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IMPROVING AESTHETIC QUALITY OF THE ENVIRONMENT
USING ART EDUCATION IN JALINGO, NIGERIA
BY
SAMSON MUSA ANDENUMRA
PG/MA/06/41045
DEPARTMENT OF FINE AND APPLIED ARTS
FACULTY OF ARTS
UNIVERSITY OF NIGERIA, NSUKKA
SUPERVISOR: PROF. O.K. OYEOKU
OCTOBER, 2011
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TITLE PAGE
IMPROVING AESTHETIC QUALITY OF THE ENVIRONMENT
USING ART EDUCATION IN JALINGO, NIGERIA
BY
SAMSON MUSA ANDENUMRA
PG/MA/06/41045
A DISSERTATION PRESENTED TO THE DEPARTMENT OF FINE
AND APPLIED ARTS IN PARTIAL FULFILMENT OF THE
REQUIREMENT FOR THE AWARD OF M.A. DEGREE IN ART
EDUCATION
SUPERVISOR: PROF. O.K. OYEOKU
OCTOBER, 2011
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CERTIFICATION
This is to certify that Samson Musa Andenumra (Mr.) with
registration number PG/MA/06/41045 of the Department of Fine and
Applied Arts, University of Nigeria, Nsukka, carried out the work
contained in this dissertation. It has not been accepted in any application
for a higher degree.
........................................................
Prof. O. K. Oyeoku
(Supervisor)
......................................................
Dr. G.O. Diogu
(Head of Department)
..............................
Date
...............................
Date
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APPROVAL PAGE
This dissertation has been read and approved as having met the
standard required for the award of the Master of Arts degree (M.A.) in the
Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Prof. O. K. Oyeoku
(Supervisor)
............................
Signature
......................
Date
Dr. G.O. Diogu
(Head of Department)
.............................
Signature
......................
Date
Prof. Grace N. Ojie
(External Examiner)
..........................
Signature
........................
Date
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DEDICATION
This work is dedicated to my late parents and my lovely wife who have so
much desired that I become something in life; and my God in heaven who has
faithfully kept me alive.
Samson Musa Andenumra
October, 2011
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ACKNOWLEDGEMENT
My sincere thanks first go to God Almighty for His grace and faithfulness
towards me all through the period of my studies. Words are not enough to thank
Him for answering all my prayers, protecting me and keeping me alive to
accomplish this almost Herculean task.
I must confess that my heart goes to the former Dean, Faculty of Arts,
University of Nigeria, Nsukka, and now my Supervisor, Professor O.K. Oyeoku;
for his gentleness, humility and fatherly concern for general excellence in the
Faculty and for sacrificing his precious time to see me through in this research
work. I am also heavily indebted to my former Supervisor and Head of the Fine
and Applied Arts Department, Late Dr. Ernest C. Okoli; whose love,
encouragement and elderly advice spurred me on in the early part of my study
and particularly during the starting point of carrying out this research work; and
my present Head of Department, Dr. G.O. Diogu, who saw us through the final
lap.
I thank God for my wife and children who had to bear with my absence
and for standing with me in prayers during the course of my study. This
acknowledgement would not be complete without mentioning valuable
contributions of the following people, without which I could not have possibly
completed this work successfully. They are Mr. Nsentip U. Udom (my colleague
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and HOD) who made sacrifices to ensure I pursue this Master’s programme; Dr.
John Sakiyo, Dr. Jacob J. Jari, Professor Adamu A. Mbahi, Mr. Jerry Buhari, and
Mr. Daniel K. Achangfa; who did not only validate my questionnaire but
contributed in various ways towards the success of this research work. My course
mates and colleagues, Mrs Ayam Degarr, Mr. Kingsley U.N., Mrs Chika Onuora,
Miss Amaka Enendu, Mr. Ibrahim Mamman, Mr. Bako N. Audu, and my friend,
Monsieur Paninga B. Yirnyonga, cannot be left out in my acknowledgement.
Finally, I am really indebted to Mr. Samuel Tafida, Mr. Ephraim Umar and
Mr. Emmanuel Samuel, who assisted me in the administration of the
questionnaire; Mrs Maureen Chinyere Obalun, who was and still is, like my sister
in the Postgraduate School; my neighbour, Pastor Ayuba Abarshi; Bro Kingsley
Jonah and U.K. Enterprise who typed my manuscript; and my son, Ande Stanley
Musa, who supplied almost all the pictures used in the study. May God bless you
all.
Samson Musa Andenumra
October, 2011
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TABLE OF CONTENTS
TITLE PAGE
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CERTIFICATION
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APPROVAL PAGE
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DEDICATION
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ACKNOWLEDGEMENT
TABLE OF CONTENTS
LIST OF TABLES
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LIST OF PLATES
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ABSTRACT
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CHAPTER ONE; INTRODUCTION
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1.1 Background of the Study
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1.2 Problem of the Study
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1.3 Purpose of the Study
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1.4 Research Questions ...
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1.5 Research Hypotheses
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CHAPTER TWO; LITERATURE REVIEW
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2.1 Conceptual Framework
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2.1.1 Art and Society
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2.1.2 The Place of Art and Visual Literacy in General Education
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2.1.3 Art Education as a Basis for Aesthetic Education
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2.1.4 The Environment and Environmental Consciousness
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2.1.5 Relationship between Aesthetics and Environment ...
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1.6 Scope of the Study
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1.7 Significance of the Study
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2.1.6 Art Education as a Factor for Improving Aesthetic Quality of the
Environment
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2.2 Strategies for Improving the Aesthetic Quality of the Environment
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2.2.1 The United States Environmental Programme
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2.2.2 The Malaga Urban Environmental Programme (Spain)
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2.2.3 Kyoto Gardens (Japan)
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2.2.4 Gambia Environmental Awards Scheme
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2.2.5 The Calabar Example
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2.2.6 Abuja FCT Master-Plan ...
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2.2.7 Waverley Council Environmental Programme
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2.3 Summary of Literature Review ...
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CHAPTER THREE; RESEARCH METHOD
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73.1 Research Design
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3.2 Area of Study ...
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3.3 Population of the Study
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3.4 Sample and Sampling Techniques ...
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3.5 Instrument for Data Collection
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3.6 Validation of the Instrument
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3.7 Reliability of the Instrument
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3.8 Method of Data Collection ...
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3.9 Method of Data Analysis
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CHAPTER FOUR; PRESENTATION OF DATA AND ANALYSIS
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4.1 Data and Analysis
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4.2 Summary of Findings
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CHAPTER FIVE: Discussion, Summary, Conclusion and
Recommendations
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5.1Discussion of Findings
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5.2 Conclusion
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5.3 Implication of the Study
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5.4 Recommendations
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5.6 Summary of the Study
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5.7 Suggestion for Further Study
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REFERENCES ...
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APPENDIX (A): Cronbach Alpha Reliability Co-efficient Test ...
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APPENDIX (B): “Artists’ and Public Opinion on Art Education
for Creating Aesthetic Environment Questionnaire” (APOAECAEQ)
5-Point Linkert Scale... ...
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APPENDIX (C): Analysis of Variance (ANOVA) – SPSS 15 ...
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APPENDIX (D): Map of Nigeria indicating Taraba State & Jalingo
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LIST OF TABLES
Table 1: Future Environmental Programmes for Waverley Council
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Table 2: Awareness of the Relationship between Art Education
and Aesthetic Environment …
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Table 3: Relevance of Art/Aesthetics to the Improvement of the
Quality of the Environment ...
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Table 4: Impact of Art Training on Individuals and the Environment
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Table 5: Art Strategies for Improving the Aesthetic Quality
of the Environment
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Table 6: Responses of Artists, Environmental Stakeholders and the
Public on the Relationship between Art Education and
Aesthetic Environment
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Table 7: Responses of the 3 Groups under Study on the Relevance
of Art/Aesthetic Education to Improving the Quality of the
Environment
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Table 8: Responses of the 3 Groups under Study on the Impact of
Art Training on Aesthetic Environment. ...
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Table 9: Responses of the 3 Groups under Study on Strategies for
Improving the Aesthetic Quality of the Environment ...
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LIST OF PLATES
Plate 1: Burj-al Arab (Dubai): With science, art & technology and resources,
man can do just anything to his environment (Retrieved March 20, 2009
from http://www.canimgrubum.com)... ... ... ... ... ... ... ... ... 10
Plate 2: Serene Environments (a. Love Garden & b. Cascading
Water fall, flanked by Flowers; Retrieved July 15, 2010; from
http://www .screensavers.com) ... ... ... ... ... ... ... ... ... ... ..11
Plate 3: Art as Mimesis: “Landscape” (Painting) 1997, Anonymous
(Retrieved March, 20,2009; from http://www.popularscreensaver.com)...13
Plate 4: Art as Formalism or Non-representational art:
“The Crowd” (Painting), 2009 Abednego, A., ABU Zaria... ... ... …14
Plate 5: Art as an Expression: “The Lovers”, (Painting) 2009, Abednego,
A. ABU Zaria... ... ... ... ... ... ... ... ... ... ... ... ... ... .15
Plate 6: Nature is Beautiful; but it is not Art (a. Fruit, b. Sunset 1,
c. Beauty, & d. Sunset 2 (Retrieved March 20, 2009; from
http://www.screensavers.com)... ... ... ... ... ... ... ... ... ... 20
Plate 7: This is Nature; not Art (a. Desert Landscape: The Famous
Mesas of Monument Valley, Utah – U.S.A.; b. Dog Rose covered
with Frost (Retrieved March 20, 2009; from
http://www. popularscreensavers.exe)... ... ... ... ... ... ... ... ..21
Plate 8: Natural Aesthetics (Jalingo Outskirt: Kpantinapu - Picture
By R. John, 2010)... ... ... ... ... ... ... ... ... ... ... ... ... ...43
Plate 9: An Artist is a Naturalist (Jalingo Outskirt: Kpantinapu Picture by R. John, 2010)... ... ... ... ... ... ... ... ... ... ... ... 45
Plate 10: Beauty in Pristine Environments (Retrieved March 20,
2009; from: http://www. popularscreensavers.com) ... ... ... .... ... 47
Plate 11: Sites from Malaga (Retrieved January 2, 2008; from:
http://habitat.ag.upm.es/bpes/onu 98/bp460.en.html)... ... ... ... … 54
Plate 12: Sites from the Kyoto Gardens (Retrieved July, 10, 2009 from:
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http://learn.bowdoin.edu/japanesegardens/gardens/intro/index.html)..55
Plate 13: Site from Abuja FCT (a. Abuja International Conference Centre,
b. Aso Rock Villa, Abuja: Retrived July 10, 2009
http://abujahouses.com/http://www.photo.proav.de/abuja/index.html)58-59
Plate 14: Apartment Los Monteros (Malaga): (Retrieved January 2,
2008 from http://habitat.ag.upm.es/bpes/onu 98/bp460.en.html). ... … 63
Plate 15: Landscaping I: (by Paving) (Retrieved March 20, 2009 from
http://www.canimgruburm.com.)... ... ... ... ... ... ... ... ... ... . 64
Plate 16: Landscaping II: (by Flower & Tree-planting) (University
Teaching Hospital, Ibadan; from Ande s Collection, 2009)... ... ... .. 64
Plate 17: Beauty: Abounds in Pristine, Human-influenced & Human-constructed
Environments (Retrieved March 20, 2009 from
http://www.popularscreensavers.exe)... ... ... ... ... ... ... ... ... 64
Plate 18: Landscaping III: A Round-about in Taraba State University
(Temporary Site), Jalingo (Researcher’s Collection, 2010)... ... ... …93
Plate 19: Jalingo I: A School Wall Defaced
(Researcher’s Collection,
2010)... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
94
Plate 20: Jalingo II: Indiscriminate Posting of Bills (Researcher’s
Collection, 2010)... ... ... ... ... ... ... ... ... ... ... ... ... ... . 94
Plate 21: Environments I: Aesthetic environments are Ecstatic (a. A Dream
Home & b. Adorable Abode) (Retrieved March 20, 2009 from
http://www.canimgrubum.com)... ... ... ... ... ... ... ... ... ... ... 99
Plate 22: Environments II: Poor environments are eye-sores (a. Litter & b.
Dirt) (Sites from Abeokuta near the famous Olomu Rocks – Picture by Ande
Stanley Musa, 2009)... ... ... ... ... ... ... ... ... ... ... ... ... ... … ...100
Plate 23: Buildings I: Aesthetically planned buildings are art works
(Retrieved March 20, 2009 from http://www.canimgrubum.com).. ... ... ... 101
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Plate 24: Buildings II: An un-sustained environment (Retrieved March 15,
2009
from http://www.popularscreensavers.exe)... ... ... ... .. 106
Plate 25: Installation Art Works (Reseacher’s Collction, 2009)... ... 107-108
Plate 26: Jalingo Outskirt I: In the absence of plan, houses grow like
mushrooms (Reseacher’s Collction, 2009)... ... ... ... ... ... ... ... 110
Plate 27: Aesthetic Planning (Retrieved March 20, 2009 from
http://www.canimgrubum.com)... ... ... ... ... ... ... ... ... ... ... 111
Plate 28: Trees are not just for protection; they are aesthetic (Retrieved
March 20, 2009 from http://www.screensavers.com)... ... ... ... 112-113
Plate 29: Elite Homes (G. R.A. Maidugruri, Picuture by Ande Stanley Musa,
2009)... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... …113
Plate 30: Aesthetic Organizing (Reseacher’s Collction, 2010) ...
... ... …114
Plate 31: Jalingo III: Refuse Dumps (Reseacher’s Collction, 2010)... ....
116
Plate 32: Abuja FCT: Every right-thinking person needs an environment
like this (Retrieved July 10, 2010 from
http://www.photo.proav.de/abuja/index.html)... ... ... ... ... ... .. .116
Plate 33: A Street in Jalingo (Ibrahim’s Collction, 2009)... ... ... ... .. ...117
Plate 34: Jalingo IV: A Signboard (Reseacher’s Collction, 2010)... ... … 117
Plate 35: Jalingo Outskirt II: Magnificient edifices like this seem thrown
out of town (Reseacher’s Collction, 2010)... ... ... ... ... ... ... …120
Plate 36: A.B.U. Zaria: Combination of Artistic Strategies (Ibrahim’s
Collction, 2009)... ... ... ... ... ... ... ... ... ...
... ... ... 126
Plate 37: Jalingo IV: Need for Recreational Centres (Reseacher’s Collction,
2010)... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . 135-136
Plate 38: Jalingo V: Nyame’s Sports Complex (Reseacher’s Collction,
2010)... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 136-137
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ABSTRACT
This research work titled “Improving Aesthetic Quality of the Environment Using
Art Education in Jalingo, Nigeria” is meant to find out what strategies are
sufficiently effective to be used in improving the aesthetic quality of the social or
everyday environment, particularly the urban environment. The study uses
Jalingo urban environment as the study area. The idea of this study is based on
the premise that global concerns for environmental deterioration are on the
increase; and aesthetics, which art education can contribute in helping to
salvage environmental problems appears to have been neglected or at most,
given a negligible attention. The world is still searching for more realistic and
better scientific and technological strategies to help attend to some of the most
stubborn environmental problems such as global warming, flood, erosion,
extinction of biodiversity species, water and air pollution, waste disposal and a
host of other natural and man-made problems. Many developed nations of the
world appear to have utilized the factor of artistic and aesthetic consciousness
among other factors to their benefits in attending to their environmental
problems. Nigeria, however, appears to be far behind; and is yet to emphatically
appreciate the role of art education in attending to her environmental problems;
particularly those caused by man’s activities. It is therefore the intention of this
research to fill this gap and to proffer remedies by recommending some
strategies that may help to improve the aesthetic quality of the environment
through the use of art education. To do this, the researcher has to sample an
environment that is representative enough for the sake of generalization. From
the study, it is discovered that art education can be a very viable tool for the
improvement, protection and sustainability of the environment. One of the
findings of the research actually reveals that artists manifest a higher level of
aesthetic awareness of the environment. Another finding indicates that many nonartists do not see the difference between art and aesthetics; and do not think that
art as a discipline contributes more than any other disciplines to visual literacy.
Based on the findings of this study, one may therefore conclude that artistic
experience enables people to make better aesthetic judgement of their
environment and thereby contributing to the improvement of its quality. One may
also generalize that, because artists exhibit a higher sense of aesthetic and
environmental consciousness, art/aesthetic and environmental education be made
compulsory in both public and private schools; and, finally, that tree planting
and general landscaping, environmental standards and any other strategies that
will help improve the aesthetic and healthy quality of the environment should be
legislated and enforced in Nigeria.
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CHAPTER ONE
INTRODUCTION
1.1
Background of the Study
We are living in a period where hardly any day passes without disturbing
news about danger signals of a deteriorating environment. Often times, we hear
of global warming as a result of the depletion and leaking of ozone layer, which
obviously is attributed to human activities. The depletion of the ozone layer
exposes the earth surface to direct radiation of the sun. Scientists have implicated
man as the principal cause of this depletion of the ozone layer through his
activities; especially those that contribute to air pollution.
Not too far in the past, we have witnessed several terrible natural and maninfluenced disasters which not only devastated the environment but caused the
loss of hundreds of thousands of lives. For example, on the 26th December, 2004, a
terrible tsunami popularly called Boxing Day Tsunami or Asian Tsunami swept
across Indonesia and many other far-East countries, leaving on its trail,
destruction and death hardly heard of in man's history (Knabb, Rhome and
Brown, 2005). Out of the 11 countries affected by this tsunami, Indonesia, Sri
Lanka, India and Thailand were hardest hit. Similarly, in the following year, from
23rd - 30th August, 2005, the United States of America witnessed yet another
terrible hurricane named "Hurricane Katrina", that carved a wide swath of
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catastrophic damages and inflicted large loss of life, beginning from South
Florida on category 1 on the Saffir-Simpson Hurricane scale through Louisiana,
Mississippi to the States of Georgia and Alabama on different scales. Considering
the scope of its impact, Katrina was one of the most devastating natural disasters
in the United States’ history (Knabb, et al, 2005). Katrina was only one of the
several hurricanes and tropical storms that had devastated America in recent
years.
There were further cases of less significance, reported in other parts of the
world such as volcanic eruptions and deadly gas emissions; which equally
resulted in the loss of lives and pollution of the environment. Others include oil
spillage, fire disasters, collapsed buildings and bridges, which have had their toll
on the environment of recent. The list is endless; and the apprehension of further
occurrences daily threatens the very existence of man and his neighbours – other
living things.
Also, man's activities such as warfare, mining, farming, bush burning,
deforestation, creation of urban slums, suburban sprawl, spewing sewage pipes,
refuse dumps, flaring gas and gases from factories and automobiles have greatly
contributed to the pollution and defacing of the environment. Hettinger (2005:57)
lists these activities and more, referring to them as "symbols of environmental
degradation and paradigms of aesthetic disvalue".
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Yet, there are other forms of degradation caused by man's utter disregard
and insensitivity to aesthetic value of the everyday environment, which attracted
the attention of this researcher. Ityoban (2009:15) refers to this type of
environment as “man's social environment” which includes the home, schools,
churches or mosques, offices and hotels among other fora where man interacts in.
According to her, the beauty of our towns and cities are being distorted through
indiscriminate posting of bills, poor refuse and waste management system,
improper urban and town planning and a host of other negative attitudes towards
the environment. Also, of great concern is urban degradation at individual level
which includes poor hygienic attitudes, such as indiscriminate defecating,
urinating and spitting in public places, wall graffiti, posters, dirt, street littering
and Bahamas grass-crossing.
1.2
Problem of the Study
It appears from the foregoing therefore, that the problems of environmental
degradation are caused principally by two phenomena namely natural and manmade forces. It is to the later that this research work is focused on. Whereas, there
is absolutely nothing man can do to stop natural forces except prayers; there is
definitely something he can do to stop or control man-made forces such as
attitudes, activities and even non-activities. According to a World Bank study,
Nigeria loses about 8.5 percent of its GDP to air pollution due to gas flaring, soil
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degradation, acid rain, water pollution and loss of unique biological diversity
(Benebo, 2007).
The concern of this research work is to identify the strategies, particularly
art education strategies that can be adopted to address the issues of environmental
degradation. In other words, how do we go about the process of improving the
aesthetic quality of the environment, using art education? What processes of
education and public awareness campaigns that are needed to stimulate enough
environmental sensitivity and aesthetic consciousness in our citizenry?
We are living at the time when concerns raised over deterioration of the
environment are on the increase. The case is particularly worse in the developing
countries where the problems of urban drift, overcrowding, unemployment
coupled with poverty and dire need of basic amenities such as food, clothing and
shelter are creating further environmental problems of urban slums and sprawl.
Strategies and measures for attending to environmental degradation and
deterioration do not only pose huge economic implications for government and
non-governmental organizations; most government and these organizations lack
the scientific and technological know-how and adequate human expertise and/or
resources needed to ameliorate the situation. Nations and governments are still
searching for newer and better strategies or ways of solving environmental
problems. They require more and newer modern scientific and technological
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methods, tools, and the appropriate awareness campaigns to deal with the
situation which researches can provide.
Studies have shown that focus on the improvement of the quality of the
environment deals more directly with ecological problems such as waste
management, air and water pollution, endangered biodiversity species, erosion,
global warming and other scientific concerns. In other words, most studies
carried out in order to address issues of environmental degradation have placed
more emphasis on the so called “functional” or “utility” aspects of the
environment. Furthermore, most of these studies were conducted abroad where
such researchers are faced with environmental challenges, far remote from ours.
In Nigeria, aesthetic aspect of environmental protection and sustainability,
as imperative as it may be, has hardly been given any significant attention. Gaps
created by the dearth of similar researches in this area, particularly in Nigeria and
Africa as a whole, need to be filled. Also, the vacuum, or lapses created as a
result of environmental protection agencies’ over-emphasis on conservation of
biodiversity, protection of endangered species and other ecological concerns to
the detriment of aesthetic concern, needs to be filled by researches such as this.
Against this background therefore, one would want to empirically document the
role of art education in the strategies to improve the aesthetic quality of the
environment, especially, Jalingo urban environment of Taraba State. Therefore,
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the problem of this study, posed as a question, in line with the United State
National Environmental Education Advisory Council (2005) is: what are the
viable strategies for enhancing environmental quality and stewardship? Can art
education be used as a strategy for the improvement and sustainability of the
aesthetic quality of the environment?
1.3
Purpose of the Study
The purpose of the study is to demonstrate how knowledge and
skills acquired from art education can affect the aesthetic quality of the
environment. Specifically this study will:
1.
Determine the level of awareness of the relationship between art education
and aesthetic environment.
2.
Ascertain the level of public awareness of the relevance of art/aesthetics
towards improvement of the quality of the environment.
3.
Investigate the effect/impact of art training on individuals and aesthetic
environment.
4.
Identify the most effective strategies (or art activities) for improving
aesthetic quality of the environment using art education.
1.4
Research Questions
The study poses the following research questions:
1.
What is the level of public awareness of the relationship between art
22
education and aesthetic environment?
2.
What is the level of public awareness of the relevance of art/aesthetics
towards improvement of the quality of the environment?
3.
To what extent does art training affect recipients’ attitudes towards
aesthetic environment?
4.
Which art education strategies (or activities) are most effective for
improving the aesthetic quality of the environment?
1.5
Research Hypotheses
HO1 There is no significant difference in the mean scores of the responses
of artists, environmental stakeholders and the public on the
relationship between art education and aesthetic environment.
HO2 There is no significant difference in the mean scores of the responses
of the artists, environmental stakeholders and the public on the
relevance of art/aesthetics towards improving the quality of the
environment.
HO3 There is no significant difference in the mean scores of the artists,
environmental stakeholders and the public on the level of awareness
of the impact of art training on the individual and aesthetic
environment.
23
HO4 There is no significant difference in the mean scores of the
responses of the artists, environmental stakeholders and the public
on the strategies for improving aesthetic quality of the environment.
1.6
Scope of the Study
This study covers Jalingo town, the headquarters of Taraba State. The
rationale for selecting one city and deeming it sufficient for this study is based on
the understanding that what happens or exists in one city in Nigeria is almost akin
to another. Relevant ministries, boards and parastatals within the municipal area
are covered.
This study focuses specifically on strategies for improving the aesthetic
quality of the “social” environment, utilizing knowledge and skills acquired from
art education. By social environment, this researcher is referring to institutions
such as the home, school, hotel, hospital, company complex and the immediate or
intimate environments such as parks, gardens, streets, curbs, public squares, and
round-abouts. These, put together, are often and generally referred to as urban
environment.
Finally, respondents in this study comprise of civil servants drawn by
purposive sampling from relevant offices. The researcher is particularly
interested on, first, all artists; secondly, specialists in environment-related
24
disciplines such as architects, building/civil engineers, town planners and
sanitation workers; and thirdly, a random sample of the general public.
1.7
Significance of the Study
This study is significant in the sense that its findings and the strategies
identified will go a long way to help the government, relevant ministries, boards
and parastatals, non-governmental agencies and the general public in the quest to
improve the aesthetic quality of the environment.
Another justification for this research is that, it is an eye-opener to the
numerous and persistent problems of environmental degradation with a view to
affecting the existing perceptual attitudes of the people towards their
environment. This study may help to make people see better the significant
relationship that exists between art education and aesthetics on one hand; and
art/aesthetics and the environment on the other. In so doing, this will help in
shaping their attitude and asserting their responsibilities towards their
environment. Artistic/aesthetic thinking is likely to affect the quality of one’s
environment (As seen in Plates 1 & 2a & b)
Furthermore, this work is significant in that its findings and
recommendations will assist in promoting the campaign for a better, freer, safer
and sustainable environment.
25
Finally, this researcher believes that this research work may serve as a
springboard for further and similar researches in future. For there exists in our
society today, a myriad of environmental challenges and opportunities which
may be exploited through researches such as this; and other contributions towards
making our tomorrow a better world to live in.
Plate 1: Burj-al Arab (Dubai): With science, art & technology and resources,
man can do just anything to his environment
26
a. Love Garden
b. Cascading Waterfall, flanked by Flowers
Plate 2: Serene Environments like these are not only a delight to the eye; but a
necessity to man (Courtesy of Ande’s Collections)
27
1.8 Definition of Terms
An attempt is hereby made to define and/or explain some terms and
variables that constitute the topic of this research. For this researcher believes
that knowledge, skills and overall competence in art education may assist in no
small way in the improvement of environmental consciousness, aesthetic quality
and sustainability of the environment and help reduce much insensitivity and
negative attitudes (As seen in Plates 19, 20, 22, 26, 31, & 33)
The Concept of Art: Art is a difficult concept to define because there are too
many things that are considered art. For example, what may be considered as art
in one period or culture may not strictly be art in another. Conversely, what is not
art in a different epoch and culture may, in another period and culture, be
regarded as art. The case of cave art of prehistoric times, particularly cave
drawings and paintings could illustrate this point. Those cave drawings and
paintings were not art for those who created them; rather they performed a
magico-religious function for their society (Gombrich, 1972).
However, various attempts have been made to define art or explain the
concept of art by many experts and authorities in various fields. But whatever
definitions or explanations of the meaning of art that are put forward, they often
come with professional biases and tinges of opinions. For example, Loudermilk
(2002) on aesthetics and art says there are three fundamental approaches for
28
defining aesthetic judgement of art's value and quality. These are art as mimesis
(imitation or representation of things as seen) (As shown in Plate 3);
expressionism (the idea that art is essentially the expression of the artists'
emotions and moods) (Refer, Plate 5); and finally, art as formalism (which
emphasizes the line, shape, colour, and other elements of the work) (As seen in
Plate 4).
Plate 3: Art as Mimesis: Art can imitate nature, but Imitation Art is not the
highest form of art (Courtesy of Ande’s Collections)
29
Plate 4: Art as Formalism or Non-representational art: Abstract art lies at the
extreme end of imitation art; and is the highest form of artistic creation (Courtesy
of Ibrahim’s Pictures)
.
30
Plate 5: Art as an Expression of the artist’s emotions and moods (Courtesy of
Ibrahim’s Pictures)
31
Her explanation cannot be said to be exhaustive, as it appears she is more
concerned with the role of art in aesthetic education. Read, as cited in Hardiman
& Zernich (1981:3) on necessity of art to the society, also attempts to define art
as the "pattern evolved in a complex interplay of personal and societal processes
of adjustment". Whatever this definition means to you; or whichever direction
you think Read is coming from; it cannot be completely divorced from his belief
that art and society are an integral entity. Read, as cited in Hardiman et al (1981),
holds the opinion that it is impossible to conceive of a society without art, or of
an art without social significance, until in the modern epoch.
Whichever way one looks at the concept of art or whatever is considered to
be the true definition of art, one thing stands out clear; and that is the fact that art
whether a process or a product must be human-oriented or man-made. It must be
a product of human thought and action; the result of which communicates
something, be it an idea or a mood. The message communicated may not always
be pleasurable.
Education: The word education, which is the second component of the composite
term "art education", needs to be defined here if one should follow the flow of
thought in this research. According to Nwabuisi (2002), education is the act of
acquiring or transmitting knowledge. According to Cremin, as cited in Nwabuisi
(2002:110), education is "a deliberate, systematic and sustained effort to transmit,
32
evoke or acquire knowledge, values, attitudes, skills and sensibilities".
Nwabuisi's emphasis is on education as a means of transmitting and acquiring
values. Value, here, is being seen as the price we pay on an object or an action;
the worth of a thing, whether it is an action or an object (Nwabuisi, 2002). This
means that values are not only crucial but the bedrock of any nation's educational
system, particularly when such an education is youth-oriented.
Also, the National Policy on Education emphasizes on values and attitudes as the
basis for integrating the individual into a sound and effective citizen (Federal
Government of Nigeria (FGN), 1981). In all these, art education plays a
prominent role.
Art Education: The phrase, “art education”, also generates as many ideas and
meanings as the term “art" itself. According to Okoli (Notes, 2007:5), for any
activity to qualify as art education, it must not only fulfil the necessary and
sufficient conditions of an educational activity; it must also possess the
characteristics of art. He goes further to define art education as “that special kind
of education which utilizes art forms as the media for stimulus-responses in
learning situations and the educational package itself is capable of being
perceived and appreciated as a master piece of art”.
What should be discerned from this definition is that the activity must
include making of art as well as responding to art to qualify as art education. This
33
definition is broad and deals generally with education through the arts,
particularly the visual arts. Uzoagba (1991) attempts defining art education (in a
narrower sense) as a course designed to meet the professional needs of students
who plan to teach and are interested in the development of innovative art
programmes for primary, secondary and post-secondary institutions. Art
education in this sense, he states, is not however, mainly to produce professional
teachers, but to create full awareness and understanding of art, to inspire people
to produce or release creative energy.
Art education as used in this study refers to education through art, which
also takes into consideration the aspect of aesthetic education or otherwise
known, in a limited sense, as art appreciation.
Aesthetics and Aesthetic Quality: Hornby, (1997) simply defines aesthetics as
the branch of philosophy that studies the principles of beauty, especially in art. In
addition, the World Book Encyclopedia, as cited in Uzoagba, (1991:11) defines
aesthetics as "the branch of philosophy that deals with the nature of beauty and
art". Uzoagba, (1991) went ahead to claim that it is common sense to believe that
the concept of aesthetics goes beyond art and art beyond aesthetics. In other
words, the arts in the history of culture cover a much wider area than the aesthetic
aspect, to impinge and are impinged upon by the religious, the magical, and the
didactic. Aesthetics, on the other hand, has relevance in areas far outside the arts.
34
The word "aesthetic" has become quite a popular adjective qualifying so many
concepts and constructs such as aesthetic environment, aesthetic quality, aesthetic
value, aesthetic experience, aesthetic education, and aesthetic appreciation, some
of which need defining or further explanation.
Aesthetic Quality: Refers to a declared or required standard of beauty; orderly
and pleasing arrangement; proportion and unity of elements; and other visual
properties which constitute artistic and natural designs, especially when
compared with other similar things. In other words, how good or bad a thing
appears (Hornby, 1997). Aesthetic qualities can be seen in both man-made and
natural things (As shown in Plates 6 & 7).
35
a. Orderly & Aesthetic Arrangement of Fruits
b. Sunset Impression 1
c. Beautiful Garden
d. Sunset Impression 2
Plate 6: Nature is Beautiful; but it is not art (Courtesy of Ande’s Collections)
36
a. Sculpture-like Desert Landscape
b. Dog Rose covered with Frost (resembling a pastel work)
Plate 7: This is Nature; not art (Courtesy of Nsentip’s Collections)
37
Aesthetic Value: Involves such attitude, behaviour or worth that can be obtained
from art/aesthetic education, which makes one more discriminating in his
judgement and appreciation of beauty.
Aesthetic education: Pertains to instructions in ways of understanding works of
art and beauty in nature (Hardiman & Zernich, 1981) (As shown in Plate 7a & b).
Strategy: Involves a plan of action, a set of activities, a method or even a
programme that is intended to achieve a particular purpose; in this case, the
purpose of aesthetic environment, using knowledge and skills acquired from art
education.
Environment: Like art, education and aesthetics, the concept of environment is
wide and varied. The scope of environment could range from the smallest unit of
say, space, volume and mass around a thing to virtually the expanse limitless
cosmos. It can pertain to situations or settings which influence a thing or things.
Ityoban (2009) defines environment as the totality of man's surroundings; and is
grouped into physical, social and cultural aspects among other sub-groups. Thus,
the physical environment embraces all the geographical or physical features
surrounding man in a given location; social environment includes the home,
schools, churches and offices, among other fora where man interacts in; while
cultural environment on the other hand refers to a cultural setting with its
traditional or customary tenets intact. This study will concentrate on the social
38
environment and its immediate surrounding such as gardens, parks, roundabouts,
public squares, urban road networks, curbs, pavements, lawns, drainages and
refuse disposal system; and how their aesthetic quality can be improved.
Empirical studies too have shown that many cities of the world have had
their own share of the problems of environmental degradation to varying degrees.
Mention here, is being made of two prominent examples: the Malaga and Kyoto
Gardens examples – representing Europe and Asia respectively.
The Malaga Example: Malaga, a city in Spain, won a number of international
and regional awards between 1995 and 1998 for best practice in urban
environmental improvement programmes. An economic boom in early 1960s
caused the city to grow rapidly, doubling its population in 20 years. This rapid
development took place without control and without proper levels established for
infrastructures, urban facilities and green areas. By early 1990s when the city's
growth stabilized, the city council faced a number of environmental problems:
marginalization and deterioration of the historic centre, sub-urban sprawl, water,
solid waste and noise pollution. The main objective of the municipal authorities
was to achieve balanced levels for infrastructures, for drainage, town planning,
green areas and community facilities, whilst incorporating questions regarding
the treatment of effluents (liquid/chemical waste) and recycling of waste.
39
The programmes for improving the urban environment consist of putting
Malaga up-to-date as a modern city. This involves the recovery of the historic
centre, whose works for infrastructures, urban decongestion, refurbishment of
dwellings and improvement in social services and facilities were considered. The
result includes works carried out in the city as a whole, such as wastewater
treatment. The collection of solid waste with a waste treatment plant; the
renovation or construction of 5 parks; the preparation of a map of noise in the
city for detecting the most problematic areas in order to modify and prevent
sound pollution, as well as a campaign to make the citizens aware about
environmental questions (Council of Malaga, 1998). The experience of Malaga
has lessons that one can learn from; especially the similarities of environmental
questions for developing countries, such as Nigeria. Malaga's example has proved
that man could overcome environmental degradation; and this has provided a
model for which developing nations can follow. The problem with this example,
however, is the emphasis, which focuses more on ecological or scientific concern
than aesthetics.
The Kyoto Gardens: The Kyoto Gardens in Japan represent Asia in the order of
this presentation. The famous Japanese city of Kyoto has some of the most
significant gardens in the world. The most important of which is called Kinkakuji Temple (or the Temple of the Golden Pavilion). These gardens are as
40
breathtaking as they are delightful, and they consist of arrangement of variety of
flora, which Japan is popularly known with. Some of these botanical gardens
wonderfully portray the changing seasons of Kyoto. The Shosei-en Garden of
Kyoto is one of such gardens and is a huge tourist attraction. Some places are lit
up at night from mid-November to early December for crowded tourists (Travel
Guide, Japan, n.d.). The question is, what achievements have the Kyoto Gardens
got to offer to the world in terms of the environmental question? In terms of
environmental aesthetics (both natural and man-made), this is one of the world
best examples of how man has combined his aesthetic ingenuity with sensitivity
for the environment.
In conclusion, this researcher wishes to posit that, although many studies
have been carried out in order to address the issues of environmental degradation,
more emphasis have been placed on what is often called the “functional” or
“utility” aspects of the environment. Such areas as, soil erosion, conservation of
plant and animal species, environmental waste management and other scientific
concerns occupy prominent positions. For example, even Allen Carlson's
“positive aesthetics theory” deals more with preserving the beauty of nature
untouched by man (Hettinger, 2005). Also, Ityoban's thesis on "Art Education as
a Strategy for Environmental Sustainability" focuses more
generally on
sustaining ecological and social environment; even though, she touches aesthetic
41
aspects of the social environment. Furthermore, most of these studies have been
conducted abroad, where they are faced with challenges of environmental
problems far different from ours.
This research work therefore intends to fill the gap by using art education
to improve the aesthetic quality of our environment. More focus will be placed on
infrastructures, which have been abused by insensitivity to their aesthetic value or
quality, whether they are public or privately owned property. This researcher
hopes that one day, all things being equal, our cities may favourably compare
with those of the developed nations of the world. It is a Herculean task that can
be surmounted when determination, sacrifice and holistic approaches (or
strategies) for promoting art education and visual literacy are in place.
42
CHAPTER TWO
REVIEW OF LITERATURE
The review of literature for this study is organized under the following subheadings:2.1
Conceptual Framework
2.1.3 Art Education as a basis for Aesthetic Education
2.1.5 Relationship between Aesthetics and Environment
Environment
2.2
Strategies for the Improvement of the Quality of Urban Environment
2.2.2 The Malaga Urban Environmental Programme (Spain)
2.2.3 Kyoto Gardens (Japan)
2.2.6 Abuja FCT Master-plan
43
2.3
Summary of Literature Review
2.1
Conceptual Framework
The
following review
comprises
relevant conceptual definitions,
explanations and some philosophical debates on aesthetics and the environment.
Read, as cited in Hardiman & Zernich, (1981:3) writing on the necessity of
art to the society begins by saying that the terms "art" and "society" are two of
the vaguest concepts in modern language. According to him, the word, "art" in
English is so ambiguous that no two people will define it in the same way.
However, he attempted an operational definition of art as the “pattern evolved in
a complex interplay of personal and societal process of adjustment”. What this
means is that art is a result or product of a complex and dynamic interplay of
personal and societal processes of adjustment. These processes of adjustment
include ideas, materials, techniques and influences as both the artists and the
society try to adjust to time, place and trend (or culture). In this complex
interplay of personal and societal processes of adjustment, there is bound to be
the urge to adopt, adapt or even change the status quo based on the artist’s
creative ability at one end and the cravings or aspirations of both the artist and
the society on the other. The artist here depends on the society and nature as
sources of his inspiration/ideas, and the society in turn depends on the artist and
44
art as vehicle through which its norms/values, its spirit of being or of change are
conveyed. This, the artist translates and transmits through whatever is at his
disposal to the world.
Also, Holland as cited in Hickman (2005:58) quotes Searle (1999) as
saying:
In 1999, no one really knows what art is anymore, what it
ought to look like or what it is for. This causes anxiety for
some, while others see it as a kind of freedom ... the
definition, re-definition and de-definition of what it can
and cannot achieve has been the major subject of the art of
this century … a story, largely, that has taken place in the
cities of the western world.
Both Read and Holland here, exercise fear of what will happen, if one day
the word "art" disappears from usage. What will be the consequence on the art
teacher and the society where he teaches? Of what value is what he is teaching, if
eventually art has no name any longer? Satirically, Holland opines: “At least we
would no longer have to struggle constantly to justify our place in the
overcrowded and competitive curriculum” (Hickman, 2005:45). In addition,
according to Read, as cited in Hardiman et al (1981), the world is full of
frustrated artists or rather of people, whose creative instincts have been
45
frustrated, pointing out that there exist now great men for things that do not exist.
This statement refers not only to obvious geniuses like Picasso, Klee,
Schoenberg, Stravinsky and Eliot who, according to Read as cited in Hardiman et
al (1981:4) stated that:
In spite of the times they lived in, gave evidence of their genius in
fragmented works, of individualistic expressionism, but also to all those potential
artists who waste their talents in so-called commercial art … and to all those
sensitive children who give early proof of their potentialities and are then
sacrificed like rams on the altars of industrial expediency.
Read sounds rather passionate when he rests his case by saying that “one of
the most tragic injustices of our technological civilization is that the natural
sensibility of men, which in other ages found an outlet in basic crafts, is now
completely suppressed, or finds a pathetic outlet in some trivial hobby”
(Hardiman et al, 1981:4).
Of the necessity of art to the society, Read (in Hardiman et al, 1981) agrees
that art cannot be divorced from the society and vice versa. That society, as a
viable organic entity, is somehow dependent on art as a binding, fusing and
energizing force. What will happen if such a relationship ceases to be? The
consequence would be fatal, particularly in our contemporary civilization. To
Read, both art and the society, in concrete sense of the terms, have their origin in
46
man's relation to the natural environment. From cave art down the long corridor
of human history to our time, we always find artifacts, which have appealed to
our aesthetic sensibility even though these were not called art in the sense that we
know it today. In fact, our knowledge of the ancient civilization or societies has
been based largely on evidence provided by the surviving works of art. Read
concludes by asserting that all the way down the long perspective of history, it is
impossible to conceive of a society without art, or of an art without social
significance until the modern epoch.
The problem with us in modern time, according to Read, is that we always
erroneously believe that if we have a bigger nation, a stronger democracy we will
produce a better art culture. We have forgotten that the best example of art works
produced in history were not associated with bigger nations but smaller states or
communities such as Ancient Egypt, Greece and Italy in the 14th
and 15th
centuries. Art as a creative process is always the creation of an individual, even if
it is such group activity like music, drama or even architecture, someone must be
behind their conception. Finally, in order to buttress this position, Read (in
Hardiman et al, 1981:6) is still quoted when he states:
The greatest enemy of art is the collective mind in any of
its many manifestations. The collective mind is like water
that always seeks the lowest level of gravity, the artist
47
struggles out of this morass, to seek higher level of
individual sensibility and perception. The signal he sends
back is often unintelligible to the multitude, but then
comes the philosophers and critics to interpret his
message.
What Read is saying here is that our modern society should learn to believe
that great ideas do not simultaneously emanate from collective minds but from
one individual at a time. Artists do not need a crowd to develop their ideas but
they need a conducive environment. A society that provides this favourable
condition survives, but the one that does not allow the artist to create his image(s)
(which in turn produces ideas) shall but slowly and inevitably die.
The concepts of art and education are equally facing societal as well as
professional challenges as to the efficacy of their theories, contents and methods
in our present time. Any study therefore about the place of visual art in education
without proper understanding of the root causes for any change cannot be said to
be a complete study. In other words, any study that does not take into cognition
why societal tastes change; why experts and professionals argue for this or that in
their time cannot be said to be a fruitful venture. Just as tastes in art have changed
in the course of time, so also is education. Emphasis is shifting from one thing to
48
another and will continue to change as long as the processes of art and education
remain as processes of an organic and dynamic society. For example, the method
of teaching art in schools has changed from its traditional formalist, childcentered and discipline-based approaches to post-modern approaches such as
issues-based art education. These changes are closely related to what is
happening in the theories of education in contemporary time. Equally educational
theories have shifted from its traditional base, which Freire, as cited in Gaudelius
& Spears, (2002:1) refers to as a “banking model” of teaching in which
“knowledge is a gift bestowed by those who consider themselves knowledgeable
upon those whom they consider to know nothing”; to “liberatory education” (a
form of education whose radical theory is based on the vision of social
transformation, and relies on creating self-awareness as a strategy for
experiencing the world critically); critical pedagogy; and social reconstruction.
Ityoban (2009) points out that the new National Policy on Education
(Federal Republic of Nigeria, 2004) was necessitated by change in the socioeconomic values and needs of the new post-independent Nigeria. In this regard, a
new set of curricula and programmes were designed to actualize the potentials of
Nigerian children and thus meeting national goals. This new policy must have
realized the importance of art and visual literacy in general education to include it
among subjects in the school curriculum. According to her, the classification of
49
art among the pre-vocational and vocational elective subjects at secondary level
is an indication that the National Policy on Education has the desire to tap the
hidden talents and potentials in Nigerian children including the handicapped.
Art education happens to be among such school subjects considered to be
under Formacy (or visual literacy) in general education. Visual literacy is one of
the three domains of general education, the other two being Verbal literacy and
Numeracy (Udosen, as cited in Uzoagba, (1991). According to Uzoagba
(1991:20), visual literacy refers to the “ability to see, understand and appreciate
pictures, forms and symbols”. We can thus say that pictures represent a visual
language in which we can state truths about our inward and outward experiences
of the world; and of our being, which words and numbers cannot express. It may
also be argued that one cannot be said to be totally educated if he is highly
competent in one or two of the three dimensions of education; and yet, is found to
be deficient in one. Thus, a mathematics genius who is deficient in verbal literacy
can best be described as an illiterate because he cannot communicate his
mathematical ideas in words; so also is a linguistic genius who is deficient in
visual literacy. This is why consideration for our children to be well rounded in
these 3 domains of education should begin early enough in life. This is to make
them fulfil the aims of general education, which the present practice in schools
has denied them the opportunity. Visual literacy, which can be imparted through
50
art education, is crucial for solving the many environmental problems that have
been created for our society today. People who are deficient in visual literacy
demonstrate sheer insensitivity to the environment and even insolence to those
who query their actions.
Uzoagba (1991) considers formacy (visua1education) more important
than the other two in that, our visual world is made up of shapes, forms, colours
and objects with which we interact in daily. Another reason why visual literacy is
very important in general education is that, if we are visually literate, the feeling
dimension of our being will have been developed and we will always be able to
keep and maintain clean, decent and progressive environment. Arheim as cited in
Uzoagba (1991:21) states that we are visually illiterate for:
We have neglected the gift of comprehending things through our senses …
our eyes have been reduced to instruments with which to identify and measure;
hence we suffer a paucity of ideas that can be expressed in images and incapacity
to discover meaning in what we see. Naturally, we feel lost in the presence of
objects that make sense only to undiluted (educated) vision, and we seek refuge
in the more familiar medium of words.
It is therefore apparent that visual literacy is to visual intelligence what
verbal literacy is to literary intelligence. Visual literacy makes for visual
intelligence or visual thinking, which is a precursor to creative imagination or the
51
recombination of known elements of lines, colour, shapes, forms, pictures, and
objects into unique or original form or design.
Finally, Arheim (1997), concerning vision in education opines that once it
is recognized that productive thinking in any area of cognition is perceptual
thinking, the central function of art in general education will become evident,
because, the most effective training of perceptual thinking can be offered in the
art studio.
2.1.3 Art Education as a Basis for Aesthetic Education
Uzoagba (1991) defines art education as an academic discipline which
develops creative skills and aesthetic sensibilities within the framework of the
discipline of education. By this, it is meant that art education utilizes the
philosophy, psychology and sociology of general education in art learning
situation to cause change in behaviour of the recipient. It does not also simply
seek the “how to do” in specific art areas, but how to motivate and encourage
learners in the responsive realm of art.
Agreeing with Uzoagba, Okoli (Notes, 2007) states that art education is a
composite term, comprising two components, namely “education”, which is the
substantive, and “art” as the qualitative qualifier. This is perceived as a species of
the genus “education”. According to Okoli, for any activity to qualify as art
education it must not only fulfil the necessary and sufficient conditions of an
52
educational activity, it must also possess the characteristics of art. Thus art
education is defined as the special kind of education which utilizes art forms as
the media for stimulus-responses in learning situations and the education-package
itself is capable of being perceived and appreciated as a master piece of art. The
purpose of such an education therefore is that:
(i)
It must include the making of art as well as responding to art.
(ii)
Its content features must reflect the fundamental qualities of art.
(iii)
Its outcomes should be what can be objectively evaluated.
(iv)
Being a special species of education, there must also be special strategies
for lesson delivery, and
(v)
The resultant behaviour and attitude modifications must involve the use of
art objects and events as its means and /or as ends.
While aesthetic education, according to Smith and Smith (as cited in
Hardiman & Zernich, 1974:80) amounts to “instruction in ways of understanding
works of art”, Loudermilk (2002:2) holds that the German philosopher Alexander
Baunmgarten first used the word “aesthetics” in 1744 to mean “the science of the
beautiful”. Today, Loudermilk says, we could define aesthetics as the study of
beauty and the mind responses to it; and beauty is the element of what is pleasing
to the senses or the mind.
53
The World Book Encyclopedia (as cited in Uzoagba, 1991:13) defines
aesthetics as “the branch of philosophy that deals with the nature of beauty and
art”. Carlson (2002) defines aesthetics as the field of philosophy that studies the
ways in which humans experience the world through their senses. It is especially
concerned with the appreciation of particular objects when they strike the senses
in a pleasing manner. For this reason aesthetics is concerned with the perception
and appreciation of art and other beautiful objects in nature. It is also concerned
with such problems as the nature of beauty. Is beauty a quality that is present in
an object or in the eye of the beholder?
Considering these two concepts, one can agree that both art and aesthetics
are closely related, in fact, they overlap; and so is art education and aesthetic
education. Okoli (2007) points out that the notion of “aesthetic” is not congruent
with “artistic” but that the two terms overlap. He says, while the “artistic” is
essentially aesthetic; the “aesthetic” is not necessarily artistic (Refer, Plate 6).
While artistic experience refers to activities in the making of and responding to
works of art and artistic value, to the attitude of individuals and groups to the arts
and the impact which the arts have on the life styles of people, aesthetic
experience refers to responses not only to man-made art objects and art events
but also to natural objects and phenomena in the environment. According to
Mbahi (2008), the aesthetic attitude differs from that of the artistic in that it tends
54
to emphasize a detailed sensitive, emotional response to the perceived object
instead of being actively directed towards making the objects themselves.
Aesthetic education therefore implies situational settings and processes through
which aesthetic experiences are gained.
The question now is: How is art education a basis or a foundation for
aesthetic education? Uzoagba (1991) asserts that art education is the foundation
for the appreciation of what is beautiful. That, through art education, we can
acquire the facility of aesthetic apprehension; and, that aesthetic development is
certainly an integral part of art education. Okoli (2007:2) supports this when he
states, “art education provides the situational settings par excellence through
which aesthetic experience is fostered and nurtured”. He goes further to assert
that there can be no art education without aesthetic education, but that it is
possible to develop aesthetic sensibilities without developing a flair for the skill
of making art.
Just as experience in art education helps one understand better the concept
of aesthetic education, aesthetic experience helps to broaden art education
curriculum. Loudermilk (2002) shows that a review of research in aesthetic
education suggests that there can be positive student outcomes as a result of an
expanded art education curriculum. The benefits, she says, can include a greater
understanding of art, and the experiences in critical thinking can be invaluable.
55
The concept of environment is vast and varied. It can connote a setting or a
condition which influences the being (or existence) of a thing. It can mean the
totality of the physical surrounding. Ditwiler (1973) points out that the concept of
environment includes many factors, natural and man-made, external to man. He
describes environment as simply the surroundings; which include the material
and spiritual influence which affect growth, development and existence of living
beings. Oregbeyan and Adeoye, as cited in Ityoban, (2009) describe
environment as the total physical space and all human and other resources
contained therein.
Denga (as cited in Ityoban, 2009) goes further to classify environment into
two major components as the natural or physical environment and man-made or
modified environment. While the natural or physical environment comprises
elements such as climate, soil, water, vegetation, relief or landforms and animals,
which exist quite independent of man, the man-made or modified environment is
made up of the physical structures erected by man over the years through
technological development. This environment recognizes man's cultural, social
and economic activities; even man as part of this environment.
This researcher wishes to add another dimension to the perception and
definition of environment on the premises of the spiritual. If man, as the Bible
56
puts it, is a spirit being dwelling in a body and having a soul, then this implies
that the body is the environment where the “spirit man” dwells in. This body
should also be taken care of. If this sounds reasonable, it is pointless therefore to
talk about improving the aesthetic quality of an “extraneous” environment while
the “intrinsic” environment (the body) is neglected. In other words, it does not
make sense if one is more concerned about the beauty of his surroundings, say
his house, while he himself is unkempt and dirty looking. This is the point where
health and hygiene of the environment become relevant. No matter the level of
one's education, if this last point is missed, one may be considered aesthetically
illiterate. This is why the struggle to improve the aesthetic quality of the
environment is to some extent, synonymous to sanitary considerations. This
struggle should begin with the self.
Environmental consciousness, on the other hand, connotes attitude,
behaviour and expected standard in the perception of the environment. It is the
awareness of how good or how bad an environment is. For one to be aesthetically
conscious of his environment, he needs training in relevant disciplines,
particularly in art education, which is the basis of aesthetic education (Uzoagba,
1991). According to Uzoagba, great philosophers like Plato, Pestalozzi, Froebel
and Montessori agree that art education develops aesthetic sensibilities. That art
education kindles the development of other sensibilities like our sense of value
57
for personality development to bring about well-adjusted and contributing
members of the society. According to Uzoagba, why people are not conscious of
their environment is because of their lack of training in visual culture or
education. In addition, Ityoban (2009) agrees that, environmental deterioration
takes place when there is no environmental or aesthetic consciousness, which
implies lack of aesthetic or environmental education.
2.1.5 The Relationship between Aesthetics and the Environment
This researcher believes that there is a significant relationship between
aesthetics and the environment. Hettinger (2005:57) on Allen Carlson's
“Environmental Aesthetics and the Protection of the Environment” begins by
saying that “although aesthetic value plays a large role in environmental
protection, attention to aesthetics is relatively lacking in the environmental ethics
literature”. This paints a scenario of the position of aesthetics in our time despite
its value in environmental issues. Yet aesthetics has been part and parcel of
nature as long as the existence of man. It has been part of our existence as
humans. Neil and Ridley (1995:24) on “Appreciation, Understanding and
Nature”, support this notion when they state:
A large part of our aesthetic experience and enjoyment is experience and
enjoyment of nature… it seems clear that we often regard these and other natural
objects and natural environments not only as aspects of our world that give us
58
pleasure, but as aspects of our world that are aesthetically important… so it
seems clear that natural objects and natural environments are aspects of the world
which we can appreciate aesthetically. Although this may be clear, it is not so
clear just what is involved in aesthetic appreciation of the natural world. (As seen
in Plate 8)
Plate 8: Natural Aesthetics: Jalingo town is surrounded by a
breathtaking environment of beautiful mountain ranges and lush
Savannah vegetation (Courtesy of John’s Photos)
The point that is being stressed here is, accepted that natural objects and the
natural environment have been with us and are indeed part of our pleasure and
enjoyment, we know very little about what is involved in appreciating them. It is
only through the study of art/aesthetics that we can fully enjoy and see the
59
importance of things in nature. That is where art education and aesthetic
education become relevant.
Neil and Ridley (1995) posit that there are two schools of thought concerning
how to appreciate nature or the aesthetics of our environment. While Carlson
insists on knowledge before appreciation, Carroll feels that it is not very
necessary, even though he believes too that knowledge is important in
interpreting one's responses, it may not wholly and necessarily be a stimulus for
responses to nature.
Carlson, as cited in Neil & Ridley (1995), in exploring the differences and
similarities between aesthetically appreciating art and aesthetically appreciating
nature, propounds two models of aesthetic appreciation. The first, which he calls
“object model” and “landscape model” deal specifically with appreciating works
of art, which he argues, does not translate to appreciating nature. So, there arises
the need for a new model to aesthetically appreciate nature, which he refers to as
“environmental model”. Just as we require certain knowledge and skills to be
able to appreciate the aesthetics of art works, Carlson argues that we need certain
knowledge and experience to be able to appreciate nature aesthetically. For
appreciating art works, he said we need knowledge of cultural history and artistic
conventions. For appreciating nature, Carlson says we need the knowledge of
60
science and natural history. To buttress his point, Carlson, as cited in Neil et al
(1995:25) claims that;
To be able to aesthetically appreciate nature, we must have knowledge of the
different environments of nature and of the systems and elements within those
environments. In the way in which the art critic and the art historian are well
equipped to, aesthetically, appreciate art; the naturalist and the ecologist are well
equipped to, aesthetically, appreciate nature. (Refer, Plate 9)
Plate 9: An Artist is a Naturalist: The Researcher, here, is beholding the
beauty of nature in one of the outskirts of Jalingo (Courtesy of John’s
Photos)
61
One important question that that comes to mind is how much knowledge is
essential to appreciation? Twain as cited in Neil et al (1995) suggests that too
much knowledge may be a hindrance rather than a help to aesthetic appreciation.
If Carlson's conclusion that only scientifically trained people – botanists,
ecologists, zoologists and the like – can fully appreciate nature (and, analogously,
that art critics and art historians can fully appreciate art), does this then suggest
that his position is unacceptably restrictive or exclusive?
At this point, Carroll comes in. In his view “On Being Moved by Nature:
Between Religion and Natural History”, Carroll as cited in Neil & Ridley
(1995:126) argues that Carlson’s view is too narrow. That it leaves out certain
very common appreciative responses to nature – responses of a less intellective
and more visceral (emotional) sort, which we may refer to as “being moved by
nature”. Carroll points out that Carlson’s “environmental model” only captures
one of the ways in which we may aesthetically respond to nature, but it is not all.
He says, “We may appreciate nature by opening ourselves to its stimulus, and to
being put in a certain emotional state by attending to its aspects”. For example,
do we need any prior knowledge of say, the sciences of kinetics and gravity to be
able to appreciate the awesome wonder of a waterfall or of a kite diving for a
prey? According to Carroll, this is aesthetic appreciation of nature of a less
cognitive, less dependent on knowledge of science and natural history (Refer,
62
Plate 10). Indeed, as he implies, the same may be true of our aesthetic
appreciation of works of art. For instance, one may find certain Surrealist
paintings haunting without knowing the metaphysical, psychological and political
aims of the Surrealist movement.
Plate 10: Pristine Environment: We do not need knowledge to understand that
beauty abounds in pristine environments (Courtesy of Ande’s Collections)
Finally, the issue of whether or not there is relationship between aesthetics
and the environment is not much an issue of philosophical debate. Nevertheless,
63
philosophical debates are important because they stir us up to the realization of
the problems of understanding aesthetics and its relevance to our environment.
How much has been contributed to the improvement or degradation of the
environment as a result of knowledge or ignorance of environmental aesthetics?
In most urban areas of the world, especially in the third world, with of course a
few exceptions, one normally sees the scenario painted by Hettinger (2005:57) of
“clear cuts, strip mines, toxic waste dumps, spewing sewage pipes, fish belly-up
in the creeks, belching smokestacks, urban blight, junkyards, billboards, tacky
neon strip-developments, and suburban sprawl - these symbols of environmental
degradation are also paradigms of aesthetic disvalue”.
Conservation education leader, Orr, as cited in Hettinger (2005), notes a
decline in our capacity for aesthetic appreciation and argues that this manifests an
“ecological illiteracy” that allows us to feel comfortable with ugliness. Along
with Dubos, Orr, as cited in Hettinger (2005:5) worries that “our greatest
disservice to our children” is giving them “the belief that ugliness is somewhat
normal... ugliness is the surest sign of disease... or un-sustainability... and
signifies a fundamental disharmony between people and between people and the
land (nature)”. (As seen in Plates 22, 31 & 33)
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Environment
If the Federal Government of Nigeria in the national policy on education
has found it expedient to include art education as one of the school subjects at all
levels of our educational system, then one can say for sure that the government
has seen the relevance of this discipline in meeting national goals. That is, art
education is known as “Cultural and Creative Arts” at the Primary level; as “Fine
Art” and taught as a pre-vocational elective subject at Junior Secondary level,
and as a vocational elective at Senior Secondary level; and as “Creative Arts”,
“Fine and Applied Arts” or as “Industrial Arts” in most of our tertiary
institutions. The justification of art education as a school subject in Nigeria
cannot be far from the role it plays in the following national objectives for
education (Federal Government of Nigeria, 1981:3):
1. Respect for the worth and dignity of the individuals;
2. Faith in man's ability to make rational decisions;
3. Moral and spiritual values in inter-personal and human relations;
4. Shared responsibility for the common good of the society;
5. Respect for the dignity of labour and
6. Promotion of the emotional, physical and psychological health of all
children.
65
Intrinsically hidden in these values of national education is, to varying
degrees, the aesthetic value. This value which may manifest itself as one of the
outcomes of education, particularly in the area of skill and attitudes, is a very
important tool for personal and national development; often manifested in
personal preference and taste for good things (As illustrated in Plates 14, 15, 16,
21, 23 & 27).
If art education is a foundation for aesthetic education, as claimed by many
great philosophers and educationists such as Plato, Pestalozzi, Froebel,
Montessori and Dewey (Uzoagba, 1991), then it should be considered a factor in
the improvement of the environment. This kind of education may produce a man
with taste, who is sensitive but sensible, discriminating and fine in all his ways.
If the environment which we live in is in this state of degradation and
deterioration, and several measures for control and enforcing standards have
failed, then art education may be considered as a factor in salvaging the ugly
scenario in most Nigerian cities. It is not surprising therefore, if artists and
aesthetes have not been invited to rescue the situation. Hettinger (2005) expresses
the same worry about the absence of aesthetic consideration in the face of
environmental degradation even in America. Also, Read, as cited in Hardiman et
al (1981:80) on the place of art education in our civilization, says: “But the first
necessity is that the artist should render the image; if there are no images there
66
are no ideas, and a civilization slowly but inevitably dies”. Artists and aesthetes
should be given the full support by government to make their impression on the
environment.
2.2
Strategies for Improving the Aesthetic Quality of the Environment
The following discussion is a brief survey of environmental problems and
programmes for improvement across the globe and some examples of successes
made.
The United States of America set up a National Environmental Education
Advisory Council (N.E.E.A.C) in a National Environmental Education Act
passed in 1990 with the aim of using education and public awareness to solve the
problems of environmental degradation and deterioration. The council submitted
its first report to the congress in December, 1996 and in the report, a number of
policy recommendations were made including:(a) A call for greater resources and support
(b) More professional development and
(c) Better access to quality programmes and information
The report also noted that important audience was not reached and that
environmental education needed to become more institutionalized to be a national
priority. Based on the foregoing, one would notice that the strong point for
67
solving any environmental problem is education; important audiences must be
reached by all means. The United States considers as very important both formal
and non-formal education as instruments for reaching these audiences. Coyle as
cited in NEEAC Report (2005:7) in his contribution ‘Understanding
Environmental Literacy in America: “And Making it a Reality”, says:
We are moving beyond a time when we can rely on a
cadre of environmental experts to fix our environmental
problems...
A
stronger
public
understanding
of
environmental science and related issues is a growing
necessity, and comprehensive environmental education
is the only answer that makes complete sense.
2.2.2 Programmes for Improving the Urban Environment in Malaga (Spain)
The city of Malaga, located in the south of Spain on the shores of the
Mediterranean has won a number of national and regional prizes and awards for
her programmes for improving the urban environment, dating back to as far as
1985. The Malaga example (that is, in terms of the determination to putting it upto-date as a modern city and the results) is worthy of emulation.
An economic boom as from 1960 helped a rapid growth, which doubled
the city's population in 20 years. This created environmental problems because
the rapid growth took place without control and without proper levels for
68
infrastructures, urban facilities and green areas established in the first place. The
city council, faced with the task to change the ugly scenario of a marginalized
city historic centre, commissioned works for infrastructures, urban decongestion,
refurbishment of dwellings, improvements in social services and facilities.
The result of the council’s determination and hard work is most refreshing
as it is encouraging to other cities of the world facing similar environmental
problems, especially in Nigeria. However, it took sacrifice, time and resources.
As of the time of the City Council’s Report (1998), the degree of execution for
the projects planned, stood at 68%, and with 30% of those initially planned being
completely finished. The sustainability of this would mean an improvement in the
landscaping and aesthetic quality of the main thoroughfares in a city, which
inherited serious lack of environmental infrastructures from the financial boom,
which harmed its quality of life. Though Malaga had a classic European urban
development, the fast and chaotic economic and urban growth contains elements
of dependent development that are so usual in developing countries. For this
reason, the similarities with the processes undergone in Malaga may perhaps be
of greater use on an overall city levels in Latin America, Africa or Southern
Europe (Council of Malaga, 1998) (As shown in Plates 11 & 14).
69
a. Los Monteros
b.Casauna, Spain
Plate 11: Sites from Malaga: The “green” factor is aesthetically very important
to human-constructed environments (Courtesy of Council of Malaga)
2.2.3 Kyoto Gardens
The Kyoto gardens as a case study, provides a better example of the fusion
between natural and fabricated senses of aesthetics. This is one of the world’s
best examples of how man has combined his aesthetic ingenuity with his
sensitivity for the environment. Kyoto Gardens are a tourist delight, comprising
of gardens, parks and temples, with their delightful and breathtaking beauty,
especially species of flora and fauna gardens.
70
Kyoto is a province in the Kinki Region of Japan and is one of the most
popular destinations for fall (autumn) foliages. There are many spots to visit in
Kyoto. Some places are lit up at night from mid-November to early December for
its crowded tourists (Travel Guide, n.d.). Japan, with its flair for natural beauty,
has demonstrated man's ability not only to enjoy natural beauty but to add beauty
to nature through beautifully arranged gardens, parks and public squares to
mention but a few. It is indeed a home to extra-ordinary natural beauties (As
shown in Plate 12).
a. Shusuitei Pond Garden
b. Kinkaku-ji Pond Garden
c. The Golden Pavilion, Kinkaku-ji
d.Interesting Group of Stones, Shusuitei
Plate 12: Sites from the Kyoto Gardens (Shusui-tei & Kinkaku-ji)
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Gambia represents Africa; and as small a country, she has made an impact
in the world through her popular programmes for creating environmental
awareness through participation known as “The Gambia Environmental Awards
Scheme” (Allen, 1997). In 1994 and early 1995, the National Environment
Agency in The Gambia designed and implemented an Environmental Award
Scheme. In a short period, with limited financial resources and in a climate of
political uncertainty, the community captured the imagination of the country.
Eight different awards categories engaged a wide range of individuals and
groups. Because the competition took place at both regional and national levels,
interests spread throughout the country. The competition created an
organizational infrastructure throughout the country that is being used in followup environmental planning and projects. The meetings, media coverage, posters,
and other dissemination methods that were an integral part of the awards scheme
proved an effective springboard for broader discussions on environmental
problems and solutions, involving many more people than those who formerly
entered the competition. All this was accomplished with extremely limited
financial resources and, after a July 1994 coup d' etat, in an atmosphere of
political uncertainty.
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The lesson for Nigeria from Gambia is that, one does not need to have
plenty of public funds to succeed in any programme that has meaning for the
generality of the people. To illustrate this fact, consider what R. Depp, former
USAID Mission Director of “The Gambia” says concerning Gambia's
Environmental Awards Scheme, as cited in Allen (1997:1): “Efforts such as the
Environmental Awards Scheme build on Africa's rich tradition of community and
village-level consultations; and through such efforts, citizens show their
willingness and ability to play a meaningful role in their own sustainable
development”.
A further example of great strides in urban environmental improvement
can be seen in what former Governor Donald Duke did in Cross Rivers State,
particularly in Calabar, the State Capital. Answering an interview question with
Newswatch Magazine, on the cleanliness and discipline in Calabar municipal,
Governor Duke says: “... just because we are poor, that does not mean we have to
be dirty. I said to them (cabinet) that we have to clean up this place and make it
look good even if that is all that we have to do in office...” (Newswatch Magazine
May, 2005:12). It takes real determination and sacrifice to accomplish any task,
even in the face of odds.
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2.2.6 Abuja Master Plan
This is another example of a masterpiece town planning programme. In
1979, a plan was submitted by a world-renowned planning consultants named
International Planning Associates (IPA) of United States of America and
approved for implementation. The IPA master-plan was acclaimed for its beauty,
scope and breadth of design (Abuja on Line Community, n.d.). To cut a long
story short, Abuja master-plan was implemented. It is a success story despite its
numerous problems. The question is, if Abuja should succeed; why not other
Nigerian cities? Why can’t they emulate her example (or her challenges and
success)? (As seen in Plate 13a & b)
a. Abuja International Conference Centre
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b. Aso Rock Villa, Abuja
Plate 13: Sites from Abuja FCT: Art can do much more than beautifying
(Courtesy of Ande’s Collections)
The last example of this discussion on strategies for improving aesthetic
quality of the environment is Waverley Council Environmental Programme.
Waverley is an industrial suburb of Melbourne, South-East Australia, and so,
represents that continent in the order of this discussion. What interests the
researcher with this programme is Waverley's ability to plan for future her
environmental programmes, despite the fact that she is an industrial suburb.
Waverley’s state of environment report contains her ability to identify areas of
pressure on the environment and propose strategies to reduce their environmental
impact. These programmes cover strategies for land, water, biodiversity, air,
75
waste, noise, heritage and social aspects of the city's life. The Heritage and Social
elements of the report interest the researcher and as indicated by the table below.
Table 1: Future Environmental Programmes for Waverley Council
Environmental
Possible Programme
Element
Heritage
 Increase public awareness of heritage Issues in Waverley
council
 Encourage precinct committees to take an interest in their
local history, architecture and streetscapes
 Ensure the conservation of heritage items
 Undertake an Aboriginal rock engraving survey
 Determine feasibility of preserving existing Aboriginal
engravings
 Formulation of policy on native title issues
Social
 Increase the number of affordable residential properties
without compromising environmental values and amenity
Table 1 presents a beautiful plan for heritage and social life of Waverley's
inhabitants; encouraging them to look back to their roots; that is, their art and
culture.
Finally, this researcher has taken all this length to show a vivid picture of
environmental problems and programmes for their improvement around the
76
world. The aim is to depict the length and breadth in order to show that, except
for a few cases, these programmes for improving environmental problems are
general ones, which bother on ecology, waste, water, air and other scientific
concerns. Aesthetic issues as they affect town planning and network of roads are
of a secondary level, if at all they appear in such programmes.
2.3 Summary of Literature Review
This literature review has been organized under three (3) broad spectrum
of considerations for conceptual definitions and philosophical debates on
concepts and methods of appreciating nature and the social environment; an
empirical survey of environmental problems and programmes to reduce
environmental deterioration.
Art education, which is the main independent variable, has been considered
as the foundation for aesthetic education; and as a result, may be considered a
factor in the issues of improving the environment. To what extent is its role in
environmental face-lift and sustainability is what this study is set out to
investigate.
However, this researcher has identified gaps in various positions advanced
by various experts in their perception and defence of issues of aesthetics and the
environment. Such gaps can be seen in either over generalization or narrowness
of defence of views towards art education, aesthetics and the environment.
77
Another gap is in the methods or approaches to solving environmental problems
especially the social environment where more than enough emphasis has been
placed on scientific concerns rather than aesthetic considerations.
Finally, the problem of defining art as a concept is still a concern because
it has not been adequately defined. As it is now, many art educationists fear that
they may miss their case in education if the word “art” cannot be adequately
defined; or perhaps, if eventually the word disappears. Art must be defined, and
in such a way that it does not lose its meaning with time, place or for any other
reason(s). Even Bear’s attempt in his article “Art Defined At Last” where he uses
the acronym “ART” to define art as the Aesthetic Rendering Thought, is still
open to academic and philosophical debate (Bear, 2006). This researcher
therefore intends to bridge these gaps by identifying possible and better remedy
for the problems of environmental deterioration.
78
Plate 14: Apartment Los Monteros (Malaga): A Quintessence of
environmental beauty (Courtesy of Council of Malaga, Spain)
Plate 15: Landscaping I: (by Paving) does not only provide beauty; it prevents
erosion (Courtesy of Ande’s Collections)
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Plate 16: Landscaping II: (by lawn & flowers) does not only provide
beauty; it prevents erosion
a. Waterfall
b. Interior
c. Picturisque Coast
Plate 17: Beauty abounds in pristine, human-influenced & human-constructed
environments (Courtesy of Ande’s Collections)
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CHAPTER THREE
RESEARCH METHODS
This chapter presents the research process undertaken in this study under
the following sub-headings.
3.1
Research Design
The design of this study is a sample survey type. According to Sambo
(2005), a sample survey is a study in which a random sample is taken from a well
defined population, data is collected from the sample, a statistic is calculated
from the data, and the statistic is used to estimate the true value in the population.
A sample survey is one of the wide variety of survey designs usually used
in social science and educational studies, particularly those which seek to
measure and establish opinions on major burning social, political and educational
issues (Ali, 2006 ). The sample survey type used in this study is called a Sample
Survey of Intangible Subject Matter.
According to Ali (2006), in a sample survey of intangibles, an attempt is
made to reach a psychological or sociological construct by deriving from the data
obtained, some information about the particular psychological or sociological
subject matter that is of interest to the researcher.
Psychological or sociological constructs such as political preference,
buying tendencies, sex education preferences and so on are difficult constructs to
81
attempt to survey and establish but researchers undertake them because of their
immense usefulness to society.
Since this study attempts to investigate possible strategies for improving
the aesthetic quality of the environment using knowledge and skills acquired
through art education, the choice of this research design is not only appropriate
but imperative. This design enables the researcher to use sample data collected
through a well articulated Likert-type 5-point scale questionnaire to address a
psychological problem of the environment. Mean, Standard Deviation and
ANOVA statistical tools were used to answer research questions and test
hypotheses.
It is the assumption of this researcher that opinion poll on issues such as
the aesthetic quality of the environment, the role of visual art and artists toward
aesthetic improvement of the environment and so on, can be useful in predicting
the attitude of Nigerians towards their environment, using a sample population
from any city in Nigeria. In this case, a sample population of Jalingo residents
was used.
3.2
Area of Study
This study was conducted in Jalingo metropolis. Jalingo town is the
headquarters of Taraba State in the North East region of Nigeria. Being a
headquarters, it has a heterogeneous population. This comprises civil servants as
82
well as business men representing almost all ethnic groups in Nigeria through
their engagement as Federal, State and Local Government employees and/or as
private businessmen or non-governmental organization agents.
Jalingo urban environment is chosen because the researcher resides there
in. Also, it is chosen because of its beautiful landscape, streetscape and other
features of environmental interest, which all put together satisfy the requirements
of this research work.
Jalingo population is not certain, as the researcher could not lay his hands
on any statistical document that spells out a precise figure. The only information
that was available is the population of the entire Jalingo Local Government Area
which is 139,845 inhabitants (NPC, 2007). This is of no use for this study since
the focus is on Jalingo metropolis; and even within Jalingo metropolis; the
researcher is only interested in a section of the population. The focus of the study
is on senior civil servants, businessmen and others who are learned.
Jalingo population is predominantly civil servants and business people who
both double into agricultural activities such as small scale farming, even though
there are also professional farmers. Trade in foodstuff and automobile spare-parts
boom in Jalingo just to mention but a few. Jalingo also boasts of four tertiary
institutions such as Colleges of Education and Agriculture, a State Polytechnic
83
and a State University. With the heterogeneous nature of this environment, the
views of its sample population on this research topic should be valid.
3.3
Population of the Study
The population of the study is made of all formally trained artists, all
environment-related professionals such as architects, building and civil engineers,
town planners and a sample of the general public with special bias towards
vocational and technical workers. These categories of people had to satisfy the
conditions of being either civil servants on salary level 08 and above or retired or
on their own; and must be residents of Jalingo town.
The ministries and organization where the population was drawn include
the following: Ministry of Environment and Urban Development, Taraba
Environmental Protection Agency (TEPA), Ministry of Works, Transport and
Housing, Bureau for Land and Survey, Ministry of Education, Educational
Research Centre (ERC), Post-Primary Schools Board, Ministry of Information,
Culture and Tourism, Taraba State Arts Council, Taraba State Broadcasting
Services, Taraba Television Corporation and other News Media, Primary
Education Board/Universal Basic Education (UBE), Ministry of Agriculture and
Natural Resources, Jalingo Abattoir, College of Education, College of
Agriculture, State Polytechnic, Federal Ministry of Works and Housing, Federal
84
Government Girls College, Taraba Fadama Office, Specialist Hospital, Federal
Medical Centre, and Private Organizations.
3.4
Sample and Sampling Techniques
In this work, the researcher employed the Purposive Sampling Technique
and Random Sampling to arrive at the sample population of 300 respondents.
Purposive Sampling was used to reach a total of 56 artists and 85 environmentrelated professionals which included architects, building and civil engineers, and
town planners. A total of 159 senior civil servants and private businessmen
referred to in this study as the “general public” were drawn using the random
sampling from 8 selected ministries, 13 Boards and Parastatals and private
organizations within Jalingo metropolis and environs. These included vocational
and technical workers, lecturers from the 3 tertiary institutions, teachers and
private business owners who are above salary level 08 or possess a wealth of
experience.
The consideration for arriving at the sample size of 159 respondents from
the general public is based on the reasoning that any greater figure than this may
affect or even upset the result of the study when compared with the total
responses of 141 artists and environment-related professionals (also referred to in
this study as stakeholders of the environment).
85
This researcher used the purposive sampling method because he is guided
to select typical sample elements according to his knowledge of the population
and the research purpose, which provide him with the intended responses for his
study (Odoala, 2008). Thus the researcher attempted to reach all the artists and
stakeholders of the environment resident in Jalingo, while the others were
randomly sampled from within the selected and relevant organizations earlier on
mentioned.
3.5
Instrument for Data Collection
The instrument for data collection used in this study is called “Artists’ and
Public Opinion on Art Education for Creating Aesthetic Environment
Questionnaire” (APOAECAEQ). It is a 68-item questionnaire based on a 5-point
Likert Scale and developed by the researcher. It consists of two sections (A and
B). Section A of the questionnaire is a brief Bio-data which requires the
respondents’ profession/qualification, area of specialization and place of work (or
organization) respectively. This was meant to identify and place the various fields
and interests that are involved in the study. Section B, on the other hand, contains
the items to be responded to, and this in turn was subdivided into four parts
according to the four purposes and research questions of the study.
The use of the 5-points Likert Scale was to determine the level of
awareness of the three groups under study (the artists, stakeholders of
86
environment and the general public) as to whether or not they agree with the four
research questions. The 5-point Likert Scale was used to score the opinion of the
respondents according to the following ratings:
(a)
Strongly Agree (SA)
=
5
(b)
Agree (A)
=
4
(c)
Undecided (U)
=
3
(d)
Disagree (D)
=
2
(e)
Strongly Disagree (SD) =
1
Being an attitude scale, the Likert Scale is most appropriate for this study
in that it is not only easy to develop and dispense; it can also accommodate a
greater number of items and yet demands lesser effort on the part of the
respondents in responding. It is also easy to compute and may not, as is the case
of this study, require any rigorous parametric statistics (As seen in Appendix B).
3.6
Validation of the Instrument
The instrument of this study, which is a 68-item questionnaire based on 5-
pont Likert Scale, was developed by the researcher. Three experts did content and
face validation. These included a Doctor of Philosophy (art education) from
A.B.U Zaria, a Professor of Art Education from University of Maiduguri and a
Doctor of Philosophy in Measurement and Evaluation from Federal University of
Technology, Yola. Their corrections and comments toward the clarity and
87
appropriateness of the items were used in preparing the final draft of the
questionnaire.
3.7
Reliability of the Instrument
The questionnaire used for this study was pilot-tested using 30 respondents
from Federal College of Education, Yola, which is about 150 kilometers away
from the study area. Using the SPSS 15 Evaluation Computer Programme, the
data obtained were computed, and the result showed no ambiguity in the
instrument. It produced a Cronbach alpha reliability co-efficient of 0.92. This is a
high co-efficient and shows that the instrument is internally stable. Cronbach
alpha co-efficient was used because it is more appropriate in estimating reliability
when questionnaires or surveys are used (Saforit & Wood, 1995). (Refer,
Appendix A for details)
3.8
Method of Data Collection
The data of this study are responses of 300 sampled respondents from
Jalingo metropolis and suburb, based on 5-point Likert Attitude Scale. They were
drawn from 8 Ministries, 13 Boards and Parastatals and 12 private outfits using
both purposive sampling technique and simple random sampling. The researcher,
having understood well the characteristics of the population, believes that the
views of this sample are representative of the general views of the entire
population of Jalingo town.
88
Mean and Standard deviation statistical tools were used to answer the four
research questions while One-way ANOVA (Analysis of Variance) was used to
test the four null hypotheses of the study.
The researcher worked with 3 assistants who were all art teachers and well
conversant with the population. They helped in the distribution and collection of
the questionnaire from the respondents. One took care of all the State’s
Secondary Schools; the second was in charge of all the Primary Schools/ Primary
Education Board and the third took care of the Federal Ministry of Works and
Housing and all Federal Post-primary Schools selected within the study area. The
researcher himself took care of all the selected State Ministries and Parastatals.
All in all, about 330 copies of the questionnaire were administered as
follows: Artists - 57 copies; stakeholders of environment - 93 copies; and the
general public - 180 copies. It took 3 weeks altogether for the administration and
retrieval of the questionnaire. Some of the respondents had to be visited at an
average of 3 to 4 times before finally retrieving their completed copies. Out of
the 330 copies distributed, 30 copies were either lost and/or invalidated.
To forestall the problem that may arise as a result of non-response, the
implication of the non-response was worked out using the following formula
(Sambo, 2005):
R = 1 – n – r; and NR = 1 – R
n
89
Where
R
=
Response Rate
n
=
Sample Size, and
r
=
Number of Responses
To find the Response Rate (R)
R = 1 – 330 – 300
330
R = 1 – 30
330
R = 0.91
While NR =
1 – 0.91
=
0.09
This implies that the Response Rate is 91% while the Non – Response Rate
is 9%. This is negligible, and the researcher had taken care of this non-response
problem by increasing the number of copies of the questionnaire that were issued
out above the sample size.
3.9
Method of Data Analysis
The data collected, collated and analyzed in this research are responses
from 300 sampled respondents; after administering a total of 330 copies of
questionnaire. These were sorted out into the three groups under study, namely
the artists (56 in number), stakeholders of environment (85) and the general
public (159). Their ratings were entered into the SPSS 15 software application
programme, item by item, and their mean and standard deviation scores were
automatically computed, that is, from items 1- 68 of the questionnaire.
Mean and standard deviation statistical tools were used to answer the four
research questions. In interpreting the mean scores, the Upper Limit of
90
“undecided” which is 3.50 was used as cut-off point. Consequently, any mean of
3.50 and above is considered as agreeing with the statement while any mean
below 3.50 is regarded as disagreeing with the statement.
Analysis of Variance (ANOVA) was used to test the four hypotheses of the
study at 0.05 level of significance using SPSS version 15. ANOVA was preferred
for this research work to other statistical tools such as t-tests and ANCOVA in
view of the fact that it suitable for determining significant difference between
views of three or more groups concurrently in a selected probability level.
Secondly, it reduces the probability of a type 1 error, in that making multiple
comparisons increases the likelihood of finding something by chance – that is
making a type 1 error (Patten, 2002) (Refer, Appendix C).
91
CHAPTER FOUR
PRESENTATION OF DATA AND ANALYSIS
The results of this study are presented in accordance with the research
questions and hypotheses as shown below.
4.1 Data and Analysis
Research Question 1: What is the level of (public) awareness of the relationship
between art education and aesthetic environment?
This research question was analysed by computing the mean and standard
deviation scores of the responses as shown in Table 2
92
Table 2: Awareness of the Relationship between Art Education and
Aesthetics Environment
S/№
ITEM
5
4
3
2
1
SA
A
UD
DA
SD
__
X
SD
DECISION
1
Art education (education
through art ) is the
foundation
for
the
creation and appreciation
of what is beautiful
145
139
11
3
2
4.41
0.675
Agree
2
Art education provides an
excellent setting for
aesthetic experience
117
164
13
6
0
4.31
0.649
Agree
3
Artistic experience helps
to broaden aesthetic
awareness
119
153
22
5
1
4.28
0.700
Agree
4
All art training processes
have aesthetic aim
Art and aesthetics are
closely
related
and
overlap
Not all art works are
aesthetic
Not all aesthetic things
are art
It is possible to develop
aesthetic
sensibilities
without being able to
make art
119
132
33
12
4
4.17
0.873
Agree
119
132
34
14
1
4.18
0.835
Agree
79
144
42
25
10
3.86
1.010
Agree
66
142
36
44
12
3.69
1.092
Agree
72
121
57
40
10
3.68
1.080
Agree
9
Art
and
aesthetics
complement each other in
making and appreciating
beauty
163
123
9
3
2
4.47
0.671
Agree
10
Competence
in
art
education enables you to
make better aesthetic
judgment
158
116
14
9
3
4.39
0.796
Agree
11
Certain knowledge and
experience are required to
adequately appreciate art
works and the aesthetic
quality
of
the
environment.
Total Mean
112
142
25
17
4
4.14
0.887
Agree
115.36
137.09
26.91
16.18
4.46
4.14
0.384
Agree
5
6
7
8
93
From the result in Table 2, a total mean score of 4.14 was recorded. This
shows that the respondents generally agree that there is a relationship between art
education and aesthetic quality of the environment. The high point of the mean
scores was seen in items 1, 9 and 10, with mean scores of 4.41, 4.47 and 4.39
respectively. These items not only establish art education as part and parcel of the
aesthetic venture; they also prove that art education is the basis for aesthetic
experience. To this, majority (84.2%) of the respondents agree. On the other
hand, the least mean scores were recorded in items 6, 7 and 8 with 3.86, 3.69 and
3.68 mean scores respectively. This indicates that even though 84.2% of the
respondents agree, quite a number of them (15.8%) are not aware of the fact that
art and aesthetics, even though related, is not the same thing.
Research Question 2: What is the level of public awareness of the relevance of
art/aesthetics towards improvement of the quality of the environment?
Also, this research question was analysed by computing the mean and standard
deviation scores of the subjects’ view or awareness of the relevance of
art/aesthetics in the improvement of the quality of the environment, the result is
shown in Table 3.
94
Table 3: Relevance of Art/Aesthetics to the Improvement of the Quality of
the Environment
S№
5
SA
ITEM
Man’s relationship to the 135
natural environment is the
origin of art and society
Aesthetics (principles of 132
beauty) is part and parcel of
the environment from man’s
existence
A large part of our aesthetic 162
experience and enjoyment is
from nature
4
A
132
3
UD
19
2
DA
13
1
SD
1
__
X
4.29
SD
0.797
DECISION
Agree
141
22
4
1
4.33
0.700
Agree
117
7
12
2
4.42
0.782
Agree
15
It is only through the study of 92
art/aesthetics that we can
fully enjoy and see the
importance of (aesthetic)
things in nature
115
28
49
16
3.73
1.210
Agree
16
Aesthetic value (worth) plays 140
an
important
role
in
environmental protection in
that it does not only beautify
but sustains the quality of
objects in the environment
128
24
7
1
4.33
0.750
Agree
17
Governments in Nigeria have
not given adequate attention
to aesthetic value as an aspect
of environmental protection
and sustainability
Other
stakeholders
of
environmental protection in
Nigeria outside government
have
not
adequately
promoted the aesthetic aspect
of environmental protection
Being comfortable with an
ugly environment implies a
deficiency in our capacity for
aesthetic appreciation
Ugliness
of
our
environment is a sure sign
of:
Disease
Un-sustainability, and
153
104
21
17
5
4.28
0.940
Agree
125
122
27
22
4
4.14
0.950
Agree
135
105
24
28
8
4.10
1.066
Agree
117
107
30
31
15
3.93
1.163
Agree
77
153
40
24
6
3.90
0.940
Agree
12
13
14
18
19
20
21
95
22
A fundamental disharmony
between
people
and
people, and people and the
environment
102
130
27
34
7
3.95
1.046
Agree
23
Making our children to believe that
an ugly environment is normal, is a
great disservice to them and to
environmental aesthetics.
173
84
14
20
9
4.31
1.034
Agree
172
90
19
14
5
4.37
0.917
Agree
101
143
24
27
5
4.03
0.964
Agree
113
152
23
10
2
4.21
0.777
Agree
167
113
14
5
1
4.47
0.696
Agree
140
126
24
6
4
4.31
0.809
Agree
157
107
18
12
6
4.32
0.906
Agree
150
106
23
18
3
4.27
0.914
Agree
133
128
22
13
4
4.24
0.868
Agree
136
124
19
20
1
4.25
0.869
Agree
105
119
20
41
15
3.86
1.183
Agree
132.6
120.3
22.2
19.4
5.5
4.19
0.402
Agree
24
25
26
27
28
29
30
31
32
33
Lack of aesthetic environment
in Jalingo metropolis is caused
by:
Man’s activities more than
natural phenomena
Lack of art education
and
awareness
Lack of aesthetic consciousness
(awareness)
Poor waste management which
adds ugliness to the environment
Disregard for environmental
aesthetics (beauty) and hygiene
Lack of enforcement of land and
environmental laws which has
permitted lack of planning and
order
Non-compliance
with
governmental policies on land
and urban planning which has
created disorder and congestion
Indiscriminate posting of bills
(posters) which helps to deface
Menace
of
uncontrolled
domesticated animals which has
contributed to pollution of the
environment
Poverty of the residents which
has given rise to tolerance of dirt
and slum living
Total Mean
From the results in Table 3, a total mean score of 4.19 was recorded. This
indicates that the respondents agree that art/aesthetics is relevant in the process of
improving the quality of the social environment. The items that recorded the
highest mean scores (range from 4.32 – 4.47) in this table, pertain to the notions
96
that aesthetics is part and parcel of the environment; that aesthetic plays an
important role in environmental protection/improvement; and that lack of
aesthetic environment in the study area is caused principally by man and his
negative activities. Also, the respondents agree with all the 10 causes of lack of
aesthetic environment in Jalingo (items 24 - 33) as suggested by the researcher;
with poverty (item 33) as a cause, recording the least mean score of 3.86.
Research Question 3: What is the impact of art training on individuals and the
environment?
Mean and standard deviation were used to compute the responses to the research
question as shown in Table 4.
Table 4: Impact of Art Training on Individuals and the Environment
S/№
34
35
36
37
38
39
ITEM
Artistic experience refers to
activities in the making and
responding to work of art and
artistic value
Aesthetic education enables you
to create and perceive beautiful
things
Aesthetic experience means
responses not only to man-made
objects but also to natural
Artistic experience refers to the
attitude of individuals and
groups to the arts and impact
which the arts have on the
lifestyles of the people
Through art education we can
recognize
and
understand
aesthetics better
People who have formal
training in art education express
themselves better in aesthetic
matters
5
4
3
2
1
__
X
SA
89
A
171
UD
33
DA
4
SD
3
SD
DECISION
4.13
0.731
Agree
151
131
7
7
4
4.39
0.766
Agree
146
134
17
0
3
4.40
0.689
Agree
80
157
48
11
4
3.99
0.834
Agree
107
167
20
4
2
4.24
0.692
Agree
141
108
28
19
4
4.21
0.946
Agree
97
40
The more art education is
emphasized in and outside schools,
the
more
aesthetic
and
environmental consciousness is
broadened
Art training equips one with the
ability to make sound aesthetic
judgment of what constitutes a
good environment
126
142
21
9
2
4.27
0.774
Agree
132
149
14
5
0
4.36
0.652
Agree
Art
education
develops
aesthetic sensibility
Art education sharpens one's
sensitivity to the environment
Effective training of perceptual
thinking takes place in art
training
Art training promotes critical
thinking
Critical thinking is required in
aesthetic judgment
Art education focuses on
developing
the
emotional
dimension of our being to
appreciate beauty
Feeling (emotional) dimension
enables us to always keep and
maintain clean, decent and
progressive environment
No other subject contributes
more to visual literacy than art
education
People who are deficient in
visual literacy demonstrate a
high sense of insensitivity to
aesthetic objects and the
environment
Most people are aesthetically
illiterate because they cannot
look at objects and environment
aesthetically
If visual literacy is inculcated in
education, we will have
aesthetically conscious people
in our society and a better
aesthetic environment
The craze for the good things of
life from foreign countries
among Nigerian youth is a good
index of their love for aesthetics
121
160
12
6
1
4.31
0.676
Agree
115
160
16
8
1
4.27
0.710
Agree
66
118
65
44
7
3.64
1.052
Agree
102
154
25
15
4
4.12
0.856
Agree
106
150
25
14
5
4.13
0.872
Agree
100
153
35
10
2
4.13
0.793
Agree
97
138
37
22
6
3.99
0.961
Agree
65
88
69
60
18
3.41
1.200
Disagree
61
133
48
51
7
3.63
1.060
Agree
72
115
48
47
18
3.59
1.183
Agree
112
147
29
6
6
4.18
0.837
Agree
73
116
52
40
19
3.61
1.173
Agree
54
In Nigeria, the passion of our
youths for aesthetic things is often
impeded by poor economic
background/orientation and lack of
aesthetic goods made in Nigeria
76
138
42
37
7
3.80
1.029
Agree
55
The order and beauty attained
by western cities are related to
knowledge and skills in art
education
100
121
50
23
6
3.95
0.994
Agree
41
42
43
44
45
46
47
48
49
50
51
52
53
98
56
57
58
59
60
Abuja FCT is fast becoming a
modem city whose aesthetic
quality can favourably compare
with the most beautiful cities of
the world because of the
aesthetic consciousness of its
planners
A few Nigerian cities today are
becoming a place to behold
because of the sacrifices of both
governments and residents to
attain a beautiful, clean and safe
environment
Port Harcourt city which used
to be known and called the
“Garden city of Nigeria,” today,
is called “Garbage city” due to
negligence towards its aesthetic
quality
Installation
of
artistic
monuments
at
major
roundabouts by government has
given a face lift to the aesthetic
quality of many state capitals in
Nigeria
Planting of trees, flowers and
general landscaping of the
homes of some elites in Nigeria
today are as a result of their
aesthetic awareness
Total Mean
191
91
11
7
0
4.55
0.680
Agree
123
152
18
6
1
4.30
0.701
Agree
101
139
43
15
2
4.07
0.859
Agree
105
162
25
4
4
4.20
0.754
Agree
137
130
17
14
2
4.29
0.825
Agree
107.22
137.92
31.66
18.07
5.11
4.08
0.428
Agree
The results in Table 4 recorded a total mean score of 4.08. This indicates
that the respondents agree that art training has an impact upon individuals that are
exposed to it and to the quality of the environment. The high point of the mean
scores is recorded in items 35, 36, 41 and 56 respectively. These convey the idea
that, aesthetic education enables one to create and/or perceive aesthetic things;
that art education equips one with the ability to make sound aesthetic judgments
about the environment; and that Abuja FCT is what it is today, because of the
aesthetic consciousness of her planners. However, the only item in the whole 68
99
item-questionnaire that the respondents disagree is recorded in Table 4. Item 49,
which suggested that no other subject contributes more to visual literacy than art
education was disagreed with a mean score of 3.41, slightly lower than 3.50 cutoff point and a standard deviation of 1.200. This therefore indicates that majority
of the respondents do not believe that art contributes more than any other subject
to visual literacy.
Research Question 4: Which art strategies (or activities) are most effective for
improving the aesthetic quality of the environment?
Result of Table 5 was obtained by computing the mean and standard deviation
scores of the responses to research question 4 above.
100
Table 5: Art Strategies for Improving the Aesthetic Quality of the
Environment
S/№
ITEM
5
SA
4
A
3
UD
2
DA
1
SD
__
X
SD
61
An aggressive educational
programme/public
awareness with emphasis
on art education and
environment
150
129
17
4
0
4.42
0.662
DECISIO
N
Agree
62
Repairs/renovation
and
maintenance of existing
dilapidated
structures/infrastructures
by aesthetically conscious
experts
Installation of artistic
monuments
(building/statue)
of
cultural, historical and
social
significance
at
strategic locations
177
152
20
7
4
4.24
0.785
Agree
131
135
23
10
1
4.28
0.774
Agree
64
Enforcement
of
environmental standards
by appropriate government
agencies and NGOs
159
126
11
4
0
4.47
0.635
Agree
65
Planting of trees/ creation
of
gardens,
lawns,
landscaping
and
recreational centres
179
112
5
4
0
4.55
0.601
Agree
66
A
more
aggressive
sanitation programme
149
106
28
11
4
4.29
0.880
Agree
67
Government, NGO and
private intervention in
providing
befitting
residential quarters for the
less privileged
Giving local and national
environmental awards for
best performed /most
improved
aesthetic
towns/cities
Total Mean
108
138
25
23
6
4.06
0.964
Agree
120
135
31
10
4
4.19
0.850
Agree
139.13
129.13
20
9.13
2.38
4.31
0.468
Agree
63
68
From Table 5, the result indicates an overall mean score of 4.31. This
shows that the respondents agree that these art strategies are effective in the
101
improvement of the aesthetic quality of the environment. The items, which
recorded the highest mean scores, are items 61, 64 and 65 with mean scores of
4.42, 4.47 and 4.55 respectively. This shows that the respondents agree that these
are the most effective strategies. While the least effective strategies are seen in
items 67 and 68, with mean scores of 4.06 and 4.19 respectively. This also
indicates that the respondents do not see how effective government, NGOs and/or
private intervention can help to improve the aesthetic quality of the environment.
Hypothesis 1 (HO1): There is no significant difference in the mean
scores
of
the responses of artists, environmental stakeholders and the public on the
This hypothesis was tested at 0.05 level of significance, using one-way
ANOVA. The result is presented in Table 6 as follows:
102
Table 6: Responses of Artists, Environmental Stakeholders and the Public
on the Relationship between Art Education and Aesthetic Environment.
Sum
of df
Squares
Mean
F
Sig. Level Decision
Square
Between Groups
1.721
2
0.861
Within Groups
42.314
297 0.142
Total
44.035
299
6.040 0.003
*Significant
* = significant difference, F=6.040, p=0.003, p<0.05
Result from Table 6 shows that there is significant difference in the
opinions of artists, environmental stakeholders and the public on the relationship
between art education and aesthetic environment with F = 6.040, p = 0.003,
p<0.05 The null hypothesis is therefore rejected. This means that there is a
significant difference between the groups in their opinion or level of awareness of
the relationship between art education and aesthetic environment. The level of
awareness of the artists and stakeholders of the environment appears higher than
that of the general public.
Hypothesis 2 (HO2): There is no significant difference in the mean and standard
deviation scores of the responses of artists, environmental stakeholders and the
public on the relevance of art/aesthetic education towards improving the quality
of the environment.
This hypothesis was also tested with one-way ANOVA at 0.05 level of
significance and the result is shown in Table 7.
103
Table 7: Responses of the 3 Groups under Study on the Relevance of
Art/Aesthetic Education to Improving the Quality of the Environment
Sum of Squares
df
Mean
F
Square
Between Groups
0.287
2
0.144
Within Groups
48.064
297
0.162
Total
48.351
299
Sig.
Decision
Level
0.887
0.413
**Not
Significant
** = No significant difference, F=0.887, p=0.413, p>0.05
Result from Table 7 indicates that there is no significant difference in the
opinion or level of awareness of artists, environmental stakeholders and the
public on the relevance of art/aesthetic education toward improving the quality of
the environment. Hence, the null hypothesis is accepted since F=0.887, p=0.413,
p>0.05
Hypothesis 3 (HO3): There is no significant difference in the mean
scores
of
artists, environmental stakeholders and the public on the level of awareness of the
impact of art training on aesthetic environment.
This hypothesis was tested using the one-way ANOVA statistical tool at
0.05 level of significance, and the result is shown in Table 8.
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Table 8: Responses of the 3 Groups under Study on the Impact of Art
Training on Aesthetic Environment
Item
Sum of Df
Mean
Squares
Square
Between Groups
2.633
2
1.316
Within Groups
52.087
297
0.175
Total
54.720
299
f
Sig.
Decision
level
7.506
0.001
*Significant
* = significant difference, F=7.506, p=0.001, p<0.05
Result in Table 8 indicates a significant difference between the three
groups in their opinion or level of awareness of the impact of art training on
individuals and aesthetic environment with F= 7.506, p= 0.001, p<0.05. The null
hypothesis was rejected as artists, environmental stakeholders and the public did
differ in opinion on the Impact of Art Training on Aesthetic Environment.
Hypothesis Four (HO4): There is no significant difference in the mean scores of
the responses of the artists, environmental stakeholders and the public on
strategies for improving aesthetic quality of the environment.
This hypothesis was also tested using the one-way ANOVA statistical tool,
and the result is presented in Table 9.
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Table 9: Responses of the 3 Groups under Study on Strategies for Improving
the Aesthetic Quality of the Environment
Item
Sum of Df
Mean
Square
Square
Between Groups
0.816
2
0.408
Within Groups
64.540
297
0.217
Total
65.356
299
F
Sig.
Decision
Level
1.879
0.155
**Not
Significant
** = No significant difference, F=1.879, p=0.155, p>0.05
The result in Table 9 reveals that there is no significant difference in the
opinion of artists, environmental stakeholders and the public on the best
strategies for improving the aesthetic quality of the environment with F=1.879,
p=0.155, p>0.05. Therefore, the null hypothesis was accepted as the respondent
did not differ in their opinions on the best strategies for improving the aesthetic
quality of the environment.
4.2 Summary of Findings
From the result of data analyses on the responses of the respondents, the
following findings are made:
1.
There is a relationship between art education and the aesthetic quality
of the environment.
2.
Art education is not only part and parcel of the aesthetic venture; it is
the basis for aesthetic experience.
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3.
Quite a number of the sample (15.8%) is not aware of the fact that art
and aesthetics is not one and the same thing.
4.
Art/aesthetics is relevant in the process of improving the quality of the
social environment.
5.
Aesthetics is part and parcel of the environment from man’s existence.
6.
Aesthetic values play an important role in environmental protection,
improvement and sustainability.
7.
The lack of aesthetic environment in Jalingo town is caused principally
by man rather than by natural phenomena.
8.
Art training has an impact upon individuals that are exposed to it and to
the quality of their environment.
9.
Aesthetic education enables one to create and/or perceive aesthetic
things.
10.
Art/aesthetic education equips one with the ability to make sound
aesthetic judgement about the environment.
11.
Abuja (Federal Capital Territory) is what it is today (that is, its beauty,
order and modernity) as a result of the aesthetic consciousness of her
planners.
12.
The majority of the respondents do not believe that art contributes more
than any other subject to visual literacy.
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13.
Aggressive education programmes such as public awareness campaigns
with emphasis on art education; enforcement of environmental
standards; and planting of trees/creation of gardens, lawns, landscaping
and recreational centres are the most effective strategies for improving
the aesthetic quality of the environment.
14.
The government, NGOs and private intervention projects/programmes
are okay, but not effective enough as strategies for the improvement of
the environment.
15.
There is a significant difference in the level of awareness between
artists/stakeholders of the environment and the general public on the
16.
There is no significant difference between artists/stakeholders of the
environment and the public in their opinion of the relevance of
art/aesthetic education towards
improving the quality of the
environment.
17.
There is a significant difference between artist/stakeholders of
environment and the general public in their opinion or level of
awareness of the impact of art training upon individuals and aesthetic
environment.
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18.
The artists, stockholders of the environment and the general public did
not differ in their opinions on the best strategies for improving the
aesthetic quality of the environment.
Plate 18: Landscaping III: (by Drainages & Tar): A Roundabout in Taraba
State University (Temporary Site), Jalingo
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Plate 19: Jalingo I: A School Wall Defaced: Art Education will help to rid the
Society of negative attitudes towards the Environment such as this
Plate 20: Jalingo II: Indiscriminate Posting of Bills: Beauty of monuments
such as this are often defaced by politicians & other visual illiterates
110
CHAPTER FIVE
Discussion, Summary, Conclusion and Recommendations
This chapter presents the summary of this research work. It begins with a
discussion of the findings of the study based on the research questions and the
guiding hypotheses. The recommendations made here are based on the findings
of the study. Equally, the conclusions made are also based on the findings which
led to the suggestions made for further researches. Implications and limitations of
this study are also presented in this chapter.
5.1
Discussion of Findings
This study made use of questionnaire which was responded to by three
groups of persons namely, the artists, environment-related professionals such as
the architects, building engineers, civil engineers, town planners among others;
and finally a sample of the general public within the study area. These three
groups of persons all responded to a 68-item questionnaire which is classified
into four tables based on the four research questions. Table 2, which comprises
11 items, seeks to identify the level of understanding of the respondents of the
meaning of art education and aesthetic environment on one hand; and their
awareness of the relationship between art education and aesthetic environment on
the other.
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Based on the findings of this study with reference to research question one
as depicted in Table 2, majority of the respondents (84.2%) indicated they
understood the meaning of art education and aesthetic environment and also
agreed that there is a relationship between art education (which is understood
here to mean education through art) and aesthetic environment. This is in line
with Uzoagba (1991) and Mbahi (2008) when they both agree that art education
is the foundation for the creation and experience of what is beautiful; and that
aesthetics on the other hand, is the branch of philosophy that deals directly with
the nature of beauty and art. Art education, according to Mbahi opens minds of
people to appreciate works of art and nature. By this, it suggests that art
education is not only part of the aesthetic venture; it is the basis for aesthetic
experience.
However, from the findings of this study, quite a sizeable number of
respondents (15.8%) are not aware of the fact that art and aesthetics even though
related, is not the same thing. In other words, many people see beautiful natural
things as art; and art as aesthetics (As shown in Plates 3, 6, 7 & 17a, b & c). This,
critically speaking, may not the case. Mbahi (2008) corroborates this point when
he points out that art and aesthetics are different, but have overlapping concepts
with many ideas in common. For example, the concept of “beauty” cuts across
both of them. The arts in the history of culture, he further points out, cover a
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much wider area than aesthetics. They are impinged upon by religious, magical,
didactic and social views, while, aesthetics has relevance to areas far outside the
arts. Anything therefore which is aesthetically enjoyed is an aesthetic object. The
aesthetic object may be an art object or it may not.
Table 3, which contain 22 items, attempts to establish the fact of whether or not
the respondents are aware of the following notions:
 That art/aesthetics has been and can still play vital role in the
improvement/protection of the quality of the environment,
 That complacency and nonchalant attitude to lack of aesthetic environment
is a disservice to both environmental aesthetics and to posterity; and
 That man’s activities and non-activity account more for lack of aesthetic
environment than natural phenomena, especially in the study area (Jalingo)
(See Plates 19, 20, 22, 24, 26, 31, 33 & 34).
To these, the respondents agreed (with a total mean score of 4.19 and a
standard deviation of 0.402); that is, that understanding and experience of art/
aesthetics is relevant to the improvement/protection of the quality of the
environment.
This
implies
that
art/aesthetics
is
relevant
to
the
improvement/protection of the quality of the environment. This is in line with
Dubos and Orr, as cited in Hettinger (2005:57) when they worry about the state
of health and environmental condition of posterity if we do not change our
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negative attitude toward our environment today, particularly the social
environment. In their words, this is “our greatest disservice to our children” if we
give them “the belief that ugliness is somewhat normal… ugliness is the surest
sign of disease… or sustainability… and signifies a fundamental disharmony
between people, and people and the land (environment)” (Refer, Plate 22; and
compare it with Plate 21).
Despite these voices emphasizing the importance of aesthetics for
environmental protection and improvement, many have serious doubts about
appeals to aesthetic value. Hettinger (2005) points out that some people feel that
aesthetics is a weak type of value easily brushed aside by the serious moral
concerns such as employment, income and development that are often used to
justify environmental degradation. Many believe that far stronger moral and
utilitarian values can be pressed into the service of environmental protection and
sustainability, and hence, that it is neither necessary nor important to stress
aesthetic value.
114
a. A Dream Home
b. Adorable Abode
Plate 21: Environments I: like these are not only aesthetic; they are ecstatic
115
a. Litter
b. Dirt
Plate 22: Environments II: Poor environments like these are not only eye-sores;
they are a sure sign of disease (Courtesy of Ande’s Collections)
116
a. Dubai
b. Interior Decor
Plate 23: Buildings I: Aesthetically planned buildings are art works (Courtesy of
Ande’s Collections)
117
Nevertheless, a widely-assumed rationale for environmental protection is
to prevent the loss of aesthetic value resulting from environmental degradation
(Carlson, as cited in Hettinger, 2005).
Table 4, which contains 27 items, tries to outline the impact of art training
on individuals and the environment. In other words, what are the physical or
visible indices of aesthetics that art training can bring to bear upon the
environment through recipients of such training? The first part of the table
comprising 20 items (from 34-53) is concerned with what art education teaches
or the experiences that can be acquired through art education. This part seeks to
find out whether or not the respondents understand these experiences and
whether they can identify these experiences in others or in themselves as
recipients of art education. The remaining 7 items form the second part of Table
4, and seek to establish the impact of art/aesthetic objects in Nigerian society
such as those seen in the streets, public squares, public institutions and
recreational centres of some Nigerian towns and cities (As seen in Plates 18 &
25a, b & c).
To all these items the respondents agreed (with a total mean and standard
deviation sores of 4.08 and 0.438 respectively) that they understood what
constitutes an artistic or aesthetic experience and the impact of art on the
aesthetics of the environment. The only item (49), which the respondents
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generally disagreed with and scored the lowest mean of 3.41 and the highest
standard deviation of 1.200, is concerned with the notion that no other subject
contributes more to visual literacy than art education. From this response, it
implies that art education does not contribute more than other subjects or
disciplines to visual literacy. It appears that the reason for this contrary opinion is
as a result of the fact that non-artists who responded to this item are either truly
not aware of this fact or are biased professionally. Most artists responded in the
affirmative while non-artists and the general public disagreed. The artists are 56
in number, constituting only 18.66% while the stakeholders of the environment
and the general public are 244 in number constituting about 81.33%.This
explains why the result is skewed to the left. Another reason may be that the
framing of the item might have generated an emotional response depending on
whatever discipline one belongs to.
The total mean score of Table 4 (4.08) is the lowest of the 4 tables in this
research. This implies that, even though on the overall, the respondents agree that
art training has impact on individuals that are exposed to it and to the quality of
the environment in which this people live, quite a number disagreed or showed a
degree of neutrality either due to ignorance or other personal factors. Many of the
respondents have no formal training in art education or in aesthetics and so
cannot make sound aesthetic judgement of the impact of art/aesthetic objects on
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the environment. This is in line with Carlson, as cited in Neil & Ridley (1995)
and Mbahi (2008) when they emphasize on possessing certain degree of
knowledge, skills and experience to be able to appreciate art works and nature (or
the environment) aesthetically. Without these, they argue, the impact and import
of aesthetics in both art works and in the environment are lost on the viewers.
Mbahi (2008) says that perception is influenced by experience, and for one to
appreciate beauty of his environment, he needs to understand what he already
knows about what he sees; what he experienced in the past that is related to what
he sees; and how he feels about what stimulates his vision.
Reacting to knowledge or experience as pre-requisite to appreciation,
Carroll, as cited in Neil & Ridley (1995:126) disagrees, saying that knowledge is
not very necessary as a stimulus to responses to aesthetics, even though he
believes that it is important only for interpreting one’s responses. He instead
emphasizes on nature-responses of a less intellectual and more visceral sort
referred to as “being moved by nature” which need no prior knowledge or
experience.
Table 5, which is the last of the 4 tables based on the research questions
comprises only 8 items and suggests art strategies or activities that may be used
for improving the aesthetic quality of the environment. The first item in this table
stresses the need for an aggressive educational programme/public awareness
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campaign with emphasis on art and environmental education. This was responded
to with a mean score of 4.42. This is the third highest of the mean scores of the 8
items in this table. This implies that the respondents agreed and rated
education/awareness campaigns as the third most effective strategy for the
improvement of the aesthetic quality of the environment. This is in line with
United States National Environmental Education Advisory Council (1996), when
it stresses environmental education with emphasis on critical thinking,
interdisplinary teaching and learner achievement as viable strategy for enhancing
environmental quality and stewardship. The need and challenge for Nigerian
government to raise the level of visual and environmental literacy of the Nigerian
citizenry as a whole, and to ensure this literacy of each successive generation in
meeting the standard of aesthetic environment and sustainability cannot be
overemphasized.
The second item suggests maintenance culture of the existing structures
and infra-structure through repairs and renovation by aesthetically conscious
experts. These experts may include engineers (civil and building), architects,
town planners, sanitation experts and artists who may have to work together to
ensure a facelift of the dilapidatedness of our social environment. The
respondents also agreed that this strategy is the sixth most important one in
attending to the issue of our degraded environment with a mean score 4.24. This
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is one of the most important strategies used by the Malaga Urban Council for
improving the urban environment of Malaga, Spain (Council of Malaga, 1998)
and Waverley Council of South East Australia in their State of Environment
Programme (2002-2005). An environment, particularly human-constructed
environment, which is left un-sustained, can be overtaken by nature. (As shown
in Plate 24)
Plate 24: Buildings II: An Un-sustained Environment like this is at nature’s
mercy (Courtesy of Ande’s Collections)
The third item focuses on the need for installation of artistic monuments of
cultural, historical and social significance at strategic locations in Nigerian cities.
This strategy was rated by the respondents as the fifth most effective strategy for
improving the aesthetic quality of the environment with a mean score of 4.28.
This implies the acceptance of artistic monuments as a way forward for
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improving and appreciating the aesthetic quality of the environment of the study
area. This also suggests the need to train and raise installation artists (or
otherwise known as environmental artists) and related specialists, not only to
meet the aesthetic but the anthropological needs of our society. The installations
so erected may not only be aesthetic but also communicate to the public cultural,
historical and social messages or values of the societies in which they are erected
(Ityoban, 2009) (As seen in Plate 25a, b & c).
a. The Music Makers, A.B.U. Zaria
123
b. Works Roundabout, Jalingo
c. Roadblock Roundabout, Jalingo
Plate 25: Installation Art Works such as these, not only beautify our cities; they
project our culture (Courtesy of Ibrahim’s Pictures)
124
The fourth item emphasizes enforcement of environmental standards by
appropriate government agencies and NGOS. This is what the government of
Nigeria is already doing through agencies such as Federal Environmental
Protection Agency (FEPA), National Environmental Standards and Regulation
Enforcement Agency (NESREA) Federal Ministry of Environment and the like.
To this, the respondents responded with a mean score of 4.47, being the second
highest of the mean scores in this table. This implies that the respondents
consider this as the second best strategy for the improvement of the aesthetic
quality of the environment. This result as it is, many have been influenced by the
public awareness campaigns mounted by the Federal government through the
news and electronic media particularly the Nigerian Television Authority (NTA)
nationwide. A second reason for the popularity of enforcement of environmental
standards as a strategy is that it cuts across many ministries and parastatals. More
people are aware of its presence particularly through the activities of Urban and
Rural Development Boards in every state capital in Nigeria. However, the
problem with this strategy as it is practiced in Nigeria is that most agencies are
not really organs of enforcement because they do not enforce. The usual practice
for instance with most Urban development Boards in our cities is for its staff to
mark signs on newly developed projects such as buildings for either being “on
road” or “plan not approved” just for owners of such “illegal” projects to go and
125
pay money to the Boards and the signs disappear. In Jalingo, for instance, houses
still grow like mushrooms in most of the outskirts because of lack of enforcement
of layout plans (As seen in Plate 26).
Plate 26: Jalingo Outskirt I: In the absence of plan, houses grow like
mushrooms (Researcher’s Collections, 2009)
It has been discovered through empirical studies that where land and
environmental standards or laws are not enforced, environmental degradation and
deterioration are worst seen. Most developed nations of the world such as United
States of America, Britain, Spain, Japan, just to mention a few, recognize the
central role of enforcement of environmental laws (Ityoban, 2009) (As shown in
Plate 27).
126
Plate 27: Aesthetic Planning: Estates like this are a result of aesthetic
planning (Courtesy of Ande’s Collections)
The fifth item, which is on planting of trees/creation of gardens, lawns,
landscaping and recreational centres, was rated the best strategy for the
improvement of environmental aesthetics with a mean score of 4.55. This implies
that the factor of the “green area” as a strategy for environmental aesthetics
cannot be surpassed (Refer, Plates 11, 12, 14, 16 & 29). Researchers have proved
that a large part of our aesthetic experience and enjoyment is experience and
enjoyment of nature and this fact has been with us for a very long time of man’s
existence. The only problem is, we do not know just what is involved to
appreciate nature (Neil & Ridley, 1995). Nobody surpasses the Japanese in the
127
area of understanding and appreciating natural aesthetics, as can be seen in the
Kyoto Gardens example. The famous Japanese city of Kyoto has some of the
most significant gardens in the world (Travel Guide, Japan, n.d.). There is need
for Nigerians to realize the beauty and health importance of planting trees,
flowers and lawns outside the functions as a means of preventing erosion and
desert encroachment. In other words it is high time Nigerians come to grip with
the realization that this strategy of tree-planting plays a significant role in the
aesthetics of the environment (As shown in Plate 28). A number of the elitist
groups resident in Jalingo are now realizing the aesthetic importance of tree
planting, flower and lawn keeping and have been incorporating them into the
plans of their homes (As shown in Plates 29, 30 & 32).
a.
128
b.
Plate 28: Trees are not just for protection; they are aesthetic (Courtesy of
Ande’s Collections)
Plate 29: Elite’s Homes: Elite groups in Nigeria are beginning to realize the
significance of flowers, tree-planting and landscaping to homes & public places
129
a. Senate Block, A.B.U. Zaria b. Jalingo Motel
Plate 30: Aesthetic Organizing: Just as art works can be composed, nature
(objects and environments) can also be organized & re-organized to create an
aesthetic impact (Courtesy of Ande’s Collections)
The sixth item stipulates a more aggressive sanitation programme as a
strategy for improving the aesthetic quality of the environment. This was
responded to with a mean score of 4.29 and placed fourth in the rating of
strategies. This implies that the respondents have accepted sanitation as an
imperative part of maintaining a clean, healthy and safe environment. This is in
line with UN General Assembly’s declaration of the year 2008 as the
international year of sanitation (IYS). The goal is to raise awareness and to
accelerate progress towards the Millennium Development Goals (MDG) target to
reduce by half the proportion of the 2.6 billion people without access to basic
sanitation by the year, 2015 (UNDP, 2008).
The only problem with the sanitation option is with the implementation.
Many states in Nigeria approach this strategy with such haphazard and
lackadaisical attitude that one clearly sees a general inertia and a resultant lack of
130
enforcement of sanitary laws. The resultant effect is a scenario of litter, dirt and
disorder in most of our cities (Ityoban, 2009) (As shown in Plates 22, 31 & 33).
While some state governments, having realized this negative unsanitary
attitude, have swung into action, putting their weight behind sanitation
programmes in their state capitals; others are yet to realize the importance of this
strategy. What many states in Nigeria lack is an aggressive sanitation programme
to transform their environment. Furthermore, many states are yet to realize that
sanitation programme as a strategy for improving the aesthetic quality of the
environment has an accompanying component of sanitizing the people through
education and awareness campaign in order to change people’s negative and
unhealthy attitude toward the environment. When this second aspect of sanitizing
is ignored no work is actually done, for why clean anything after all when one
cannot keep it clean?
Some states that are in the forefront of sanitation
programme in Nigeria include Cross Rivers, Edo, Gombe, Lagos and Abuja FCT
just to mention but a few. It seems these states have realized how vital sanitation
is to human health; how sanitation generates economic benefits; how it
contributes to human dignity and social development; and above all how
sanitation helps to improve or sustains the quality of the environment (UNDP,
2008).
131
Plate 31: Jalingo III: Refuse Dumps like this are symbols of environmental
degradation and paradigms of aesthetic disvalue (Courtesy of John’s Photo)
Plate 32: Abuja FCT: Every right-thinking person needs an environment like
this
132
Plate 33: A Street in Jalingo: Need to decongest our streets of littered sites
like this (Courtesy of Ibrahim’s Pictures)
Plate 34: Jalingo IV: A Signboard: An erstwhile signboard now completely
covered by posters (Researcher’s Collections)
133
The seventh item suggests that if the combined intervention of the
government, NGOs and private individuals or groups is made to bear upon the
environment through the provision of befitting residential quarters for the less
privileged, there may be an improvement in the quality of the environment. This
suggested strategy scored the least mean of 4.06 out of the mean scores of the 8
strategies in question. This means that this item is rated eighth and the least of the
strategies in terms of ranking. It is hard to comprehend why the population of this
study should consider such a seemingly worthy strategy the least of the 8
strategies. In other words, why has this population not seen the effectiveness of
government, NGOs, and private intervention in the issue of improving the
aesthetic quality of the environment? In many states of Nigeria, governments
have provided housing estates for their citizens. If more of such is done
everywhere in Nigeria, that is from the federal down to local governments, would
there not be an improvement in the aesthetic quality of the living environment?
Today, every state in Nigeria enjoys counterpart funds from the Millennium
Development Goals (MDG) intervention through the Federal Government and
United Nations Development Programme. Are these efforts not making the much
desired impacts? What could have been the reason(s) why the generality of the
populace in Nigeria are not feeling the impact of these interventions?
134
The answers to these questions are not far-fetched. One, what are the
quality (and even quantity) of work done? Do they meet the required standards or
prescriptions of the government, NGOs or even the private organization that
provide them? Are the projects environment-friendly enough, considering the
peculiarity of the localities within which they are located? Are they adequate in
terms of number for the targetted population? Many Nigerians are yet to forget
about the Shagari Housing Estates which became death-traps and an eye-sore
nationwide. Quality and sometimes quantity of work play an important part in the
expression of government or any other kind of intervention in any nation.
A second reason could be in the area of aesthetics and location of these
structures no matter whoever provides them. People may not feel the impact of
any housing programme if the aesthetic aspects of the construction and the
surroundings are mortgaged for other factors. Also, if the housing estates are
located far away in the bush or out of the urban area where they are supposed to
be, their aesthetic appeal may not affect those towns (As seen in Plate 35). For
example, most of the so called Shagari quarters were located 2 to 3 kilometres
away from town. Sometimes, there is need to consider restoring and revitalizing
the city centres which are in state of disrepair. The quest to change the face of a
city anywhere in the world may not only be tackled at the outskirts. A cue can be
135
taken from the Malaga example where the restoration of the city began with the
city historic centre (Council of Malaga, 1998).
Plate 35: Jalingo Outskirt II: Magnificient edifices like this seem thrown out of
town (Researcher’s Collections, 2009)
These may be some of the reasons why this item was voted the least as a
strategy for improving the aesthetic quality of the environment. Any government,
NGO or private intervention that does not consider the aforementioned factors in
providing housing programmes for her people does not remain relevant.
The eight and the last item of Table 5 introduces a concept of reward by
government or NGOs whereby local and national awards are given to
participating cities/towns which perform well in the aesthetic improvement of
their environment. The respondents scored this with a mean of 4.19 and rating it
136
seventh among 8 suggested strategies. This implies that this strategy is not
effective enough as a tool for the improvement of the aesthetic quality of the
environment. This is not in line with the results of experiments carried out by
many other nations adopting this strategy, especially Gambia. Could it be
because of the novelty of this strategy to the respondents that it was voted so
low? Most people often initially oppose innovations or changes, but with time,
they come to terms with them. Could it be the same thing in this case? Even
though, appearing novel to the respondents as it is, this strategy is not really new.
This was the same strategy used during the colonial era and even up to the early
days of Nigeria independence; by the government that be, to stir up the spirit of
competition in the sanitation programme. Prizes were awarded the cleanest
homes when sanitation inspectors went round homes in those days. These
inspectors were called “Dubagaris” in Northern Nigeria. Their presence then
instilled fear on the populace as violators of the sanitation laws or standards were
instantly arrested and punished by public whipping.
This concept of stirring up the spirit of competition among communities
towards improving the quality to the environments was used by the government
of Gambia in the year 1994, called Gambia Environmental Awards Scheme. This
scheme was very successful even in the face of lean financial resources and in an
atmosphere of political uncertainty, for it brought with it great awareness among
137
the local communities about issues of their environment (Allen, 1997). If a small
country as Gambia succeeded using this strategy with their lean resources, there
is no reason why Nigeria cannot do better with her greater human and natural
resources and better communication network.
Table 6, which presents the result of Research Hypothesis 1 (Ho1), shows
that there is a significant difference in the opinions of artists, environmental
stakeholders and the public on the relationship between art education and
aesthetic environment with F = 6.040, P = 0.003, P < 0.05. This result rejects the
null hypothesis that says there is no significant difference in the mean scores of
the responses of artists, environmental stakeholders and the public on the
relationship between art education and aesthetic environment. The implication of
this result is that it indicates that artists’ level of awareness of the relationship
between art education and aesthetic environment is higher than that of the
stakeholders of the environment and the general public. This is in line with
Arheim (1969) and Uzoagba (1991) when they agree that art education is the
foundation for the appreciation of what is beautiful and that through art
education, one can acquire the facility of aesthetic apprehension. Okoli (2007)
also supports this when he states that art education provides the situational
settings par excellence through which aesthetic experience is fostered and
nurtured. This means that recipients of art training are better equipped to
138
appreciate and make better aesthetic judgement of their environment than the
general public.
Table 7 presents the ANOVA result of Research Hypothesis 2 (HO2) which
states that there is no significant difference in the mean and standard deviation
scores of the responses of the 3 groups under study on the relevance of
art/aesthetic education to improving the quality of the environment. The result
upholds the null hypothesis with F = 0.887, P = 0.413, P > 0.05. By implication,
this result shows that there is no significant difference in the opinions or level of
awareness of the 3 groups on relevance of art/aesthetics in the processes of
improving the quality of the environment. This means that the respondents all
agreed that art and aesthetics are both relevant to the improvement of the quality
of the environment. This is in line with Hettinger (2005) when he points out that
although aesthetic value plays an important role in environmental protection,
attention to aesthetics is relatively lacking in environmental ethics literature. The
relevance of aesthetics to the environment is also echoed when Neil and Ridley
(1995) point out that although natural objects and natural environments form a
large part of our aesthetic appreciation and enjoyment, many do not know what
really is involved to aesthetically appreciate the natural world. How many people
today realize the relevance of art/aesthetics to the quality of the environment in
139
which they are living? If they do, why is there so much insensitivity and negative
attitude towards aesthetic environment?
Table 8 shows the ANOVA result of Research Hypothesis 3 (HO3). The
result revels that there is a significant difference between the 3 groups in their
opinion or level of awareness of the impact of art training upon individuals and
aesthetic environment with F = 7.506, P = 0.001, P < 0.05. The null hypothesis is
therefore rejected since artists, environmental stakeholders and the public differ
in their opinion of the impact of art training on aesthetic environment and
individuals who went through such training. Artists showed a higher level of
awareness and understanding. This notion is supported by Carlson (as cited in
Neil & Ridley, 1995) when he insists that possession of certain degree of
knowledge or experience is necessary to adequately appreciate art objects and
nature aesthetically. Also Mbahi (2008) quoting Haggerty (as cited in Ajayi,
1985) supports this notion when he says that art experience can bring about the
development of awareness and sensitivity to oneself and to one’s environment
through developing ability to use the sense and through developing the ability to
organize and express the meaning of our sensations in visual form for others to
see. The implication of this finding therefore is that with training, people will
become better equipped to perceive and to make better aesthetic judgements of
things in their environment.
140
Table 9 presents the ANOVA data of Research Hypothesis 4 (Ho4). The
result shows that there is no significant difference in the opinion of the 3 groups
under study on the best strategies for improving the aesthetic quality of the
environment with F = 1.879, P = 0.155, P > 0.05. This result upholds the null
hypothesis. This implies that the 3 groups all agreed that these strategies are
effective in improving the aesthetic quality of the environment. However, each of
the 8 suggested strategies was rated or ranked differently based on what the
population deemed was its degree of effectiveness. By extension it means that
these strategies can be used to improve the quality of the social environment in
line with the United States’ National Environmental Education Advisory Council
Report (NEEAC, 2005) which stipulated using education and public awareness to
solve the problems of environmental degradation and deterioration. Usually, a
combination of any of these strategies is even more effective and creates better
aesthetic impressions (As seen in Plate 36).
141
Plate 36: A.B.U. Zaria: Combination of artistic strategies creates better
aesthetic impressions (Courtesy of Ibrahim’s Pictures)
5.2
Conclusion
Based on the findings of this study the following conclusions can be made
concerning art education, aesthetics, environment and strategies for quality
improvement. It may be concluded that there exist an important cause-effect
relationship between art education and aesthetic environment. This is based on
the findings of this study and the assumption that art education broadens aesthetic
experience. As one goes through art training, his aesthetic consciousness is
sharpened through drills in careful observation and perception. This aesthetic
awareness, according to Ityoban (2009), if properly harnessed, can affect one’s
taste and style of living and the environment in which he lives. This may be seen
142
in his attitude toward the improvement and protection of the environment by
demonstrating the right attitude toward refuse disposal, posting of bills, quality of
house one wants to live in, and a host of other positive attitudes.
One may also conclude that even though majority of the respondents claim
to have understood the meaning of art education and aesthetics, many of them are
still confused as to what really differentiates art from aesthetics. Left to many
people, all art works are aesthetics; and all aesthetic objects are art. With such
confusion, it is no surprise that people manifest ignorance towards appreciation
of their environment. For without understanding, they cannot judge a good
environment from a bad one; and even if they do, many care less.
Based on the findings of the study, art education and aesthetic education
are relevant to the improvement of the quality of the environment, especially the
social environment. The study found out that aesthetics, which has been part and
parcel of the environment from man’s early existence, can still play an important
role in environmental improvement, protection and sustainability. Hettinger
(2005) supports this view when he points out that despite its central role;
aesthetic aspect has not been accorded its rightful place in environmental
protection.
This study also discovered that man is the principal cause of lack of
aesthetic environment, particularly in Jalingo, the study area. Ditwiler (1973)
143
agrees with this notion and identifies economic development as the cause for the
significant change in man’s relationship to his environment; far removed from his
initial relationship which was mainly concerned with the basic needs of life.
Today, he says, a new class of more complex demands is being placed on the
environment, some of which are the causes of man’s irrational and ad hoc or
piecemeal approach to environmental problems. It is assumed here therefore that
if man is the principal cause for environmental degradation; it is an easier
problem to attend to, since man can be educated. With proper education, which
art education can provide, man may behave more positively to his environment.
This is the reason why this study may confidently conclude that art training
among other environment-related education can positively impact on the lives of
recipients and on the aesthetic quality of the environment.
Based on this study, it will appear that many people are not aware of the
fact that art contributes to visual literacy more than other disciplines do. Arheim
(1969) writing on “Vision in Education” opines that once it is recognized that
productive thinking in any area of cognition is perceptual thinking, the central
function of art in general education will become evident, because the most
effective training of perceptual thinking can be offered in the art studio.
Arheim’s position here concerning perceptual thinking and its function in general
education places art in the centre of visual literacy. Visual literacy is as important
144
in general education as verbal literacy and numeracy; but how many people know
about this?
This study also discovers that the 3 most effective strategies for improving
the aesthetic quality of the environment include planting of trees, flowers and
lawns,
landscaping
and
creating
recreational centres;
enforcement
of
environmental laws, regulations, standards and policies; and an aggressive
educational programme/public awareness campaign with emphasis on art and
environmental education. Also, result of the study reveals that government,
NGOs and private organizations need to do more than what they are doing
presently if they want their programmes/projects toward improvement of the
environment to make any impact and remain relevant among the populace of this
country.
Finally, this study concludes that even though artists, stakeholders of the
environment and the general public share similar opinions regarding the
relevance of art/aesthetic education to the improvement of the environment and
the most effective strategies for same purpose; there is a significant difference in
the level of awareness of the artists and that of the other two groups under study
concerning the relationship between art education and aesthetic environment; and
the impact of art training upon individuals and the environment. Artists exhibited
145
a higher level of awareness than the other two under study over the impact of
art/aesthetics towards the environment.
5.3
Implications of the Study
The findings of this study indicate that art education is a viable strategy in
the improvement of the aesthetic quality of the environment. Therefore there is
need to encourage and/or enforce the teaching of art in both public and private
institutions in Nigeria; with the view to inculcate and/or increase environmental
consciousness. This is based on the conclusion that proper education which art
education may provide can lead to the right attitudes towards the environment.
Another implication of this study is that, if man is the principal cause of
environmental degradation or lack of aesthetic environment in the study area, it
would therefore be an easier task to attend to than if it were a natural
phenomenon; for man can be educated or at least teachable. It will appear
therefore that art education is such type of education that is needed to positively
impact upon the lives of individual recipients.
From the findings of the study, it also implies that for art education to fully
make an impact on the aesthetics of the environment, the art curriculum at
tertiary level of education should be broadened to include environmental
education; and emphasis should be placed on environmental or installation art. At
the lower levels of education, environmental education should be introduced as a
146
subject of its own. This will go a long way to sensitize the citizenry about the
quality of environment they live in.
It is also discovered in this study that visual literacy is as important as
numeracy and verbal literacy in the lives of the citizenry; and that visual
perception is not merely a sensory affair but a cognitive activity which art
education and other vision-related disciplines inculcate. To support this claim,
Arheim (1969) points out that artistic activity is a form of reasoning in which
perceiving and thinking are indivisibly intertwined. For people to adequately
appreciate the beauty of their environment or make concrete aesthetic judgement
of their environment they have to acquire visual literacy. Visual illiteracy may be
as serious a problem as numerical or verbal illiteracy.
5.4
Recommendations
The following recommendations are made based on the results of this study.
1. The Federal government should make the teaching of art compulsory in
both public and private schools in Nigeria; that is, from pre-nursery to
secondary levels and as an elective in tertiary schools particularly for all
environment-related disciplines such as architecture, building and civil
engineering, town planning, survey and estate management.
2. The art curricula at tertiary level of education should be expanded to
include environmental education; and at pre-primary to secondary levels,
147
environmental education should be introduced as a new compulsory
subject. This will go a long way to helping the populace realize the
importance of the environment and thereby cultivating the love for the
environment.
3. At tertiary level, the art curriculum should have a compulsory unit on
environmental art with emphasis, for instance, on installation art, mosaic
and other artistic constructions such as kinetic art. Students should be
encouraged to experiment with a variety of materials, particularly waste
materials in order to prove to the society that, with artistic creativity,
nothing is a waste.
4. The National Environmental Standards, Regulation and Enforcement
Agency (NESREA) and all other federal government agencies concerned
with environmental protection, improvement and sustainability should
include aesthetics as an aspect of their campaign programmes to create
environmental consciousness.
5. All levels of government (federal, state and local) should embark on mass
public awareness campaigns and also through the electronic media in order
to sensitize the citizenry about the need to create and maintain not only a
clean and healthy environment but a beautiful one with little or no cost.
148
6. Tree planting, raising and keeping of flowers, lawns, gardens and general
landscaping should be encouraged by government and every city council in
all residential and public places in Nigeria; particularly in the northern part.
The one-man one-tree campaign begun in Nigeria some years back should
be revived and re-invigorated by the Ministry of Environment and Urban
Development; not just because of desert encroachment and erosion
prevention but also for their aesthetic purposes (As shown in Plates 16, 28
& 38).
7. Master plans for every town, city and suburb in Nigeria should be
encouraged and enforced by government and its agencies in order to bring
back order and sanity and reduce the growth of urban slums and sprawls.
8. Standards for residential houses and public institutions should be
emphatically enforced by a Commission for Urban/Estate Planning and
Development to be established by government; and violators punished.
This will discourage the present practice of non-compliance with standards
and lack of enforcement by Urban Development Boards in most of the
states in Nigeria.
9. A more aggressive and meaningful sanitation programme should be put in
place in every state, and the populace sensitized about the benefits of
maintaining a culture of cleanliness, order and healthy environment. One
149
approach to sanitize the people’s way of thinking about their environment
is to revive and re-invigorate the old system of health and sanitation
inspection whereby inspectors went from house to house weekly. These
inspectors should also be empowered also to checkmate the excesses of
littering, defacing of buildings and billboards with unauthorized posting of
bills, indiscriminate dumping of refuse, defecating, urinating and spitting
in public places.
10. Healthy competitions can be encouraged by giving rewards or awards to
towns, local government and states of the federation with the cleanest and
most beautiful environment. This is to stir up the spirit of competition and
encourage all to keep their environment clean, orderly and safe.
11. A commission or task force comprising professional artists, architects,
building and civil engineers, town planners, and estate managers should be
established by the federal government with state and local government
offices:
to
be
responsible
dilapidated/abandoned
for
government
repairs
projects
and
renovation
(structures
and
of
all
infra-
structures) littered everywhere nationwide; and to take care of all new
building projects, drainages, and general landscaping of urban environment
in the country. This will help to bring all these experts and professionals to
150
share ideas and work together as an entity and thereby encouraging mutual
respect among these disciplines.
12. Governments, NGOs and spirited private individuals should encourage
and sponsor installation of artistic monuments/art works of cultural,
historical and social significance at strategic locations in our towns and
cities not only to give these towns and cities aesthetic face-lifts but to also
tell the world our own story.
a. Modern Shelter, Taraba State University, Jalingo (Temporary Site)
151
b. Traditionally Thatched Shelter (or Resting Places, TSU, Jalingo)
Plate 37: Jalingo IV: Need for Recreational Centres: They make a good
impression on the environment (Researcher’s Collections)
a. Taraba Group of Hotels
152
b. Indoor Sports Complex
Plate 38: Jalingo V: Nyame’s Sports Complex: A little landscaping and treeplanting would have made a better aesthetic impression (Researcher’s
Collections)
5.5
Summary of the Study
This study is designed to find out what art strategies can be used to
improve the aesthetic quality of the environment using Jalingo, the headquarters
of Taraba State, as a study area. The variables considered as important in the
study included art education strategy, which is the independent variable, and
aesthetic quality of the environment, which is the dependable variable. Four
research questions were raised to guide the research, while equally four
hypotheses were formulated and tested at 0.05 level of significance.
153
A sample survey type of design, specifically a Sample Survey of Intangible
Subject Matter, was used for the study. The population comprised of 300 senior
civil servants and businessmen resident in Jalingo, the headquarters of Taraba
State. Purposive sampling technique was used to reach a total of 56 formally
trained artists and 85 environment-related professionals; while random sampling
was employed to reach 159 senior civil servants and private businessmen, known
in the study as the general public. Data on level of awareness of the relationship
between art education and aesthetic environment; level of awareness of the
relevance of art/aesthetics towards the improvement of the quality of the
environment; opinion on the impact of art training on individuals and aesthetic
environment; and opinion about the most effective art strategies for improving
the aesthetic quality of the environment were scored with a 5-point Likert scale,
collected and collated. This 68-item questionnaire was developed by the
researcher and submitted to experts for validation.
Cronbach Alpha method was used to achieve the reliability of the
instrument; and reliability co-efficient of 0.92 was obtained. This indicates that
the instrument is internally stable. The researcher was assisted by three artists
who covered the 8 ministries, 13 boards and parastatals, and 12 private outfits
within the study area. Mean and standard deviation statistical tools were used to
analyze the scores; while analysis of variance (ANOVA) was used to test the
154
hypotheses. All these were calculated using the SPSS 15 software application
programme.
The outcome of the study revealed that a cause-effect relationship exists
between art education and aesthetic environment, that is, art education can be
used to affect aesthetic quality of the environment; that many people still do not
know the difference between art and aesthetics; a lot more do not know that art as
a discipline contributes more than other disciplines to visual literacy; that the
strategy of tree planting, keeping of flowers and general landscaping is the best
strategy for improving the aesthetic quality of the environment; and that artists
and the stakeholders of the environment manifest a higher level of aesthetic
consciousness of the environment than the general public.
Based on the above findings, the researcher therefore recommended that
there should be more aggressive educational programmes and public awareness
campaigns with emphasis on art and aesthetic education in order to improve,
protect and sustain the quality of the environment; that environmental education
should be introduced into the school system and made mandatory for all primary
to secondary levels, and as elective for the tertiary level; that, in tertiary art
programmes, emphasis should placed on environmental or installation art; and
that to ensure a more aggressive drive towards the improvement of the
155
environment, task force committees or commissions be established by the
government.
5.6
Suggestion for Further Researches
This study is not exhaustive and cannot claim to be. There is need to recommend
here that more rigorous researches should be undertaken in the following areas:
1. Art Programmes for Tertiary Institutions: Any Promise for the
Environment?
2. Aesthetic Education: A Panacea for Environmental Degradation.
3. Environmental Education: A Call to Return to Order and Sanity.
4. The Role of Installation Art in Contemporary Nigeria.
5. Environmental Awards Scheme: Any Promise for Nigeria?
156
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160
APPENDIX
APPENDIX (A): Cranbach Alpha Reliability Coefficient Test
Reliability Statistics
Cronbach's
Alpha
.924
N of Items
68
Scale Statistics
Mean
281.3333
Variance
519.126
Std. Deviation
22.78435
N of Items
68
161
Item-Total Statistics
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
Scale Mean if
Item Deleted
276.9333
277.0000
276.8667
277.0667
277.7333
277.8000
277.6000
277.8000
276.8000
277.0667
277.5333
276.6667
277.0000
276.9333
277.4000
277.1333
276.8667
276.9333
277.3333
277.0667
277.4667
277.4667
277.2667
277.8000
277.4000
277.4667
277.2667
277.4667
277.3333
277.0000
276.9333
277.4000
277.4667
276.8000
276.7333
276.7333
277.1333
276.8000
276.7333
276.8667
276.8667
276.6667
277.0000
277.0667
276.9333
277.0000
277.1333
277.1333
277.1333
277.5333
277.8000
277.1333
277.8667
277.2667
277.2000
276.9333
277.7333
277.7333
277.4667
276.8000
277.3333
277.3333
277.1333
277.4000
277.0667
277.2000
277.3333
277.0667
Scale
Variance if
Item Deleted
Corrected
Item-Total
Correlation
510.133
512.828
507.982
515.375
494.271
523.614
506.179
517.131
506.648
517.582
491.292
511.126
506.483
512.340
493.903
509.085
506.464
513.306
516.368
501.306
510.740
504.809
511.789
493.683
490.593
494.189
493.168
489.499
493.057
509.655
506.271
489.076
491.292
516.855
507.375
513.582
512.120
502.097
508.478
503.154
498.326
514.575
498.897
518.271
512.202
511.862
504.671
511.982
506.878
499.016
518.234
495.430
488.257
485.720
484.028
507.926
514.133
509.582
496.257
506.234
511.816
492.644
504.947
499.145
505.030
505.545
491.402
500.892
Cronbach's
Alpha if Item
Deleted
.307
.216
.379
.174
.431
-.113
.242
.019
.535
.045
.608
.278
.450
.227
.445
.392
.369
.161
.065
.344
.281
.283
.189
.616
.803
.603
.727
.724
.502
.279
.446
.512
.485
.087
.512
.235
.164
.738
.463
.471
.622
.199
.390
.003
.195
.324
.469
.191
.302
.429
.002
.682
.543
.781
.696
.386
.092
.217
.550
.331
.237
.700
.460
.496
.525
.466
.667
.450
.923
.924
.923
.924
.923
.927
.924
.926
.923
.925
.921
.924
.923
.924
.923
.923
.923
.924
.925
.923
.924
.924
.924
.921
.920
.921
.921
.920
.922
.924
.923
.922
.922
.924
.923
.924
.924
.922
.923
.923
.922
.924
.923
.926
.924
.923
.923
.924
.924
.923
.926
.921
.922
.920
.920
.923
.925
.924
.922
.923
.924
.921
.923
.922
.922
.923
.921
.923
162
APPENDIX B:
Department of Fine and Applied Arts
Faculty of Arts
University of Nigeria
Nsukka
Sir/Madam,
QUESTIONNAIRE
This questionnaire, Artists' and Public Opinion on Art Education for
Creating Aesthetic Environment (A P 0 A E C A E) intends to solicit responses
on an educational research titled: “Strategies for Improving Aesthetic Quality of
the Environment Using Art Education”. It is in partial fulfillment of the
requirements for the award of Master of Arts (M.A) Degree in Art Education in
the Department of Fine and Applied Arts, University of Nigeria, Nsukka.
Its aim is purely educational, as such, any information herein supplied,
would be treated with utmost fairness and confidentiality.
There are two sections of the questionnaire. Section A is a brief Bio-data of
the respondent and Section B contains the items to be responded to. Kindly
respond by ticking (√) the appropriate option please.
Thank you for your anticipated cooperation.
Samson M. Andenumra
(PG Student, UNN)
163
ARTISTS' AND PUBLIC OPINION ON ART EDUCATION FOR CREATING
AESTHETIC ENVIRONMENT QUESTIONNAIRE (A P O A E C A E Q)
SECTION A: BIO – DATA
Profession/Qualification---------------------------------------------------------------------Area of Specialization-----------------------------------------------------------------------Place of Work---------------------------------------------------------------------------------SECTION B: ITEMS FOR RATING
SA = Strongly Agree A = Agree U = Undecided D = Disagree SD = Strongly Disagree
S/№
A
1
ITEMS FOR RATING
RELATIONSHIP BETWEEN ART EDUCATION
AND AESTHETIC ENVIRONMENT
Art education (education through art ) is the foundation
for the creation and appreciation of what is beautiful
2
Art education provides an excellent setting for
aesthetic experience
3
Artistic experience helps to broaden aesthetic
awareness
4
All art training processes have aesthetic aim
5
Art and aesthetics are closely related and overlap
6
Not all art works are aesthetic
7
Not all aesthetic things are art
8
It is possible to develop aesthetic sensibilities without
being able to make art
9
Art and aesthetics complement each other in makingss
and appreciating beauty
10
Competence in art education enables you to make
better aesthetic judgment
11
Certain knowledge and experience are required to
adequately appreciate art works and the aesthetic
quality of the environment.
OPTION
SA A
U
5
4
3
D
2
SD
1
164
B
12
THE RELATIONSHIP BETWEEN ART/AESTHETIC
EDUCATION AND QUALITY OF THE ENVIRONMENT
Man’s relationship to the natural environment is the origin of art
and society
13
Aesthetics (principles of beauty) is part and parcel of the
environment from man’s existence
14
A large part of our aesthetic experience and enjoyment is from
nature
15
It is only through the study of art/aesthetics that we can fully
enjoy and see the importance of (aesthetic) things in nature
16
Aesthetic value (worth) plays an important role in
environmental protection in that it does not only beautify but
sustains the quality of objects in the environment
17
Governments in Nigeria have not given adequate attention to
aesthetic value as an aspect of environmental protection and
sustainability
18
Other stakeholders of environmental protection in Nigeria
outside government have not adequately promoted the aesthetic
aspect of environmental protection.
19
Being comfortable with an ugly environment implies a
deficiency in our capacity for aesthetic appreciation
Ugliness of our environment is a sure sign of:
20
Disease
21
Un-sustainability, and
22
A fundamental disharmony between people and
people, and people and the environment
23
Making our children to believe that an ugly environment is
normal, is a great disservice to them and to environmental
aesthetics.
Lack of aesthetic environment in Jalingo metropolis is
caused by:
24
Man’s activities more than natural phenomena
SA
5
A
4
U D SD
3 2 1
165
25
Lack of art education and awareness
26
Lack of aesthetic consciousness (awareness)
27
Poor waste management which adds ugliness to the
environment
28
Disregard for environmental aesthetics (beauty) and hygiene
29
Lack of enforcement of land and environmental laws which has
permitted lack of planning and order
30
Non-compliance with governmental policies on land and urban
planning which has created disorder and congestion
31
Indiscriminate posting of bills (posters) which helps to deface
32
Menace of uncontrolled domesticated animals which has
contributed to pollution of the environment
33
Poverty of the residents which has given rise to tolerance of dirt
and slum living
C
ART TRAINING AND IMPACT UPON INDIVIDUALS AND
ENVIRONMENT
34
Artistic experience refers to activities in the making and
responding to work of art and artistic value
35
Aesthetic education enables you to create and perceive beautiful
things
36
Aesthetic experience means responses not only to man-made
objects but also to natural objects in the environment
37
Artistic experience refers to the attitude of individuals and
groups to the arts and impact which the arts have on the
lifestyles of the people
38
Through art education we can recognize and understand
aesthetics better
39
People who have formal training in art education express
themselves better in aesthetic matters
SA
5
A
4
U
3
D
2
SD
1
SA
5
A
4
U
3
D
2
SD
1
166
40
The more art education is emphasized in and outside schools,
the more aesthetic and environmental consciousness is
broadened
41
Art training equips one with the ability to make sound aesthetic
judgment of what constitutes a good environment
42
Art education develops aesthetic sensibility
43
Art education sharpens one's sensitivity to the environment
44
Effective training of perceptual thinking takes place in art
training
45
Art training promotes critical thinking
46
Critical thinking is required in aesthetic judgment
47
Art education focuses on developing the emotional dimension
of our being to appreciate beauty
48
Feeling (emotional) dimension enables us to always keep and
maintain clean, decent and progressive environment
49
No other subject contributes more to visual literacy than art
education
50
People who are deficient in visual literacy demonstrate a high
sense of insensitivity to aesthetic objects and the environment
51
Most people are aesthetically illiterate because they cannot look
at objects and environment aesthetically
167
52
If visual literacy is inculcated in education, we will have
SA
A
U
D
SD
aesthetically conscious people in our society and a better
5
4
3
2
1
aesthetic environment
53
The craze for the good things of life from foreign countries
among Nigerian youth is a good index of their love for
aesthetics
54
In Nigeria, the passion of our youths for aesthetic things is often
impeded by poor economic background/orientation and lack of
aesthetic goods made in Nigeria
55
The order and beauty attained by western cities are related to
knowledge and skills in art education
56
Abuja FCT is fast becoming a modem city whose aesthetic
quality can favourably compare with the most beautiful cities of
the world because of the aesthetic consciousness of its planners
57
A few Nigerian cities today are becoming a place to behold
because of the sacrifices of both governments and residents to
attain a beautiful, clean and safe environment
58
Port Harcourt city which used to be known and called the
“Garden city of Nigeria,” today, is called “Garbage city” due to
negligence towards its aesthetic quality
59
Installation of artistic monuments at major roundabouts by
government has given a face lift to the aesthetic quality of many
state capitals in Nigeria
60
Planting of trees, flowers and general landscaping of the homes
of some elites in Nigeria today are as a result of their aesthetic
awareness.
168
D
STRATEGIES FOR IMPROVING AESTHETIC
QUALITY OF THE ENVIRONMENT
The most effective strategies for improving the aesthetic
quality of the environment involve:
61
An aggressive educational programme/public awareness with
emphasis on art education and environment
62
Repairs/renovation and maintenance of existing dilapidated
structures/infrastructures by aesthetically conscious experts
63
Installation of artistic monuments (building/statue) of cultural,
historical and social significance at strategic locations
64
Enforcement of environmental standards by appropriate
government agencies and NGOs
65
Planting of trees/ creation of gardens, lawns, landscaping and
recreational centres
66
A more aggressive sanitation programme
67
Government, NGO and private intervention in providing
befitting residential quarters for the less privileged
68
Giving local and national environmental awards for best
performed /most improved aesthetic towns/cities
SA A
5
4
U D SD
3
2
1
169
APPENDIX C: Analysis of Variance (ANOVA) – SPSS 15
ANOVA
ARTEDU
IMPENV
STRATE
EDUAET
Between Groups
Within Groups
Total
Between Groups
Within Groups
Total
Between Groups
Within Groups
Total
Between Groups
Within Groups
Total
Sum of
Squares
.287
48.064
48.351
2.633
52.087
54.720
.816
64.540
65.356
1.721
42.314
44.036
df
2
297
299
2
297
299
2
297
299
2
297
299
Mean Square
.144
.162
F
.887
Sig.
.413
1.316
.175
7.506
.001
.408
.217
1.879
.155
.861
.142
6.040
.003
Report
SUBSETS
ARTISTS
ENVIRONMENT
STAKEHOLDERS
THE PUBLIC
Total
Mean
N
Std. Deviation
Mean
N
Std. Deviation
Mean
N
Std. Deviation
Mean
N
Std. Deviation
ARTEDU
4.2484
56
.40683
4.1615
85
.44825
4.1752
159
.37385
4.1850
300
.40213
IMPENV
4.2586
56
.43270
4.0976
85
.41068
4.0082
159
.41812
4.0803
300
.42780
STRATE
4.3929
56
.50420
4.3485
85
.45115
4.2659
159
.46019
4.3130
300
.46753
EDUAET
4.2987
56
.32925
4.1219
85
.37785
4.0977
159
.39265
4.1421
300
.38377
Statistics
N
Mean
Std. Deviation
Valid
Missing
ARTEDU
300
0
4.1850
.40213
IMPENV
300
0
4.0803
.42780
STRATE
300
0
4.3130
.46753
EDUAET
300
0
4.1421
.38377
170
APPENDIX D: Map of Nigeria indicating Taraba State & Jalingo

pdf - University Of Nigeria Nsukka

Transcription

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