Relationship Between Theory and Practice of Teaching Fine Arts in Secondary Schools in Kano State
CHAPTER ONE
Objective of the Study
The main objective of the study was to find out the relationship between teaching in theory and practice in Fine Arts secondary in Kano State. Other objectives were:
- Find out the extent of the relationship between the theory and practice of teaching fine arts in senior secondary schools in Kano
- Determine whether theory or practice is taught
- To find out how the two areas are taught and how many times
CHAPTER TWO
REVIEW OF RELATED LITERATURE
Introduction
The Literature begins with discussions on issues raised by Entwistle in Hartnett and Naish (1976) titled: The Relationships between thinking about ‘What’ to and ‘How’ to do it. This implies, distinguishing knowledge in theory and knowledge in practice; and what Woods and Barrow (1975) refer to (Mechanical Knowledge and Rational Knowledge)
Theory and practice are believed to be pertinent in general education. Distinctions are sometimes drawn between the theory and practice, interpreting the claim that there is a gap between the two. On this issue, O’connor, also in Hartnett and Naish (1976) reflected that “when in an ordinary speech, we contrast theory and practice; we refer to a set or system of rules or even collection of precepts which guide and control an actions of various kinds.”
The Concepts and definitions of the two terms in a contrastive and relative form are innumerable. Various authorities and disciplines suggest some ways in which the distinction might be made. For example, Rye’s accounts of practical knowledge; Gauthier’s practical reasoning and problems; Hampshire’s Fallacies in normal philosophy; and the “Educational Theory and Practice” of Green; in Leland (1972).
Theoretical Framework
This study is based on the Getty Centre for Education in the Arts (1985) idea of art education which focused its efforts on the development and implication of an approach to teaching art which is known as Discipline Base Art Education (D.B.A.E.). D.B.A.E. derived its content from the four major disciplines of art – studio art, art history, art criticism and aesthetics. The centre believes that artist, art historians, art critics, and aestheticians contribute different perspectives to an art work. In D.B.A.E. art instruction is based on content from areas or disciplines that contribute to the understanding of art. Teaching children about art should draw on ideas and techniques from each of these areas to build a full understanding of art. This approach to art education is called “Discipline Based.’ The content for art education should come from the disciplines of art production, art history, art criticism and aesthetics.
This study is also based on the Nigerian Education Research and Development Council (N.E.R.D.C.) (1985) approach to art which is the combination of the D.B.A.E approach and others. Art production is however, divided into components, craft is also introduced. Art history is taught at high levels of education, methodology is included in teacher training institutions. The content includes sculpture, graphics, textile design, drawing, painting and crafts.
CHAPTER THREE
RESEARCH METHODOLOGY
Introduction
The research methodology was planned to specify the methods which was applied in the data collection and analysis in the research design and to provide the procedural outline for the conduct of the research. The methodology adopted in this study provides the essential blueprint and framework for tackling the research problems. This chapter serves as a guide in the delineation and limitation of the research purpose.
Research Design
The research design used in this study is descriptive survey. Descriptive research is used to obtain information concerning the current status of what exists at a time. Therefore the research design is directed towards determining the extent of the gap that exists between the theory and practice of teaching Fine Arts in secondary schools in Kano State.
CHAPTER FIVE
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The research study was conducted on the following standard and basic arrangement: preliminary pages, five chapters and list of tables.
The preliminary pages contained tittle page, declaration, dedication Certificate, acknowledgement, abstract and table of contents.
Chapter one is the introduction of the study and it covered the background of the study, statement of the problem, objectives of the study, significance of the study, research questions, research hypotheses, delimitation and scope of the study, definition of terms as well as organization of the study.
Chapter two contains the review of related literature which covered the introduction of the reviewed literature, theoretical frame work of the study, relationship between theory and practice of teaching fine arts in secondary schools in Kano state, functions and objectives of fine arts in secondary schools, theory and practical teaching materials in secondary schools, values of theory and practical teaching materials in secondary schools, selection of theory and practical teaching materials in secondary schools, using instructional teaching materials for theory and practice lessons in secondary schools, summary of the related literature and uniqueness of the study. Chapter three is the methodology adopted in the research study.
Conclusion
It was concluded that the finding supported the research hypothesis of this study and found that there was a gap existing between the theory and practical teaching of fine arts in Secondary School in Kano State. The extent of the discrepancy between the theory and practice of teaching fine arts was sufficiently described as very serious. Least amount of gap in the area of theory of teaching fine arts was discovered. Generally, there was no much deal of gap found in the area of theory and practice. However, some very serious problem centered around the questions on the fine arts practice, which is farthest from theory in terms of methods of teaching..
Recommendations
From the research findings, it was found that there were problems in acknowledging the relationship between theory and practice of teaching fine arts in Senior Secondary Schools which coursed the degree of gap between the art theory and art practical teaching in Kano State.
Fine arts teachers and educators in Kano State, therefore, have to face these challenges by trying to convert the number of disinterested students to a high level of interested students in fine art. The neglect of either the theoretical and practical teaching of fine art in the
schools, overtly, displayed by some of the schools, force the students to become unnecessary swollen headed towards art education in the state. This attitude by the students had made them to look down on art as a full career in their school activities. The fact is that, the application of theory and practice of teaching fine arts are not utilized relatively. Thus, the students tend to run away from taking the subject in their further studies.
Instructional fine arts materials are the sources that generate interest to the leaner and give courage to fine arts teachers in the classroom. There should be enough scope for the development of fine arts material in order to facilitate the theory and practice of teaching fine arts process: Instructional art materials are very essential aspect of art education in Nigeria. By using the fine arts material, the art teacher can only find it easy to theorize artwork when teaching. In selecting the appropriate instructional fine arts materials, the art teacher must know what should be the aims and objectives of fine arts teaching, what method of teaching is to be adopted and what kind of teaching materials are to be used. Well-organized instructional fine arts materials are the source of inspiration to talent when facts are taught using the instructional materials. Therefore, through the theory and practice of teaching Fine Arts a relative terms. The students can be guided to draw their own conclusion about the importance of the subject and the topic for discussion in the classroom.
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