18 Mosaic 19 Paper marchie
20 Collage
111
SECTION D
METHODS USED FOR TEACHING ART TO THE PHYSICALLY
CHALLENGED.
Instruction: Kindly tick (√) to indicate the extent to which these methods of
teaching art skills effectively develop creativity in your physically challenged
students.
S/N ITEMS VHE HE LE VLE
21 Demonstration method
22 Discussion method
23 Individualized instruction
24 Excursion method
112
SECTION E
CHALLENGES FACED IN TEACHING ART TO THE PHYSICALLY
CHALLENGED
Instruction: Kindly tick (√) to indicate the extent to which you agree that the
following problems are faced in teaching art to the physically challenged in
your school
S/N ITEMS VHE HE LE VLE
25 Inadequate classroom space
26 Poor ventilation in the classroom
27 Poor lighting of the classroom
28 Inadequate number of art teachers
29 Inadequate seating facilities
30 Poor training of art teachers
31 Not all challenged learners participate in all art activities
32 Some students do not show interest in learning art
33 The number of periods for teaching art in the week is not adequate to cover the scheme
34 The length of each period for teaching art is not adequate to complete the lesson plan
35 The physically challenged suffer stigmatization
36 The physically challenged have low self esteem and self confidence
Poor Provision of Equipment such as
37 Stove /heat source
38 Art studio
113
Poor Provision of Art Materials such as
39 Dyes and dying accessories
40 Candle wax
41 Ropes
42 Pencils
43 Drawing books
44 Crayons
45 Poster colour
46 Brushes
47 Clay
48 Cotton cloths
49 Drawing boards
50 Water colour
114
APPENDIX II
RELIABILITY COEFFICIENT USING PEARSON PRODUCT MOMENT
CORRELATION STATISTICS
1st ADM 2nd ADM
S/No. X Y XY X2 Y2
1 30 31 1190 961 930
2 26 25 1224 625 650
3 26 27 2322 729 702
4 34 33 1920 1089 1122
5 32 32 1292 1024 1024
6 29 30 238 900 879
7 21 19 1496 361 399
8 23 23 3965 529 529
9 26 25 1224 676 676
10 25 25 1190 625 625
11 29 30 1178 900 870
12 30 30 1598 900 900
13 24 25 1302 625 600
14 26 26 1054 676 676
15 27 27 1054 729 720
16 25 24 1088 576 600
17 28 28 1054 784 784
18 21 22 1054 484 462
19 20 22 1192 484 440
20 32 35 1666 1225 1120
∑∑∑∑ 534 540 14540 14902 14708
115
RXY = NΣXY – (∑X) (∑Y)
NΣX2 - (ΣX)2) (NΣY2 - (ΣY)2
= 20 x 14708 – 534 x 540
(20 x 14540 - 5342) (20 x 14902 - 5402
= 294160 - 288360
(290800 – 285156) (298040 – 291600)
= 5800
(5644) (6.440)
= 5800
602888 = rxy = 0.96
116
TEST OF SIGNIFICANCE FOR PEARSON Rxy
The computed r coefficient was transformed to t-test and then the t
distribution table was used to check for significance at 0.05 level of
significance. The formula for this procedure as recommended by Onunkwo
(2002) is
t = r N – 2
(RXY2)
Substituting the rxy (0.96)
t = 0.96 20 – 2 = 0.9 18
1 – (0.96) 1 – 0.92
t = 0.90 x 4.24 = 4.07 = 14.53
0.08 0.28
For 18 df at 0.05 level of significance, the t critical value is 2.10 whereas the t-
calculated value is 14.53. Therefore, the computed Pearson Correlation
Coefficient is significant at 0.05 level of significance.
117
APPENDIX III
DATA ANALYSIS
S/N ITEMS VHE HE LE VLE total X Result
4 Modeling n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
5 Drawing n nx
10 40
20 60
10 20
5 5
40 115
2.88 +
6 Painting n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
7 Sculpture n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
8 Dyeing n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
9 Cloth Weaving
n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
10 Paper Design
n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
11 Banner
writing n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
12 Stencil cutting /Printing
SA A D SD total X Result
13 Book binding
n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
14 Basket Weaving
n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
15 Cane Weaving
n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
16 Mat Weaving
n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
17 Bead making
n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
18 Mosaic n nx
40 160
20 60
20 40
- -
80 260
3.25 +
19 Paper marchie
n nx
20 80
10 30
40 80
10 10
80 200
2.50 +
20 Collage n nx
10 40
10 30
40 80
20 20
80 170
2.13 -
118
Research Question 3.What methods of teaching art skills that could effectively
develop creativity in challenged learners?
Items 21 – 24 in the research questionnaire were used to obtain data
necessary for the analysis of research question three. Mean statistics was
computed using the data collected. The results are as presented on the table
that follows:
S/N ITEMS VHE HE LE VLE total X Result
21 Demonstration
method
n
nx
10
40
10
30
40
80
20
20
80
170
2.13 -
22 Discussion
method
n
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
23 Individualized
instruction
n
nx
5
20
5
15
20
40
10
10
40
85
2.13 -
24 Excursion
method
n
nx
20
80
10
30
20
40
10
10
80
160
2.00 -
119
Research Question 4.What are the challenges in teaching learners in special
education schools?
Items 25 – 50 in the research questionnaire were used to obtain data
necessary for the analysis of research question four . Mean statistics was
computed using the data collected. The results are as presented on the table
that follows:
S/N ITEMS VHE HE LE VLE total X Result
25 Inadequate classroom space
N nx
40 160
20 60
20 40
- -
80 260
3.25 +
26 Poor ventilation in the classroom
N nx
20 80
10 30
40 80
10 10
80 200
2.50 +
27 Poor lighting of the classroom
N nx
10 40
10 30
40 80
20 20
80 170
2.13 -
28 Inadequate number of art teachers
N nx
10 40
30 90
30 60
10 10
80 200
2.50 -
29 Inadequate seating facilities
N nx
20 80
10 30
20 40
10 10
80 160
2.00 -
30 Poor training of art teachers
N nx
10 40
30 90
20 40
20 20
80 190
2.37 -
31 Not all challenged learners participate in all art activities
N nx
20 80
40 120
10 20
10 10
80 240
3.00 +
32 Some students do not show interest in learning art
N nx
30 120
30 90
10 20
10 10
80 240
3.00 +
33 The number of periods for teaching art in the week is not adequate to cover the scheme
N nx
40 160
20 60
20 40
- -
80 260
3.25 -
34
The length of each period for teaching art is not adequate to complete the lesson plan
N nx
20 80
20 60
30 60
10 10
80 210
2.63 +
35 The physically challenged suffer stigmatization
N nx
40 160
20 60
20 40
- -
80 260
3.25 -
36 The physically challenged have low self esteem and self confidence
N nx
20 80
10 30
40 80
10 10
80 200
2.50 +
37 Stove /heat source N nx
20 80
10 30
40 80
10 10
80 200
2.50 +
38 Art studio N nx
10 40
10 30
20 40
5 5
40 115
2.88 +
120
Poor Provision of Art Materials such as
39 Dyes and dying accessories
N
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
40 Candle wax N
nx
20
80
10
30
20
40
10
10
80
160
2.00 -
41 Ropes N
nx
30
120
30
90
10
20
10
10
80
240
3.00 +
42 Pencils N
nx
20
80
10
30
20
40
10
10
80
160
2.00 -
43 Drawing books N
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
44 Crayons N
nx
10
40
10
30
20
40
5
5
40
115
2.88 +
45 Poster colour N
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
46 Brushes N
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
47 Clay N
nx
30
120
30
90
10
20
10
10
80
240
3.00 +
48 Cotton cloths N
nx
10
40
10
30
20
40
5
5
40
115
2.88 +
49 Drawing boards N
nx
20
80
10
30
40
80
10
10
80
200
2.50 +
50 Water colour N
nx
20
80
20
60
40
80
-
-
80
220
2.75 +
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