ABSTRACT

Fine Art is one of the core subjects in the Secondary School System in Nigeria. And the
educational goals realizable from art learning cannot be overemphasized. In-spite of its
articulate documentation as enshrined in the National Policy on Education (NPE) and its
general acceptance as a subject to be taught in Secondary Schools, it has the problem of
curriculum implementation in most Schools in Benue State. This study attempts to
X-ray these problems by considering first the content of the curriculum, secondly determine
whether or not the implementators of the curriculum are suitably qualified or not and thirdly
find out the reasons for the failure in implementation.
The study considered secondary schools in the North East Senatorial Zone of Benue State
with a sample size of 600 students, 100 teachers and 30 principals/Deans of Studies. The
questionnaire was face validated by experts and through the use of Crunbach Alpha
Technique was administered through direct delivery technique/method.
Amazingly, the results of the study showed that most of the teachers were qualified, however
failure in the implementation was due largely to pedagogic methods used in teaching the
subject, not being suitable, more so the absence of basic instructional materials/equipment
coupled with lack of motivation, encouragement from most school administrators is largely
responsible for lack of curriculum implementation of Fine Art as a subject in most secondary
schools in Benue State.

TABLE OF CONTENTS

Title page … … … … … … … … i
Approval page … … … … … … … ii
Dedication … … … … … … … … iii
Acknowledgement … … … … … … … iv
Table of Content … … … … … … … v
List of Tables … … … … … … … vi
List of Figures … … … … … … … vii
Abstract … … … … … … … … ix
CHAPTER ONE … … … … … … … 1
INTRODUCTION: … … … … … … … 1
Background of the study … … … … … … 1
Statement of the problem … … … … … … 6
Purpose of the study … … … … … … … 7
Significance of the study … … … … … … 8
Scope of the study … … … … … … … 9
Research question … … … … … … … 9
CHAPTER TWO … … … … … … … 10
LITERATURE REVIEW: … … … … … … 10
Implementation and development … … … … …. 10
Curriculum Content in Fine Arts … … … … … 12
Staffing … … … … … … … … 14
Capital Facilities/Text Books/Instructional Materials … … 16
Environment/Workshops/Studios and Time Tabling … … … 16
How Does Lack of Implementation of Art Curriculum Affect
Schools … … … … … … … … 21
The Benefits of Art Curriculum in Secondary Schools … … 22
Summary … … … … … … … 23
CHAPTER THREE … … … … … … … 24
DATA PRESENTATION, ANALYSIS AND FINDINGS: … 24
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Methodology … … … … … … … … 24
Research design … … … … … … … 24
Area of study … … … … … … … … 24
Population of the study and distribution by Local Government Area 26
Sampling and sampling techniques … … … … … 27
Research procedures … … … … … … … 28
Research instrument … … … … … … … 28
Method of data collection … … … … … … 29
Method of data analysis … … … … … 29
CHAPTER FOUR … … … … … … … 30
DATA PRESENTATION, ANALYSIS AND FINDINGS: … 30
4.1 Introduction … … … … … … … 30
4.2 Data presentation analysis and interpretation … … … 30
Discussion of findings … … … … … … 38
CHAPTER FIVE … … … … … … … 40
DISCUSSION, CONCLUSION AND RECOMMENDATIONS: … 40
Summary … … … … … … … … 40
Conclusion … … … … … … … … 42
Recommendations … … … … … … … 43
References
Appendix

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 subjects the learner for any
programme have to cover before they could be said to have completed that class/programme.
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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 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:
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(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 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,
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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 it is generally accepted, art
curriculum is not well implemented in schools and colleges due to various problems and
hindrance.
xiv
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 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.
xv
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, nonavailability
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 more appropriate strategies for implementation need
to be adopted. Also, Akolo (1988) and Okoli (2006) lament on the problem of implementing
xvi
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 teachinglearning
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.
1.4 SIGNIFICANCE OF THE STUDY
xvii
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.
xviii
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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