1

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)

20

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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.

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Co. Publishers Samaru-Zaria, Nigeria.

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and learning New York: Holt Rinchant and Winston.

Tanner D/LN (1975), Curriculum Development Theory into practice London

Macmillan publishing co. Inc.

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Teaching and Administration of Art Education in Schools.

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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.