ABSTRACT

The aim of this study was to evaluate the undergraduate sculpture curricula in Nigerian Universities to see whether they were working in consonance with the National Universities Commission’s (NUC) Minimum Academic Standard (MAS). The objectives were to: assess the personnel’s awareness of the regulatory body; determine the adequacy and relevance of the curriculum of current undergraduate sculpture programme in Nigerian universities; ascertain the effectiveness of instructional strategies used by lecturers in Nigerian universities; examine the suitability of available facilities and equipment pertinent to effective sculpture curriculum at university level and assess the full implementation of undergraduate sculpture programme in terms of quantity and quality of personnel. A total of seven universities were purposively sampled to reduce the lopsidedness associated with the citing of universities offering sculpture in the country. The respondents were drawn from the sculpture lecturers and specializing sculpture students of 2009/2010 academic-year in Nigerian Universities. The research method used was descriptive and data were collected through the use of questionnaire administration and informal interviews. The students’ questionnaire contained twenty items, which were meant to corroborate their lecturers’ responses to the twenty items on their questionnaires on the specific objectives of the study. Scores were assigned using Likert-Five-point technique of data gathering and analysis. The discriminations between respondents in the institutions were expressed using mean scores, percentages and standard deviation. The following findings emerged from the analysis: that the response to the awareness, adequacy of content and compliance to NUC’s MAS scored a total average percentage of 73; that of effectiveness of instructional strategy was 84; availability of equipment and facilities scored 43 while personnel level had 64. In conclusion, Nigerian universities are aware of NUC’s minimum academic requirement and are in compliance with its regulations in terms of content. The differences may have occurred from individual universities’ location, implementation, innovations and cultural settings; the methods adopted by the universities for teaching sculpture are very effective and are capable of achieving desired educational expectations in sculpture; the universities need to put in a lot of efforts to be able to meet NUC’s minimum academic requirements in terms of facilities and equipment; the universities have adequate number of highly qualified and efficient lecturers who are abreast with new methods and techniques in sculpture.

 

 

TABLE OF CONTENTS

Title – – – – – – – – Page
Title Page – – – – – – – – i
Fly Page – – – – – – – – ii
Declaration – – – – – – – – iii
Certification – – – – – – – – iv
Dedication – – – – – – – – v
Acknowledgement – – – – – – – vi
Abstract – – – – – – – – – vii
Table of Contents – – – – – – – viii
List of Figures – – – – – – – – xii
List of Tables – – – – – – – – xiii
List of Plates/ Charts – – – – – – – xix
List of Appendices – – – – – – – xx
Operational Definition of terms – – – – – xxi
Universities’ Codes – – – – – – – xxii
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CHAPTER ONE: INTRODUCTION
1.1 Background of the Study – – – – – – – 1
1.2 Statement of Problem – – – – – – – 5
1.3 Aim and Objectives of the Study – – – – – – 8
1.4 Research Question – – – – – – – 9
1.5 Basic Assumptions – – – – – – – 9
1.6 Theoretical Frame work – – – – – – – 10
1.7 Significance of the Study – – – – – – – 11
1.8 Justification of the Study – – – – – – – 13
1.9 Scope and Delimitation – – – – – – – 13
CHAPTER TWO: REVIEW OF RELATED LITERATURE
2.0 Introduction- – – – – – – – 15
2.1 Theoretical Framework – – – – – – – 15
2.2 Historical Development of Visual Art Education at Tertiary Level in
Nigeria – – – – – – – – – 18
2.3 History of Higher Institutions Teaching Fine Arts in Nigeria – – 19
2.4 The Concept of Curriculum Evaluation – – – – – 20
2.5 Theory of Curriculum Development – – – – – 23
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2.5.1 Desirable Educational Purpose (Formulation of aims, goals
and objectives) – – – – – – – – 27
2.5.2 Effective Selection of Education Experiences – – – – 29
2.5.3 Organization of Required Experiences for Attainment of Purpose – 30
2.5.3.1 Lecture Method- – – – – – – – 33
2.5.3.2 Demonstration Method – – – – – – 33
2.5.3.3 Discussion Method – – – – – – – 34
2.5.3.4 Availability of Personnel, Facilities and Equipment – – – 34
2.5.4 Determination of Attainment of Purpose (Evaluation) – – – 35
2.6 The Benchmark Minimum Academic Standard (BMAS) for Undergraduates
by National Universities Commission (NUC)- – – – 37
2.7 The Role and Impact of Sculpture on Learners – – – – 39
2.7.1 Sculpture and Concept Formation – – – – – 42
2.7.2 Significance of Sculpture – – – – – – 44
2.8 Art Education-Learning in the Arts – – – – – 49
2.9 Art education-Learning through the arts – – – – – 50
2.10 Review of Previous Related Studies- – – – – – 51
CHAPTER THREE: METHODOLOGY
3.0 Introduction- – – – – – – – – 60
3.1 Research Design – – – – – – – – 60
3.2 Population of the Study – – – – – – – 61
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3.3 Sample and Sampling Procedure – – – – – – 63
3.4 Instrumentation- – – – – – – – – 63
3.5 Pilot Study – – – – – – – – – 67
3.6 Validity and Reliability of Instrument – – – – 68
3.7 Data Collection Procedure – – – – – – 69
3.8 Data Analysis – – – – – – – – 70
CHAPTER FOUR: PRESENTATION AND ANALYSIS OF DATA
4.0 Introduction – – – – – – – – 72
4.1 Analysis of lecturers’ Questionnaire – – – – – – 72
4.2 Analysis of Students’ Questionnaire – – – – – 93
4.3 Summary of Findings – – – – – – – 123
CHAPTER FIVE: SUMMARY, CONCLUSIONS AND
RECOMMENDATIONS
5.0 Introduction – – – – – – – – 125
5.1 Summary of major findings – – – – — – 127
5.2 Conclusion – – – – – – – – 129
5.3 Recommendations – – – – – – – 132
REFERENCES – – – – – – – 134
Appendices- – – – – – – – – 141
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CHAPTER ONE

INTRODUCTION
1.1 Background to the Study
Education holds the key to the future of Nigeria as well as for each individual. It is essential for our educational system including its academic structure, content and modalities, to be dully adjusted in response to current changes. The nation needs compelling vision for education that will inspire educators, teachers, parents and students alike. The 21st Century knowledge- based economy has compelled all higher institutions to look inward for standard and effective curriculum. Today’s educational system faces irrelevance unless efforts are made by the universities to bridge the gap between how students live and how they learn. Universities are trying to keep pace with the astonishing rate of social and economic demands on students’ lives after graduation. With the current knowledge explosion in the field, the traditional art curriculum used in training undergraduates for the world of work needs to be reviewed in order to meet the changing needs of the individual and the society (ECHSAR, 2000).
Universities should review the functions: content and mode of teaching of first-degree programmes and to maintain a balance between the breadth and depth of the curricula so that students would have exposure to other learning domains apart from their own specialized disciplines. Universities now face strategic, long-term planning to integrate 21st Century skills into standard curricula assessments and professional development.
Such changes do not only present new opportunities, but also generate new challenges for those preparing individuals to work in the creative sector. As an increasing number of new skills and disciplines infiltrate the main curriculum,
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traditional practice are re-examined and perhaps cast aside as new topics such as the cultivation of social awareness, professional skills, and new proficiency in technology and media are booking for a place in the classroom.
The very structure of the universities and its role in educating artists is being called into question in the face of current challenges in education. According to Mamza (2008) in view of these exigencies, the current mode of academic preparation taking place in our schools is insufficient. In order to compete and succeed in the new global knowledge-based economy, especially in developing the essential skills for the 21st century, there is the need for curriculum reform in Nigerian tertiary institutions. All tertiary institution offering art programmes need to look at their art curricula for necessary reform. As university art curricula continue to change, there must be a decision on what is best for the developing artist, because the field is evolving quickly, past definitions of success for preparatory individuals become outdated and it becomes imperative for those within educational institution to facilitate discussions about managing this change. With a growing population of students in universities, arts programme must explore the problems that face the students as they leave these programmes and enter 21st century work force. Standard assessments and accountability measures set by National Universities Commission (NUC) to be implemented by various universities in Nigeria may be viewed as the starting point for worthwhile curricula reform. The NUC in its attempt to meet the required changes set up Benchmark Minimum Academic Standards (BMAS) to guide the undergraduate curricula.
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A curriculum evaluation has become a critical issue today because, it is important for universities’ art programmes to understand, why and how they are educating artists. Many educators are also beginning to address the dilemmas of incorporating new skills and cultivating greater consciousness among students. In explaining the positioning of arts education today in producing successful artists for the creative sector of the 21st century, concepts central to art and curriculum evaluation formed a useful structure for anchoring the many integral components to consider in conceptualizing the future of these programmes.
According to Ogunduyile (1995) curriculum evaluation includes the gathering of information (assessment phase) and the making of judgment or decisions based on the information collected (evaluation phase). Evaluation is a feature of curriculum implementation. It is a process that seeks to know the worth of activities or programmes in terms of set objectives. Sa’ad (2006) sees evaluation as the collection and use of information for decision-making about educational programmes or curricula. Evaluation’s basic elements include setting up of objectives, assessing all the activities required to meet the objectives and advancing new set of objectives as a result of the assessment (Ben Yunusa, 2008). The principal reason for curriculum evaluation is to plan improvement on the curriculum. Such improvement might involve changes to the curriculum guide and the provision of resources or in-service to teachers, law makers and educational policy. Mbahi (2000) in Tijani (2007) observes that since the formal introduction of art into the school curriculum in the early 1920s in Nigeria, the central concern of art educators has been how to make the teaching and learning more meaningful and effective in order to achieve the philosophy and desired
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objectives of the nation. Mayzel and Brletich (2008) opine that keeping the curriculum up to date and relevant to students’ needs and learning outcomes is one of the most important tasks of educators. Ben-Yunusa (2008), asserts that the educational system of Nigeria has various forms of curriculum packages at different times. The situational analysis of Fine arts curriculum content at the undergraduate level of Nigerian universities exposes many of the universities’ attitudes to its implementation and/or lack of awareness of National Universities Commission’s recommendations.
The benchmark statement of the Minimum Academic Standard (BMAS) approved by National Universities Commission (NUC, 2004), puts the general skills relating to non-subject specific competencies expected to be acquired by graduates as follows:
1. Computer graphic skills 5. Industrial training
2. Computer research Internet skills 6. Studio management practices
3. Team work skills 7. Study skills
4. Entrepreneurship learning capability.
The curriculum for university education therefore should work towards including all aspects of learning that would ensure total development of the individual (MAS benchmark of NUC (2004). According to Olorukooba (2006) for art curriculum to be properly implemented, universities in Nigeria need to adopt comprehensive instructional strategies in the face of inadequate equipment and facilities. Mbahi (2000) asserts that few universities that have art departments do not have enough lecturers. Sculpture, which is the three dimensional branch of fine arts (Cantor, 2011) was the main area of concentration in this study. New methods and techniques have evolved as
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a result of the introduction of industrial materials and technology. This study looked at the level of awareness of NUC’s (2004) Minimum Academic Standard for undergraduate sculpture curriculum in Nigerian universities. Relevant information on the level of instructional strategies, facilities and personnel requirement for sculpture were analyzed.
1.2 Statement of the Problem
A synthesis of literature reviewed indicates that the process of developing and implementing a curriculum that could adequately cater for creativity in sculpture have not always been successful. Smith (2000), Olorukooba (2006) and Ben-Yunus (2008) observe: (a) a widening gap between the teaching and practice of sculpture; (b) there are no professional bodies to harness the fragmented approaches adopted by each university; and (c) a continuous use of obsolete facilities which prevent the realization of the programme objectives. They all agree that the process of curriculum development is intertwined with evaluation. They added that evaluation becomes necessary when it is observed that a programme is becoming irrelevant and deficient in meeting the needs of both the learners and the society. To lend credence to this assertion, Smith (2000) further states that evaluation makes it possible for the curriculum developers to collect, analyze and interpret information so as to improve instructional objectives. According to Ben-Yunus (2008), curriculum evaluation should focus specifically on the educational objectives, the content, physical facilities and equipment, human resource, instructional methods and instructors’ traits. Based on literature in the field of sculpture education, various criteria have pointed to the
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fact that the current sculpture curriculum at the higher level and for the world of work need to be reviewed, the contents revised, its teaching philosophy reoriented and its method of teaching readjusted. Also considered are the historical development of visual art education at tertiary level in Nigeria, sculpture concept and the objectives of the study among others.
Although extensive researches from many countries cite the benefits and outcome of arts education, it is worth noting that a wide range search has uncovered only a few research based studies into the beneficial ways of developing and delivering a systematic sculpture curriculum in schools (Baldwin 2004, McNaughton 2004, and Coutts 2008). Perhaps this is indicative of the complex nature of the subject.
One of the difficulties facing the development of the viable approaches to sculpture curriculum, as noted by McNaughton (2004) is that the concept of sculpture has not been fully grasped by the societies of the developing countries like Nigeria. He noted that sculpture is often regarded as a minor art which does not deserve much attention. He also noted that, many overlapping skills and concepts, together with the emotional affective dimension and the elusive nature of “talent”, do not match themselves to an objective based, cognition and skills in sculpture.
However, the problem of sculpture programme in Nigeria among others, have been lack of co-ordination and organization; lack of well defined content and clear-cut methodology as well as constant reassessment; fragmented continuity and deficiency in practical training (McNaughton 2004, Baldwin 2004,and Coutts 2003). There have been various suggestions as to what sculpture education should be at the higher levels.
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Among others, McNaughton (2004) suggests a constant reassessment of both the content and the methodology of the existing curriculum.
Based on the proceeding discussion, it is evident that there is no effective approach for the development or evaluation of sculpture curriculum at university level in Nigeria. The following problematic questions were raised by McNaughton (2004):
1. Is the present sculpture curriculum in Nigerian Universities adequate quantitatively and qualitatively to meet the demands of contemporary 21st century?
2. Does the sculpture curriculum currently in Nigerian Universities prepare students or individuals for successful living and self -reliance?
3. How can the sculpture curriculum in Nigerian Universities be made relevant to contemporary technological needs?
4. Are facilities, equipment and manpower in planning sculpture curriculum relevant in Nigerian Universities?
While National Universities Commission has at various times taken steps towards improving instructional curricula programmes at the university level, there appears to be disparity in the implementation of the contents of sculpture programmes. Experience has also shown that graduates of different universities often experience some difficulties in comprehending some prescribed undergraduate courses at the post graduate level. This is an indication that the contents of the curricula of the universities lack universal implementation and therefore not in consonance with NUC’s recommendations. For example, some refer to sculpture as craft, while others see Fine and Applied Arts as Fine and Industrial Art. According to Mbahi (2001), names of
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courses or institutions are synonymous with their purpose or objectives, and each course is slightly different from the other, in objectives, content or method.
For sculpture programme to be wholly effective, the students during their training are expected to receive adequate practical training in the use of tools, equipment and materials as well as to develop the language of expressing ideas, feelings and emotions through a variety of sculptural activities. Also, for effective teaching and learning in sculpture, a curriculum capable of unifying the content and reducing the problems often created by nomenclature is desirable for the nation (Ben Yunusa, 2008). In the light of this, the problem of this study was to evaluate the undergraduate sculpture curriculum in Nigerian universities with the view to determining the level of disparity in its implementation and compliance with NUC’s (2004) minimum requirement, instructional strategies, level of facilities/equipment and personnel.
1.3 Aim and Objectives of the Study
The aim of the study was to examine the various approaches pertinent to sculpture curriculum development generally with a view to using NUC’s requirements as guides for Nigerian Universities since the programmes are often updated to meet the yearnings of the day. The objectives were therefore to:
1. assess personnels’ awareness of NUC’s Minimum Academic Standards;
2. determine the adequacy of content and compliance to NUC’s Minimum Academic Standards;
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3. examine the effectiveness of the instructional strategies adopted for the teaching and learning of sculpture at the undergraduate level in Nigerian universities;
4. determine the availability and suitability of equipment and facilities for undergraduate sculpture education in Nigerian universities; and
5. assess the level of personnel available for the teaching and learning of sculpture at undergraduate level in Nigerian universities.
1.4 Research Questions
The following research questions were raised to guide the study:
1. Are the Universities aware of the existence of NUC’s BMAS?
2. How do the universities implement the under-graduate sculpture curriculum using the Minimum Academic Standard of NUC (2004) as guideline?
3. Do the universities use the Minimum Academic Standard teaching strategies of undergraduate sculpture curriculum?
4. Does the availability of facilities and equipment enhance teaching and learning of sculpture at the undergraduate level in Nigerian universities?
5. How are teaching and learning affected by the quality and quantity of personnel required in Nigerian universities?
1.5 Basic Assumptions of the Study
For the purpose of the study, the following assumptions were made that:
1. lecturers are not aware of the existence of NUC’s BMAS;
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2. undergraduate sculpture curricula of some Nigerian Universities are not adequate enough in terms of content to meet NUC’s minimum academic standard due to lack of uniformity in their implementation;
3. enthusiasm of students are dampened by the lack of facilities, equipment and qualified sculpture personnel;
4. instructional strategies used by sculpture lecturers have effect on the performance of students in sculpture; and
5. staff are inadequate in Nigerian Universities.
1.6 Theoretical Framework.
According to Kayode (2011), theoretical framework in research is an essential guide model for simplifying the description of a seemingly complex process. It is a tool for guiding enquiries. Several theoretical frameworks support evaluation in higher institutions of learning to ensure accountability and produce high quality programmes, for example evaluation used influence and participation. The first was conceptualized by Fitzpatrik et al (2004) who proposed moving beyond evaluation used for considering the influence of evaluation. They recommended that this conceptualization be used both to map influence surrounding evaluation and to improve the validity of students on influence. Fitzpatrik et al (2004) integrated theory by proposing three-dimensional approaches of source of influence (process or results), time of influence (immediate end of cycle or long term) and intervention of influences (intended unintended).
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The second theoretical framework is evaluation participation that has the notion to involve people in the evaluation process. It results in greater ownership and ultimately more use in an underlying premise of participatory evaluation methods. As suggested by Eisner (2002), stakeholders’ participation enhances evaluation relevance ownership and use. The conceptualization of participatory inquiry includes the following dimensions: control of the evaluation process, stakeholder selection for participation and depth of participation.
Ben-Yunusa (2008) lists three propositions by Crombach for which evaluation is used:
1. course (programme) improvement: deciding what instructional materials and methods are satisfactory and where change is needed;
2. decisions about individuals: identifying the needs of the pupils for the sake of planning thier instructions, judging pupils’ merit for the purpose of selection and grouping, acquitting the pupils with thier own progress and deficiencies; and
3. administrative regulations: judging how good the school systems are, how good the individual teachers are and so on.
The first one appears to be the most suitable in its examination of programmes in the area of instructional materials and methods, while the third one supports it in area of personnel. The second item identifies the needs of the students for the sake of planning their instructions. The three go hand in hand proofing the fact that none of the decisions can remain in isolation as observed by Gatawa (2011).
1.7 Significance of the Study
From available literature on sculpture education, not much has been done in the area of development or reviewing its curriculum that lays emphasis on change. Various
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opinions seem to agree generally that sculpture curriculum permeates every facets of life. An increasing pressure on universities result from the growing cost of education as parents and students want to know what outcomes they can expect from a degree in sculpture. This study described the current sculpture programme and its pedagogy with a view to providing a basis for extensive instructional development and improvement in undergraduate sculpture curriculum at University level.
The study provides a pool of information on the relevance and adequacy of the current sculpture programme, facilities, equipment and personnel in Nigerian Universities. The evaluation of undergraduate curriculum in sculpture is of great value to students who hope to pursue their postgraduate studies in other universities in the country. By utilizing the results of this study, lecturers, policy makers, university authorities will provide a better learning experience to students resulting in higher academic achievement. Other beneficiaries of a development like this include Nigerian Educational Research Development Council (NERDC), Society of Nigerian Artists and Nigerian Society for Education through Art (NSEA). This will also serve as working document to Fine Arts Departments in the country since constant evaluation of the process and product is a regular feature of educational enterprises.
The significance of this study therefore is that its findings will contribute to education by presenting classroom teachers with a better understanding of teaching style and the role of lecturer.
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1.8 Justification of the Study
It is a thing of concern to see postgraduate students admitted in universities other than the universities where they bagged their first degrees struggling to grasp some basic undergraduate sculpture concepts. Some students become frustrated and often abandoned the course. A uniformly implemented curriculum will alleviate the suffering of such students.
The Federal Government prefixes the goals of art, leaving curriculum developers to develop topics, objectives, learning activities and teaching methods that would help in achieving the goals. According to Mbahi (2001) curriculum experts are in better position to develop relevant curriculum for the learner and national development if they are giving the opportunity to establish goals and philosophy. The results of this study are devoid of government’s influences.
The policy of National Universities Commission to continuously review all undergraduate programs from time to time in order to facilitate and improve academic standards in Nigerian Universities makes this study relevant. More so the people to review it include the employers, academic staff and students.
1.9 Scope and Delimitation of the Study
The scope of this research was evaluation of undergraduate sculpture curriculum and its instructional strategies, personnel, equipment and facilities for effective utilization in Nigerian universities. The study limits itself to Nigerian universities offering sculpture at the undergraduate level. Two questionnaires were
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used; one for sculpture lecturers in selected Nigerian universities offering sculpture, and the other for their specializing students.

 

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