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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 Date

(Supervisor)

...................................................... ............................... Dr. G.O. Diogu Date

(Head of Department)

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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 ... ... ... ... ... ... ... ... ... i CERTIFICATION ... ... ... ... ... ... ... ... ii APPROVAL PAGE ... ... ... ... ... ... ... ... iii DEDICATION ... ... ... ... ... ... ... ... ... iv ACKNOWLEDGEMENT ... ... ... ... ... ... ... v TABLE OF CONTENTS ... ... ... ... ... ... ... vii LIST OF TABLES ... ... ... ... ... ... ... ... x LIST OF PLATES ... ... ... ... ... ... ... ... xi ABSTRACT ... ... ... ... ... ... ... ... ... xiv CHAPTER ONE; INTRODUCTION ... ... ... ... ... 1

1.1 Background of the Study ... ... ... ... ... ... ... 1

1.2 Problem of the Study ... ... ... ... ... ... ... 3

1.3 Purpose of the Study ... ... ... ... ... ... ... 6

1.4 Research Questions ... ... ... ... ... ... ... ... 6

1.5 Research Hypotheses ... ... ... ... ... ... ... 7

1.6 Scope of the Study ... ... ... ... ... ... ... ... 8

1.7 Significance of the Study ... ... ... ... ... ... ... 9

CHAPTER TWO; LITERATURE REVIEW ... ... ... ... 27

2.1 Conceptual Framework ... ... ... ... ... ... ... 27

2.1.1 Art and Society ... ... ... ... ... ... ... ... 28

2.1.2 The Place of Art and Visual Literacy in General Education ... 32

2.1.3 Art Education as a Basis for Aesthetic Education ... ... ... 36

2.1.4 The Environment and Environmental Consciousness ... ... 40

2.1.5 Relationship between Aesthetics and Environment ... ... ... 42

2.1.6 Art Education as a Factor for Improving Aesthetic Quality of the

Environment ... ... ... ... ... ... ... ... 49

2.2 Strategies for Improving the Aesthetic Quality of the Environment 51

2.2.1 The United States Environmental Programme ... ... ... 51

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2.2.2 The Malaga Urban Environmental Programme (Spain) ... ... 52

2.2.3 Kyoto Gardens (Japan) ... ... ... ... ... ... ... 54

2.2.4 Gambia Environmental Awards Scheme ... ... ... ... 56

2.2.5 The Calabar Example ... ... ... ... ... ... ... 57

2.2.6 Abuja FCT Master-Plan ... ... ... ... ... ... ... 58

2.2.7 Waverley Council Environmental Programme ... ... ... 59

2.3 Summary of Literature Review ... ... ... ... ... ... 61

CHAPTER THREE; RESEARCH METHOD ... ... ... ... 65

73.1 Research Design ... ... ... ... ... ... ... ... 65

3.2 Area of Study ... ... ... ... ... ... ... ... ... 66

3.3 Population of the Study ... ... ... ... ... ... ... 68

3.4 Sample and Sampling Techniques ... ... ... ... ... ... 69

3.5 Instrument for Data Collection ... ... ... ... ... ... 70

3.6 Validation of the Instrument ... ... ... ... ... ... 71

3.7 Reliability of the Instrument ... ... ... ... ... ... 72

3.8 Method of Data Collection ... ... ... ... ... ... ... 72

3.9 Method of Data Analysis ... ... ... ... ... ... ... 74

CHAPTER FOUR; PRESENTATION OF DATA AND ANALYSIS 76

4.1 Data and Analysis ... ... ... ... ... ... ... ... 76

4.2 Summary of Findings ... ... ... ... ... ... ... 90

CHAPTER FIVE: Discussion, Summary, Conclusion and

Recommendations ...... ... ... ... 95

5.1Discussion of Findings ... ... ... ... ... ... ... 95

5.2 Conclusion ... ... ... ... ... ... ... ... ... 126

5.3 Implication of the Study ... ... ... ... ... ... ... 130

5.4 Recommendations ... ... ... ... ... ... ... ... 131

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5.6 Summary of the Study ... ... ... ... ... ... ... 137

5.7 Suggestion for Further Study ... ... ... ... ... ... 140

REFERENCES ... ... ... ... ... ... ... ... ... 141

APPENDIX (A): Cronbach Alpha Reliability Co-efficient Test ... ... 145

APPENDIX (B): “Artists’ and Public Opinion on Art Education

for Creating Aesthetic Environment Questionnaire” (APOAECAEQ)

5-Point Linkert Scale... ... ... ... ... ... ... ... 147

APPENDIX (C): Analysis of Variance (ANOVA) – SPSS 15 ... ... 154

APPENDIX (D): Map of Nigeria indicating Taraba State & Jalingo ... 155

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LIST OF TABLES

Table 1: Future Environmental Programmes for Waverley Council ... 60

Table 2: Awareness of the Relationship between Art Education

and Aesthetic Environment … …. ... ... ... ... 77

Table 3: Relevance of Art/Aesthetics to the Improvement of the

Quality of the Environment ... ... ... ... ... ... 79

Table 4: Impact of Art Training on Individuals and the Environment ... 81

Table 5: Art Strategies for Improving the Aesthetic Quality

of the Environment ... ... ... ... ... ... ... 85

Table 6: Responses of Artists, Environmental Stakeholders and the

Public on the Relationship between Art Education and

Aesthetic Environment ... ... ... ... ... ... 27

Table 7: Responses of the 3 Groups under Study on the Relevance

of Art/Aesthetic Education to Improving the Quality of the

Environment ... ... ... ... ... ... ... ... 88

Table 8: Responses of the 3 Groups under Study on the Impact of

Art Training on Aesthetic Environment. ... ... ... ... 89

Table 9: Responses of the 3 Groups under Study on Strategies for

Improving the Aesthetic Quality of the Environment ... ... 90

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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 non-artists 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 man-

influenced 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 man-

made 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

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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.

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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

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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.

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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

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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)

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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

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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 Kinkaku-

ji 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 sub-

headings:-

2.1 Conceptual Framework

2.1.1 Art and Society

2.1.2 The Place of Art and Visual Literacy in General Education

2.1.3 Art Education as a basis for Aesthetic Education

2.1.4 The Environment and Environmental Consciousness

2.1.5 Relationship between Aesthetics and Environment

2.1.6 Art Education as a Factor for Improving Aesthetic Quality of the

Environment

2.2 Strategies for the Improvement of the Quality of Urban Environment

2.2.1 The United States Environmental Programme

2.2.2 The Malaga Urban Environmental Programme (Spain)

2.2.3 Kyoto Gardens (Japan)

2.2.4 Gambia Environmental Awards Scheme

2.2.5 The Calabar Example

2.2.6 Abuja FCT Master-plan

2.2.7 Waverley Council Environmental Programme

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.

2.1.1 Art and Society

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.

2.1.2 The Place of Art and Visual Literacy in General Education

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, child-

centered 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 socio-

economic 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

2.1.4 The Environment and Environmental Consciousness

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

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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

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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

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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)

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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,

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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,

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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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2.1.6 Art Education as a Factor for Improving Aesthetic Quality of the

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.

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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

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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.

2.2.1 The United States Environmental Programme

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

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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 up-

to-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

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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).

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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.

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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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2.2.4 Gambia Environmental Awards Scheme

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 follow-

up 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”.

2.2.5 The Calabar Example

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)

2.2.7 Waverley Council Environmental Programme

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,

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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

Element

Possible Programme

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

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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.

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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.

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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

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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

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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

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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

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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 environment-

related 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).

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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

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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

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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.

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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

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“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).

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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 __ X

SD

DECISION

SA A UD DA SD 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

119 132 33 12 4 4.17 0.873 Agree

5 Art and aesthetics are closely related and overlap

119 132 34 14 1 4.18 0.835 Agree

6 Not all art works are aesthetic

79 144 42 25 10 3.86 1.010 Agree

7 Not all aesthetic things are art

66 142 36 44 12 3.69 1.092 Agree

8 It is possible to develop aesthetic sensibilities without being able to make art

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.

112 142 25 17 4 4.14 0.887 Agree

Total Mean 115.36 137.09 26.91 16.18 4.46 4.14 0.384 Agree

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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.

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Table 3: Relevance of Art/Aesthetics to the Improvement of the Quality of the Environment

S№ ITEM

5 4 3 2 1 __ X

SD

DECISION SA A UD DA SD

12 Man’s relationship to the natural environment is the origin of art and society

135 132 19 13 1 4.29 0.797 Agree

13 Aesthetics (principles of beauty) is part and parcel of the environment from man’s existence

132 141 22 4 1 4.33 0.700 Agree

14 A large part of our aesthetic experience and enjoyment is from nature

162 117 7 12 2 4.42 0.782 Agree

15 It is only through the study of art/aesthetics that we can fully enjoy and see the importance of (aesthetic) things in nature

92 115 28 49 16 3.73 1.210 Agree

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

140 128 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

153 104 21 17 5 4.28 0.940 Agree

18 Other stakeholders of environmental protection in Nigeria outside government have not adequately promoted the aesthetic aspect of environmental protection

125 122 27 22 4 4.14 0.950 Agree

19 Being comfortable with an ugly environment implies a deficiency in our capacity for aesthetic appreciation

135 105 24 28 8 4.10 1.066 Agree

20

Ugliness of our environment is a sure sign of: Disease

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107

30

31

15

3.93

1.163

Agree

21 Un-sustainability, and 77 153 40 24 6 3.90 0.940 Agree

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

Lack of aesthetic environment in Jalingo metropolis is caused by:

24 Man’s activities more than natural phenomena

172 90 19 14 5 4.37 0.917 Agree

25 Lack of art education and awareness

101 143 24 27 5 4.03 0.964 Agree

26 Lack of aesthetic consciousness

(awareness) 113 152 23 10 2 4.21 0.777 Agree

27 Poor waste management which adds ugliness to the environment

167 113 14 5 1 4.47 0.696 Agree

28 Disregard for environmental aesthetics (beauty) and hygiene

140 126 24 6 4 4.31 0.809 Agree

29 Lack of enforcement of land and environmental laws which has permitted lack of planning and order

157 107 18 12 6 4.32 0.906 Agree

30 Non-compliance with governmental policies on land and urban planning which has created disorder and congestion

150 106 23 18 3 4.27 0.914 Agree

31 Indiscriminate posting of bills

(posters) which helps to deface objects in the environment

133 128 22 13 4 4.24 0.868 Agree

32 Menace of uncontrolled domesticated animals which has contributed to pollution of the environment

136 124 19 20 1 4.25 0.869 Agree

33 Poverty of the residents which has given rise to tolerance of dirt and slum living

105 119 20 41 15 3.86 1.183 Agree

Total Mean 132.6 120.3 22.2 19.4 5.5 4.19 0.402 Agree

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

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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/№ ITEM 5 4 3 2 1 __ X

SD

DECISION SA A UD DA SD

34 Artistic experience refers to activities in the making and responding to work of art and artistic value

89 171 33 4 3 4.13 0.731 Agree

35 Aesthetic education enables you to create and perceive beautiful things

151 131 7 7 4 4.39 0.766 Agree

36 Aesthetic experience means responses not only to man-made objects but also to natural objects in the environment

146 134 17 0 3 4.40 0.689 Agree

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

80 157 48 11 4 3.99 0.834 Agree

38 Through art education we can recognize and understand aesthetics better

107 167 20 4 2 4.24 0.692 Agree

39 People who have formal training in art education express themselves better in aesthetic matters

141 108 28 19 4 4.21 0.946 Agree

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40 The more art education is emphasized in and outside schools, the more aesthetic and environmental consciousness is broadened

126 142 21 9 2 4.27 0.774 Agree

41 Art training equips one with the ability to make sound aesthetic judgment of what constitutes a good environment

132 149 14 5 0 4.36 0.652 Agree

42 Art education develops aesthetic sensibility

121 160 12 6 1 4.31 0.676 Agree

43 Art education sharpens one's sensitivity to the environment

115 160 16 8 1 4.27 0.710 Agree

44 Effective training of perceptual thinking takes place in art training

66 118 65 44 7 3.64 1.052 Agree

45 Art training promotes critical thinking

102 154 25 15 4 4.12 0.856 Agree

46 Critical thinking is required in aesthetic judgment

106 150 25 14 5 4.13 0.872 Agree

47 Art education focuses on developing the emotional dimension of our being to appreciate beauty

100 153 35 10 2 4.13 0.793 Agree

48 Feeling (emotional) dimension enables us to always keep and maintain clean, decent and progressive environment

97 138 37 22 6 3.99 0.961 Agree

49 No other subject contributes more to visual literacy than art education

65 88 69 60 18 3.41 1.200 Disagree

50 People who are deficient in visual literacy demonstrate a high sense of insensitivity to aesthetic objects and the environment

61 133 48 51 7 3.63 1.060 Agree

51 Most people are aesthetically illiterate because they cannot look at objects and environment aesthetically

72 115 48 47 18 3.59 1.183 Agree

52 If visual literacy is inculcated in education, we will have aesthetically conscious people in our society and a better aesthetic environment

112 147 29 6 6 4.18 0.837 Agree

53 The craze for the good things of life from foreign countries among Nigerian youth is a good index of their love for aesthetics

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

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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

191 91 11 7 0 4.55 0.680 Agree

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

123 152 18 6 1 4.30 0.701 Agree

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

101 139 43 15 2 4.07 0.859 Agree

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

105 162 25 4 4 4.20 0.754 Agree

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

137 130 17 14 2 4.29 0.825 Agree

Total Mean 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

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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 cut-

off 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 4 3 2 1 __

X SD

DECISION

SA A UD DA SD

61 An aggressive educational programme/public awareness with emphasis on art education and environment

150 129 17 4 0 4.42 0.662 Agree

62 Repairs/renovation and maintenance of existing dilapidated structures/infrastructures by aesthetically conscious experts

177 152 20 7 4 4.24 0.785 Agree

63 Installation of artistic monuments (building/statue) of cultural, historical and social significance at strategic locations

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

108 138 25 23 6 4.06 0.964 Agree

68 Giving local and national environmental awards for best performed /most improved aesthetic towns/cities

120 135 31 10 4 4.19 0.850 Agree

Total Mean 139.13 129.13 20 9.13 2.38 4.31 0.468 Agree

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

relationship between art education and aesthetic environment.

This hypothesis was tested at 0.05 level of significance, using one-way

ANOVA. The result is presented in Table 6 as follows:

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Table 6: Responses of Artists, Environmental Stakeholders and the Public

on the Relationship between Art Education and Aesthetic Environment.

Sum of

Squares

df Mean

Square

F Sig. Level Decision

Between Groups

Within Groups

Total

1.721

42.314

44.035

2

297

299

0.861

0.142

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.

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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

Sum of Squares df Mean

Square

F Sig.

Level

Decision

Between Groups

Within Groups

Total

0.287

48.064

48.351

2

297

299

0.144

0.162

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

Squares

Df Mean

Square

f Sig.

level

Decision

Between Groups

Within Groups

Total

2.633

52.087

54.720

2

297

299

1.316

0.175

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.

105

Table 9: Responses of the 3 Groups under Study on Strategies for Improving the Aesthetic Quality of the Environment

Item Sum of

Square

Df Mean

Square

F Sig.

Level

Decision

Between Groups

Within Groups

Total

0.816

64.540

65.356

2

297

299

0.408

0.217

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.

106

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.

107

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

relationship between art education and aesthetic environment.

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.

108

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

109

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.

111

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

112

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

113

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 (Courtesy of Ande’s Collections)

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

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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)

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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

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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).

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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

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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.

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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

(Courtesy of Ande’s Collections)

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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

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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).

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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

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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)

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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?

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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

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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

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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

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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

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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

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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.

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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).

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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

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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)

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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

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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

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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

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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,

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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.

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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

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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 for repairs and renovation of all

dilapidated/abandoned government projects (structures and 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 tree-planting 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

.924 68

Cronbach'sAlpha N of Items

Scale Statistics

281.3333 519.126 22.78435 68Mean Variance Std. Deviation N of Items

161

Item-Total Statistics

276.9333 510.133 .307 .923277.0000 512.828 .216 .924276.8667 507.982 .379 .923277.0667 515.375 .174 .924277.7333 494.271 .431 .923277.8000 523.614 -.113 .927277.6000 506.179 .242 .924277.8000 517.131 .019 .926276.8000 506.648 .535 .923277.0667 517.582 .045 .925277.5333 491.292 .608 .921276.6667 511.126 .278 .924277.0000 506.483 .450 .923276.9333 512.340 .227 .924277.4000 493.903 .445 .923277.1333 509.085 .392 .923276.8667 506.464 .369 .923276.9333 513.306 .161 .924277.3333 516.368 .065 .925277.0667 501.306 .344 .923277.4667 510.740 .281 .924277.4667 504.809 .283 .924277.2667 511.789 .189 .924277.8000 493.683 .616 .921277.4000 490.593 .803 .920277.4667 494.189 .603 .921277.2667 493.168 .727 .921277.4667 489.499 .724 .920277.3333 493.057 .502 .922277.0000 509.655 .279 .924276.9333 506.271 .446 .923277.4000 489.076 .512 .922277.4667 491.292 .485 .922276.8000 516.855 .087 .924276.7333 507.375 .512 .923276.7333 513.582 .235 .924277.1333 512.120 .164 .924276.8000 502.097 .738 .922276.7333 508.478 .463 .923276.8667 503.154 .471 .923276.8667 498.326 .622 .922276.6667 514.575 .199 .924277.0000 498.897 .390 .923277.0667 518.271 .003 .926276.9333 512.202 .195 .924277.0000 511.862 .324 .923277.1333 504.671 .469 .923277.1333 511.982 .191 .924277.1333 506.878 .302 .924277.5333 499.016 .429 .923277.8000 518.234 .002 .926277.1333 495.430 .682 .921277.8667 488.257 .543 .922277.2667 485.720 .781 .920277.2000 484.028 .696 .920276.9333 507.926 .386 .923277.7333 514.133 .092 .925277.7333 509.582 .217 .924277.4667 496.257 .550 .922276.8000 506.234 .331 .923277.3333 511.816 .237 .924277.3333 492.644 .700 .921277.1333 504.947 .460 .923277.4000 499.145 .496 .922277.0667 505.030 .525 .922277.2000 505.545 .466 .923277.3333 491.402 .667 .921277.0667 500.892 .450 .923

1234567891011121314151617181920212223242526272829303132333435363738394041424344454647484950515253545556575859606162636465666768

Scale Mean ifItem Deleted

ScaleVariance if

Item Deleted

CorrectedItem-TotalCorrelation

Cronbach'sAlpha if Item

Deleted

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/№ ITEMS FOR RATING O P T I O N A

RELATIONSHIP BETWEEN ART EDUCATION AND AESTHETIC ENVIRONMENT

SA 5

A 4

U 3

D 2

SD 1

1 2 3 4 5 6 7 8 9 10 11

Art education (education through art ) is the foundation for the creation and appreciation of what is beautiful Art education provides an excellent setting for aesthetic experience Artistic experience helps to broaden aesthetic awareness 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 Art and aesthetics complement each other in makingss and appreciating beauty Competence in art education enables you to make better aesthetic judgment Certain knowledge and experience are required to adequately appreciate art works and the aesthetic quality of the environment.

164

B THE RELATIONSHIP BETWEEN ART/AESTHETIC EDUCATION AND QUALITY OF THE ENVIRONMENT

SA 5

A 4

U 3

D 2

SD 1

12 13 14 15 16 17 18 19 20 21 22 23 24

Man’s relationship to the natural environment is the origin of art and society Aesthetics (principles of beauty) is part and parcel of the environment from man’s existence A large part of our aesthetic experience and enjoyment is from nature It is only through the study of art/aesthetics that we can fully enjoy and see the importance of (aesthetic) things in nature 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 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 A fundamental disharmony between people and people, and people and the environment 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: Man’s activities more than natural phenomena

165

25 26 27 28 29 30 31 32 33

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 objects in the environment 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

SA 5

A 4

U 3

D 2

SD 1

C ART TRAINING AND IMPACT UPON INDIVIDUALS AND ENVIRONMENT

34 35 36 37 38 39

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 objects in the environment 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

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 42 43 44 45 46 47 48 49 50 51

Art training equips one with the ability to make sound aesthetic judgment of what constitutes a good environment 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

167

52 53 54 55 56 57 58 59 60

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 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 The order and beauty attained by western cities are related to knowledge and skills in art education 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.

SA 5

A

4

U

3

D

2

SD

1

168

D STRATEGIES FOR IMPROVING AESTHETIC

QUALITY OF THE ENVIRONMENT SA 5

A

4

U

3

D

2

SD

1 61 62 63 64 65 66 67 68

The most effective strategies for improving the aesthetic quality of the environment involve: An aggressive educational programme/public awareness with emphasis on art education and environment 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 Enforcement of environmental standards by appropriate government agencies and NGOs Planting of trees/ creation of gardens, lawns, landscaping and recreational centres A more aggressive sanitation programme 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

169

APPENDIX C: Analysis of Variance (ANOVA) – SPSS 15

ANOVA

.287 2 .144 .887 .41348.064 297 .16248.351 299

2.633 2 1.316 7.506 .00152.087 297 .17554.720 299

.816 2 .408 1.879 .15564.540 297 .21765.356 299

1.721 2 .861 6.040 .00342.314 297 .14244.036 299

Between GroupsWithin GroupsTotalBetween GroupsWithin GroupsTotalBetween GroupsWithin GroupsTotalBetween GroupsWithin GroupsTotal

ARTEDU

IMPENV

STRATE

EDUAET

Sum ofSquares df Mean Square F Sig.

Report

4.2484 4.2586 4.3929 4.298756 56 56 56

.40683 .43270 .50420 .329254.1615 4.0976 4.3485 4.1219

85 85 85 85.44825 .41068 .45115 .377854.1752 4.0082 4.2659 4.0977

159 159 159 159.37385 .41812 .46019 .392654.1850 4.0803 4.3130 4.1421

300 300 300 300.40213 .42780 .46753 .38377

MeanNStd. DeviationMeanNStd. DeviationMeanNStd. DeviationMeanNStd. Deviation

SUBSETSARTISTS

ENVIRONMENTSTAKEHOLDERS

THE PUBLIC

Total

ARTEDU IMPENV STRATE EDUAET

Statistics

300 300 300 3000 0 0 0

4.1850 4.0803 4.3130 4.1421.40213 .42780 .46753 .38377

ValidMissing

N

MeanStd. Deviation

ARTEDU IMPENV STRATE EDUAET

170

APPENDIX D: Map of Nigeria indicating Taraba State & Jalingo