chapter one introduction 1.1 background of study
TRANSCRIPT
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CHAPTER ONE
INTRODUCTION
1.1 BACKGROUND OF STUDY
For a nation to be classified developed or developing, such a nation must
attain tremendous sphere of independence, this is achieved through demonstrable
ability of the citizenry to explore and exploit their potentials realizing their self
interest in the various endeavour’s of existence especially in the educational system.
The secondary school system of education as observed by Ukeje (1996) is expected to
prepare the youth for life in a society for which are parts of and therefore should avail
them with the necessary basic foundation and tools for effective functioning in the
society. However, when these basics are absent, it could be said that some level of
confidence and all other levels of education will collapse.
The National Policy On Education in Nigeria (2004) emphasizes the
inculcation of the right type of values and attitudes for the survival of the individual
and the Nigerian society, the acquisition of appropriate skills, abilities and
competencies both mental and physical as equipment for the individual to live and
contribute to the development of his society. The design of an educational programme
is influenced by a wide variety of decisions ranging from the type of educational
policy on the aims or content of the curriculum, planning of the curriculum policy or
curriculum priorities to operate programmes within the schools.
According to Tanner (1975) curriculum is from the Latin root-word curus
(running). It came to be used to describe the “face course” by contestants, in those
days, in education it was figuratively used to refer to the course programme run by
students towards their certification. In its very narrow sense it refers simply to the
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subjects the learner for any programme have to cover before they could be said to
have completed that class/programme.
Curriculum has numerous definitions which can be slightly confusing in its
broadest sense. Curriculum may refer to all courses offered by the school, it could be
regarded as the sum total of the school’s planned programme of study, designed to
bring about desirable changes in behaviour of student or learner both in and outside
the class. Similarly, curriculum has been viewed by Bobbit (1981:42) as “that series
of things which children and youth must do and experience by way of developing
abilities to do things well that make up adult life; and to be in all respect what adult
should be” it is a prescribed course of studies which students must fulfill in order to
pass a certain level of education.
Okoli (2006), has also reiterated that curriculum is “all of the experiences the
child has under the ages of the school”, this conception was also created by
progressive educators during the 1920s to emphasize several beliefs that they
considered central to any adequate conception of education. When we talk about
curriculum we mean that body of materials that is planned in advance for classroom
use. That the teacher uses to promote learning, acquire skills and develop beliefs on
valued types of experiences. Curriculum studies provide the theoretical background
for meaningful education, if the young and inexperienced members of the society are
to be properly brought up, the school and other educational agencies in the society
must be mutually supportive. Therefore, curriculum is seen as the whole of the
interacting forces of the total environment provided for the younger and
inexperienced members of society by the school and its complementary agencies. To
reflect these, curriculum must be regarded as the process of determining and pursuing
set societal objectives. To highlight this, Ola Oloidi in Okoli (2006) emphasized that
traditional Africans before the influence of foreign cultures had a highly structured
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system of Art-education that was very effective in ensuring the continuity of its age-
old art and culture. This was even before the coming of the colonial administration
and missionaries in Nigeria by then Traditional Art had its forms of art education
which had its aim and objectives as follows:
(a) To produce a creative craftsmanship and develop the persons mind and
personality.
(b) To prepare the mind to meet up with community participation.
(c) To prepare a sound mind on moralist and responsibility.
(d) To promote a cultural heritage.
(e) To train people for the acquisition of artistic skills to make a vocation.
Ukeje (1996), points out that curriculum must be a reflection of what people in
the society feel, believe and do, in consideration of the above therefore, after the
coming of the missionaries formal education was introduced and geared towards the
three Rs. (writing, reading and arithmetic), production of clerks and church officials.
These colonial administrators and missionaries who controlled education did not
favour traditional arts and culture: Wangboje (1964) agrees that they associated them
with idol worship and barbaric activities. The European attitude towards traditional art
and culture persisted even amongst educated Nigerians as it continued to obstruct the
development of arts education programmes in schools. It is pertinent to note that in
spite of the rapid expansion in formal education introduced by the colonial masters,
the curriculum planners did not show much interest and concern for art education
until the third decade of the 20th
century.
Several Commissions were set up to investigate Nigeria’s need in the field of
vocational educational and recommendations made. However it was not until 1969
when a National Curriculum Conference under the auspices of Nigerian Educational
Research and Development Council (NERDC) was held and it addressed the curricula
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issues in Nigerian education. The outcomes of this conference led to the formulation
of National Policy of Education (1977, revised 1981).
According to Wheeler (1978) curriculum must have a firm basis on culture,
indeed culture is the substance of education. Culture is to education as what current is
to electricity, any society whose education is not based on its culture is in danger of
being un-rooted and entangled.
The development of art education in Nigerian schools is closely tied to the
development of western type of education. Art was introduced into the curriculum of
education in Nigeria in 1922, when Chief Aina Onabolu, the father of Nigerian Art,
returned to Nigeria after studying and acquiring a Diploma in Art from St. John Wood
College London. Thus, Aina Onabolu became the first African art teacher to
implement art curriculum not only in Nigeria, but also in West Africa. He began
teaching art in schools around Lagos; some of the schools he taught were Wesley
Boys High School, C.M.S. Grammar School, Eko Boys High School, Kings College
and Christ Church Cathedral School.
Later Kenneth Cross Waite Murray a British teacher was brought to help in art
teaching in 1927 this gave way to the emergence of many art students to make a
remarkable turn in art teaching and learning, but the result was not adequate enough.
Besides, the British trained Nigerian art teachers according to Palmer (2004) had
difficulties in adapting their teaching to the traditional arts in Nigeria, also the
planning and implementation of art programme by the educational administrators was
lopsided, whereas it would have been more fruitful to introduce art teaching into
teachers’ training institutions to enable grassroots foundational level.
Fine art being one of the core subjects like every other discipline it is expected
to realize the importance of education which is the realization of the overall
educational goals of effective National Policy on Education (NPE 2004). Even though
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it is generally accepted, art curriculum is not well implemented in schools and
colleges due to various problems and hindrance.
In secondary schools, implementation problems dates back to when art came
to exist as a course of study; many constraints. According to Ola Oloidi in Yusuf
Grillo (1967) a foremost Nigerian painter and the Director of Technology Lagos State
states that when he likes his other classmate choose art as an academic career, he
never thought of the material and social gains which this would bring, this is because
the society including educational institutions never trained them to recognize the
usefulness of art as a subject worthy of academic pre-occupation.
Sociological factors and general attitudes, Uzoagba (2005) and Okoli (2006)
agree that it is unfortunate that people perceived art as a line of low resistance in the
academic pursuit, thus art is meant for the never do well. Parents are disappointed
when their children take art as a career. They feel there is no future in art since the
uneducated people e.g. the roadside Artist are already famous without any college
training, thus they refuse to recognize and respect arts and therefore, discourage their
children from studying arts.
Fine art was thought as a period of relaxation after other subjects and mostly
towards the end of school hours when everybody is already tired. The Head Teachers
or Principals and Deans of studies were ignorant of the knowledge of art curriculum
content; all classes were still taught in open ground with no provincial art education
hall. It is difficult to believe that art is in fact far inferior to other subjects today. Art
education has not been able to make necessary impact it is expected to make on the
vast majority of the Nigerian populace because of lack of awareness about the
functional relationship of art and society. Mhambe (1999) observes the lack of interest
on arts by school administrators, those in authority, including policy makers who
formulate policies and who must be experts or experienced for the curriculum to
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succeed and who should, therefore play the role of striving to provide adequate
facilities for the schools in order to restore interest in the learner.
Mhambe (1999) also points out that Government of this country (Nigeria) is to
be blamed because her educational system, policy and implementation of art courses
have not been adequately taken care of, all emphases are towards intensive science
teaching and establishment of special science schools.
Art depends so much on public orientations, exhibitions, seminars, personality
and interest of the art teacher to be able to implement and coordinate the curriculum
without hindrance from others who perpetuate the teaching of art education due to
lack of instructional materials, textbooks, art materials by both teachers and students,
non-availability of funds from government and principals and none or low incentives
for the art teachers/instructors.
Implementing curriculum in Fine art is a complex process that deals with
people with diverse views, ideals, and background. It involves parents, students,
teachers, producers of educational art materials, curriculum planners, subject
associations and government because art subjects have broad value for both arts and
science inclined students in secondary schools. It is therefore not easy to state where
the curriculum implementation starts and ends in Fine Arts.
1.2 STATEMENT OF THE PROBLEM
Over the years, there exists a low impact of Fine arts curriculum not only in
the educational sector alone but also the entire society. As such, parents, scholars and
the entire public are worried about what could be responsible for the low impact of
Fine arts curriculum in the society. However, the contents of Fine arts curriculum is
comprehensive and articulate as observed by Dienye (1995), the contents of Fine arts
curriculum is not only comprehensive but also valid to the extent that it is true,
authentic, it needs overhearing to address contemporary issues of the society and
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more appropriate strategies for implementation need to be adopted. Also, Akolo
(1988) and Okoli (2006) lament on the problem of implementing Fine arts curriculum
as stipulated in National Policy of Education (1981 revised 2004). Perhaps, could it be
lack of quality teachers or instructional materials or inadequate periods of Fine arts
that is responsible for the low impact of Fine arts in the society. The focus of this
study therefore is to ascertain what implementation problem could be responsible for
the low impact of Fine arts in the society.
1.3 PURPOSE OF THE STUDY
The general purpose of this study is to investigate the problems that affect the
proper implementation of Fine Arts curriculum in secondary schools. The study is to
set the goals and objectives of Fine arts curriculum and provide all the students,
teachers, parents, curriculum planners, principals, general public with the
understanding of nature, values of arts, through practical and theoretical view points.
The specific purposes of these studies are as follows:
(a) To determine the extent of coverage of Fine Art curriculum content at
secondary schools.
(b) To assess the suitability of Man-power needed to execute the teaching
methods used for the teaching-learning of Arts in our schools.
(c) To examine the effects, lack of instructional/art materials have on the teaching-
learning in art education.
(d) To evaluate the capital facilities in (structures) in schools which enhance the
smooth implementation of curriculum of Fine Arts.
(e) To determine the causes of non-challant attitudes of Principals and Deans of
studies on the teaching-learning of Fine Arts in Schools.
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1.4 SIGNIFICANCE OF THE STUDY
Practical experience has shown that there are problems in the
implementation of Fine Arts curriculum in secondary schools. The study
intends to look into such problems affecting Fine arts as a subject and non-
implementation of its curriculum in secondary schools.
1. The results or finding of the study will be of benefit to the government and
curriculum planners who will re-examine the curriculum content and validate
appropriately. These will give sufficient exposure to teachers of Fine Arts on
the different teaching methods for proper implementation of the curriculum
and also to take care of needs of the society at large.
2 The study intends to create awareness through exhibitions, workshops and
public lectures that would help teachers, students and public to develop
appropriate skills and techniques for effective teaching and learning of arts.
3 The study may also enhance Principals and Deans of Studies in schools who
never saw art as important enough to be included as a subject on the time table,
give sufficient timing, spacious room and arts studios in schools.
4 It would also create awareness for the parents, general public, this would
enlighten them on a wide range of the field based Arts and encourage them to
take Art as a career.
5 The researcher feels that after the findings and recommendation given are
accepted by the parties involved, the curriculum of Fine arts in secondary
schools will be of no hindrances.
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1.5 SCOPE OF THE STUDY
The study is restricted to the investigation of the problems of implementation
of curriculum of Fine Arts in selected secondary schools in North-East senatorial
district (zone A) comprising seven local government areas of Benue State.
1.6 DELIMITATION
This study is delimited to the period of study in the secondary schools in zone
A senatorial district of Benue State between 2000 - 2009.
1.7 RESEARCH QUESTIONS
1. To what extent is the content of Fine Arts curriculum covered by your
school.
2. To what extent are periods and time allocated to Fine Arts in your school
time table adequate to cover the syllabus?
3. What method of teaching is mostly used in Fine arts lesson?
4. What instructional materials do you mostly use in the teaching and
learning of Fine art?
5. To what extent does lack of appropriate Fine Art hall/studios affect
student’s performance in Fine Arts?
6. What is the attitude of principals and deans of study towards the teaching
and learning of fine art in your school?
7. To what extent does the technique and strategies for assessing and
evaluating Art curriculum achieved?
8. Who is qualified to teach Fine Arts in secondary school?
9. What qualification/certificates do you hold as an Art teacher?
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CHAPTER TWO
LITERATURE REVIEW
Literature review will attempt to look at implementation problems
encountered in the curriculum of Fine Arts in Secondary Schools, under the following
headings:
(a) Implementation and development
(b) How lack of implementation of Art Curriculum affects Arts in secondary
school?
(c) The benefits of effective implementation of Art Curriculum in secondary
schools.
2.1 IMPLEMENTATION AND DEVELOPMENT
The school curriculum is the totality of all the learning experiences students
are exposed to that will enable them to participate in the world around them.
Therefore it must contain the widest possible range of activities, both active and
passive which have the capacity to attract interest, appreciation and participation.
How do we achieve this by implementation?
Curriculum implementation is the way content is designed and delivered. It
includes the structure, organization, balance and presentation of the content in the
classroom. (National Education Research Council (1996). Curriculum implementation
from Okoli (2006) is the process of moving curriculum materials into the preview of
the teacher. These materials can be designed to help supervise teaching.
In every country throughout the world the school has a role to play in training
and educating the young ones. That complete plan of action, whether written down or
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simply in the minds of those involved in the instructional process of the curriculum,
according to Hirst (1975), includes everything that is currently the input to the system
of education involving what is planned to take place both inside and outside of the
classroom under the direction and guidance of the school.
According to Gbamanja (1991) a good curriculum must be based on a good
theory which reflects the values of the society for which the curriculum is designed.
Curriculum theory deals with prescription, description and explanation of the
elements in the curriculum content.
As a practical effort, the result of the curriculum, theorizing is to make
recommendations as to what ought to be taught, which design the curriculum should
take, the dissemination strategies that should be adapted, how the learning
experiences should be outlined and how the curriculum should be evaluated.
Gbamanja (1991) also stated that curriculum theory is concerned with
description and explanation. Appropriate curriculum designs are described, explained
and their dissemination methods are described. Curriculum theory also explains how
time will be allocated to each subject.
Prescriptive curriculum theorizing involves suggesting appropriate designs,
the curriculum construction or development and then the implementation after initials
as to its appropriateness. Implementation problems encountered in the curriculum of
Fine Arts in secondary schools could be looked at under these factors.
(a) Curriculum content in Fine Art.
(b) Staffing (Art teachers)
(c) Capital facilities/textbooks/instructional materials
(d) Environment/workshops/studios.
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2.1.1 Curriculum Content in Fine Arts
Content according to Nicholls and Nicholls (1980:48) might be described as
“the knowledge skills, attitudes and values to be learned” content can be regarded as
the subject matter to be taught to learners, content are facts or topics which make up a
discipline taught to a learner. Another definition by Saylor and Alexander (1981:166)
is that content are those facts, observations, data perceptions, discernments,
sensibilities, design solutions drawn from the mind of men, comprehended from
experiences, those construct of the mind that re-organize and rearrange those
products of experiences into core ideas, concepts, generalization, principles, plans
and solutions.
Art Education has a unique content, works of visual arts are forms of
expression that evoke response, Okoli (2006) explains further that art Education
content have seven features.
(a) Subject: refers to any and all recognizable objects in the natural and man-
made environment as well as objects that are the inventions of the artist’s
imaginations such as the images inspired by fantasy and feelings. All things
that are represented in a work of art such as people, trees, animals and sky are
subject.
(b) Theme: Ideas, moods, or symbolic meanings expressed by the work of art. A
painting may depict a dove as a symbol of peace. In this case, peace would be
the underlying theme of the work.
(c) Media: The physical material used to give a work of art its material form such
as clay, paint, plaster. It could also be the process by which these materials are
given forms such as glazing, stenciling and chiseling it is through media that
the artist’s ideas are realized.
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(d) Product: refers to such works as architecture alters pieces drawing, films,
pottery, painting, textiles, products of works of arts are compared to each
other.
(e) Functions: The different uses for which a work of art has been made. Objects
are described in terms of their utilitarian functions; all art works have
expressive function.
(f) Design: The structural or formal element of Arts such as line, shape, form,
colour, texture, space, movement and the principle by which these elements
are organized, such as rhythm, balance, emphasis, proportions, unity and
variety. Design style name given to a group of works seen as belonging
together because of the resemblance. Works in the same style share a common
format, design, subject-matter and theme or function.
The curriculum content is related to the three behavioral domains,
which must be acquired by the learner. According to Offorma (1994)
knowledge, ideas, facts, concepts, principles, are related to the cognitive
behaviours, while skills are psychomotor behaviours and values, attitudes,
sensibilities are affective behaviour. The three behaviours must be involved
for education to be functional. NERC in UPE, Arts and crafts project
(1977:10) want students to know that Arts Education has subject content, that
both the productive and appreciative aspects are important and that Art reflects
not only the intellectual, moral, spiritual, industrial and technological state of a
nation but that it also serves the unique function of recording history of
people.
Curriculum content as specified by The National Curriculum for both
the Junior and Senior Secondary Schools in Fine Arts (1985) have a fore word
of years 1 – 3 for junior secondary school and years 1 – 3 for senior
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secondary schools. The curriculum plan shows the topic, objectives,
material/sources, activities and evaluation of each subject in Fine Arts. This
includes drawing, painting, pattern and design, three (3) dimensional work and
craft. Each topic has activities lined up, these activities are sound practices that
are sequentially extended and developed. This explanation shows that
activities and skills in art curriculum are presented in sequence that leads to
develop and understanding of the subject.
2.1.2 Staffing
The Art teacher, the National Policy on Education (1988) in its
implementation policy states that there will be provision of well-trained and
well motivated Art teachers. Ali (1992) curriculum development and
implementation points out that qualified and sufficient number of dedicated
teachers are needed to teach the content or the directive of curriculum. Their
unavailability, no doubt, affects the degree to which the objectives of the
curriculum are achieved.
Enemuo (1988) in his study of the 6–3–3–4 system of education in Nigeria
notes that the success or failure of any educational programme to a large extent
depends on the quality of the teacher as well as their commitment. The teacher is the
taproot of the curriculum implementation, because he is the enforcer, he knows the
problems and changes taking place within the society, because he lives in it.
Encyclopedia of Education (1971) also agrees that since the teacher is an
overall enforcer, he should develop well organized and well illustrated presentation of
art work periods and styles, this should be as interesting and valuable as other courses
and have direct appeal to the senses, these are comparatively easy for most students to
comprehend.
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The teacher should be well grounded in Art education. The teacher should
have thorough ground in philosophical and sociological foundation of education to be
able to relate and plan out activities with the students. Continuing on the issue,
Uzoagba (1982) observes that some teachers teach whatever they like and in a way it
pleases them without following any systematic method. The consequence of this is
disastrous schism in the educational development among art students.
Akolo (1988) laments on the problem of implementing the art curriculum as
stipulated in National Policy of Education (1981) he notes that the problem is not
always with the curriculum, but the way it is implemented and he notes that the
curricula that are content oriented calls for different pre-implementations training
from curricula that are process-oriented, and that the teachers comprehension of the
characteristics of an innovative curriculum alone will not determine the extent of its
implementation. Where the teacher does not comprehend and does not go through a
pre-implementation training, the curriculum may not be properly implemented.
Mkpah (1987) in this regard remarks that if other phases of curriculum development
can be executed without the active participation or involvement of the school, the
implementation stage is largely within the province of the school system to
accomplish. The teacher occupies a central position in the whole scheme. Without
active instructional practices the objectives of the curriculum can hardly be achieved.
Therefore knowledge cannot be imparted unless teachers master the subject matter for
no one can give of what one has not got. So it becomes necessary that teacher will
have the basic or fundamental knowledge of what they are going to teach. In other
words the teacher is the focus of the whole scheme and has a major role in the task of
developing and effectively utilizing the materials for implementing the curriculum
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2.1.3 Capital Facilities/Text-books/Instructional Materials
Curriculum development is a term used to describe the creation of curriculum,
materials that are products of curriculum planning for use by learners. The
development of syllabus for various subjects at all levels of education and suggestions
about teaching methods, text-books, and other instructional materials represents
aspects of curriculum development. Obanya (1985) in Offorma (1995) classified
curriculum materials into three categories:
(a) Texts made up of main text-books, supplementary text, reference text, work
books, and teacher’s guide.
(b) Non-texts made up of electronic and (visual, audio and audio visual).
(c) Semi-texts consisting of charts, drawings, cards, maps and photographs.
Materials development is guided by the objectives of curriculum and it
represents a fuller development of the content to include the methods and strategies
for promoting teaching-learning process. Mhambe (1999) citing UNESCO publication
reported that text-books and other teaching learning materials used in the studios and
classrooms are obviously among the most important means by which education can
serve the goals of instruction, particularly visual arts materials are gaining in
importance, the text-books, instructional materials and Art materials remain basic
tools in Art Education.
2.1.4 Environment/Workshops/Studios and Time Tabling
The building, Studios, halls and classroom for proper implementation of Fine
Art curriculum must be good accommodation/ infrastructure and studio facilities to
enable student/teachers learn for a protracted period. These would make them have a
good space for work and equipment storage. These halls and studios are separated
from the regular classrooms. Abenga (1981) has also observed that, facilities,
materials and equipment for art education courses are grossly inadequate; and also
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collaborated that school buildings, libraries, laboratories and workshops for technical
subjects as well as other infrastructural facilities were grossly inadequate in schools
and colleges. He observed as follows:
As late as 1991, 10 years after the introduction of the new
national policy on education, the national board for technical
education, (N.B.T.E.) found that inadequate teaching
accommodation inadequate workshops/studios, tools and
machinery to run programmes, lack of qualified teachers,
unavailability of or poor library facilities, lack of power
supply, poor funding and bad management were the problems
hampering vocational and technical education at the
secondary school level.
The effects of the above deficiencies are obvious, students and teachers are
denied the opportunities to be practical and information oriented as required so much
so that in many schools Fine arts courses lack practicals, they are merely another
exotic theory subjects.
Oyeadibe, Ikwuazom, and Okeke (1989) observe that inadequate and lack of
the use of instructional materials in teaching will lead to half baked knowledge and
poor implementation of the current curriculum. It is obvious from the foregoing that
Fine Arts cannot be learned effectively and efficiently without studios that are well
equipped and properly put in use.
Lowerfeld and Lambert (1975) also share the same view that students exposed
to an enriched visual environment learn better and have faster understanding. Studios
in some schools is a problem, so many things are lacking.
Uzoagba and Ogboji (2005) give a diagram to show specifications of an ideal
art education room. The furniture should be made to suit the class, age, and physical
development of the students, tables, desk, boards, racks, and cupboards. Each student
should be provided with port folio for his finished works. Studio should be large and
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flexible enough to accommodate as many activities as possible. Furniture should be
light and moveable in large quantity.
Palmer (2004) observes that the normal three to four periods allocated to Art
teaching in the time table are inadequate for effective work and activities in art
Studios. The non-allocation of enough time for practical lessons is really a problem;
most of the practical activities in Fine Art cannot be completed at the end of forty
minutes. The time allocated on the time table should in the minimum always have a
double period running together for the practical and a period for the theory. Where it
is possible two double periods a week is ideal according to Mhambe (1999) and
Uzoagba (2005).
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RO
OM
“B”
8M
RO
OM
“A”8
M
T
T
T
T
T
T
T T T T
T T T T
T T T T
T T T T
T T T T
T T T T
BLACK BOARD
BLACK BOARD
T T
T
T
T
T
T
TT TT
T T
T
OFFICE3M
STORE3M
= D
= Doorway
= Window
= Cupboards
= and rac ks
= Display Board
Plan; the size of the block is 6m x 18m eac h
room is 6m x 8m.
The office is 2m x 3m.
The store is 2m x 3m
O = Chairs .
T = Tables
There should be 35 small tables eac h of 0.6m sq; or
near to it and the same number of chairs in Room “A” ( Drawing. Painting and Graphics Art Studio).
In room “B” (Modeling, Pottery, Carving, and
construc tion Studio) there should be four large tables 2m long by 1.5m wide; and eight small ones
0.6m square and the same height.
= sink
In room “B” the small tables can be used by individuals when nec essary.
T T T T T
2M
KEY;
The diagram below show specification of the ideal art room. See Fig.I and II.
Adapted from Uzoagba,I.N. and Ogboji,B.A (2005)
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2.1.5 How Does Lack of Implementation of Art Curriculum Affect Arts in
Schools
According to Okoli,(2006) Many factors contribute to the effect of non-
implementation of Art curriculum in secondary schools these includes :
(a) Non-Acceptance: Because the syllabus has not been properly
implemented, the impact has not been felt and the consequence is that the
Nigerian populace has not accepted Fine Art as a course that is introduced.
(b) Lack of interest on the part of students due to the fact that the syllabus is
poorly implemented and due to the fact that awareness has not been
created. This evidence forms general poor performance when compared
with other subjects.
(c) Absconment from Art classes: Leaving schools to do some other things
when Art classes are on shows that the teacher/students do not have regard
for Art.
(d) Unemployment: some students cannot put into practice what they have
learned, probably due to lack of interest and commitment while others
dropout from the programme to engaged in other activities that are of
interest to them which in some cases may not be lucrative, consequently
they hardly and rarely use knowledge gained to fend for themselves
thereby resulting to unemployment situation.
(e) Non-recognition of the relevance of the subject. When the curriculum is
not well implemented, most people would not know the relevance of Fine
art and the key to the understanding of the subject.
(f) Non-appreciation by both the students/teachers and the general public as a
gate that opens the pursuit of self reliance and self actualization. The resort
to white-collar jobs and or subordinate employment.
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(g) Non-implementation of Fine arts curriculum in secondary schools affects
enrolment and students’ perception of art as a subject of choice for the
Secondary School Certificate Examination (S.S.C.E.), so there is
considerably very low enrolment of students in Fine arts. Eventually very
low registration of Fine arts in tertiary institutions/universities.
2.1.6 The Benefits of Art Curriculum in Secondary Schools
There are so many benefits that secondary schools will derive from the
proper implementation of Fine arts curriculum.
(i) Fine art is viewed as a great humanizing force, a universal language that
communicates without words. When properly implemented, the students get
access to an understanding of the nature and values of the arts, through
practical and theoretical viewpoints, the students becomes cultivated
individuals to whatever professional field to his or her chosen area.
(ii) The students aspire to lifelong enthusiasm and appreciation of art which
provides opportunities to them to experience the aesthetic creation of others as
well as to develop personal creativity. Fine art curriculum contributes
significantly to the cultivation of humane individuals whose lives are
enriched by the skills, knowledge and broad cultural perspective acquired
through the study of art.
(iii) It brings about the standard programme for the students. Okoli 2006) also
holds that when art curriculum is properly implemented it bring understanding
of other subjects in the school curriculum. This will create more interest in the
study of arts as student see the usefulness of art in other subjects.
(iv) The student would be able to employ his or her self using well implemented
curriculum he/she acquired from the skill acquisition; he or she might not go
looking for white-collar jobs but be self-employed.
23
(v) Talented and hidden talents would be discovered.
(vi) Many students would tend to enroll for Fine art at the tertiary institutions.
There would be high registration of Fine art courses in tertiary schools and the
Universities.
2.2 Summary
The literature review looked into the concept and problems of implementation
of Fine art curriculum. The review analyzed the problem under various sub-headings
as follows:
(a) Implementation and development.
(b) Staffing (Art-teacher).
(c) Capital facilities/text books instructional materials.
(d) Environment workshop/studios and Time tabling.
The effects of lack of implementation of art curriculum and the benefits
derived from proper implementation of art curriculum in secondary schools. The
researcher believes that when the project itself is fully completed. The result would be
interesting, for both the students, teachers, general public to embrace art, adopt
positive attitudes towards the teaching and learning of arts in secondary schools.
24
CHAPTER THREE
METHODOLOGY
This chapter presents the research processes in carrying out the investigation.
3.1 RESEARCH DESIGN
This research is the survey type of descriptive research. This type is used
because of the need to discover the implementation problems of Fine Art curriculum
in secondary schools with particular reference to secondary schools in zone ‘A’
North-East senatorial district which comprises seven Local Government Areas in
Benue State. In this chapter the need to collect good and unbiased data in order to
achieve the aims of the study calls for a systematic approach to the methods for data
collection. This chapter therefore explains this research method.
In it, the population from where sample for this study was drawn is first
described. This is followed by the description of the sample drawn for the study. This
sample forms the subject for study, next the instrument used for data collection is
explained and the procedure described. The main instrument used by the researcher in
collecting data was the questionnaires given to those concerned in their various
schools, in doing so the researcher also went out to conduct oral interviews and
personal observation of the facilities available in such schools. The basic aspect of
this research design is to setup research to arrive at a logical, scientific and systematic
approach to a well composed Fine art curriculum at the senior secondary school level.
3.2 AREA OF STUDY
The area of study of this research is the North-east senatorial constituency of
Benue state. This senatorial area is comprised of seven local government area
councils namely: Vandeikya, Konshisha, Kwande, Ushongo, Ukum, Logo and
25
Katsina-Ala. There are three senatorial districts in Benue state like in all the other
states of the federation. The North-east senatorial district of Benue State
selected for study is the largest both by land mass and population, with land area of
552,000 areas of land and a population of 1,011600 people. Before the advent of local
government administration, this senatorial district was being run as a single grassroots
tier of government as Tiv Native Authority (T.N.A), thus educational policy in this
area has been the same. In 1969 however, the local government system was
introduced in the country. As a result, this area, the north-east senatorial district came
under two different administrations. The present Ukum Logo, Katsina-ala, Kwande,
and Ushongo were made into one local government area known as Katsina-Ala. The
present Vandeikya, Konshisha along with Gboko, Buruku, Tarka were placed in
Gboko local government with Gboko town as its headquarters. In 1976, these two
areas (Gboko and) Katsina-Ala local government areas) were further Balkanized into
two local government areas each: Katsina-Ala into Katsina-Ala and Kwande.
Katsina-Ala then comprised the present logo, Ukum, Katsina-Ala with
headquarters at Katsina-Ala. Kwande then comprised present Kwande and Ushongo.
Gboko Local Government Area was broken into Gboko and Vandeikya Local
Government Areas, Gboko then comprised Buruku, Tarka, and Gboko. Vandeikya
comprised Vandeikya, and the present Konshisha. In 1991 Katsina-Ala was divided
into Ukum and Katsina-Ala, Kwande into Kwande and Ushongo. The local
governments areas that comprised the north-east senatorial district has a total of about
88 schools which are post primary institutions and most of these schools offer
subjects that are vocational and technical oriented, and Fine art education is one of
them but there are about 56, government approved post-primary institutions. This
gives an average of (8) eight post primary schools per local government area.
26
3.3 POPULATION OF THE STUDY AND DISTRIBUTION BY LOCAL
GOVERNMENT AREAS
The population of the Study is made up of all secondary school students of
Fine Art in the selected schools/classes, all the Fine Art teachers in the selected
schools; all Principals and Deans of studies of the selected schools; the Directorate
officer of the Teaching Service Board (TSB) in charge of vocational and technical
section. One class each from senior secondary school one and two. The senatorial
district under study has a total population of 10,115,600 people. This is more than 1/3
(one third) of the total population of the state. Like-wise the land mass covered by this
district is also larger than one third of the land mass covered by Benue state. The local
government population distribution is as follows:
Table 3.1:
S/No. Names of L.G.A
Number of
households
Males Females
Total both
sex
1 Katsina-Ala 29,628 80,643 80,638 161,181
2 Konshisha 27,047 71,731 73,883 145,614
3 Kwande 32,152 89,476 90,851 180,327
4 Ushongo 21,990 61,121 62,045 123,166
5 Vandeikya 28,866 80,007 81,856 161,863
6 Ukum 27,921 82,366 83,124 165,490
7 Logo 12,401 36,710 37,138 73,848
1,001589
Source: The National Population Commissions Gazette (1991) Census Makurdi,
Benue State.
27
Table 3.2: School enrollment in the approved schools from 2000 – 2005
S/No. Names of L.G.A
Number of
Approved
Schools
Number of
Students
Number
of Males
Number
of
Females
1 Katsina-Ala 13 20,100 11500 8600
2 Konshisha 6 16,758 8715 8043
3 Kwande 6 17,200 10300 6920
4 Ushongo 5 15,550 8412 7138
5 Vandeikya 12 20,400 11249 9151
6 Ukum 7 16,700 8693 8007
7 Logo 7 16,072 2027 7045
Source: Adapted from Ministry of Education Makurdi from 2000 – 2005.
This shows that the schools in this area mostly have large population owing to
the large population of the area; this means that the schools selected for case study
provide a large enough population for good and reliable results.
3.4 SAMPLE AND SAMPLING TECHNIQUES
From the population, a sample of fourteen schools was randomly selected in
such a manner that any one of the 56 schools had an equal chance of being selected to
form a sample.
The sample was made up of two schools from each local government area, for the
purpose of questionnaires administration; oral interviews were also conducted in each
school; there were also a personal observation of the equipments, workshops studies
and facilities of the schools concerned.
The sample techniques employed in this study was the stratified random
sampling. Since the stratum of this study is the senior secondary schools, the
28
stratification of the sampling was concerned with well equipped and developed Fine
art programme. This meant that the schools were not only government approved but
also actively government assisted. In order to obtain answers to all bodies sought, the
study had to concern principals, deans of study of the schools selected together with
teachers and students of Fine Art,
The researcher randomly picked fourteen (14) schools within the north-east
senatorial district. As mentioned above, two schools in each local government area.
To get the schools in each local government, the researcher placed folded pieces of
papers each with the name of a school in that local government area in a can. That is
there were seven cans, each representing a local government in the district. The cans
were then thoroughly shaken. She then picked from each can, and unfolded the paper
to get the names of the first seven schools, these were recorded, the process was again
repeated and the names of the second batch of schools were again obtained. In this
way the names of the fourteen (14) sampled schools were obtained.
3.5 RESEARCH PROCEDURE
In a survey study such as this, observation is absolutely essential and those
data must be organized and presented systematically to obtain a valid and accurate
conclusion.
3.6 RESEARCH INSTRUMENT
The major instrument used for data collection was the self developed fine arts
education implementation questionnaire (FAEIQ), it was developed by the researcher
and given to Fine art education experts to adjust.
Respondents for this study were Principals, Vocational and Technical
Teachers in the chosen schools for the study. In the fourteen schools visited by the
researcher, thirty (30) Principals, including Deans of study, one hundred (100)
29
Vocational and Technical Education Teachers, 600 students, formed the subject of
study. All students, Teachers, Deans of study and Principals were respondents to both
the questionnaires and the oral interviews. There ages range from 24 to 56 years.
3.7 METHOD OF DATA COLLECTION
The researcher administered the structured questionnaires to the principals,
Deans of study, teachers, and students, then five Directorate Officers of the Benue
State Teaching Service Board (TSB). The respondents were assured that the
information they provide would be kept confidential and would not in any way be
directly associated with the reported data.
The responses generated from the questionnaires were presented in tables and
analyzed using percentages to compare the degree to which the respondents
responded to each item. For the responses in section C which are open ended
questions that requires the respondents answers, the researcher did not report them
directly, but grouped the suggestions, personal observations and oral interviews into
broad areas of agreement and utilized them indirectly in the discussion of results.
3.8 METHOD OF DATA ANALYSIS
The researcher used simple percentages in analyzing the data collected. This is
because it ensures good interpretation and comparison of the data generated from the
respondents to answer the research questions.
30
CHAPTER FOUR
DATA PRESENTATION, ANALYSIS, INTERPRETATION AND FINDINGS
4.1 INTRODUCTION
The purpose of this chapter is to present, analyze and process the data obtained
from the sampled population. In analyzing the data collected in the course of the
research work from the respondents through questionnaires, the researcher used the
study as stated in chapter one of this project.
4.2 DATA PRESENTATION ANALYSIS AND INTERPRETATION
Some statistical tools were used to process and present data, which are in the
form of tables and percentages. Responses were computed in tabular forms using
simple percentages for ease of comparison, evaluations and interpretations aimed at
answering the research questions as follows:
Research question one: To what extent is the content of Fine arts curriculum covered
by your school?
Table 1: Analysis of students’ responses on the number of lessons learnt per week.
No. of lessons per week
1
2
3
4
TOTAL
Respondent
TOTAL
31
5.2
93
15.5
318
53.0
158
26.3
600
100
Result of Table 1 shows that 53% of the students agreed that they have 3
lessons of Fine art per week. While 5.2% of the students say they have 1 lesson of
Fine art per week. This means that most of the schools offering Fine art do not have
31
enough lessons to cover their syllabus since the duration of the lessons is inadequate
for practical.
Table 2: Analysis of teachers’ responses on the number of lessons taught per week.
No. of lessons per week 1 2 3 4 Total
Respondents
Total
3
3
11
11
56
56
30
30
100
100
Results of table 2 shows that 56% of the Fine art teachers responded that they
have 3 lessons of Fine arts in a week while 3% responded that they have 1 lesson per
week.
This means that teachers’ response is consistent with that of the students that
the number of Fine Arts lessons in most school cannot accommodate practical
activities of the course. This could be one reason why Fine arts syllabus is not
covered.
Research question two: to what extent are periods and time allocated to Fine
arts in your school time table adequate to cover the syllabus?
Table 3: Analysis of students’ responses on the duration of Fine arts Lessons
Time (mins) 31-35 36-40 41-45 46-50 TOTAL
Respondents
TOTAL
17
2.8
64
10.7
361
60.2
158
26.3
60
10
From table 3, 60.2 % of the students’ responded that the duration of Fine arts
lesson is between 41 and 45 minutes while about 2.8% of the respondents say that the
32
duration of Fine arts lessons is between 31 and 35 minutes. Also about 26.3% of the
students stated that the duration of Fine arts lessons is between 46 and 50 minutes.
10.7% of the students maintained that arts lesson is between 36-40 minutes.
Table 4: Analysis of teachers’ responses on the duration of Fine arts lessons.
Time (mins)
31-35
36-40
41-50
46-50
Total
Respondent
TOTAL
2
2
9
2
65
65
24
24
100
100
From table 4. 65% of the teachers responded that the duration of Fine arts
lessons is between 41 and 45 minutes while 2% responded that the duration of Fine
arts lesson is between 31-35 minutes. This means that the duration of Fine arts lessons
is not enough to cover the Fine arts syllables.
Research questions three. What method of teaching is mostly use in the Fine
arts lessons?
Table 5: Analysis of students’ responses on the method mostly used in Fine art lesson
Method Lecture Demonstration Discussion
Copying
Of tra
TOTAL
Respondent
TOTAL
108
18
126
26
311
51.8
25
4.2
600
100
From table 5 about 52% of the students responded that the method mostly
used by Fine arts teachers is discussion method while about 4% of the students stated
33
that Fine art teachers mostly use copying and Tracing instead of combining
Discussion and Demonstration methods.
Table 6: Analysis of teachers’ response on the method mostly used in the Fine arts
lessons.
Methods
D.M.
PM Disc.
M
Ass. M.
Lec. M
Cop.
T.M
F.W cm
Respondents
TOTAL
18
18
12 14
31
31
16
16
7
7
2
2
12 14
Result of table 6 shows that 31% of teachers mostly use Assignment method
while 2% use field work and executing this could be probably due to little time-table
which cannot accommodate two practical lessons. As such most teachers eventually
result to the use of Assignment method.
Research question four: What instructional materials are mostly used in Fine
arts Lessons?
34
Table 7: Analysis of students’ responses on the instructional materials mostly used in
Fine arts Lessons
Instructional Materials
Text books
&
Maps
Models
&
C.O.
Slides
&
F.P.
Computers &
Laptops
Chalk &
board
Respondents
TOTAL
222
37.0
127
21.2
53
8.8
_
_
198
33.0
From table 7.37% of students responded that the instructional materials mostly
used in Fine arts lessons is text books and maps while none use computers and laptops
probably because the computers and laptops are not there, even if they are available,
lack of computer skills by Fine arts teachers could be a problem or lack of electricity
to power the computer which hinder computer application in Fine arts lessons.
Table 8: Analysis of teachers’ responses on the instructional materials mostly used in
Fine arts lessons.
I.M.
T.B.
&
Maps
Models
&
C.O.
Slides
&
F.P.
Computers
&
Laptops
Chalk
&
board
Respondents
TOTAL
27
27
48
48
6
6
19
19
From tables 8, 48% of teachers responded that the instructional materials
mostly used in Fine arts lessons is models and concrete objects that has 21% from
35
students response. The difference could be that may be in some cases teachers plan to
use models and concrete objects but practically do not use them in delivering lessons.
While computers and laptops are virtually not used in presenting lessons despite the
fact that the world is going computerize. Definitely, something urgent ought to be
done to improve on the use of computers and laptops in Fine arts lessons so as to cope
with the present challenges.
Research question five: Which of these is your highest educational certificate?
Table 9: Analysis of teachers’ response on their qualifications
RESPONDENT MA PGD BA/HND NCE/OND 1
RESPONDENT
12
17
24
47
100
TOTAL 12 17 24 47 100
Results of the analysis of table shows that 47% of Fine arts teachers are
NCE/OND certificate holders 24% and BA/HND certificates, 17% have PGD in
various certificate and 12% have MA too in various fields.
Research question six: To what extent does lack of appropriate Fine art
hall/Studios effect students’ performance in Fine art?
Table 10: Analysis of students’ responses on the Venue of Fine arts lessons.
Venue
Class
room
Shield or tree Art Studio School hall TOTAL
Respondent
TOTAL
46.3
77.2
89
14.8
16
2.7
32
5.3
600
100
36
From table 10, about 77% of the students’ responded that Fine arts lessons are
held in art class rooms while about 3% stated that Fine arts lessons are held in art
studio. This indicates that many schools have no art studio for arts lessons. Probably
because management and other major stakeholders have not given Fine arts the
needed attention of deserves.
Table 11: Analysis of teachers’ responses on the venue of Fine arts lessons
Venue
Class
Rooms
Shield or
tree
Art Studio
School hall
TOTAL
Respondent
TOTAL
57
57
72
72
17
17
100
100
From table 10.57% of teachers responded that Fine arts lessons are held in
classrooms while 7% of them stated that art lessons are held in art studio. This is an
indication that there are minimal cases of art studio for arts lessons, hence most of the
lessons are held under the tree as confirmed by the 24% of the teachers’ responses
which are next to Fine arts in schools?
Research question six: What is the attitude of principals and deans towards the
teaching and learning of Fine arts in schools?
37
Table 12: Analysis of students’ response on the attitude of principals and deans
towards the teaching and learning of Fine arts in schools
No of times deans &
principals monitor Fine Arts
lessons
Vern often often Occasionally Never TOTAL
Respondents
TOTAL
8
1.3
82
13.7
471
78.5
39
6.5
600
100
From Table 12, 78% of students responded that Principals and Deans observe
Fin e arts lessons occasionally while 1% of them responded that they observe Fine
arts lessons very often. This indicates that management team of most schools do not
care about what goes on in Fine arts lessons in their schools. This could be one reason
why Fine arts is not given the needed attention it deserves. Hence, most of the
instructional materials are not provided as well as absence of arts studio for practical
lessons.
Table 13: Analysis of teachers’ response on the attitude of Principals and Deans
towards the teaching and learning of Fine arts in schools
Cooperation of deans &
Principals to provide Art
materials
Very
much
Not very
Much
Just a
little
Not
at all
TOTAL
Respondents
7
7
35
35
56
56
2
2
100
100 TOTAL
Result of the analysis of Table 13 shows that 56% of Fine arts teachers stated
that they receive just a little cooperation from Deans and Principals to provide arts
materials probably because the materials are very expensive for them to buy or no
38
budgetary allocation to art department at all. This explains why most schools have not
created enabling environment for it to operate.
4.3 DISCUSSION OF FINDINGS
The discussion and interpretation of specific findings as presented in the
research was done in accordance with the research questions stated in chapter one.
The findings of this study showed that the content of Fine art is not well covered in
schools. This is confirmed by the 53% and 56% of students and teachers responses
respectively that Fine arts have 3 lessons only per week. this aggress with palmer
(2004) who stated that the normal three to four periods allocated to art teaching in the
time table are inadequate for effective work and activities in art studies. The research
confirmed that the non-allocation of enough time for practical lessons is really a
problem most of the practical activities in Fine Art cannot be completed at the end of
forty minutes. As such, the time allocated on the time table should in the minimum
always have a double period running together for the practical and a period for the
theory. In the light of this Mhambe (1999) and Uzoagba (2005) suggested that where
possible a minimum of two double periods a week be given to Fine art lessons.
Result from tables 5 and 6 shared that in most of the Fine art lessons,
Discussion-method as well as Assignment method are mostly used as confirmed by
52% of students’ responses and 31% of teachers’ responses respectively. The
combination of teaching methods such as Discussion and Demonstration facilitate
effective learning and proper skill acquisition. This however, is mostly not found in
many schools since most fine art teachers are heavily loaded beside inadequate
number of lessons needed to cover the syllabus thereby hampering effective
Implementation of the curriculum.
The findings also revealed that instructional materials mostly use in Fine Art
lessons were text books and maps while no computers and laptops have been used at
39
all, probably because they are not available. whereas the teaching and learning of Fine
art will be very abstract and will have little or no bearing in human life without the
use of relevant instructional materials like models and concrete objects, computers
and laptops etc. it is in this light that Oyeadible, Ikwazom, and Okeke (1989) state
that inadequate and lack of the use of instructional materials in teaching will lead to
half baked knowledge and poor implementation of the foregoing that fine arts cannot
be learned effectively and efficiently, without studies that are well equipped and
properly put in use.
The study further reveals that the attitudes of Principals and Deans of Studies
of various schools towards the teaching and learning of Fine arts are negative. This is
confirmed in Table 11 where 78% of the students stated that Principals and Deans of
Studies observed Fine arts lessons occasionally. Also in Table 12, 56% of Fine arts
teachers lamented that they receive just a little cooperation from Deans of Studies and
Principals. This could probably be due to lack of interest in Fine arts by the school
management as observed by Mhambe (1999) that lack of interest in arts by school
administrators and those in authority including policy makers is detrimental to the
implementation of arts curriculum, consequently, relevant and adequate facilities for
the subject have not been provided to stimulate and sustain interest of the learners.
40
CHAPTER FIVE
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS AND
SUGGESTIONS
5.0 INTRODUCTION
This chapter makes a summary, conclusions and recommendations as well as
suggestions on the implementation problems of secondary school arts curriculum in
Fine Art as indicated below.
5.1 SUMMARY
The research was designed to investigate the problems of implementation of
Fine art curriculum in secondary schools.
In this chapter the researcher summaries, concludes and give appropriate
recommendations of the general findings for the improvement of Fine art curriculum
programme in Benue State.
The research work considers the necessary and compulsory need for proper
implementation and teaching of Fine arts curriculum with emphasis at the secondary
schools level. This orientation is to expose the child to the different vocations and
prepare him to realize the need for self-reliance at the tender age. This will in turn
provide the foundation for development and required man-power to lead our country
to a technological break-through in agreement with Gbamanga (1991) “that a good
curriculum must reflect the values of the society for which it is designed”.
The goals of our society on self reliance cannot be achieved without the
acquired and necessary skills developed through practice using the hands which are
indispensable tools for psychomotor operation.
41
This study has made use of questionnaire to draw the data that has been
considered in this work, besides; the researcher conducted pilot study, oral interviews
and physical observation of the facilities available in the sample schools. The
stratified random technique of sample selection was used and fourteen schools were
selected out of about fifty schools in zone A senatorial zone A of Benue state.
The respondents to these questionnaires were students, Art teachers, Deans of
Study and Principals. The data generated from the questionnaire were presented and
considered in tables and analyzed. The researcher was able to find out that
implementation of Fine art curriculum is not significantly effective at the secondary
schools level.
The sample schools adopted different curriculum, all these curriculum were
planned in line with the present syllabus spelt out in the National Policy on Education
in Nigeria (N.P.E 2004). The objectives of which are to impart the necessary training,
skills and knowledge toward making an individual achieve the set goals of
productivity and self-reliance. All the activities put together under the guidance of the
school to make the individual useful to himself and the society to which he belongs.
These experiences were not present in some sampled schools. The components of
curriculum were not well represented. According to Gbamanja (1991) curriculum is
concerned with descriptive and explanatory aspects, that is theories and practical
combined and the allocation of time to such subjects the learner is suppose to know,
how the subjects are taught to cover the plan of action. Due to lack of funds most of
these courses are theoretical instead of combining both the theory and practicals
together, that makes performance below average because much is covered without
accompanying practical’s and theory retention in children without proper execution of
the instructional content and materials.
42
In a nut shell, this research has established that Fine art subjects and
programmes are taught in all the schools surveyed, but because of the shortage of
teachers, lack of funds, lack of facilities, workshops, studios, equipments and power
supply to rural schools and the theoretical way in which it is being taught, it is
doubtful whether it’s products are acquiring any valuable skills.
In the light of the above, it is pertinent to ask at this juncture what needs to be
done, to correct the observed problems and ensure that the subjects achieve its noble
objective of producing school leavers with the necessary skills to secure or create
employment for themselves.
Efforts should be intensified by schools to provide those things necessary for
their needs when funds are provided before spending recklessly on other things for
students to continue to gravitate to academics and aims of the subjects outlined for
them.
5.2 CONCLUSIONS
The implementation of art curriculum in Fine arts of secondary schools
involves artistic creative work planned to accomplish within course duration of a
particular pursuit. This is laid out year by year, and in each term by term for each
class. The aim of drawing out these syllabuses is to unify course. Content all over the
country. The implementation of art curriculum in Fine arts is generally poor. Almost
all senior secondary schools students in zone A (senatorial) comprising seven local
government areas took Fine art as a course during their pursuit of the secondary
education in JSS, but it was discovered that only few carry on with the subject at the
senior school certificate examination level. This was because of inadequate time
allocation for the lesson, as a result, when they are unable to cope with the practical
within the time allocated; they drop the subject for other less tasking ones.
43
Inadequate teaching personnel were another constituent of the sad state of
these subjects. Some teachers that take these courses are not qualified while others,
because of the heavy work they shoulder from the junior secondary school SS3, they
ignore the junior classes and concentrate more on the senior classes, this makes it
impossible for them to execute very well the instruction content laid out in the
syllabus, in Fine art curriculum. The researcher discovered that the few art teachers in
these schools have low interest because of the fact that the work load on them was
heavy, but the facilities were inadequate, and in some cases not at all. These make it
difficult to implement the teaching methods. Some find ways to improvise but due to
the expensive and costly involvement, they were unable to continue. It becomes a
joke or a play rather than a study to achieve a particular set goal.
Students too never experience smooth run of Fine arts as a subject such that
could keep their interest going, when they do not have comfortable accommodation
for their art lessons.
5.3 RECOMMENDATION
1. Fine arts should be introduced in all schools and classes so that students shall
have the ability of the insights in order to acquire intellectual processes
and participate in the subjects.
2. Where teaching qualification is needed, the need arises for a post-
graduate course in Education. This will help immensely in the introduction to the
basic teaching methods and principles, techniques that will enhance their
performance especially those with OND, HND in Fine arts who find themselves in
the classrooms.
3. Most art lessons should be practically inclined and realistic because skills are
developed through practice and understanding through experiences.
44
4. Teachers should take on short term courses in their areas of
specialization in art education during long vacations or holidays to develop
skills, abilities, understanding, attitudes and working habits.
5. Fine Art teachers should register with various bodies e.g. Society of Nigerian
Artist (SNA); Nigerian society for education through art (NSEA); Post
Primary Art Teachers Association (PPATA) Art Education Association
(AEA). These societies and clubs sponsor seminars, workshops and exhibition
of their products. Art works make art teachers update their knowledge of new
trends and innovation in the field.
6. Resourceful teachers should be rewarded in order to motivate others.
7. Students at secondary schools level need assistance to mak decisions,
guidance counselors are needed to direct and assist them to bring out their
potentials. Media programmes pertaining to Art education should be aired
for public consumption.
8. Government should provide enough facilities, such as workshops, electricity,
water and space at least to the already existing post primary schools that can
stand their grounds to flag up art as subjects at all levels.
9. The ministry of education in conjunction with the teacher’s board should
ensure as a matter of priority to send at least a copy of the syllabus
patterning to Fine art education to the schools on time and art teachers
should be posted to schools where there are no such teachers.
10 he school authorities should allow teachers executes their skills in their
areas of specialization instead of given them other subjects to teach.
Integration of the curriculum into the national education system
considering the negative attitudes of the people to Fine Arts education because
some people see them as inferior to education.
45
11. The federal, state and local governments in the country should ensure that
no stone is left unturned in the process of implementation of Fine art
education curriculum at all the educational levels especially now that
the government have banned the importation of some foreign products into
the country.
12. It is only when the use of hands are encouraged and constituted into a policy
that is consistently pursued with vigour that Nigeria can realize its
technological breakthrough and self valiance.
46
REFERENCES
Abenga F.M (1995), Principles and practice of School Administration in
Nigeria Onaivi printing publish. Co Ltd.
Ajala, J.A. (2002), Designing content of the curriculum. A guide to practice.
Ibadan, Nigeria.
Akolo, J. B. (1988), Art as a foundation subject for technical Education
Seminar Paper, Africa & Middle East Regional Congress INSEA Lagos.
Ali, N. A. (1992), Curriculum Development, Implementation and Evaluation
in Curriculum Development Processes Owerri Inter: Unipress.
Bobbit, F. (1981), The Curriculum, Boston Houghton Mifflin Company.
Dienye, N. E. (1995), Principles and Practice Curriculum Development
Paragraphic Port Harcourt.
Encyclopedia of Education (1971) London University Press.
Enemuo, P. C. (1988), The Extent of Implementation in Practice of 3-3
System of Secondary School Education Unpublished M. ED Thesis Department of
Education UNN.
Federal Republic of Nigeria (1981), National Policy on Education, Lagos,
Federal Ministry of Information.
Gbamanja STP (1991), Essentials Of Curriculum And Instruction Theory
And Practical Port-Harcourt Pam Unique Publishing Co.
Hirst .P. (1975), The Logic Of Education Routledge And Kegan Paul London.
Lowerifeld, V. and Lambert, B. W. (1975), Creative and Mental Growth
New York Macmillan Publishing Co. Inc.
Mhambe, R. (1999), Impediments in Vocational and Technical Education
Unpublished Paper Presented at the 1st National Conference of School of Vocational
and Technical Education July 1999 College of Education Katsina-Ala Benue State.
Mkpa, A. M. (1987), Curriculum Development and Implementations, Owerri
Totan Publishers Ltd.
Nacino-Brown, R. Oke, F. E. and Brown D. P. (1982) Curriculum and
Instruction an Introduction to Methods of Teaching. London Macmillan Publishers
Ltd.
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Nicholls Audrey and Nicholls Howard (1980), Developing is Curriculum. A
Practical Guide. London Goerge Allen an unwin Ltd.
Offorma, G. C. and et al (1995), Curriculum Theory and Planning. Uni-world
Education Publishers (Nig) Ltd.
Okoli, E. C. (2006), Curriculum and Instruction in Art Education unpublished
Lecture notes UNN.
Okoli, E. C. (2006), History of Art Education unpublished lecture notes UNN.
Oyeadibe, J. N. Ikwuozon, B. E. Okeke S. U. (1989), Problems of
Implementation of the Current Senior Secondary School Economics Curriculum with
Special References to Awka Education Zone Anambra State Nigeria. Unpublished
BSC. Project Dept of Education UNN.
Palmer, F. M. (2004), Art Education in Tertiary Institutions. S. Asekome and
Co. Publishers Samaru-Zaria, Nigeria.
Saylor, G. J. and Alexander, W. M. (1981), Curriculum for better teaching
and learning New York: Holt Rinchant and Winston.
Tanner D/LN (1975), Curriculum Development Theory into practice London
Macmillan publishing co. Inc.
The Federal Ministry of Education (1977) UPE Teacher Education Project,
Arts and Crafts, NERC Publication Macmillan.
Tyler R. W. (1949), Basic Principles of Curriculum and Instruction. Chicago:
University of Chicago Press.
Ukeje, B. O. (1996), Teachers and Teaching Found day lecture at St. Charles
College Onitsha.
Uzoagba, I.N. (19 ), The Problem of Students Choice of Art as an Important
Subject For Their Senior Secondary Certificate Examination (SSCE) with Reference
to Secondary Schools in Nsukka L.G.A. Unpublished M. A. Thesis To the
Department of Fine Art & Applied Arts UNN.
Uzoagba, I. N. and Ogboji, B. A. (2005), Issues and Problems in The
Teaching and Administration of Art Education in Schools.
Wangboje, I. (1964), Art in Primary Schools Longman Publishers Lagos.
48
49
APPENDIX ‘A’: LETTER OF INTRODUCTION
Department of Fine and Applied Art,
University of Nigeria,
Nsukka.
June, 2008.
______________________
______________________
______________________
Dear respondents,
RESEARCH QUESTIONNAIRE
Implementation problem of secondary school art curriculum in Fine arts. This
question below relate to research work aimed at studying the implementation problem
with particular emphasis to North East Senatorial District of Benue State.
I would be very grateful if the questions are answered without fear or favour.
Your honest response would enhance the quality of this research. Information given
would be treated confidentially.
Thanks for your cooperation.
Yours faithfully
DEGARR, AYAM ABUR
PG/MA/O6/41140
50
APPENDIX ‘B’: QUESTIONNAIRE FOR STUDENTS
Instruction: Tick the option that best suits your answer:
1. Do you enjoy Fine Arts as a subject in your school?
(i) Yes [ ]
(ii) No [ ]
2. If "Yes" what are your reasons?
(i) To pass your exam [ ]
(ii) My friend like it [ ]
(iii) I have interest in the subject [ ]
(iv) It is a simple subject [ ]
(v) I would like to offer it in my future career [ ]
3. What particular area of Fine Art do you like most?
(i) Drawing (pencil) [ ]
(ii) Clay work (moulding) [ ]
(iii) Textiles (fabrics) [ ]
(iv) Metal and wood (construction) [ ]
(v) Painting using colour [ ]
4. How many arts lesson do you have in a week? ..............................
5. Do your teachers cover arts syllabus every term with you?
(i) Yes [ ]
(ii) No [ ]
6. What is the duration of your arts lessons? ............................
7. Is the time allocated to Fine arts in your school enough to do your work?
51
(iii) Yes [ ]
(iv) No [ ]
8. Indicate by ticking the method your Art teacher uses in teaching art.
(i) Lecture method [ ]
(ii) Demonstration method [ ]
(iii) Discussion method [ ]
(iv) Assignment method [ ]
(v) Copying and tracing pictures [ ]
(vi) Any other (specify): ..................................................................
..............................................................................................................
9. What art materials and teaching aids do your teachers employ in art
lesson?
(i) Text books and maps [ ]
(ii) Models and concrete objects [ ]
(iii) Slides and film projectors [ ]
(iv) Computers/Laptops [ ]
(v) Chalk and board [ ]
10. Do you use any Art text book as a course book for your study in your
class?
(i) Yes [ ]
(ii) No [ ]
11. If Yes write the title of books and the authors
(i) ...............................................................................................
52
...............................................................................................
...............................................................................................
(ii) ...............................................................................................
12. Where do you have your art lessons?
(i) In the class room [ ]
(ii) Under the shield or tree [ ]
(iii) In a Art studio well ventilated [ ]
(iv) In a sq the school hall [ ]
13. How often do your Principals and Deans of Study observe your class
during art lessons?
(i) Very often [ ]
(ii) Often [ ]
(iii) Just occasionally [ ]
(iv) Never [ ]
13. Would you like to do further studies in art after leaving the College?
(i) Yes [ ]
(ii) No [ ]
14. If Yes, what is the reason why you choose art as a career?
(i) I have interest in Art [ ]
(ii) Easy job [ ]
(iii) It is a simple subject [ ]
(iv) Artist are respected [ ]
(v) Others please specify: ..............................................................
...............................................................................................
...............................................................................................
53
APPENDIX ‘C’: QUESTIONNAIRE FOR TEACHERS
1. Which of this is your highest educational qualification?
(i) NCE [ ]
(ii) OND [ ]
(iii) HND [ ]
(iv) First Degree [ ]
(v) Masters [ ]
(vi) Ph.D [ ]
2. How many art lessons do you teach in a week? .................................
3. Does your school have standard Art syllabus and scheme of work to guide your
weekly teaching of Art (both theory and practicals)?
(i) Yes and adequate [ ]
(ii) No [ ]
(iii) Yes but inadequate [ ]
4. Do you cover Arts syllabus of every term?
(i) Yes [ ]
(ii) No [ ]
5. If No, why?................................................................................
6. Is the time allocated for your Art lessons adequate and conducive for you?
(i) Yes [ ]
(ii) No [ ]
7. Or do you recommend any other time. (Please specify) .............
…………………………………………………………………………………………
…………..
54
…………………………………………………………………………………………
………….
8. What is the duration of your Arts lessons?.....................................
9. What method do you mostly use in teaching your art lessons?
(i) Demonstration method [ ]
(ii) Project method [ ]
(iii) Discussion method [ ]
(iv) Assignment method [ ]
(v) Lecture method [ ]
(vi) Copying and tracing pictures [ ]
(vii) Filed work and excursion [ ]
10. Do you enjoy the co-operation of your students?
(i) Very much [ ]
(ii) Not very much [ ]
(iii) Just a little [ ]
(iv) Not at all [ ]
11. Do you have any recommended art text books for use in the state, schools?
(i) Yes [ ]
(ii) No text books recommended [ ]
12. If yes, how many of them do you use for your art lessons
(i) All [ ]
(ii) Just one [ ]
55
(iii) Two [ ]
(iv) Three [ ]
(v) Four [ ]
13. Where do you usually have your art lesson?
(i) In the normal class room [ ]
(ii) In the special art class or studio [ ]
(iii) Outside under the shield or tree [ ]
(iv) In the school hall any other specify .......................................
14. Do your Principal and Dean of study co-operate whenever your request for art
materials?
(i) Very much [ ]
(ii) Not very much [ ]
(iii) Just a little [ ]
(iv) Not at all [ ]
15. What instructional materials do you mostly use in delivery of your lessons?
16. Is there art gallery in your school where students display their finished works?
(i) Yes [ ]
(ii) No [ ]
15. Please suggest any idea that you think can improve the teaching of art in your
College:
(i) ...................................................................................................
(ii) ...................................................................................................
(iii) ...................................................................................................
56
APPENDIX ‘D’: QUESTIONNAIRE
FOR PRINCIPALS AND DEANS OF STUDY
1. Name of schools:.....................................................................
2. Post of respondent:..............................................................
3. Qualification of respondent:........................................................
4. How often do you observe teacher's in class
(i) Very often [ ]
(ii) Often [ ]
(iii) Just occasionally [ ]
(iv) Never [ ]
5. How often do you check their art lesson notes and scheme of work?
(i) Very often [ ]
(ii) Often [ ]
(iii) Just occasionally [ ]
(iv) Never [ ]
6. Do you have problems with your art teachers concerning time allocation for
lessons?
(i) Yes [ ]
(ii) No [ ]
7. Does the teachers’ method affect students learning positively in art as a
subject?
(i) Yes [ ]
(ii) No [ ]
57
8. Do the Art teachers in your school use variety and relevant teaching aids in their
art lessons?
(i) Yes [ ]
(ii) No [ ]
9. Does your school have art studio or a conducive art hall for their art
lessons?
(i) Yes [ ]
(ii) No [ ]
10. Is there any co-operation between your school and the Teaching Service
Board concerning art materials or funds?
(i) Very much co-operation [ ]
(ii) Not very much co-operation [ ]
(iii) Just a little co-operation [ ]
(iv) No co-operation at all [ ]
11. Do you have problem in connection with art teaching in your schools?
(i) Yes [ ]
(ii) No [ ]
12. If Yes; is it?
(i) Lack of art teachers [ ]
(ii) Lack of materials [ ]
(iii) Lack of art studio/room [ ]
(iv) Lack of funds [ ]
13. Please suggest ideas that you think can improve art teaching in your College.
(i) ............................................................................................................
(ii) ............................................................................................................
(iii) ............................................................................................................
58
APPENDIX ‘E’: FINE ART NATIONAL CURRICULUM
FOR JUNIOR SECONDARY SCHOOLS (YEAR 1)
TOPIC OBJECTIVE MATERIL/
SOURCES
ACTITIVES EVALUATIO
N
A. Drawing To become
familiar with line
through its use as
a delineating
element as well
as a unique
medium with a
definite
expressive
quality.
Pencil, pen, ink,
brush, wood
charcoal, crayon,
chalk, newsprint,
paper package,
white cartridge,
poster paint,
water colour,
local colour,
dyes, crayon,
pastel, brushes,
cardboards, bits
and pieces of
improvised
materials.
Life or figure
drawing;
landscape;
still life;
drawing from
nature;
abstract
composition;
realistic
approach to
imaginative
drawing.
Review of work
done,
discussion on
visual aid
products,
assignment,
display of
work,
assessment of
children's
work.
B. Painting Colour
identification in
its primary,
secondary and
tertiary forms;
development of
skills in colour
application;
ranges of colour
and colour
harmony.
Poster paint,
water colour,
local colour,
dyes, crayon,
pastel, brushes,
paper, boards,
varied materials.
Imaginative
composition;
composition
with nature and
still life;
landscape
painting;
composition
with objects.
C. Patter
and Design
To discover
patterns in
nature; discover
and develop
movement and
balance; create
and organise
lines, shapes and
forms.
As in 'painting'.
Introduce seeds,
sand, pebbles,
shells, beads,
leaves, feathers,
flowers, etc.
Wax resist
patterns; full
repeat and drop
patterns; free,
spiral, rhythmic
lines and
shapes; mosaic
and collage;
design for table
covers, window
and door blinds.
59
D. 3-
Dimension
al Work
To make
children
understand
solution to
problems created
by the 3rd
dimension; learn
use of tools;
develop feelings
for the 3-
dimensional
work.
Sawdust, clay,
wood, plasticine,
papier mache,
candle, wire,
cornstalks, Ant
hill, tools.
Relief work
with day,
construction
with
cardboards, 3-
dimenstional
masks; puppet,
figures with
papier mache,
ceramics, wire
sculpture.
E. Crafts Get an exposure
to the techniques
of local
craftsman and
practise the
crafts;
appreciate need
for crafts;
utilitarian,
decorative and
economic.
Grass, raffia,
fibre, cane,
leather, wood,
clay, cloth dyes,
wax, starch,
calabash,
coconut fibre,
sheaths, animal
skin or wool.
Window blind,
mats making,
foot rugs,
leather crafts
(e.g. shoes
bags, etc.),
woodwork,
textile designs
as in tie and
dye, calabash
decoration,
brush-making.
F.
Appreciatio
n
Developing taste
of the good
through
awareness of the
high standard of
performance.
Slides, art
reproductions,
film strips,
national
museum, relics
from archives,
books of creative
and performing
art.
Cultural week,
highlighting
drama, music,
art exhibition,
symposium, art
demonstration,
musical plays,
fashion shows,
etc.
60
APPENDIX ‘F’: FINE ART NATIONAL CURRICULUM
FOR JUNIOR SECONDARY SCHOOLS (YEAR 2)
TOPIC OBJECTIVE MATERIL/
SOURCES
ACTITIVES EVALUATIO
N
A. Drawing Bringing children
to close study a
of nature and
cultivate a sense
of awareness;
developing a
sense of critical
judgement, using
drawing as a
means of
expressing mood
and thoughts;
learning to
interpret the state
of natural objects.
Pencil, pen, ink,
brush, wood
charcoal, crayon,
chalk, newsprint,
paper package,
white cartridge,
poser pain, water
colour, local
colour, dyes,
crayon, pastel,
brushes,
cardboards, bits
and pieces of
improvised
materials.
Use of tonal
values/still life
and nature;
figure drawing
with emphasis
on proportions;
landscape;
abstract
composition;
composition
with objects;
imaginative
drawing.
Review of work
done, discussion
on visual aid
products,
assignment,
display of work,
assessment of
children's work.
B. Painting To introduce
colour as a
medium for
expressing
mood, thoughts
and movement;
use colour as the
vehicle for
translating
events, state and
weather
conditions.
Local colours,
dyes, water
colour, posters,
pastel, brushes,
thick papers,
cardboards,
varied materials.
Composition
about
marketing,
native festivals,
etc.; still-life
with drapery;
study from
nature;
landscape
painting.
C. Patter
and Design
Introduce
balance of forms
and harmony,
create and
organize liens,
shape and forms.
Coloured papers,
sand, buttons,
nails, grass, etc.
Lettering,
single strokes
and blocks,
collage and
mosaic
calabash
decoration,
designs for wall
decoration,
making simple
posters,
monograms,
coat of Arms.
61
D. 3-
Dimension
al Work
Make children
solve problem of
the 3rd
dimension; learn
use of tools;
develop feelings
for the 3rd
dimensional
work.
Plasticine,
sawdust, clay,
wood, papier
mache, candle,
wire, cornstalks,
ant hill, tools.
Making
models with
plasticine and
clay, relief
work with
masks, paper
figures,
puppetry.
E. Crafts Development of
manual skill, co-
ordination of
both the hand
and the eye.
Corn flour
(agidi), sue
available
materials in the
locality, leather
craft, metal
work, weaving
simple bags,
paper crafts,
envelopes, files
or folio, book-
binding,
calabash
decoration.
Weaving with
thread, cane
basket, foot
rugs, numbers
and alphabets
in the round,
mask-making
with papers
and threads.
F.
Appreciatio
n
Appreciate the
value system of
the society;
judge critically
the standard of
creativity in the
locality in
relation to
others.
Slides;
reproduction of
African art; film
strip national
museum of
ancient and
modern art relics
form archives,
books on African
art, cave art
practices, Greek
art forms; forms
in art practices
e.g., realistic art,
naturalistic,
impressionistic,
conventional and
symbolic styles.
Showing slides
on Nigerian
two-
dimensional
and plastic
arts; organize a
museum
collection for
the school;
make album of
art work;
African art
form (with
cuttings).
62
APPENDIX ‘G’: FINE ART NATIONAL CURRICULUM
FOR JUNIOR SECONDARY SCHOOLS (YEAR 3)
TOPIC OBJECTIVE MATERIL/
SOURCES
ACTITIVES EVALUATIO
N
A. Drawing To develop love
and appreciation
for the beauty of
natural forms and
use it as basis for
research
necessary in
development of
local industries.
To portray life
according to
structural details,
rhythms, colour
and tone, thus
presenting its
essential
character.
Pencil, pen, ink,
brush, wood
charcoal, crayon,
chalk, newsprint,
paper package,
white cartridge,
poser pain, water
colour, local
colour, dyes,
crayon, pastel,
brushes,
cardboards, bits
and pieces of
improvised
materials.
Further practice
on figure
drawing, still
life and nature;
application of
colour and
tone; landscape
(outdoor study);
free choice;
drawing using
brushes,
imaginative
composition,
gouache or
colour picture
making with
charcoal.
Review of work
done, discussion
on visual aid
products,
assignment,
display of work,
assessment of
children's work.
B. Painting Expression of
inner feelings,
love for
aesthetics and
achievement of a
well satisfying
end.
Poster paint,
water colour,
local colour,
dyes, crayon,
pastel, brushes,
paper, boards,
varied materials.
Abstract
painting, Art-
Nouveau,
painting
imaginative
composition,
still life and
nature,
portraiture,
group painting
with different
topics (wall
painting)
picture
enlargement,
mural painting.
C. Patter
and Design
Achievement of
excellence in
organisational
ability;
developing taste
for the ultimate
good.
coloured papers
and buttons,
nails, grass,
pieces of lace
materials, leaves
and flowers,
cardboard papers,
starch, other
found objects.
Leaf and potato
print, 2-
dimensional
mask, line cut
design on cloth
and for
embroidery,
poster design,
book cover
design
63
lettering.
D. 3-
Dimension
al Work
Appreciation for
monuments,
making figures
depth and in the
round; develop
feelings for
depth and space,
show effects of
materials on
sculptural topic.
Sawdust with
starch, clay,
plasticine, papier
mache, ant hill,
ceramics, glazing
stuff.
Demonstration
by local
craftsmen, clay
figures, 3-
dimension
alphabets,
relief work
with clay,
varied local
crafts in the
round, pupils
demonstration.
E. Crafts Development of
manual skills;
co-ordination of
both the hand
and the eye.
As in Year 2. Weaving,
blacksmithing,
demonstration
by local
craftsmen,
cane work,
leather craft,
tie and dye,
calabash
decoration, etc.
F.
Appreciatio
n
Appreciation for
societal value
system and need
for new
orientation
towards modern
art.
Slides, cut-out
pictures, films,
text books and
magazines.
Show slides on
modern
Nigerian art,
visit to the
museum, group
discussion on
Egyptian and
pre-historic art,
aspects of art,
magical,
religious and
decorative, Ife-
Benin-Nok
cultural art,
brief history of
modern art in
Nigeria/Africa,
role of Vincent
Kofi, Ben
Enwonwu and
Ono-brakpeya,
etc., African
art in relation
to European
art, organize
museum corner
for the school.
Employ the
services of 2 or
3 local
craftsmen.