Odimba Rita

METH

ART

Digitally Signed by: Content manager’s

DN : CN = Weabmaster’s name

O= University of Nigeria, Nsukka

OU = Innovation Centre

Odimba Rita

Faculty of Art Education

Department of Fine and Applied A

HODS AND CHALLENGES OF TEACHING

T SKILLS TO THE PHYSICALLY CHALL

SOUTH EASTERN NIGERIA

OGU, JOVITA C.

PG/Ph.D/09/51858

i

: Content manager’s Name

Weabmaster’s name

a, Nsukka

Arts

G CREATIVE

LENGED IN

ii

UNIVERSITY OF NIGERIA, NSUKKA

DEPARTMENT OF FINE AND APPLIED ARTS

METHODS AND CHALLENGES OF TEACHING CREATIVE ART SKILLS TO

THE PHYSICALLY CHALLENGED IN SOUTH EASTERN NIGERIA

BY

OGU, JOVITA C.

PG/Ph.D/09/51858

A THESIS SUBMITTED TO THE DEPARTMENT OF FINE AND APPLIED

ARTS, UNIVERSITY OF NIGERIA, NSUKKA.

IN FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DEGREE

OF DOCTOR OF PHILOSOPHY (Ph.D.) IN ART EDUCATION

APRIL, 2014

iii

UNIVERSITY OF NIGERIA, NSUKKA

DEPARTMENT OF FINE AND APPLIED ARTS

METHODS AND CHALLENGES OF TEACHING CREATIVE ART SKILLS TO

THE PHYSICALLY CHALLENGED IN SOUTH EASTERN NIGERIA

BY

OGU, JOVITA C.

PG/Ph.D/09/51858

A THESIS SUBMITTED TO THE DEPARTMENT OF FINE AND APPLIED

ARTS, UNIVERSITY OF NIGERIA, NSUKKA.

IN FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DEGREE

OF DOCTOR OF PHILOSOPHY (Ph.D.) IN ART EDUCATION

APRIL, 2014

iv

APPROVAL PAGE

This thesis has been approved for the Department of Fine and Applied Arts,

University of Nigeria, Nsukka.

By

………………………………… ………………………… Dr. V.E Ali Prof. O.K. Oyeoku Head, Department of Fine and Applied Arts Supervisor

…………………………………

External Examiner

v

CERTIFICATION

OGU, JOVITA C., a postgraduate student in the Department of Fine and

Applied Arts, with registration Number PG/Ph.D/09/51858, has satisfactorily

completed the requirements for the award of DOCTOR OF PHILOSOPHY IN

ART EDUCATION. The work embodied in this these is original and has not

been submitted in part or full for any other diploma or degree of this or any

other university.

………………………………… ………………………… Dr. V.E Ali Prof. O.K. Oyeoku Head, Department of Fine and Applied Arts Supervisor

vi

DEDICATION

To my beloved husband, Mr. Ogu, Charles and his children, Elonna and Tonna

for their full support and motivations that sustained me all through the years of

study.

vii

ACKNOWLEDGEMENTS

A million thanks to God Almighty for making this enviable dream a reality.

The researcher wishes to acknowledge many people who have contributed in one

way or the other to the accomplishment of this task. First in the list is her thesis

supervisor, Prof. O.K. Oyeoku, whose professional guidance, encouragement

and co-operation at all stages helped in completing this work. Special

appreciation also goes to the Head of Department of Fine and Applied Arts, Dr.

O.G. Diogu and other members of staff for their cooperation during the course of

this study. The researcher also acknowledges with thanks the valuable

contributions of her colleagues in Alvan Ikoku Federal College of Education,

Owerri; Dr. H.C. Ngumah, Dr. Opara J.M., Dr. Ukwuoma, Dr. A.U. Anusiem, Mr.

R.N. Ikegwuonu, Mr. Eze Ngene, Mr. Benjamin Nwokedi, Mr. Joni Amadi, Mr.

Emeka Agbo and many others whose friendships and supports counted so much

in completing this work.

Also to the management of Alvan Ikoku Federal College of Education, ably led by

Dr. Mrs.B.C. Ijioma (the provost) for granting her the opportunity and

encouragement to rise to this enviable height in academics.

Finally, to her visionary husband and her entire family members, especially, her

father, Nze Iwuoha, B.O. and her mother, late Ezinne Theresa Iwuoha, her

brother, Dr. Chima Iwuoha and all other members of Iwuoha and Ogu families for

lighting the candle that has produced a great flame in her today. Your

contributions and support both morally and financially are highly acknowledged.

viii

ABSTRACT

The physically challenged graduate from special education secondary

schools established by the government to offer them special training without

meeting up with the objectives of establishing special education as stated in

National Policy on Education. For this reason therefore, the researcher sought

to investigate the teaching methods, materials and challenges that were faced

in teaching creative skills to the physically challenged with the view to making

recommendations for more appropriate ones if the existing ones were

inadequate. In doing this, four purposes were formulated, four research

questions were asked to guide the study while four null hypotheses which

were tested at 0.05 level of significance were postulated. Literature materials

that are relevant to the study were reviewed from both primary and secondary

sources. The design for the study was survey. The study was carried out in

five states of the South Eastern Nigeria. The Target Population for the study

was eighty (80) teachers drawn from the five special education secondary

schools in the South Eastern Nigeria. Purposive sampling Technique was

used because of the small size of the population. The instrument used for

data collection was a set of structured questionnaire tagged "Creative Art

Teaching in Special Education Survey Questionnaire", administered

personally by the researcher. The instrument was subjected to face and

content validation. The reliability of the instrument was also ensured through

a test -retest study. The data collected was analyzed using mean statistics

and interpretation was made on each item using the mean of 2.50 as the

bench mark for positive responses. The hypotheses were tested using

Analysis of variance (ANOVA) while statistical decisions were made at 0.05

level of significance. The study made eight findings which included that there

were inadequate provision of art materials, art teachers and learning aids to

the special schools and that the commonest method of art teaching in the

schools was the discussion method among other findings. The researcher

therefore recommended among others that many art skills should be taught in

special schools to avail the students of the opportunity to acquire wide variety of

skills to sustain them as well as employing more art teachers who will use

demonstration and individualized method of teaching in the class. Among the

implications of the study was that the use of discussion method for teaching art

could make learning meaningless, uninteresting and boring to the learners. The

relatively small size of the population was observed as one of the limitations of

the study while the researcher suggested that a similar study be carried out

using more schools in order to make for effective generalization.

ix

TABLE OF CONTENTS Pages

Title Page - - - - - - - - - - i

Approval Page - - - - - - - - - - ii

Certification - - - - - - - - - - iii

Dedication - - - - - - - - - - iv

Acknowledgment - - - - - - - - - v

Abstract - - - - - - - - - - vi

Table of Contents - - - - - - - - - vii

List of Tables - - - - - - - - - x

Illustration - - - - - - - - - - xii

CHAPTER ONE: INTRODUCTION - - - - - - 1

1.1 Background of the Study - - - - - - 1

1.2 Statement of the Problem - - - - - 9

1.3 Purpose of the Study - - - - - - - 10

1.4 Research Questions - - - - - - - 11

1.5 Hypotheses - - - - - - - - - 12

1.6 Scope of the Study - - - - - - 13

1.7 Significance of the Study - - - - - - - 13

x

CHAPTER TWO: LITERATURE REVIEW - - - - - 15

2.1 Definition and Categories of Physically Challenged - - - 15

2.2 Meaning, Origin and Development of Special Education in Nigeria 29

2.3 Factors Associated with Art Education in Special Schools - - 38

2.4 Art Materials, Tools and Equipment for Art Teaching in Special

Education - - - - - - - - 41

2.5 Methods of Art Teaching - - - - - - - 43

2.6 The Physically Challenged and Art Skills: Who Does What? - 52

2.7 Problems Associated With Learning Special Education Schools. - 54

2.8 Concept of Creativity - - - - - - - - 56

2.9 The Missing Link - - - - - - - - 62

2.10 Summary of Literature - - - - - - - - 65

CHAPTER THREE: RESEARCH METHODOLOGY - - 67

3.1 Research Design - - - - - - - - 68

3.2 Area of the Study - - - - - - - - 68

3.3 Population of the Study - - - - - - - 70

3.4 Sample of the Study - - - - - - - 71

xi

3.5 Instrument for Data Collection - - - - - - 71

3.6 Validation of the Instrument - - - - - - 72

3.7 Reliability of the Instruments- - - - - - - 73

3.8 Procedure for Data Collection - - - - - - 73

3.9 Procedure for Data Analysis - - - - - - 74

CHAPTER FOUR: PRESENTATION OF FINDINGS AND ANALYSIS

OF DATA - - - - - - - 75

4.1 Research Question One - - - - - - - 75

4.2 Research Question Two - - - - - - - 76

4.3 Research Question Three - - - - - - 78

4.4 Research Question Four - - - - - - - 79

4.5 Hypothesis One - - - - - - - - 82

4.6 Hypothesis Two - - - - - - - - 83

4.7 Hypothesis Three - - - - - - - - 84

4.8 Hypothesis Four - - - - - - - - 85

4.9 Summary of Findings - - - - - - - 86

CHAPTER FIVE: DISCUSSION OF FINDINGS, IMPLICATIONS,

SUMMARY, RECOMMENDATIONS AND CONCLUSION - - 88

5.1 Discussion of Results - - - - - - - 88

5.2 Implications of the Findings - - - - - - - 94

5.3 Recommendations - - - - - - - 95

xii

5.4 Limitations of the Study - - - - - - - 96

5.5 Suggestions for Further Studies - - - - - 97

5.6 Summary of the Study - - - - - - 98

5.7 Conclusion - - - - - - - - - 98

REFERENCES - - - - - - - - 100

APPENDICES - - - - - - - - 106

xiii

LIST OF TABLES

Table 1 - - - - - - - - - - 70

Table 4.1 - - - - - - - - - - 75

Table 4.2 - - - - - - - - - - 76

Table 4.3 - - - - - - - - - - 78

Table 4.4 - - - - - - - - - - 79

Table 4.5 - - - - - - - - - - 79

Table 4.6 - - - - - - - - - - 83

Table 4.7 - - - - - - - - - - 84

Table 4.8 - - - - - - - - - - 85

xiv

LIST OF ILLUSTRATIONS

Illustration I - - - - - - - - 69

Illustration II - - - - - - - - 69

1

CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

In the world today, there are numerous individuals who are affected by

conditions that make them look different from what is regarded as the normal

pattern of life. In most developing countries like Nigeria, many of these

individuals are seen either standing or squatting at street corners of every

busy city begging for alms. Some have defects in talking, walking, seeing,

hearing, mental activities, among others. These individuals are referred to, the

world over, as disabled people, although in recent times, it has shifted from

the above to physically challenged. Broadly speaking, physically challenged

refers to those persons that possess impairments which limit the physical

functions of their limbs or any other part of their body. It could be described as

deviation or variance of an individual from the normal by a considerable

amount of traits (Heck 1953). The definition of physically challenged was

given by psychologists of old, from where all recent meanings are derived.

Kirk (1972) defined the disabled/physically challenged as:

Those who deviate from the normal children in mental characteristics, in sensory abilities and communication abilities; in neuromuscular or physical characteristics; in social or emotional behavior; in multiple handicaps to such an extent that they require modification of school practices or social education service in order to develop to their maximum potentials, (P.4)

2

Written from the educational point of view, Len and Sally (1981) saw the

physically challenged as; “those children who cannot be handled in a normal

class by the teacher; or children who are unable to achieve normal

educational goals within the normal education experience”. (p.12)

According to the National policy on education (FRN 2004); physical

challenges range from blindness, partial sightedness, deafness, hard of

hearing, mental retardation, social maladjustment, physical handicap, among

others, due to circumstances of birth, inheritance, social position, mental and

physical health pattern or accident in later life. Similarly, Okobia and Nwogu

(1995) listed types of disabilities as deafness, blindness, cripple, mentally

retarded, among others. According to them, deafness is the inability of the ear

to hear or perceive sound. Blindness is the inability of the eyes to perceive

light. The mentally retarded are the group of children with low intelligence,

while the physically impaired are those with physical body defects.

Whatever the nature of their challenges, this group of people still remain a

significant part of the society’s population whose condition is pathetic and

hopeless if left unsupported. Estimates of worldwide and country-wide number

of individuals with disabilities are problematic. The varying approaches taken

to define disabilities notwithstanding, demographers agree that the world

population of individuals with disabilities is very large. For example, in 2004,

the World Health Organization estimated a world population of 6.5 billion

people, out of this, nearly 100 million people were to be moderately or

3

severely disabled (Ugwuegbulem, 2010). In Africa, the rate of growth of

people with physical challenges are on the increase when compared with

the rate in the western world, probably due to poor conditions of living, or

accidents in later life and circumstances of birth as observed in a feature on

B.B.C. focus on Africa as referred to by Ogu (2012). According to it, about one

in every twelve people in Africa is physically challenged… about eight percent

of Africans have impairments which affect their lives in some way. In Nigeria, it

is estimated that about 19 million persons are afflicted with various disabilities.

They may have difficulty with seeing, hearing or learning. Some of them may

have been born with it, developed impairment in early childhood, or become

physically challenged later in life. The feature also observed with regrets that:

Traditionally, strong tribal religious beliefs appear to influence the way challenged people are handled. A challenged child in the family is sometimes thought of as a punishment from the gods for the sins of her ancestors. They can be thought of as bad omens and be rejected from their families to fend for themselves (P. 6).

Nevertheless, this group of people can be transformed to useful members of

the society, if properly rehabilitated. In spite of their challenges, they still

remain useful members of the society. Onyem (2000) clarifies this in his

statement that disability can be transformed to asset if properly rehabilitated.

This is because disability is not liability. Sometimes, some of these individuals

have very minute defects which do not affect their mental abilities such as the

hearing impaired, the visually impaired and the orthopedically deformed. It is

on record today that some challenged people have made tremendous

4

achievements in the march to human civilization, for example, former

President Roosevelt of the United States of America was a cripple. Steve

Wonder is a blind, but a celebrated musician/artist in the United States of

America. Other local examples include; Dr Peter Mba who is deaf and former

Head of Special Education Department, University of Ibadan. Alex Ndeazi is

from Uganda and was elected as the first deaf Member of Parliament in Africa,

Dr. Chuks Osuji (OON), is blind, yet, he is a renowned opinion research

consultant and publisher among others. From the above list, there is no doubt

that the physically challenged can contribute to the development of the society

if given equal opportunity with the normal individuals. A cripple can only be

handicapped if he has no aid to help him move about to perform the duties

demanded of him. Outside this condition, he is as relevant as the normal

individual. His mental capacity is as capable or even more as that of a normal

person. Similarly, a blind person is only challenged when it comes to his

inability to perform expected roles as regards vision where there is no visual

aid provided but definitely, not in mental activities. This is also applicable to

the deaf who can only be challenged in communication without any hearing

aid provided. It is against this background that both the government and

society at large make efforts to rehabilitate the physically challenged through

education and skills acquisition to make them both contributing members of

the society as well as independent citizens. This gave birth to the creation of

special education unit in the ministry of education to see to their rehabilitation.

5

This is in line with one of the philosophies of education as contained in the

National Policy on Education (2004) which stated that every Nigerian child

shall have a right to equal educational opportunities irrespective of any real or

imagined challenges each according to his or her ability. Therefore, special

education as documented in the above source is a formal special educational

training given to people (children and adults) with special needs who have

learning difficulties because of different sorts of handicaps and are unable to

cope with normal school class organization and methods.

Special education aims at:

(a) Giving concrete meaning to the idea of equalizing educational

opportunities for all children, their sensory, physical, mental, emotional

challenges notwithstanding.

(b) Providing adequate education for all people with special needs.

(c) To create opportunity for the physically challenged to fully contribute

their own quota to the development of the nation.

(d) Having opportunities for exceptionally gifted and talented children to

develop their talents, natural endowment/trait at their own pace in the

interest of the nation’s economic and technological development.

(e) Design a diversified and appropriate curriculum for all the beneficiaries.

The document also recommends integration as the most realistic form of

special education since challenged children are expected to live in the society.

Under this arrangement, special classes and units will be provided in the

6

ordinary school, while special schools, where necessary will be established for

the handicapped. Holding the same view, Adeniran (1989) agreed that special

education will help the physically challenged to adjust both socially and

emotionally to his challenges and modifying his behaviour accordingly. The

summary of the stated philosophy and goals of special education implies that:

there is need for equality of educational opportunities for all Nigerian children

and adults irrespective of the physical, mental, and psychological dispositions

as expressed in the National Policy on Education (FRN, 2004). However, the

introduction of special education is an innovation from the previous practices

where no deliberate educational provisions are made for this group of people.

Again, the provision gives them a sense of belonging to partake in the

development of the nation. Special education offered them is such that is

specifically tailored to their conditions with modifications in curriculum and

methodology in view of their handicapped conditions to enhance their

existence in the society.

In spite of the above provisions, FRN (2004) still recognized that sending them

to school is usually surrounded by learning difficulties because of their

different types of challenges. As a result of this, most often, they are unable

to adjust to the normal school programmes and methods. The above fact, as

well as their levels of understanding make it obvious that many difficulties will

be encountered in attempting to teach them in a regular class group. For this

reason, therefore, it becomes much more challenging in choosing who to

7

teach them, how to teach them, what to teach them and where to teach them.

Among all other subjects in the school curriculum, art has many educational

roles to play in the overall intellectual and skill development of the physically

challenged just as it does to normal children. This is because, in spite of their

physical challenges, they have the same need to develop their creative

abilities as do other children. To achieve this therefore, they need to be

exposed to studies and practices in art education, following more careful

approach with specialized methodologies and materials according to their

individual conditions. These strategies if effectively applied, will provide them

with creative skills that will not only help them to produce objects of artifacts

that would earn them sustainable livelihood, but will also acquaint them with

creative abilities to tackle problems in life endeavours and become meaningful

contributing members to the society. To this effect, special schools have been

established for their training and rehabilitation. Such special schools as

Special School for the Deaf and Blind Oji River, established in 1960 where the

first sign language training skills for the deaf was introduced in Nigeria; Pacelli

School for the Blind Children established in 1962, Atundaoju School for

physically handicapped children in Lagos established in 1965, Orlu Chelshire

Home Special Education Center in Imo State established in 1968, Imo State

School for the Deaf, Ofekata Orodo established in 1984, among others. In

addition, some model schools in the states of the federation have been

approved to admit some challenged children in mainstream. To reinforce their

8

learning, resource rooms and special teachers who have acquired knowledge

in special education are provided in the schools. Owing to their various

learning challenges as a result of their deformities, it takes longer than normal

for them to adjust to the normal school programmes. And as a result of this,

they require special approaches by the teacher. Therefore to develop their

creative abilities and skills, art education must be made their crucial learning

material. This is because art education involves creativeness, innovativeness

and imaginativeness as well as craftsmanship (Madu, 2010).

Art education, like the general teaching of other subjects, involves the act of

imparting knowledge and skills to the learner through various methods. This

has to be done appropriately putting many factors into consideration such as;

the nature of the subject, the condition of the learner, as well as the

environment to teach. The development of creative abilities cannot take place

in a vacuum. The fact that art is a creative endeavour justifies it’s necessity as

the bedrock of creative development which is not restricted to only producing

artifacts but also transferred to other aspects of learning in other subjects.

This is supported by Ozongwu, (2010, p.43) as he wrote, “Art is not flower but

root of education”. To ensure effective acquisition of creative abilities and

considering the condition of the learners, the teacher needs to acquire the

knowledge of psychology of teaching to enable him understand the individual

differences in learning situations and to adjust his teaching methods according

to their requirements. This means that the teaching approaches required for

9

the deaf is different from the blind and vice versa. These approaches can be

classified as the methods of teaching.

This research work therefore, aims at identifying the approaches, materials, as

well as the challenges faced with teaching creative skills to the physically

challenged in South Eastern Nigeria. The research will be carried out in some

special schools in the above states where physically challenged people are

trained. Art is not taught in schools to produce artists only; but also to

introduce in the students the spirit of inquiry and creativity through exploration

of nature and the local environment (Ekeada 1993). Although not all the

physically challenged can participate in all forms of art activities to develop

their creative skills, it is essential that the teacher, through his knowledge in

psychology of learning, chooses the appropriate approaches and materials

suitable for all categories of challenged students that will arouse their interests

into participating in those art activities according to their abilities to be able to

develop their creative skills.

1.2 Statement of the Problem

One of the objectives of special education as provided by the National Policy

on Education (FRN 2004, p.48) is to “provide adequate education for all

people with special needs in order that they may be self reliant and fully

contribute their own quota to the development of the nation”. This implies that

the society made enough provision for the training of the less privileged

persons, in spite of their respective conditions. Contrary to this, the physically

10

challenged most often graduate from schools without achieving the above

stated objectives. Instead, they sit and squat by the road sides of major cities

asking for alms or sometimes make incessant demand for the government to

offer them limited white collar jobs. This means that the training offered to

them in the schools has no impact in fulfilling the objectives.

Considering the above, therefore, the following problems come to mind:

i) There is need to examine the methods for teaching creative skills to the

physically challenged with the use of art education in special schools.

ii) There is need to examine the various aspects of art activities taught in

special schools and to various categories of the physically challenged in

order to enhance their creative abilities considering their respective

challenges.

iii) There is also need to examine the distracting factors/challenges

associated with art teaching in order to facilitate the teaching of creative

skills in special schools.

iv) Finally, there is need to suggest suitable alternatives for effective

realization of the objective where the existing ones are defective in

teaching creative skills to the physically challenged.

1.3 Purpose of the Study

The study sought to investigate the methods and challenges of teaching

creative skills to the physically challenged children in special education

11

schools in South Eastern Nigeria. The study specifically sought to accomplish

the following objectives;

1. identify the categories of physically challenged learners that are found

in special education schools.

2. identify the types of art activities taught in schools for the physically

challenged learners.

3. examine the methods of teaching art skills that could effectively develop

creative / entrepreneurship skills in physically challenged learners.

4. find out the challenges faced in teaching art skills to the physically

challenged in special education schools.

1.4 Research Questions

In order to direct the researcher’s focus in the investigation, the study was

guided by the following research questions:

1. What are the categories of physically challenged learners found in

special education schools?

2. What are the art activities taught in schools for the physically

challenged learners?

3. What are the methods of teaching art skills that could effectively

develop creativity in physically challenged learners?

12

4. What are the challenges in teaching the physically challenged in special

education schools?

1.5 Hypotheses

The following hypotheses guided the study:

1. There is no significant difference among the special education schools

in South Eastern Nigeria about the categories of physically challenged

learners taught.

2. There is no significant difference among the special education schools

in South Eastern Nigeria on the types of art activities taught.

3. There is no significant difference among the special education schools

in South Eastern Nigeria concerning the methods of teaching art skills

for effective development of creativity in physically challenged learners.

4. There is no significant differences among the special education

schools in South Eastern Nigeria on the challenges faced in teaching

the physically challenged learners.

1.6 Scope of the Study

The study covered one special education secondary school owned by the

government in each state of South Eastern Nigeria comprising Anambra,

Abia, Ebonyi, Enugu and Imo. It was delimited to finding out the types of art

13

activities taught in schools for the physically challenged in South Eastern

Nigeria. The study was also delimited to the hearing impaired, visually

impaired and orthopedically impaired that are found in the special

education schools as well as the methods of teaching art skills so as

to effectively develop creativity in physically challenged learners. The study

also focused on the challenges faced in teaching art skills in special education

schools.

1.7 Significance of the study

Art is a tool for creativity that fosters the development of creative skills

recognized in an individual. Therefore, it is accepted as an important aspect of

children’s education, including the physically challenged. In view of this, the

findings of this study will be beneficial to curriculum planners, students,

teachers, parents, government and the entire society in the following ways:

i. Provide vital information for the curriculum planners and teachers in

planning and teaching the physically challenged. This will help them

to determine the appropriate learning materials and approaches

suitable for teaching the various categories of the physically

challenged to accommodate their respective deformities in the

classroom as will be contained in the syllabus.

14

ii. Provide the physically challenged in the school the opportunity to

know the ways through which he/she can develop his/her creative

skills in order to be productive after training.

iii. Expose the physically challenged students to activities that develop

their creative skills such as art which contribute to their all round

development, intellectually, socially, emotionally and physically that

will tend to make them balanced individuals in the society.

iv. Provide relief to the parents when they watch their children who are

physically challenged possess creative skills that make them

productive instead of liabilities.

v. It will help to raise and propagate the image of art in special

education as the relevance will be fully exposed through the study.

This will further arouse research interests in the areas of art and

physically challenged.

vi. Provide an assessment document to the government and ministry of

education in particular to determine the level of success/ failure

recorded on their policies on special education.

vii. The society at large will benefit from the study. There will be

productive and skilled physically challenged people in the society

who will either practice art or fit appropriately into other creative skills

acquired during training. The result being that destitution will be

reduced.

15

16

CHAPTER TWO

LITERATURE REVIEW

This chapter reviews literature related to this study. The review is organized

under the following headings:

2.1 Definition and categories of physically challenged.

2.2 Meaning, origin and development of special education in Nigeria.

2.3 Factors associated with art education in special schools.

2.4 Art materials, tools and equipment for art teaching in special education.

2.5 Methods of art teaching.

2.6 The physically challenged and art activities: Who does what?

2.7 Problems associated with learning in special education schools.

2.8 Concept of creativity.

2.9 The missing link.

2.10 Summary of Literature review.

2.1 Definition and Categories of Physically Challenged:

In the context of this study, a physically challenged is a condition or function

judged to be significantly impaired relative to the usual standard of functions of

human beings which include physical impairment, sensory impairment,

cognitive impairment, intellectual impairment, mental illness and various types

(Edmos, 2010). For Heck (as quoted in Ogu, 2000), physically challenged is

conceptualized as “deviation or variance of an individual from the normal by a

17

considerable amount of traits”. Another definition of physically challenged that

seems more elaborate is the one given by Kirk in Ikwuegbu (2007) as thus:

Disabled children are those who deviate from average or normal children in mental characteristics, in sensory abilities, in neuromuscular or physical characteristics, in social or emotional behaviours, in communication abilities, or in multiple handicaps to such an extent that they require a modification of school practices or special educational services in order to develop to their maximum potentials (p.27).

The above two authors have conceived physically challenged from a

common perspective as a deviation from the ordinary or normal being,

resulting to the need for modification in learning activities in order to adjust.

Ekeleme (1987), Obimba (1999) and Hallahan and Kauffman (1988) also

agreed with the above view in their various definitions of physically

challenged as those who deviate from the ordinary and require special

provisions to realize their full human potentials. The physically challenged

sometimes may experience multidimensional defects ranging from defects

on some body organs as well as limitations on the person’s participation in

some areas of life activities. The United Nations Convention on the rights of

persons with physical challenges defined it as persons who have long term

physical, mental, intellectual or sensory impairments which in interaction with

various barriers may hinder their full and effective participation in society on

an equal basis with others (Edmos, 2010). Obimba (1999) adopted the

definition of physically challenged as given by the World Health Organization

as any restriction or lack of ability to perform an activity in a manner or

18

within a range considered normal for a human being. The writer further

observed that the World Health Organization (WHO) recognized three

dimensions of disability which include:

i. Body structure and function (resulting to impairment).

ii. Activity (resulting to activity restriction).

iii. Participation (resulting to participation restriction)

Ab initio, definition of physically challenged has been given by renowned old

psychologists as individuals that deviate from the normal to the extent that

they need special education services and other supports to attain their

potentials. In this light, Iwuama and Ekwe (2010) summarized the definitions

of Kirk, Cruickshank and Johnson, Heck, Len and Sally, Hallahan and

Kauffman, as well as Cruickshank and Orville in their various studies

recognizing four common features of the physically challenged individuals as

thus:

i. They are actually human beings.

ii. They are exceptional due to the fact that they deviate significantly from

the average or normal child either physically, intellectually, emotionally

and socially.

iii. As a result of the deviation, they cannot benefit maximally from the

classroom practice (education) meant for the normal or ordinary child.

19

iv. Consequently, they need modified or adjusted form of education in

order that they might benefit from education and develop their

potentials maximally to the limits of their disabilities and circumstances.

To crown it all, the study of physically challenged children is the study of

differences as regards adaptability in society. They are different in some ways

from the normal children. It is apparent to note that the condition is ambiguous

and that deformity in one dimension does not necessarily imply physical

challenge in other categories. In very simple terms, physically challenged is

understood to be a result of actual biological damage to a particular part of a

human body that results in a person having impairment, which contributes to

difficulties experienced by that person, and interrupts his functioning as a

person. They may have problems in thinking, seeing, hearing, speaking,

socializing or moving. Sometimes, a child may have combination of the above

defects as in the case of multi- physical challenges. Agreeing with the views

of the above authors that the physically challenged has one or more

deformities that make him look different from the normal person, it is

worthy to note that the deformities do not constitute barriers to what he can

do if properly rehabilitated. A visually impaired person can only be

handicapped if he cannot perform duties that require the use of the eyes. On

the other hand, if he has any visual support which helps him to carry out

activities requiring the vision, he is not handicapped but impaired.

20

2.1.1 Categories of Physically Challenged.

The National Policy on Education (2004) categorized physically challenged

persons into the following impairments; blindness, partial sightedness,

deafness, hard of hearing, mental retardation, social maladjustment and

physical handicap. While Ekeleme (1987) classified them into:

i. Visually impaired

ii. Speech/communication disorder

iii. Hearing impaired

iv. Physically and health – impaired (orthopedic disorder)

v. Learning disabled/difficulties

vi. Behaviour disorder/emotionally disturbed

Blindness: The eye is the organ of sight. It is the organ through which

individuals acquire knowledge of their environment by virtue of the light

reflected from or remitted by the objects within the environment. The inability

of this sense organ to carry out the above function is described as blindness.

According to Ogbue (1987), blindness is the inability to read prints after all

optical corrective measures have been taken. In this condition, the person

uses Braille as a medium for reading and writing. This condition implies total

loss of sight. Igbokwe (1982) agreed with the above that the sensitive organs

of the eyes are dead and have no sense of perception – in the case of

blindness. A more elaborate description of visual impairment according to its

severity was given by Lowenfeld in Ugwuegbulem (2010). For him,

21

a person is considered blind when his central visual acuity does exceed 20/200 in the better eye with correcting lenses or when his visual acuity if better than 20/200 has a limit to the central field of vision to such an extent that its broadcast diameter subtends an angle of no greater than 20 degrees. An individual’s visual acuity being 20/200 means that such an individual can see clearly objects not more than 20ft from him which an individual with good sight can see clearly from a distance of 200f(p38)t.

The partial sighted are best regarded as the medical corrective condition.

Their visual acuity falls between 20/70 and 20/200. Children in this group

need not be taught to read with Braille but need to have what they read

magnified or be written in large prints. A pair of reading spectacles is used for

clearer perception. In other words, it means that the blind are those whose

eyes cannot process light and images in such a way that vision will be

possible while those that are partially sighted can process light and images so

that only partial vision of the object seen is possible (Agbeti 1991). Individuals

with partial sightedness may suffer from serious myopia (near sightedness,

hypermetropia (far-sightedness) and astigmatism (blurred vision) as noted by

Abosi (1987).

2.1.2 Speech/Communication Disorder

Human development requires that individuals communicate with each other

for effective interaction. This interaction involves verbal and non – verbal

skills. The verbal skills involve the use of breath and muscles to make sounds

in precise patterns (words), while non – verbal skills involve use of sign and

gesture to express ideas.

22

Speech/Communication disorder is defined by Silverman (in Ebigbo 1992) as

a perceived deviation of the speech (what we say and how we say it).

Nwamuo (2010) described it as difficulties experienced by individuals while

speaking. Writing further, the author explained that speech is said to be

defective when the manner of speaking interferes with communication, when

the person’s manner of speaking distracts attention from what is said, or when

speech is such that the speaker is unduly self – conscious or apprehensive

about speaking. When the condition is observed to the above extent, Telford

and Sawrey (1981) recommended that special education or remedial

measures are necessary.

Causes of Speech/Communication Disorder

Nwamuo (2010) divided the causes of speech disorder into two parts namely:

The organic causes and the functional causes. According to her, the organic

causes are seven types and they include;

a. Cleft parlate which is the malfunction of palate with longitudinal gap in

the middle or on either side of the roof of the mouth.

b. Underdevelopment of other parts of the mouth and jaw.

c. Irregularities during development including missing and malformed

teeth.

d. Muscular paralysis of the larynx, and tumour or ulcer in or around the

larynx.

23

e. Loss of the larynx and nasal obstructions. On their own part, Telford

and Sawrey (1981) identified four functional causes of speech/

communication disorder. They include: failure to learn adequate

speech, wrong fixation of words, regressive speech patterns as well as

personality and emotional disturbances. They maintained that

identification of speech deformity can be made easily by family

members, doctors, psychiatrists, and teachers through observation, use

of systematic screening procedures or speech creationists or a team of

specialists. Diagnosis entails physical and developmental examinations

to find out any oral, developmental or other organic factors leading to

the disorder. These may include assessment of intellectual level and

audiometric evaluation and a Psychiatric examination.

2.1.3 Hearing Impaired/Deafness:

Individuals with hearing impairment can conveniently go through life and its

activities unidentified because there are no obvious physical characteristics

that distinguish them from the normal/hearing population as a result of this,

Ikpeazu and Onwuma (2010) said that their intervention strategies and

education came much later in special education after the visually impaired.

Through hearing, communication is made easy. The sense of hearing is used

in assimilating the communication pattern of an individual’s language.

Through communication also, one becomes socialized into the approved

roles, norms and customs of the society where he finds himself. There are

24

several explanations to the meaning of hearing impairment according to its

range of severity from mild to profound deaf and hard of hearing. According to

Igbokwe (1987), the conference of executives of American Schools for the

Deaf had defined the deaf as those in whom the sense of hearing is non –

functional for the ordinary purposes of life. For Ikpeazu and Iwuama, (2010), it

is the inability of the ear to detect a stimulus called “sound”. It is total absence

of sound. This implies that sound cannot be transmitted to the inner ear. The

individual cannot understand spoken words. In this condition, the person

resorts to reliance on visual cues in acquisition of knowledge. In the same

vein, Igbokwe (1987) defined hard – of – hearing as persons who have

difficulty in hearing loudly spoken speech but can hear amplified speech by

means of a hearing aid. The hard – of – hearing person has defective sense

of hearing, though functional but, not at optimum level. It is the mild degree of

hearing impairment.

Causes of Hearing Impairment: The causes of hearing impairment

include:

- Pre – natal (before birth)

- Peri – natal (during birth)

- Post – natal (after birth).

The Pre – natal factors include: diseases, infections or accidents suffered by

pregnant women such as German measles, mumps and influenza. The use of

25

poisonous drugs by pregnant women such as tranquilizers, heroine, cocaine

as well as other hard drugs not recommended by the doctor could affect the

babies’ auditory canals while in the womb. Other factors in pre-natal causes

include malformation of organs and hereditary traits which are easily

transferred from the parents genes to the unborn babies. Peri – natal factors

include those adversities that emerge during child birth which include

problems resulting from prolonged labour, difficult deliveries, especially

among mothers of less than 18 years and above 35 years of age – as well as

use of sedatives. The side effect of these factors, sometimes, may result to

damage in the baby’s auditory organs. Post – Natal factors that also cause

hearing impairment in the physically challenged include, among others,

problems encountered in the course of the person’s development such as:

a. Use of poisonous drugs like ear drops, quinine and antibiotics.

b. Diseases such as fever, mumps, measles and whooping cough which

may destroy the cells of hearing organs if not properly treated.

c. Constant exposure to loud sound may cause partial or total hearing

impairment.

d. Foreign objects in the ear such as insects, grains and stones can easily

damage some internal organs of the ear.

e. Interruption of blood circulation in the inner ear and growths like tumor.

2.1.4 Physical/Orthopedic Impairment

26

Various authors in special education give different explanations to the

meaning of the physical/orthopedic impairment. Nwaogu (1991) defined it as a

condition which excludes sensory handicaps like deafness, blindness and

speech defects but includes chronic conditions requiring constant medications

and those handicaps that interfere with the normal functioning of the joints,

bones and muscles to the extent that they retard a child’s ability to cope with

normal classroom conditions. While Njoku (2010) summarized physical

impairment to include conditions or deformities that interfere with the normal

use of bones, muscles or joints and this condition limits the effectiveness with

which a child can cope with the academic, social and community activities.

Physical impairment may restrict movement as observed by Ipaya (1983).

However, some children may have a single disabling condition while others

may have a multiple which could make them need special education services

for the acquisition of academic and social skills. Odebunmi (1992) mentioned

the two types of physical impairment as:

a. Neurological impairment and

b. Orthopedic impairment

Neurological impairment: This refers to physical impairment resulting from

malformation or injury on the spinal cord or brain. This condition may result to

non coordination of the body muscles, paralysis, perkinsin disease, cerebral

palsy, epilepsy, hydrocephalus, poliomyelitis and spinal bifida. Cerebral palsy

occurs when there is damage to the brain and it affects the ability to walk,

27

communicate and engage in other self help skills. Abang (1992) noted that

this condition is neither inherited nor contagious but is brought about by

shortage of oxygen to the brain.

Epilepsy is a disorder of the nervous system usually characterized by fits of

convulsions that end with brief loss of consciousness and deep sleep. The

seizure according to Abang (1992) is a sign of the functional disorder of a

group of nerve cells in the brain. The seizure reoccurs and comes on

suddenly. Hydrocephalus is an enlargement of the head due to accumulation

and unabsorption of the cerebrospinal fluid in the brain. This exerts pressure

on the skull thereby enlarging it to the extent that the neck may be unable to

support it as observed by Mba (2002). Poliomyelitis is caused by viral attacks

on the motor cells in the spinal cord during infancy. It is contagious in nature.

This condition could lead to weakness of the muscles or total paralysis of the

lower limbs in it’s victims. Ugwu (1994) claimed that it is not associated with

any sensory loss or intellectual defect. Spinal bifida is a condition brought

about by incomplete closure of the vertebrate column resulting in a protrusion

of the spinal cord into a large sack on the victim’s back.

Orthopedically impaired: Orthopedic impairment hinders the functioning of

the bones, muscles and joints. It could be congenital or acquired. When the

condition results from developmental errors, it is congenital, while the

acquired ones are those that occur due to accidents and other environmental

factors after birth. The resultant impairment could be amputation, skeletal

28

deformities such as brittle or fragile bones characterized by frequent and

repeated fracture of the legs and arms. Amputation is the surgical removal of

a part of the whole limb due to accident or infections. According to Njoku

(2010), the nature and degree of handicap determines the characteristics

shown by the person experiencing the handicapping situation. However, he

identified some characteristics associated with physical impairment to include:

Disorder of movement and posture, pain on the affected part of the body as

well as the supporting part, weakness and lack of co-ordination of other parts

of the body and paralysis of the affected part of the body.

Causes of physical impairments:

This is classified by Ugwu (1994) into three categories namely: pre-natal

causes, peri-natal causes and post-natal causes. The pre – natal cases are

encountered by the foetus in the uterus according to Ugwu (1994) which may

be caused by factors such as:

i. Irregular supply or lack of oxygen due to the malformation of the

placenta.

ii. Genetic factors which may occur as a result of gene malformation e.g

spinal bifida and sickle – cell.

iii. Maternal infections during pregnancy may also give rise to physical

impairment. Such diseases as measles, meningitis and veneral

diseases like syphilis, if not properly treated.

29

iv. Excessive exposure to x – ray therapy may destroy some body cells

that may lead to physical impairment.

v. Poor nutrition: Inadequate diet during pregnancy can lead to retardation

or malformation of body parts and consequently, physical impairments.

Peri – natal causes are impairments that arise at birth and they include:

a. Brain injury resulting from pressure on the skull which may be caused

as a result of inadequate pelvics.

b. Infections from the use of unsterilized equipment during labour.

c. Lack of oxygen (Anoxia) resulting from excessive sedation to reduce

labour pains.

On the other hand, post–natal causes are the causes of physical impairments

after birth has taken place. They include:

a. Inadequate nutrition: childhood malnutrition retards the development of

a child and makes him vulnerable to diseases that could cause physical

impairment.

b. Infections during childhood could also cause physical impairments such

as leprosy, measles, poliomyelitis.

c. Traumatic experiences such as motor accidents, burns, gun-shots and

bone fractures.

30

2.2 Meaning, Origin and Development of Special Education in Nigeria.

Today, special education is receiving attention and prominence compared

with what it used to be many years back. The recent attention is a reflection of

the conscious efforts by everyone, including the Federal and State

Governments to make education not just available but meaningful and

profitable to every child, regardless of his mental and physical disposition.

People are now aware that there are children whose educational needs are

difficult to be met by both the regular classroom teacher and in regular

classroom activities. Just as general education attempts to provide

appropriate instruction to children within the normal range of social and

intellectual functioning; special education seeks to ensure that special

children, that is, children who are exceptional in some ways receive

instruction appropriate to their capabilities and needs (Garwood, 1979). The

fact that there are children whose needs cannot be adequately met in the

regular classroom or by regular classroom teachers creates a vacuum.

Therefore, while general education caters for the normal children, special

education caters for those children not adequately catered for by general

education. Meanwhile, general education is the opposite of special education

and it uses standard curriculum with standard teaching methods without

addition/supports.

Ideally, special education process involves the individually planned and

systematically monitored arrangement of teaching procedures, adequate

31

equipment and materials, accessible settings and other interventions

designed to help learners with special needs achieve a higher level of

personal self – sufficiency and success in school and community than would

be available if the students were only given access to a typical classroom

education. Special education in developed countries is often regarded less as

a “place” and more as “a range of services”, available in every school.

Special education has been defined in many ways depending on the area of

emphasis. Sometimes, emphasis is made on the categories of disability while

sometimes, it is made on educational programmes and methodology for

remedying the disability. The National Policy on Education (2004) defined

special education with emphasis on categorization thus:

The education of children and adults who have learning difficulties because of different sorts of handicaps: blindness, partial sightedness, deafness, hardness of hearing, mental retardation, social maladjustment, physical handicap etc due to circumstances of birth, inheritance, social position, mental and physical health pattern or accident in later life, as a result, a few children and adults are unable to cope with the normal class organization and method. There are also the specially gifted who are intellectually precocious and find themselves insufficiently challenged by the programme of the normal school and who may take to stubbornness, and apathy in resistance to it (p. 36).

However, apparent specification on how to go about educating these

physically challenged children was not made. Herward and Orlansky (in

Adima (1991,p.110), have their emphasis on the educational programmes and

methodology and defined it as: “the individually planned and systematically

32

monitored arrangement of physical setting, special equipment and materials,

teaching procedures and other intervention designed to help exceptional

children achieve the greatest possible self-sufficiency and academic success”.

This implies that environmental setting is the apparent feature in special

education. For Smith and Neisworth in Ekwe and Iwuama (2010, p. 27), the

definition of special education is seen from the functional point as:

“Profession concerned with the arrangement of educational variables leading

to the prevention, reduction or elimination of those conditions that produce

significant defects in academic, communicative, locomotive or adjustive

functioning of children”. This school of thought defines special education from

the viewpoint of providing all the educational facilities that intend to

ameliorate the difficulties of the physically challenged. These provisions shall

either prevent, reduce or get rid of all their challenges to ensure that the

learners fully benefits from it. While the former definition laid emphasis on

providing the enabling environment for adequate learning, the latter

emphasized on the adequate provision of educational facilities that will

accommodate the various categories of special learners irrespective of their

challenges.

On his own side, Kirk (in Mba, 2002) maintained that special education is

used to denote those aspects of education which are applied to handicapped

33

and gifted children but not usually used with the majority of average children;

he expressed it thus:

Special education consists of the modifications, or additions to school practices intended for the ordinary child practices that are unique, uncommon, of unusual quality and in particular, are in addition to the organization and instructional procedures used with the majority of children (p. 29).

Pragmatically, special education is a therapeutic form of education offered to

children who show evidence of either under achievement or over-achievement

in class. By all considerations, special education is a humane education in so

far as it structures it’s teachings to the level and capability of the individual

child in order to ensure a successful learning experience (Nwaogu, 1992). He

further wrote that in order to achieve this aim, there is need for trained

personnel who use appropriate materials as well as employ special

methodology to maximize the development of the handicapped child. Even

though different authors conceive special education from different angles, they

all agree that it is an aspect of education geared towards educating all

children who are different from the average. Such differences may be in

mental ability, emotional stability or physical appearance. Although special

education is an integral part of education, there are specially trained teachers,

special curriculum content, special methodology and special instructional

materials. To this effect, Ogbue (1987) illustrated the specialty of this aspect

of education and wrote thus:

34

Special education is special because it involves a well trained teacher using special methods and instructional materials as well as a modified physical environment of education which are different from those normally used in regular schools to meet the individual needs of a child that is considered exceptional (p. 2).

2.2.1 Origin and Development

During the pre-Christian era in Europe, the handicapped were relegated to the

role of village idiots. They were maltreated, neglected and persecuted. But

with time, man sought to understand causes of disabilities and tried to relate

mental illness to physical rather than psychological causes. Ogbue (in Ogu,

(2000) accounted that special education began in Europe in 1760 when Abbe

deL ‘Epee opened a school for the deaf in Paris. In 1784, an associate of

Abbe deL ‘Epee, Valentine Huay, started the First residential school for the

blind after witnessing ten blind men being exploited for public entertainment.

Prior to this period, the handicapped were used merely as entertainers in the

palaces and as court jesters. It was after 1800 that institutions which were

established primarily by individuals sprang up all over Europe and America.

Later, these institutions began to receive financial assistance from

Governments. From the account given, it is obvious that education of the

handicap began to attract the attention of the public only after the education of

normal persons had taken firm roots.

35

Development of special education in Nigeria took almost the same pattern as

in Europe and other Western countries. Prior to the arrival of the missionaries,

the handicapped were treated with contempt and disrespect by all and sundry.

Essien (1982) said that people avoided the handicapped by throwing them

away into the forest to die or were destroyed at birth. He also maintained that

bow and arrow targeting were practised on the crippled individuals. Abang

(1981) admitted that the handicapped were left at the mercy of nature. Even

the Hebrew law recognized the unfortunate handicapped persons, although

they considered them an abomination and prohibited them from becoming

priests or even nearing the altar of God. In Nigeria, it was thought impossible

to educate the handicapped, rather, they were seen as perpetual beggars.

Although special education was later introduced, it took centuries after the

introduction of normal education before individuals began to think and embark

on it, as accounted by Ogbue, (1987). The first special education school was

established in 1953 by the Sudan Interior Mission (SIM) in Plateau State and

was named “Gindiri School for the Blind”. It was aimed at teaching the blind

boys and girls craft and Braille for basic literacy and to foster evangelical work.

The special education centre at Oji River was established in 1960 by Mrs.

A.F.C. Savory of’ the C.M.S. Church for the deaf and blind children. Its aim

then was to train the children, educationally and vocationally to be self

supporting and to encourage them to lead normal lives in the society. As at

1975, about 23 institutions were serving various categories of physically

challenged persons in the whole of Nigeria. Although the Government was

36

involved through grants and aids or sometimes by paying teachers’ salaries,

complete involvement in the education of the handicapped by the government

did not take place until the 1970s. The then Head of State Major General

Yakubu Gowon declared government’s interest in the Education of the

handicapped. To strengthen the existing schools, he directed that all State

Ministries of Education must establish Units for Special Education. This was a

major turning point in the history of special education in this country

(Ogbue,1987). At the moment, Nigerian senate had on the 27th of March, 2014

passed into 3rd reading, a bill prohibiting discrimination against the physically

challenged persons.

Again, professional interest is growing in special education now as many

institutions including Ministries (Federal and State) agencies, organizations

and individuals in the country cater for the physically challenged. Presently,

some Universities in the country such as University of Jos, University of

Ibadan, among others award degrees and higher degrees in various areas of

special education; while Colleges such as Advanced Teachers College Oyo,

award Nigerian Certification in Education (NCE). Kaduna Polytechnic now

trains people to work with the physically challenged. On the other hand,

Ugwuegbulam (2010) recalled that two eras have been identified in the

development of provision for persons with special need in Nigeria. The first is

the humanitarian/missionary era (1945-1970) during which provision of

services was dominated by private voluntary organizations (PVOs) and private

37

individuals. During this era, religious bodies (mostly Christians) were the

driving force behind establishing and maintenance of services and

programmes for children and adults with handicaps. During this era, the

attitude of the Government was somehow lackadaisical in matters concerning

persons with physical challenges. The second was the social service era

which saw the development of service. The country witnessed a significant

contribution from the government, in terms of commitment as well as inputs

and there was a relegation of the PVOs and private individuals to the

background. This era which commenced immediately after the civil war that

ravaged the country for three years, also saw the commencement of the

system of Universal Primary Education (UPE) and the eventual takeover of all

schools (including special schools) established by PVOs and individuals.

There was also the commencement of training programmes for special

teachers. The following institutions were either established or commenced

programmes in special education:

1. University of Ibadan started the Diploma in special education in 1974

and a Bachelor’s programme in 1976.

2. University of Jos started the Bachelor’s programme in special education

in 1977 and Masters in 1978.

It was also during the social service era that in 1977, the National Policy on

Education (NPE) was released. The release of this policy was a significant

turning point in Nigeria’s special education programme.

38

The aims of special education as stated in the policy are as follows:

a. to give a concrete meaning to the idea of equalizing educational

opportunities for all children; their physical, mental and emotional

disabilities notwithstanding.

b. to provide adequate education for all handicapped children and adults, in

order that they may play their roles fully in contributing to the development

of the nation.

c. to provide opportunities for exceptionally gifted children to develop their

skills at their own pace, in the interest of the nation’s economic and

technological development. In addition, the policy also contains the

following provisions that are beneficial to persons with special needs.

Setting up of a committee to coordinate special education activities conducted

by the Federal Ministry of education (FME) in collaboration with the Ministries

of health, Social welfare and labour as well as conduct census of persons with

handicap.

The social service era also marked the emergence of legislation that are

meant to address the problems of children and adults with handicap. It was

the Plateau state government that first enacted a law called ‘Plateau state

handicapped law which was introduced in 1981. Among other provisions, the

law stipulates that the education of children with handicap is compulsory and

provides for the rehabilitation needs of adults with handicaps. The law was

39

however, restricted to Plateau State which was just one among the then

nineteen states in the country (although Nigeria has thirty six states now). It

was in 1993, that the Federal Government enacted the first and only

legislation on the handicapped. The Nigerians with Disability Decree was

enacted to provide a clear and comprehensive legal protection and security for

Nigerians with disability, as well as establish a standard for enhancement of

the rights and privileges, guaranteed under this decree and other laws

applicable to the disabled in the Federal Republic of Nigeria.

2.3 Factors Associated with Art Education in Special Schools

Special education primarily helps to fix the special needs of students with

disabilities by providing individualized and personalized instruction to meet

their unique needs. This is because all children can learn and develop though

not in the same way and at the same rate. Supporting the above in an

empirical study carried out by Ogu (2000), it was proved that children with

disabilities are capable of learning and developing new skills, just as any other

child. Ekeada (1993) also maintained that three factors are pertinent in the

teaching of art in schools namely the art teacher, the method of art teaching

and the art materials available for teaching. He went further to stress that the

most important among the three factors is the art teacher. This is because the

art teacher is the motivator, the architect and the inspirator. All other factors

are manipulated according to the ability of the art teacher to achieve the

40

desired result. This factor was also buttressed by Conant and Randall (in

Ekeada,1993) thus:

…… no other person, no group, no amount of art materials, no physical facility, not even the community exceeds in importance than the art teacher – as the single element of greatest potential value in art education. No other person, thing or place can make such penetrating contributions to art education. (p.62)

The special and complex nature of art makes the art teacher in a special

school the driving spear head in art teaching. This is because while other

teachers in other subjects can play down on teaching their subjects and

recommending text books for the students to read up, the art teacher cannot

do same because of the simple reason that art is a skill and must be taught

with every commitment and supervision. Considering the abnormal conditions

of the children in special schools which give rise to various demands as

regards methods or strategies of teaching and materials involved, Schwartz

(as cited in Ogu, 2012) acknowledged that teachers were trained in the use of

special curricula, teaching methods and learning materials in order to impart

knowledge to the physically challenged children in special schools.

Writing further on the expectations of teachers in special education, he still

maintained that since the emphasis in special education, just as it should be in

all education, is on the abilities, rather than disabilities of the exceptional child,

the teacher is required to teach with patience, imagination, adaptability and an

ability to juggle the reality of the present with the goals of the future. Agreeing

with the above, Lerner (2000) observed that teachers have a marvelous power

41

in their hands, for they significantly affect a child’s life. Not only can they

modify curriculum content as needed and control the mode of instruction, but

they also set the climate of the learning environment. They can help or hurt

the children entrusted to them. For Marjoram (1988), every child is able to

learn; it depends on the effort of the teacher. Lee as cited in Ogu (2000)

observed that:

a good art teacher must know, first what he is teaching, (the methodology), the teacher must know both what he is teaching, and how to teach. Every teacher must be free to adapt his methodology to his own personality, to the particular needs of his students and to the given circumstances. This he does only if he knows the learning dispositions and abilities of his students. (p.13)

This goes to imply that in spite of the deformities present in the physically

challenged, they can cope with their normal counterparts on art skill

acquisition. The spear arrow to achieving it is the art teacher who possesses

special training on the various strategies to impact knowledge on respective

challenged children according to their short comings. Upon that too, the art

teacher is expected to study the individual learning dispositions and abilities,

especially when it concerns the physically challenged. In addition to the above

qualities, the art teacher in a special school should possess an outstanding

and remarkable amount of patience in order to tolerate the special learners.

This is very necessary because the special children usually need extra time,

attention and resources than their normal counterparts to catch up with

learning in the classroom. He should be able to follow every special child at

42

his own pace. Beyond his abilities and speed, the physically challenged is

known to loose interest in the activity because he can no longer cope.

Therefore, the art teacher should not loose sight of the above requirements

when teaching in a special class in order to ensure adequate learning by

the students.

2.4 Art Materials, Tools and Equipment for Art Teaching in Special

Education

The complex nature of art as a school subject makes it special and delicate

among other school subjects. This is because art is practical oriented and as a

result, no success could be recorded without appropriate use of materials,

tools and equipment. In selecting the media and tools of expression, Smith (in

Ogu, 2012) acknowledged that the teacher who makes efforts to provide

variety of materials and tools for children to express themselves is following

the accepted practice in art teaching. Children in general and the physically

challenged in particular gain understanding when concepts are developed

through their own experiences with concrete learning materials.

Garwood, (as cited in Edmos, (2010) while writing on the educational needs of

the physically challenged said this:

As with all children, his approach to learning is first through things he can see, hear, feel and otherwise experience as direct a way as possible especially through sensory experiences of all kinds… through the use of a wide range of educational media, much can be done to motivate, arouse and keep the interest of the handicapped child. Concrete illustrations, examples and

43

explanations must be used in teaching if we are to hold the attention of our students while helping them develop concepts which are accurate and useful in solving life problems (p.21).

Also emphasizing on the importance of the use of materials in teaching art to

children, Lerner (1997) agreed that:

Proper use of art material depends on the teacher’s knowledge of certain facts concerning them that affect teaching methods. Selection of materials for art teaching will depend on the type of art activity to be embarked upon but most fundamentally, also, the age, experience and the interests of the children concerned as well as what is available (p.12).

Ekeada (1993), added the following to summarize and advice the art teacher

on the type of art materials needed;

There is no much trouble as long as it is a matter of selecting the right materials for the right type of activity but in the second instance, the teacher will make sure that materials selected are easy, uncomplicated, bold to handle, harmless and cheap for children to work with. (p. 97).

Lerner (1997) agreed that for the special children in learning setting, the art

materials and tools to be provided should be manipulative in nature rather

than expecting them to draw or model recognizable objects. This means that

they should be allowed to manipulate or play with the art materials in order to

explore their possibilities fully like the normal children. As was earlier

pointed out, art materials and tools to be used in an art class depends on the

aspect of art to be studied. For a drawing class, the materials include pencils,

44

paper or drawing book, and the model to draw depending on the level of the

class. For painting class, the materials include; crayons, pencils, drawing

books, and water colour or poster colour, depending on the level of the class

also. For a sculpture or ceramic class (moulding), materials include clay

(prepared), paper marchie, and starch. Above all is a class with spacious

environment and of course water to wash off the materials as learning

progresses.

In addition to these general materials, Ogu (2000) also discovered in a

survey carried out that the deaf uses hearing aid instrument in the case of

mild auditory defect such as the hard -of- hearing. The blind was also

discovered to use tape recorder for understanding the instructions given by

the teacher as well as art models which they use their senses of touch to

feel and interpret the feelings of their minds through modeling. The

orthopedically deformed were discovered to use all art materials and in

addition, mobility aids such as calipers, crutches and wheelchairs.

2.5 Methods of Teaching Art

Generally, teaching is the act of causing knowledge in another in some way

(Collins, 1954). This is the commonest view of teaching with the longest

tradition. But for Offorma (1994 p. 82) “teaching is the systematic activity

deliberately engaged in by somebody to facilitate the learning of the intended

45

worthwhile knowledge, skills and values of another person and getting the

necessary feedback”.

Teaching is rooted in learning. The two concepts cannot be separated in the

actual educational process. On the other hand, method of teaching is the

systematic means of presenting subject matter and learning experiences

with a view to achieving set goals and objectives (Onwuka, 1997). In

discussing the methods of teaching art, the aims and objectives of art teaching

are given first. Both art educators and artists have suggested some

appropriate methods of approach as a guide to the teaching of art. These

suggestions include;

a. Motivation of the pupils towards learning.

b. Provision of suitable and various art materials for effective work.

c. The proper guidance of the pupil’s performance in art activities.

The first step in the method of teaching to both the normal and abnormal

children is motivation to arouse the interest of the children. Lerner (2000)

maintained that; Children must be motivated by their experiences to produce

art. As children live, if the new experience arouses their interests, and if it is

sufficiently reminiscent of former experiences, learning should occur.

Westwood (1999 p. 16) held the same view about the physically challenged

children and expressed that: “in school situation, informed, motivated and

flexible teachers using appropriate materials to teach pertinent subject

46

matter are the keys to success”. Suggesting methods and ways of motivating

the children in a class, the Nigerian Educational Research Council NERC

(1977) suggested story telling as a means of motivating the pupils. Shefali

(2010) supported the story telling strategy. According to him, the teacher’s

task is to help the pupils to recall an experience for expression. If this is so for

normal children, it might be difficult for the physically challenged with severe

auditory defect. Hurwitz and Day (2007) maintained that for the profoundly

deaf child, the eyes are the primary avenue for learning, as the child is

remarkably dependent on vision to maintain contact with the environment. For

the deaf, the teaching of art is a specialized subject, dealing primarily with the

sense of sight and touch. Generally, children are immature and cannot be

expected always to solve their problems and reach their goals to their own

satisfaction. Sometimes they must rely on the teacher for help. The disabled

child is most affected by this and needs the help of the teacher more. But

Musa, Ogbebor, Ekpeke and Kpangban (1992) objected to this and said that

dictatorial teaching methods are inappropriate to artistic development.

According to them, it subdues creativity. In addition, Smith (in Ogu, 2012) is

of the opinion that art teachers should not advocate copying. He contended

that copying inhibits children’s ability to experiment on new ideas. To this

effect, children and more especially the physically challenged, have the

chance to explore their artistic abilities, because no potential will ever be

47

realized or discovered unless a child tries and freely participates in an

activity.

On the effect of laissez –faire teaching method, Gaitskell and Hurwitz (in

Hurwitz and Day, 2007) suggested that it can be encouraged or disallowed.

In their view, the young children, especially those in the manipulative stage

may apparently benefit from occasional period in which the teacher does not

attempt to provide assistance. They also indicate that too many of such

sessions in sequence, have adverse effects on the art activities of children

who have advanced beyond the manipulative stage of development. For

Jameson (in Ekeada 1993, p.18), art education to the school child should

reflect “education through art and not education in art”. But regrettably, the art

experiences in which the handicapped child participates are often given by

special education teachers who may be familiar with the needs of the child

but are neither trained nor have a general understanding of the art and it’s

objectives. Supporting the above pedagogy, Attack (1980, p.12) writing on the

aims and objectives of art teaching to the physically challenged children said:

“teaching of art to the physically challenged is not aimed at making them

artists, but should help in their development of skills and abilities. It should

also stimulate the ability to organize themselves and their thoughts; …”.

To some people, physically challenged children cannot participate in art

activities; but Kirk (in Ekeada 1993, p. 42) objected and said that: “exceptional

children have the same need to create and to develop artistic skills as do

48

other children in spite of their disabilities”. To Tiedt in Ogu (2012), it all

depends on the effort of the art teacher to impact the knowledge. He

illustrated it thus:

To succeed in bringing about changes that will heighten the chances of the disadvantaged to be successful, teachers must be equipped with special knowledge and skills. Each teacher must know and understand the disadvantaged child… the teacher must know appropriate learning theory and be able to apply it. Materials and methods particularly suited to alleviating anxiety and improving the child’s self concept must be thoroughly familiar to her. Without such a background, his or her task will be that much more difficult and often impossible to fulfill (p.4).

This also implies that for an art education to be effective, the teacher will

first of all know the physical, mental, and emotional dispositions of the

handicapped in order to deliver art instruction that will benefit them in spite

of their respective dispositions. In addition to the above, Hurwitz and Day

(2007) recommended the following teaching methods for art:

a. Demonstrations: This is a teaching strategy whereby the teacher

shows the students how to use the materials following the processes

involved to form art works. During the process, the students watch

closely and with interest too while learning takes place. This is about

the best teaching methods in art because children like to imitate,

though known to consume time and energy.

b. Assignments: This involves the teacher giving the children home

works or works to do later based on what has been taught in the class

to be able to assess their level of understanding on the content taught.

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This method helps students to assimilate and consolidate the content

when it is still fresh in their memories. It enhances assimilation and

understanding on the students.

c. Audio-visual presentations:- This is another method of teaching

whereby the teacher introduces variety as a skill in his teaching by

reviewing one or two segments of a video tape that focuses on the

concepts, skill or understanding relevant to the art lesson after which

he can give an exercise on it for the students to prove their

understanding of the picture they had watched.

d. Lectures:- This method is usually employed when teaching theories of

art. The teacher can also use it to explain the concept to be learnt

before going into the studio to do the activity. For instance, before

starting the class on a ceramic project, the teacher can give students a

brief lecture about handling of clay, including the health hazards and

safety precautions that need to be understood when working with clay,

glazes and clay tools.

e. Individual work:- In this method, the teacher allows the students to

accomplish a task in art using their own initiatives and styles. This is

because every child needs opportunities for individual artistic

expression, and given the liberty without restriction, children bring out

the best of their creativity into play. This method allows the students to

explore.

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f. Group activities:- This method involves the grouping of students to

work on a project as assigned to them by the teacher. The various

groups can be asked to take up the different bits/segments of the

project that will lead to the final execution. This method encourages

learning of new knowledge and socialization among peer groups.

g. Reports method:- This method entails that the teacher asks the

students to study or observe something and give their reports when

they come to class. E.g. in preparation for an art class, on architecture,

the teacher may ask the students to study/ observe their various

houses to note everything about their buildings, the students will give

various reports based on what they see in their various houses. This

will aid understanding when the teacher presents the topic in the art

class.

h. Games: Games represent the play instinct transferred to art learning

situations. It can be rule governed or open ended. It may be

commercial games or games created by art teachers. The use of game

as a teaching method makes learning easier and fun for the students.

i. Field Trips:- The teacher uses this method to expose the students to

different locations outside the school environment. Such places as art

galleries, museums, and publishing/graphic design studios. Such trips

may be fund consuming but they serve as inspirations to the students

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and expose them to various aspects of arts which may not be available

in the school.

j. Guest Speakers:- This is a method whereby the art teacher invites

renowned and accomplished artists into the school in order to deliver

lectures to the students. This allows for interactions between the

students and the professionals. The guest artists may bring their

various materials for art which the students may not have access to in

the school environment to deliver their lectures. This method exposes

the students to new knowledge as they ask and answer questions

from the guest artists.

k. Dramatization:- The teacher uses this method to make experience

more vivid for children who often remember dramatizations for many

years. The teacher uses this method by assisting the students to act

out or dramatize situations that are educationally meaningful with

respect to the art curriculum. Eg. The teacher may ask a student to act

like one of the famous artists ever known. In preparation, the student

will choose one artist and study his dressing, works and other

biographical information about the artist. With this information

equipped in the student, he dramatizes the artist’s personality in front

of his class mates.

l. Exhibition method:- In this method, the teacher usually displays his

teaching materials and finished art works in the studio for the students

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to learn from. Other works of art done by professional artists are also

displayed and referred to during teaching so that the students will draw

inspirations from them and get motivated. This is because many

children understand and learn easily what they see than what they

learn.

m. Discussion method:- This is a method whereby the teacher

contributes alongside with the students as they share their views on the

tropic to be learnt. This method calls for a lively mixture of ideas. In

this case, the teacher is not a solitary figure controlling a class from a

space between the desks and blackboard.

n. Individualized Instruction:- This method of art teaching entails

individual supervision of activities while the art lesson is going on by

the art teacher on the learners. In doing so, the art teacher visits the

students’ seats one by one to have a close look on whether or not the

students are doing the correct thing using the accepted procedures as

instructed. This method aims at making instant corrections on the

students’ works as their art works progress. Though time and energy

consuming, Hurwitz and Day (2007) admitted that it is about the best

method of art teaching because, it ensures that the students do the

right things following accepted rules and procedures. This is monitored

instantly by the art teachers while supervising the students’ works in the

class.

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Summarily, in any chosen method by the art teacher for the physically

challenged in teaching art activities the best result is achieved through

individual attention and treatment. This is because art programme is unique

and cannot be handled without immense commitment and focus. At the same

time, the physically challenged is unique in nature and requires unique

approach according to their respective challenges. Therefore, in teaching art

to them, the art teacher is required to employ close teacher/student

relationship as well as one on one measures to ensure proper understanding

of artistic procedures. In addition to the above, the art teacher should adopt

the strategy of step by step teaching practices or sequences concrete order

in which the learning materials are broken down into manageable bits and

followed thus, ensuring that the first sequences is well assimilated before

moving into the next-stage.

2.6 The Physically Challenged and Art Skills: Who Does What?

It is a common knowledge that not all physically challenged children

participate in all types of art activities because of the nature of their respective

defects, although they need to create and develop art skills just as other

children in spite of their deformities. However, the type of art skills practiced

by any physically challenged child depends on his sensory organs that are

sound. For this reason, the physically challenged child is not exposed to all

practices in art skills in the school. But Ekeada (1993) disagreed with this and

recommended that there is no need to limit the activities of the exceptional

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children to the simple, follow – the – directions practise that are frequently

seen in the special classroom. Instead, they should be provided with the wide

range of activities presented to the normal child’s art training. Art is a way to

work with children who have disabilities towards the achievements of all sorts

of goals. Such goals as the coordination of motor muscles of the eye and

hand, acquisition of skills, acute recognition of colors, sequential matching of

objects, visual acuity, accurate interpretation of one’s inner thoughts and

feelings, to mention a few. In addition, regardless of the benefits of art, to the

child, art is fun, it engages gracefully, it is one medium where there is no right

or wrong answer. The child has all the liberty to express himself as much as

he feels without inhibition. It is also important to note that the physically

challenged child is deformed in one, two or even multiple sensory organs as

mentioned earlier on. As a result of this condition, he is inhibited on actions

related to the use of such deformed organs. Therefore not all of them can

participate in all art skills. Their participation however depends on their

sensory organs that are intact and the art skills that are possibly carried out

with them.

In an empirical study carried out by Onyem (2000), Ogu (2000) and Ogu

(2012) on disability and participation in Art skills, they discovered from their

investigations that the blind students do not participate in drawing, painting

and designing because of their visual deformity. According to the studies,

these aspects of art skills require visual perception and study of the

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objects/materials to be represented. As a result of their visual conditions, they

are inhibited from them. The studies also found out that the blind students

participate actively and perfectly without inhibitions on modeling, especially

with clay. Again, the result of the study revealed that the deaf and the

orthopedically challenged students participate fully in all forms of Art Skills

with little or no inhibition. This is because their visual sensory organ which is

the primary sensory organ for art skills is accurate. An exception also was

made of children with amputation of the upper limbs or paralysis of the hands.

But even in cases such as the ones mentioned above, exceptional cases

occur where the individual usually does his art in drawing and painting with the

pencil, crayon or brushes in the mouth supported by mouth holder or on the

toes.

2.7 Problems Associated with Learning Art Skills in Special Education

Schools.

The primary barriers faced by the physically challenged in learning art skills

are the ones caused by their various distinctive defects as observed by

Onyem (2000). According to him, inhibitions are being faced by some

physically challenged individuals towards their participation in art skills. For

instance the blind cannot draw, paint or design because he cannot see the

object to draw or paint and also cannot perceive colours to apply on

objects. Again, the person with orthopedic defects, especially where it affects

the hands cannot hold art materials to work with. UNESCO as contained in

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Ogu (2012) came up with some barriers associated with learning art skills in

special schools as including:

1. Inadequate funding of courses related to art skills acquisition. Teaching

of arts to students with disabilities in general education classrooms

takes specialist and additional staff to support students’ needs.

Coordinating services and offering individual supports to children

require additional money that many schools do not have particularly

in a tight economy like Nigeria. Inadequate funding can hinder

ongoing professional development that helps keep both specialists

and classroom teachers updated on the best practices of teaching

arts in mainstream and special schools

2. Negative attitudes of the society towards people with disabilities which

are often caused by a lack of knowledge and understanding. This may

sometimes lead to stigmatization. The situation is worse when it

concerns the physically challenged in general schools (in the case of

mainstreaming).

3. Some schools (both general and special) are not accessible to students

in wheel chairs and there are no other mobility aides such as

elevators, ramps, paved pathways and lifts to get in and around

buildings. Such learning environment may practically be difficult for

orthopaedically deformed children to cope with.

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4. The curriculum, especially where the physically challenged is

integrated in the mainstream system, does not always provide for their

special handling including teaching methods and materials.

5. Most importantly is the unavailability of trained art teachers and art

skilled personnels who also received training in special education. The

knowledge of special education will acquaint the art teacher/personnel

with the use of teaching methods suitable for all categories of

disability seen on the students in his classroom.

2.8 Concept of Creativity

The source of all civilization is human imagination or creative thinking as

observed by (Patrick, 2005). Chauhan (2000) defined creativity as the ability

to produce new forms in unconventional unique way. Nnolin (1997) surveyed

the definition of creativity as given by old psychologists this way: Eisner saw it

as a capacity possessed in some degree by all human beings. Hildebrand had

it as the ability to see new relationships between previously unrelated object

and ideas. Some other people believe that creativity is the ability to tap past

experience and come up with something new. Patrick, (2005) finally

summarized the meaning of creativity as the ability of being original as one

combines thoughts, ideas, objects, fantasies and visionaries of the universe in

order to produce unique results, ranging from tangible, such as piece of work

of art to some intangible forms of art such as poetry and music. According to

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Patrick (2005), studies of creativity have described traits of people who have

maintained or rediscovered the creative attitude. These include the abilities to:

a. wonder and be curious.

b. be open to new experience.

c. see the familiar from an unfamiliar point of view.

d. take advantage of accidental events.

e. make one thing out of another by shifting its function.

f. generalize from particular in order to see broad applications.

g. synthesize, integrate, find order in disorder.

h. be in touch with one’s unconscious, yet be intensely conscious.

i. be able to analyze and evaluate.

j. know oneself, have the courage to be oneself in the face of opposition.

k. be willing to take risks and to be persistent to work for long periods-

perhaps years in pursuit of a goal.

Creativity is an important tool which is indispensible in the child’s total

development as discovered by Obinaju and Ekeh (2012). Every living,

breathing human has the potential to be creative according to them. Each

person, the paper continues, is a unique individual capable of creating; it

comes with the human territory. Ogomaka (2004) also agreed with the above

that everyone is naturally creative to some extent. Although Patrick, (2005)

believed that we all have the potential to be creative, yet most of us have not

been encouraged to develop our creativity. While Ogomaka (2004) added that

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the creative tendencies of the pupils are made manifest through the teachers’

actions and dispositions. Supporting the above, the creativity Web as adopted

by Obinaju and Ekeh (2012) stated that creative ability can be learned,

improved upon and increased overtime. Therefore, while good teaching

methods develop creativity, and arose creative behaviors, bad or poor

teaching methods stiffle it.

According to Ajala (2004), good methods for developing or teaching creativity

include: originality, ability to produce something new which demands initiative

and vision as well as various ways of solving problems. All these can be

achieved through the following:

Divergent Thinking: Being able to notice relationship between two or more

things. For example, when a child is asked to compare and contrast.

Sensitivity: This is the ability to recognize that a particular problem exists.

This means that a creative mind does not gloss over issues but analyses

things critically.

Fluency: Ability to generate large number of ideas within specified time and

these ideas are such that can help in solving problems.

Flexibility: This has to do with willingness to accommodate new ideas, not

holding tenaciously to an idea when there are other ones.

Elaboration: This is the ability to explain difficult problems in the simplest

form that it can be understood.

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Redefinition: This involves changing or reinterpreting concepts without

alteration in meaning

Researches reviewed suggest the following guides as methods for

teaching creativity:

a. Ask open-ended questions to involve the child in general discussions.

For example, what would happen if there are no rivers? Such question

will stimulate free-thinking (i.e divergent thought) which would provide

scope for many possible answers, with no wrong answer.

b. Involve the child to challenge the assumptions under-lying the ideas

presented by you, the teacher.

c. Involve the child in the activities which stimulate creativity and fantasy.

For example: Present some meaningless similarities “I am a horse” and

let the child find out how it is possible.

d. Present some statements of observation to explore the possibilities of

its reversal, for example “The rose is red” Red is the rose”.

e. Involve the child in exploring activity, like making a list of as many

problems as possible related to environment, or list of things around

you.

f. Provide the child with as many activities and opportunities as possible,

for the expression of idea, which should be continuous, and in the area

of children’s interest.

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g. Whenever possible, provide the child with supplementary materials,

books and other experiences. The teacher should avoid emphasizing

the textual information.

h. Provide children with activities and projects which interest them and

give them openness to think originally and express their ideas in their

own way. Encourage the children to pursue their hobbies.

i. Appreciate openly whenever a child expresses creative behaviour like

asking unusual questions, giving unusual ideas and taking self initiated

action. Appreciate the child when he/she makes ambiguous statements.

j. Encourage the child to make as many arguments as possible about the

solution while solving the problems.

k. Do not always insist on correct answers. Allow the child to think and re-

think the correctness of the answer. Do not evaluate the goodness of

the answer but insist on the number of ideas. Quality of the answer is

taken care of when the child examines all the possible answers.

l. Make sure a child is not taunted by his friends, brothers or sisters for his

answers to the question posed by you. Do not make sarcastic and

insulting remarks in front of the child or on the child. Discourage self-

criticism.

m. Allow the children to think and express freely and find the facts for

themselves.

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n. Do not tell them everything. Let children do their best in finding the

solution to the problem without giving them any hint.

o. Do not encourage rote learning or memorizing of the facts. Allow them

to pursue as much as they want without bothering themselves about

giving the expected solution or answer.

All these statements stated above are in line with Adeyanju (1996)

recommendation on how the schools can enhance creativity which according

to him can be done through flexibility, humor, self-reliance, wholistic and

flexible teaching methods, use of projects, discovery and goal-directed

approach, use of color and wall chart, maps, illustrations, role-models, and

occasional laissez-faire strategies. The same idea is shared by Offor (2004)

who stated her own as projects, guided discovery, discussion method,

assignments and individualized instruction. Since one cannot give what he

does not have, a person teaching creativity method must enhance his/her

creativity by: trying to explain to a child the same thing in different ways, and

giving various types of challenging activities to the child as well as evaluating

the answers given by the child in different ways. These should also be seen

as methods for teaching creativity. In conclusion, Patrick (2005) remarked

that;

Creativity is as fundamental to experiencing and appreciating a work of art as it is to making one. Artistic creativity is an asset to society. Creativity developed through art experiences enhances problem solving and communication in other areas of life. For everyone, opportunities for creative expression develop our

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abilities to integrate experiences of the outside world with those of our inner selves (p.23).

2.9 The Missing Link

Participation in art activities by the physically challenged have been handled

and treated from different angles especially, talking about the benefits

derivable from it. Schwartz (1975) saw the physically challenged participation

in art as basically therapeuthic. According to him, art provides succor, relief

and joy to the physically challenged and makes them to momentarily, forget

the pains and agony which their bodily dispositions bring to them, thereby

allowing them to live in a world of fantasy whenever they are deeply involved

in it. Other authors such as Marjoram (1988), Lerner (2000), Lee (as quoted in

Ogu, 2000), Conant and Randall (as quoted in Ekeada,1993), unanimously

agreed in their studies on factors that help enhance learning of art in the

physically challenged that the art teacher is the driving force /spear head in

art teaching. According to them, all other factors are under the control of the

art teacher to achieve the desired result. On the needed materials for art

teaching to the physically challenged, Smith (1972), Tiedt (1968), Garwood

(1979), Ukaga (2007), Lerner (2000) and Ekeada (1993) all agreed that

children, especially the physically challenged learn art through what they can

see, hear or feel. They advocate that since art is manipulative in nature, the

art teacher should provide the right materials during art teaching for the right

64

type of activity for the respective categories of the challenged; considering

their age, experience and interest. They also advised that the materials

should be cheap, bold to handle, easy and uncomplicated for the children to

manipulate or play with in order to explore their possibilities fully like their

normal counterparts.

On teaching methods for the physically challenged, authors such as

Westwood (1999), Ukaga (2007) and Learner (2000) discovered that

“motivation” is the key to success. Smith (1972) condemned the act of copying

by the physically challenged during art activities, saying that it inhibits

children’s ability to experiment on new ideas. Agreeing with the above view,

Hurwitz and Day (2007), Musa, Ogbebor, Ekpeke and Kpangban (1992) as

well as Ekeada (1993) advocated that children should be allowed to explore

their artistic abilities because no potential will ever be realized or discovered

unless a child tries and freely participates in an activity. Therefore, the

appropriate teaching method for the physically challenged when teaching

art should be that which allows them liberty to express their feelings with

proper guidance and direction by the art teacher.

The above studies have helped to provide materials for adequate information

and knowledge on the physically challenged and their involvement

/participation in art. The review shows that scholars have focused mostly on

the therapeutic effect of art on the physically challenged, the type of

materials that should be provided during art activities, the type of methods

65

to be adopted during art classes and the importance of a good art teacher

on the artistic development of the physically challenged. However, no

researcher has any information on the state of art teaching in special schools

in South-Eastern Nigeria. Again, non has investigated on the methods of

art teaching as one of the factors that suppress creativity in the physically

challenged; particularly in the south Eastern Nigeria. Therefore, this research

study tried to expose the state of art teaching in special education

secondary schools in South Eastern Nigeria as well as art teaching methods

in the above schools as one of the factors that suppress creativity in the

physically challenged. The study also provided answers to the research

questions posed with adequate recommendations for improvement in art

teaching for acquisition of creative skills by the physically challenged in the

South Eastern Nigeria.

2.10 Summary of Literature

Related literature for this study revealed that much have not been covered in

the area of art teaching skills acquisition and the physically challenged in

creativity development in Nigeria particularly. Available studies in art skills

and the physically challenged children have shown that art is not a frill but a

requisite. Generally, art assists in establishing contact with a child’s

environment. The visual stimulation necessary for perceptual development

is provided by art. Art also helps the physically challenged children to cope

more readily with their physical environs by assisting them with colour

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discrimination necessary for safety. Art can be a means of building

independence in an individual. This can be of particular importance to the

physically challenged person who usually must depend on others for so

much of his daily needs. Through art, the physically challenged can present

ideas that may be denied expression because of limited ability in handling

language skills. This is attributed more to the deaf whose hearing impairment

diminishes language skill and usually poses difficulty in language

acquisition. For people in this condition, their eyes and manual activities when

combined with their mental capabilities form their primary avenue for

learning and easy communication. Art education facilitates the effective

utilization of these senses.

From the aforesaid, the literature review has given various definitions of

physically challenged by various authors as individuals who deviate from

average or normal children in mental, sensory and physical abilities and who

require a modification of school practices in order to develop to their

maximum potentials. Categories of disabilities were listed as blindness,

partial sightedness, deafness, hard of hearing, mental retardation, social

maladjustment, physical handicap to mention but a few. Various definitions

of special education by various authors were reviewed from respective

viewpoints. Origin and development of special factors associated with art

education in special schools which include the teacher, the teaching methods

and materials for art skills were also ascertained. The concept of creativity

67

was equally verified. The categories of the physically challenged and how they

participate in art skills were explained. Finally, the problems associated with

the learning of art skills in special schools were discussed. From the review

however, there is no evidence that the challenges in teaching special learners

in the South Eastern Nigeria have been investigated. This study is therefore,

an attempt to fill that gap.

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CHAPTER THREE

RESEARCH METHODOLOGY

This chapter describes the methods used in carrying out the study which aims

at investigating the methods and challenges of teaching creative skills in

special schools in South Eastern Nigeria. In doing this, related literature to the

study were reviewed from textbooks, journals, magazines as well as

unpublished higher degree thesis. These materials helped in providing

existing knowledge/information on the physically challenged and their

participation in art. However, the methods used as contained in this chapter

include; the type of research design used for the study, the areas where the

study was carried out as well as the respondents that the researcher used

for the study. Others include, the instrument which the researcher used in

collecting information that helped answer the research questions and the

hypothesis. The instrument so designed was subjected to validation and

proved reliable through a pilot test in order to certify its adequacy and

consistency.

This chapter also highlights the process employed by the researcher in

administering the instrument to ensure high rate of response and return for

enhanced success rate. Finally, the method used by the researcher to analyze

the data collected which helped to answer the research questions and

hypothesis was also included. Therefore this chapter is arranged under the

69

following sub-headings: Research Design, Area of Study, Population and

Sample, Instrument for Data Collection, Validation of Instrument, Reliability of

Instrument, Procedure for Data Collection and Procedure for Data Analysis.

3.1 Research Design

The design for the study was survey. The type of survey used was

“descriptive” which according to Nworgu (2006) aims at collecting data on, and

describing in a systematic manner, the characteristics, features or facts about

a given population. As a survey therefore, the study aimed at examining the

methods of teaching creative art skills to the physically challenged in the

South Eastern Nigeria. Data was collected from both primary and secondary

sources. Textbooks, journals and magazines provided the secondary data

while the primary data was collected from the respondents using the

appropriate instrument designed for the study by the researcher.

3.2 Area of Study

This study was carried out in South Eastern Nigeria which comprise; Ebonyi,

Enugu, Abia, Anambra and Imo. South Eastern states are situated east of the

River Niger. They are the Igbo speaking group of Nigeria. They are

predominantly Christians, their common food is cassava flour (Akpu) with

various traditional soups. Their common occupation is farming and commerce.

Specifically, the study was conducted in Special Education Secondary

Schools owned by the government in the states mentioned above where the

physically challenged are trained.

70

71

3.3 Population of the Study

The total population for this study was eighty (80) teachers, comprising of all

the teachers in Government owned Special Secondary Schools in each state

of South Eastern Nigeria. Preliminary study carried out by the researcher

revealed that there were 16 teachers in the School for the Deaf, Ofekata

Orodo, Imo State. Odoakpu Special School for the Deaf, Anambra State had

14 teachers. Special Vocational School for the disabled, Oji River, Enugu

State had 21 teachers. Special Education Center for the Blind, Afaraukwu

Umuahia, Abia State had 23 teachers while State Junior Secondary School for

the Blind, Opeffia-Izzi had 6 teachers as shown below:

Table 1: Population

S/n School State No of teachers

No of Art teachers

1 School for the Deaf, Ofekata

Orodo.

Imo 16 1

2 Odoakpu Special School For

The Deaf.

Anambra 14 1

3 Special Vocational School

for the Deaf and Blind, Oji River.

Enugu 21 1

4 Special Education Centre for the Blind, Afaraukwu, Umuahia.

Abia 23 1

5 Ebonyi State Junior Secondary School for the blind, Opeffia-Izzi

Ebonyi 6 1

Total 80 5

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3.4 Sample of the Study

The study picked one special education Secondary School, established by

the government to represent the state where it is located. The researcher was

compelled to use Purposive Sampling Technique because no school among

the Special Education Secondary Schools visited in the preliminary study had

more than one art teacher which by all standards do not constitute a

population for a study of this sort. Therefore, the study used all the teachers in

the schools as mentioned in the population as respondents.

3.5 Instrument for Data Collection

The instrument for this study was a set of structured questionnaire tagged

“Creative Art Teaching in Special Education Survey Questionnaire

(CATSEQ)” designed by the researcher. It was made for all teachers in

Special Education Secondary Schools owned by the government in each

state of South Eastern Nigeria. It contained 50 items. Ideas and items in the

questionnaire were designed to elicit information on the type of art activities

taught in schools for special learners, the categories of special learners that

are found in Special Education Schools, the methods of teaching art skills that

could effectively develop creativity in challenged learners as well as

challenges faced in teaching art skills in Special Education Schools.

The questionnaire contained five sections. Section A contained 5 optional

questions and sought information on the biography of the respondents.

Section B contained 3 questions and sought information on the categories of

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physically challenged that are trained in the school. Section C contained 17

questions and sought to know the type of art activities taught in the school

for special learners. Section D contained 4 questions on the teaching methods

of art used to effectively develop creativity in the physically challenged.

Finally, section E contained 26 questions and sought to know the problems

faced in teaching the physically challenged in the school. The respondents

were expected to rate the extent of acceptance which they attached to each

item on a modified 4 point Likert Scale as shown thus: Very High Extent (VHE:

4), High Extent (HE:3), Low Extent (LE:2) and Very Low Extent (VLE:1).

3.6 Validation of Instrument

The questionnaire was subjected to face and content validation. Face

validation is the testing of the appropriateness of a questionnaire. According to

Nworgu (2006), it is used to indicate whether a questionnaire measures what

it contains. Content validity on the other hand was used to test how well the

questionnaire items represent some segment of knowledge. It was therefore

used to determine the extent to which questionnaire items were relevant to the

objectives of the study as well as the research questions being investigated.

In validating the face and content of the instrument, copies of the draft

questionnaire were given to specialists from different departments in the

University of Nigeria, Nsukka and Alvan Ikoku Federal College of Education

Owerri, who were relevant to the study. These specialists included two

lecturers in special education, two lecturers in Fine and Applied Arts and one

74

lecturer in Measurement and Evaluation. These specialists were required to

suggest modifications on the structuring of the items, as well as organization

and arrangement of the items. Their suggestions, modifications and opinions

were effected and the final questionnaire was produced and distribution to the

target population.

3.7 Reliability of the Instrument

In order to ensure the reliability of the research instrument, the researcher

administered the questionnaire on 20 teachers in two special schools in Rivers

state, two times within an interval of two weeks. This helped the researcher to

determine the extent of its consistency. It also helped the researcher to

discover and solve problems that came up from the instrument before the

final administration. The data obtained from the two administrations were

then correlated using Pearson Product moment Correlation (PPMC). The

correlation coefficient statistics result obtained was 0.96. This was considered

adequately high and reliable.

3.8 Procedure for Data Collection

The data for the study were collected from the primary source using

questionnaire. The questionnaire was administered personally by the

researcher, that is the distribution and collection of the instrument was carried

out by personal contact. This resulted in the high percentage of return

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recorded. The researcher requested that the whole questionnaire be

completed and returned immediately to avoid loss.

In some cases where the return rate of the completed questionnaire was less

than 50% on the first visit, the researcher visited as many times as possible to

ensure that a high rate of return was recorded for meaningful achievement of

the purpose of the study.

3.9 Procedure for Data Analysis

Responses from the questionnaire were scored using four point rating scale of

4 on the high side and 1 on the lowest level. All the options were scored in

the same direction. Mean statistics and simple percentage were used to

analyze the data so as to answer the research questions. Interpretation was

made on each item using the mean of 2.50 as the bench mark for positive

responses (mean scores within and above were accepted while below were

rejected). The hypotheses were tested using Analysis of Variance (ANOVA).

Statistical decisions were made at 0.05 level of significance.

76

CHAPTER FOUR

PRESENTATION OF FINDINGS AND ANALYSIS OF DATA

This chapter presents the results of the findings made from the study. It also

presents the analysis of data using the mean statistics. The data analysis

were made in order of the research questions and hypotheses one after

another.

4.1 Research Question 1: What are the categories of special learners found

in special education schools?

The categories of special learners obtained from the students’ personal files

are as presented on the table that follows:

Table 4.1: Showing number and percentage of categories of special learners

in the school

S/N ITEMS N %

1 Deaf 216 39.01

2 Blind 210 37.97

3 Orthopedically deformed 127 22.96

Total 553 99.94

Data presented on table1 showed that the number of the deaf and the blind

learners were 216 and 210 representing 39.01% and 37.97% respectively.

The orthopedically deformed were 127 representing 22.96% of the total

number of students.

77

4.2 Research Question 2: What are the art activities taught in schools for

special learners?

Items 4 – 20 in the research questionnaire were used to obtain data

necessary for the analysis of research question two. Mean statistics was

computed using the data collected. The results are as presented on the table

that follows.

Table 4.2: Showing the mean of art activities taught in the schools for special learners S/N ITEMS Total Mean Result

4 Modeling N Nx

80 200

2.50 +

5 Drawing N Nx

40 115

2.88 +

6 Painting N Nx

80 170

2.13 -

7 Sculpture N Nx

80 200

2.50 +

8 Dyeing N Nx

80 170

2.13 -

9 Cloth Weaving N Nx

80 170

2.13 -

10 Basket weaving N Nx

80 200

2.50 +

11 Mat weaving N Nx

80 200

2.50 +

12 Cane weaving N Nx

80 260

3.25 +

13 Book binding N Nx

80 200

2.50 +

14 Paper design N Nx

80 170

2.13 -

15 Stencil cutting printing N Nx

80 170

2.13 -

16 Banner writing N Nx

80 170

2.13 -

17 Bead making N Nx

80 170

2.13 -

18 Mosaic N Nx

80 170

2.13 -

19 Paper marchie N Nx

80 200

2.50 +

20 Collage N Nx

80 170

2.13 -

78

In the table 2 above, n stands for the number of respondents while x stands

for score. The sign + stands for positive response showing agreement, while

the sign - stands for negative response showing disagreement. Data analysis

therefore showed that modeling, drawing, sculpture and basket weaving were

among the art activities taught in schools for special learners. Others included

mat weaving, cane weaving, book binding and Paper marchie. The art of cane

weaving had the highest mean score of 3.25 and this was followed by drawing

with 2.88 mean score. Other items with positive scores had mean scores of

2.50 which is the bench mark for positive responses, whilse, other art

activities listed were scored below 2.50

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4.3 Research Question 3: What are the methods of teaching art skills that

could effectively develop creativity in challenged learners?

Items 21 – 24 in the research questionnaire were used to obtain data

necessary for the analysis of research question three. Mean statistics were

computed using the data collected. The results are as presented on the table

that follows.

Table 4.3: Showing the teaching methods in the schools for special learners

S/N Items Total Mean Result

21 Demonstration method n

nx

80

170

2.13 -

22 Discussion method n

nx

80

200

2.50 +

23 Individualized instruction n

nx

40

85

2.13 -

24 Exhibition method n

nx

80

160

2.00 -

Data analysis therefore showed that discussion method was the popular

teaching method in schools for special learners, having a mean score of 2.50.

Other teaching methods as listed in the table were rated below the

accepted mean.

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4.4 Research Question 4: What are the challenges in teaching learners in

special education schools?

Items 25 – 50 in the research questionnaire were used to obtain data

necessary for the analysis of research question four. Mean statistics was

computed using the data collected. The results are as presented on the table

that follows.

Table 4.4: Showing the mean challenges of teaching in the schools for special learners

S/N ITEMS Total mean Result

25 Inadequate classroom space n

nx

80

260

3.25 +

26 Poor ventilation in the classroom n

nx

80

200

2.50 +

27 Poor lighting of the classroom n

nx

80

170

2.13 -

28 Inadequate number of art teachers

n

nx

80

200

2.50 +

29 Inadequate seating facilities n

nx

80

160

2.00 -

30 Poor training of art teachers n

nx

80

190

2.37 -

31 Not all challenged learners participate in all art activities

n

nx

80

240

3.00 +

32 Some students do not show interest in learning art

n

nx

80

240

3.00 +

33 The number of periods for teaching art in the week is not adequate to cover the scheme

n

nx

80

260

3.25 +

34

The length of each period for teaching art is not adequate to complete the lesson plan

n

nx

80

210

2.63 +

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35 The physically challenged suffer stigmatization

n

nx

80

260

3.25 +

36 The physically challenged have low self esteem and self confidence

n

nx

80

200

2.50 +

Poor Provision of Art Materials such as:

37 Stove /heat source n

nx

80

200

2.50 +

38 Art studio n

nx

40

115

2.88 +

39 Pencil n

nx

80

200

2.50 +

40 Candle wax n

nx

80

160

2.00 -

41 Ropes n

nx

80

240

3.00 +

42 Dyes and dying accessories n

nx

80

160

2.00 -

43 Drawing books n

nx

80

200

2.50 +

44 Crayons n

nx

40

115

2.88 +

45 Poster colour n

nx

80

200

2.50 +

46 Brushes n

nx

80

200

2.50 +

47 Clay n

nx

80

240

3.00 +

48 Cotton cloths n

nx

40

115

2.88 +

49 Drawing boards n

nx

80

200

2.50 +

50 Water colour n

nx

80

220

2.75 +

82

Data analysis showed that the challenges of teaching learners in special

schools included inadequate classroom space, inadequate number of art

teachers, poor ventilation in the classroom and the length of each period for

teaching art is not adequate to complete the lesson plan. Other challenges

were that not all the physically challenged participate in all art activities, some

of them do not show interest in learning art, the number of periods for teaching

art in the week is not adequate to cover the scheme of work, the physically

challenged have low self esteem, self confidence, and suffer stigmatization,

as well as poor provision of art materials such as stove /heat source, art

studio, pencils, ropes, drawing books, crayons, poster colour, brushes, clay,

cotton cloths, drawing boards and water colour. They all have a mean rating

of 2.50 and above. However, there were low scoring on items 27, 29, 30, 40

and 42.

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4.5 Hypothesis 1: There is no significant difference among the special

education schools in the South East States about the categories of

learners taught.

An ANOVA test was used to test the significance of the difference among the

categories of learners in the five special schools. The summary is presented

on the table that follows

Table 4.5: Summary and result of ANOVA test

Source or variation Sum of

squares

Degree of freedom Mean squares F

Between 84.1 2 42.05 5.71

Within 564.9 77 7.36

Total 649 79

Result of the ANOVA presented on the table 4.5 showed that the F. calculated

value is 5.71 whereas for 2, 77 degrees of freedom at 0.05 level of

significance, the F critical value is 3.4. This indicates a significant difference

among the five schools for special learners. For this reason therefore,

hypothesis one was rejected. It is consequently proper to assert that there is a

significant difference among the special education schools in the South East

States in the categories of learners taught.

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4.6 Hypothesis 2: There is no significant difference among the special

education schools in South Eastern Nigeria on the types of art activities

taught.

An ANOVA test was used to test the significance of the difference among the

special education schools in South Eastern Nigeria on the types of art

activities taught.

Table 4.6: Summary and result of ANOVA test

Source or

variation

Sum of

squares

Degree of

freedom

Mean

squares

F

Between 56.6 2 28.03 13.8

Within 156.3 77 2.03

Total 212.91 79

Result of the ANOVA presented on the table 4.6 showed that the F calculated

value is 13.8 whereas for 2, 77 degrees of freedom at 0.05 level of

significance, the F critical value is 3.4. This indicates a significant difference

among the five schools for special learners. For this reason therefore,

hypothesis two was rejected. It is consequently proper to assert that there is a

significant difference among the special education schools in the South East

States in the art activities taught.

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4.7 Hypothesis 3: There is no significant difference among the special

education schools in South Eastern Nigeria concerning the methods of

teaching art skills for effective development of creativity in challenged

learners.

An ANOVA test was used to test the significance of the difference among the

special education schools in South Eastern Nigeria concerning the methods

of teaching art skills for effective development of creativity in challenged

learners.

Table 4.7 Summary and result of ANOVA test

Source or

variation

Sum of

squares

Degree of freedom Mean squares F

Between 74.4 2 37.2 11.6

Within 244.9 77 3.18

Total 319.3 79

Result of the ANOVA presented on the table 4.7 showed that the F calculated

value is 11.6 whereas for 2, 77 degrees of freedom at 0.05 level of

significance, the F critical value is 3.4. This indicates a significant difference

among the five schools for special learners. For this reason therefore,

hypothesis three was rejected. It is consequently proper to assert that there is

a significant difference among the special education schools in South Eastern

Nigeria concerning the methods of teaching art skills for effective development

of creativity in challenged learners.

86

4.8 Hypothesis 4: There is no significant differences among the special

education schools in South Eastern Nigeria on the challenges faced in

teaching special learners.

An ANOVA test was used to test the significance of the difference among the

special education schools in South Eastern Nigeria on the challenges faced in

teaching special learners.

Table 4.8: Summary and result of ANOVA test

Source or

variation

Sum of squares Degree of

freedom

Mean squares F

Between 65.6 2 32.8 10.78

Within 234.2 77 3.04

Total 299.8 79

Result of the ANOVA presented on the table 4.8 showed that the F. calculated

value is 10.78 whereas for 2, 77 degrees of freedom at 0.05 level of

significance, the F critical value is 3.4. This indicates a significant difference

among the five schools for special learners. For this reason therefore,

hypothesis four was rejected. It is consequently proper to assert that there is a

significant difference among the special education schools in the South East

on the challenges faced in teaching special learners.

87

4.9 Summary of Findings

The following findings were made from the study:

1. The categories of learners found in the special schools are the hearing

impaired, the visually impaired and the orthopedically deformed.

2. The art activities taught in schools for special learners included

modeling, drawing, sculpture and basket making. Others included mat

making, cane making, book binding and paper marchie.

3. The commonest teaching method used in teaching learners in special

schools was discussion method.

4. The challenges of teaching learners in special schools included

inadequate classroom space, poor ventilation in the classroom,

inadequate number of art teachers, and the length of each period for

teaching art is not adequate to complete the lesson plan. Other

challenges were that some of them do not show interest in art, the

number of periods for teaching art in the week is not adequate to

cover the scheme, the physically challenged suffer stigmatization, they

have low self esteem and self confidence, poor provision of art

materials such as stove/heat source, art studio, pencils, ropes, drawing

books, crayons, poster colour, brushes, clay, cotton cloths, drawing

boards and water colour.

5. There was a significant difference among the special education schools

in the South East States in the categories of learners taught.

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6. There was a significant difference among the special education schools

in the South East States on the types of art activities taught.

7. There was a significant difference among the special education

schools in South Eastern Nigeria concerning the methods of teaching

art skills for effective development of creativity in challenged learners.

8. There was a significant difference among the special education schools

in South Eastern Nigeria on the challenges faced in teaching special

learners.

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CHAPTER FIVE

DISCUSSION OF FINDINGS, IMPLICATIONS, SUMMARY,

RECOMMENDATIONS AND CONCLUSION

This chapter deals with the interpretation and discussion of the results of the

study. It also highlights the implications of the results, recommendations for

action based on the results and suggestions for further studies. The chapter

also presents a summary of the study and highlights its limiting factors.

Conclusion based on the findings of the study was equally made.

5.1 Discussion of Results

Data presented on table I for research question 1 showed that the number of

hearing impaired students was 216 representing 39.01% of the total number

of students. The orthopedically challenged and the visually impaired learners

were 127 and 210 representing 22.96% and 37.97% respectively. The findings

showed that the greatest number of learners in special schools was the

hearing impaired. These categories of learners are much easier to be taught

art skills. This is so with the orthopedically challenged who are mostly

mainstreamed in many regular schools because with little facility especially in

the area of mobility, they could be conveniently taught. The hearing impaired

and the orthopedically deformed can easily manipulate art materials and

participate in many arts and crafts. Supporting the above findings, Onyem

(2000), Ogu (2000) and Ogu (2012) on disability and participation in Art skills,

had earlier discovered from their investigations that the visually impaired

students do not participate in drawing, painting and designing because of their

visual deformity. Again, the result of their study revealed that the hearing

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impaired and the orthopedically challenged students participate fully in all

forms of Art Skills with little or no inhibition. This is because their visual

sensory organ which is the primary sensory organ for art skills is accurate. An

exception also was made of children with amputation of the upper limbs or

paralysis of the hands.

Data analysis presented on table 2 for research question 2 showed that

modeling, drawing, sculpture and paper design were among the art activities

taught in schools for special learners. Others included mat weaving, cane

weaving, book binding and paper marchie. The identified art skills are useful

to special learners for livelihood. In line with this, Arhein, (2004) had already

recommended in his earlier study that the most useful type of education for

the physically challenged is art education. According to him, the teaching and

learning of art skills enable the special learners to achieve some degree of

independence and functionality. This is consonance with the

recommendations of Ekeada (1993) That there should be no limits to the art

activities provided to the challenged children but instead, they should be

provided with the wide range of art activities presented to the normal child’s

art training adding that the challenged children have the same need to create

and to develop artistic skills as do other children in spite of their deformities.

Data analysis on table 3 for research question 3 showed that discussion

method was the popular teaching method in schools for special learners

possibly because of lack of art materials for practical demonstrations and

unqualified art teachers. The use of non practical teaching methods in Schools

for special learners has been decried by Hurwitz, and Day, (2007). According

91

to them, non practical teaching methods tend to make learning very theoretical

and this is contrary to the essence of establishing schools for special learners.

They posited that theoretical education for the physically challenged would

only make them remain potential dependants. Supporting the above also,

Attack (1980) agreed that teaching arts to the physically challenged is not

aimed at making them artists but rather advised that it should help in their

development of skills and abilities as well as stimulating the ability to organize

them and their thoughts. Recognizing the above, Jameson in Ekeada (1993)

believed that art education to the school child should reflect ‘‘education

through art and not education in art’’. However, the researcher observed in the

study that the above objective is neglected in practice because the right

teaching method of art which should comprise of both demonstration and

theory is not followed, may be as a result of inadequate provision of qualified

art teachers and personnel who may be familiar with the needs of the child but

are neither trained nor have a general understanding of the art and the

objectives. Therefore, it is the belief of the researcher that if provision of

qualified art teachers are made who in turn use appropriate teaching methods

in imparting the knowledge in art education to the physically challenged, it will

help the learners in acquiring artistic skills for entrepreneurship and

independent living.

Another finding made from data analysis on table 4 for research question 4

showed that the challenges of teaching learners in special schools included

inadequate classroom space, Poor ventilation in the classroom, inadequate

number of art teachers and the length of each period for teaching art is not

92

adequate to complete the lesson plan. Other challenges were that not all

challenged learners participate in all art activities, the physically challenged

have low self esteem and self confidence, and not all challenged children

show interest in art, the number of periods for teaching art in the week is not

adequate to cover the scheme of work. Inadequate provision of art materials

such as stove /heat source, art studio, ropes, drawing books, crayons, poster

colour, brushes, clay, cotton cloths, drawing boards and water colour. In

some of the schools visited, there was no indication that the learners are given

special facilitations. Some do not have good seats for the learners. In line with

this finding, UNESCO (as contained in Ogu, 2012) discovered that some

barriers associated with learning art skills in special schools included

inadequate funding of courses related to art skills acquisition. Teaching of arts

to students with disabilities in general education classrooms takes specialist

and additional staff to support students’ needs. Coordinating services and

offering individual supports to children require additional money that many

Schools do not have particularly in a tight economy like Nigeria. Inadequate

funding can hinder ongoing professional development that helps keep both

specialists and classroom teachers updated on the best practices of

teaching arts in mainstream and special schools. Some schools (both

general and special) are not accessible to students in wheel chairs and there

are no other mobility aides such as elevators, ramps, paved pathways and

lifts to get in and around buildings. Such learning environment may practically

be difficult for orthopedically deformed children to cope with.

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Most importantly is the unavailability of trained art teachers and art skilled

personnel who also received training in special education. Despite the obvious

challenges posed by various deformities and at various degrees on the

physically challenged, which are either, inherited, or acquired through

accidents or ill health, the researcher observed that there are numerous

challenges as indicated in the study which are surmountable only if extra care

and adjustments are made by both the school authorities, parents,

government, teachers as well as the challenged learners too. In the case of

inadequate number of art teachers, literature reviewed showed that the art

teacher is the spear head, the motivator, the architect and the inspirator in

the teaching of art and all other factors are manipulated according to his

ability to achieve the desired result (Ekeada, 1993). This assertion was

supported by Lerner (1997) who observed that teachers set the climate of the

learning environment. In addition, Hurwitz and Day, (2007:77) documented

the findings of the study carried out by Doris Guay on accomplished art

teachers saying that “art teachers generally moved throughout their

classroom, providing reinforcement and encouragement. They sought to

maintain a calm, personal approach, keeping individuals on task by personal

closeness. They never appeared to be rushed”. These are expected roles of

the art teacher where they are available. But regrettably, these roles are far-

fetched in the special School under study because there are limited number

of trained art teachers.

The study found out that there are significant differences among the special

education schools in South Eastern Nigeria in the categories of

94

learners taught, in the art activities taught, concerning the methods of

teaching art skills for effective development of creativity in challenged learners

and in the challenges faced in teaching special learners. These facts may be

explained in the years of existence of the different schools and the funding

attitudes of individual state governments. Perhaps that is why Edmos (2010)

advocated Federal Government take over of all schools for special learners.

This is expected to reduce differences in the quality of education given in the

schools. The resultant effect being that enough qualified art teachers/

personnel will be employed to teach art skills adequately, with fair incentives

to make them steadfast in their jobs. Also, various art materials will be

provided for practical demonstration/production in various art endeavours.

This will help the learners choose areas of specialization, reduce challenges

faced in teaching art to the physically challenged in terms of structures,

facilities and learning aids. However, this opinion was upheld by Kirk (in

Ekeada, 1993) when he discovered in his study that the physically

challenged have the same need to create and to develop artistic skills as

do other children in spite of their disabilities.

Again, the fact that there are no enough qualified art teachers in the

schools studied as revealed in the findings could be the reason for the

differences observed on the methods of art teaching. If the teachers do not

have good knowledge of arts because they are not trained in art theories

and practices, they lack art skills and cannot give what they don’t have. It

then becomes inadequate to ask them to teach art skills in the Schools

which is a common practice in some schools including normal schools. This

95

is done to ensure that the subject is represented in the school time table

without minding the implications on the learners. The need for qualified and

committed good art teachers had earlier been buttressed by Ekeada (1993).

According to him, there are three factors that are pertinent in the teaching of

arts in schools namely: the art teacher, the art teaching method and the art

materials available for teaching. He further emphasised that among the three

factors, the art teacher is the most important because all other factors are

controlled by him to provoke learning. The need to provide infrastructural

amenities that aid the learning of the physically challenged is facilitated by the

fact that they are handicapped in carrying out some various life activities.

The need to provide such structures/facilities as mobility aids for the

orthopedically deformed, visual aids for the visually impaired and hearing aids

for the hearing impaired had been decried by UNESCO (as contained in Ogu,

2012).

5.2 Implications of the Findings

The findings of the study have the following implications:

1. One of the results of the study is that many art skills were not taught in

schools for special learners. This could imply that the learners would

graduate without functional skills to help develop their creative abilities.

2. Data analysis showed that discussion method was the popular teaching

method in schools for special learners. The use of discussion instead of

demonstration method as widely recommended for practical studies

96

such as art could make learning meaningless, uninteresting and boring to

the learners. This jeopardizes their creative abilities.

3. The insufficiency and inadequacy of materials for teaching art skills in

schools for special learners could imply that not much art skills are taught

to the learners.

4. The fact that not more than one art teacher is employed in the special

schools studied is enough indication that art is not taught adequately.

This implies that a single art teacher cannot handle all the contents in

the scheme of work for all the classes in the School.

5.3 Recommendations

Based on the results of the research study, the following recommendations

were outlined.

1. The findings of this study should be made available to the policy

makers in Federal Ministry of Education, Principals/Administrators of

special education schools where they can serve as a source of

information for curriculum improvement on the acquisition of creative

skills among the physically challenged.

2. The findings should also be made available to all qualified art teachers

who may be posted to special schools as a directory document to

guide them on the most appropriate way to teach art skills to the

physically challenged to be able to meet with the objectives as stated

in the National Policy on Education.

97

3. Many art skills should be taught in schools for special learners. This could

enable the learners to graduate with functional skills that will develop their

creative abilities for self reliance.

4. The use of discussion instead of demonstration method of teaching could

make learning uninteresting and boring to the learners. Teaching of arts in

schools for special learners should be practical, demonstrative and

individually supervised to enable them acquire art skills.

5. The schools for special learners should be adequately funded; the

insufficiency and inadequacy of materials for teaching art skills in schools

for special learners should be addressed by the government and funding

agencies.

6. The Federal Government should adequately and wholistically take over the

running of schools for the special learners. This will enhance the teaching

and learning processes both in art and other subjects.

7. More art teachers in various specialties should be posted to special

schools to ensure that various art skills are taught to special children. This

will help them acquire various skills instead of a limited one or two skills.

8. A few physically challenged individuals who were able to acquire some

form of creative skills while in school should be encouraged by the

government and other financial institutions/individuals by providing them

with soft loans or donations to set up their entrepreneurial business to

make a living. This will serve as motivational strategies and inspirations to

others.

5.4 Limitations of the Study

98

During the course of the study, the following limitations were observed:

1. The questionnaire was meant to be filled by the art teachers in the

special schools initially; but the preliminary study later revealed that

there weren’t enough art teachers in the schools under study,

therefore, all the teachers in the schools were used as population for

the study in order to get enough responses for data analysis. Certainly,

this affected the responses and the results too; because some of them

do not understand the contents of the questionnaire items as to respond

appropriately.

2. Most of the teachers used in the study were reluctant to respond to the

questionnaire given to them because they didn’t see the need to do so

owing to the fact that the study was not being conducted in their

areas of studies. This may have affected their responses.

3. The study heavily relied on the use of questionnaire for data collection.

This means that the validity of the findings would also depend on how

accurately the respondents supplied information.

4. The research sample was relatively small. This could make

generalizations of the findings difficult.

5.5 Suggestion for Further Studies

The following suggestions are made for further studies:

1. The study should be carried out using more schools for special learners

in Nigeria.

2. Attitude of employers towards the training of special learners should be

investigated, especially in the area of development of creativity using

other skills.

99

3. Further research should be carried out to determine other areas of skills

acquisition that help develop creative abilities in the physically

challenged.

5.6 Summary of the Study

The study investigated the challenges of teaching creative skills to special

learners in South Eastern Nigeria. The study was motivated by the

researcher’s desire to ensure that the goals of establishing schools for special

learners in Nigeria are focused upon. In order to sharpen and direct the study,

four research questions and four hypotheses were formulated. The sample

size consisted of eighty (80) teachers who teach in government special

secondary schools that teach art skills in the five states of the South East

States of Nigeria.

Data were collected by means of a researcher – developed structured

questionnaire called “Creative Art Teaching In Special Education Survey

Questionnaire” (CATSEQ). Data were also analyzed using Mean and Analysis

of Variance statistics. The study revealed that not much art skills were taught

in schools for special learners and the prevalent teaching method was

discussion method because of lack of materials for demonstration. The

findings also showed that the facilities for art teaching in the schools were

inadequately provided and recommended that art teaching in schools for

special learners be made practical oriented so that the learners would be

helped to acquire functional skills for their livelihood.

5.7 Conclusion

100

In order to realize the stated objectives of teaching arts in Special

education schools which include among others, to provide adequate

education for all people with special needs in order that they may be self

reliant and fully contribute their own quota to the development of the

nation (FRN, 2004: 48), the method of art teaching if improved from what the

study discovered to what it recommended as appropriate will enhance skills

acquisition by the physically challenged. It will help the learner learn the skill

as the teacher carries out the demonstration following the procedure. It will

also enable the students carry out the skills following the accepted principles

and procedures. Again, if the federal ministry of education and authorities

concerned employ more qualified art teachers (specialists in various art

fields) in all Special Education Schools in South Eastern Nigeria, there will

be adequate provision of art teachers as obtained in other subjects. This

will help in realizing that art is given a fair attention in all the special

schools. Again, the art teachers will not feel over worked. Also if the

authorities make adequate provision of materials and other necessary

learning aids to special schools, the art teachers will not lack materials for

demonstration and at the same time, the students will not lack materials for

practical skills. The fact that the physically challenged are special in nature

and need extra motivations and reinforcements than the normal to help

boost their interests in school necessitates the above.

Therefore, the study concludes that if the above findings are

implemented effectively in special secondary schools, they will go a long

way to ensuring that the challenges encountered in teaching creative skills

101

to the physically challenged are surmounted by effective teaching of art

skills. This will avail them with numerous art skills to help them become

self reliance and productive members of the society.

102

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108

APPENDIX 1

CREATIVE ART TEACHING IN SPECIAL EDUCATION SURVEY

QUESTIONNAIRE (CATSEQ)

Department of Fine and Applied Arts,

University of Nigeria, Nsukka.

July, 2012.

Dear Respondent,

Questionnaire on Teaching Creative Skills to the Physically

Challenged; The Study of South Eastern Nigeria.

I am a post graduate student of the above institution presently conducting a

research on the above topic. The study seeks to investigate the challenges

of teaching creative abilities to the physically challenged in special education

schools in South Eastern Nigeria.

The attached questionnaire (TCSPC) is therefore, meant to seek your

opinion on the art teaching methods/materials/ problems and art activities

that are practised in your school.

Please assist in completing the questionnaire as honestly and carefully as

you can, and return to the bearer. You are assured that your responses will

be kept in strict confidence and no attempts will be made to associate

responses with individuals or institutions.

Thank you for your co-operation.

Signed

………………………… ……………………… Prof. O.K. Oyeoku Ogu, Jovita C. Supervisor Researcher

109

SECTION A: Personal Data (optional)

1. Name of School:

2. Sex: Male ( ) Female ( )

3. For how many years have you been teaching in this school?

( ) 0-5yrs ( )5-10yrs ( ) Above 10 yrs

4. What is your area of specialization?

5. What is your highest academic qualification? ( ) NCE ( ) B.Ed

( ) M.A/M.Sc ( ) others

Instruction: Please Tick (√) the appropriate response that is most application

to you.

SECTION B

CATEGORIES OF PHYSICALLY CHALLENGED THAT ARE TRAINED IN

YOUR SCHOOL.

Instruction: Kindly tick (√) to indicate which of the following categories of

physically challenged that are found in your school.

S/N ITEMS

1 Deaf

2 Blind

3 Crippled

110

SECTION C

THE TYPES OF ART ACTIVITIES TAUGHT IN SCHOOLS FOR

SPECIAL LEARNERS.

Instruction: Please indicate by a tick (√), the extent to which the underlisted

art activities are taught in your school using the following rating scale:

Very High Extent (VHE) 4

High Extent (HE) 3

Low Extent (LE) 2

Very Low Extent (VLE) 1

S/N ITEMS VHE HE LE VLE 4 Modeling 5 Drawing

6 Painting

7 Sculpture

8 Dyeing

9 Cloth Weaving

10 Paper Design

11 Banner writing

12 Stencil cutting /Printing 13 Book binding 14 Basket Weaving

15 Cane Weaving

16 Mat Weaving 17 Bead making

18 Mosaic 19 Paper marchie

20 Collage

111

SECTION D

METHODS USED FOR TEACHING ART TO THE PHYSICALLY

CHALLENGED.

Instruction: Kindly tick (√) to indicate the extent to which these methods of

teaching art skills effectively develop creativity in your physically challenged

students.

S/N ITEMS VHE HE LE VLE

21 Demonstration method

22 Discussion method

23 Individualized instruction

24 Excursion method

112

SECTION E

CHALLENGES FACED IN TEACHING ART TO THE PHYSICALLY

CHALLENGED

Instruction: Kindly tick (√) to indicate the extent to which you agree that the

following problems are faced in teaching art to the physically challenged in

your school

S/N ITEMS VHE HE LE VLE

25 Inadequate classroom space

26 Poor ventilation in the classroom

27 Poor lighting of the classroom

28 Inadequate number of art teachers

29 Inadequate seating facilities

30 Poor training of art teachers

31 Not all challenged learners participate in all art activities

32 Some students do not show interest in learning art

33 The number of periods for teaching art in the week is not adequate to cover the scheme

34 The length of each period for teaching art is not adequate to complete the lesson plan

35 The physically challenged suffer stigmatization

36 The physically challenged have low self esteem and self confidence

Poor Provision of Equipment such as

37 Stove /heat source

38 Art studio

113

Poor Provision of Art Materials such as

39 Dyes and dying accessories

40 Candle wax

41 Ropes

42 Pencils

43 Drawing books

44 Crayons

45 Poster colour

46 Brushes

47 Clay

48 Cotton cloths

49 Drawing boards

50 Water colour

114

APPENDIX II

RELIABILITY COEFFICIENT USING PEARSON PRODUCT MOMENT

CORRELATION STATISTICS

1st ADM 2nd ADM

S/No. X Y XY X2 Y2

1 30 31 1190 961 930

2 26 25 1224 625 650

3 26 27 2322 729 702

4 34 33 1920 1089 1122

5 32 32 1292 1024 1024

6 29 30 238 900 879

7 21 19 1496 361 399

8 23 23 3965 529 529

9 26 25 1224 676 676

10 25 25 1190 625 625

11 29 30 1178 900 870

12 30 30 1598 900 900

13 24 25 1302 625 600

14 26 26 1054 676 676

15 27 27 1054 729 720

16 25 24 1088 576 600

17 28 28 1054 784 784

18 21 22 1054 484 462

19 20 22 1192 484 440

20 32 35 1666 1225 1120

∑∑∑∑ 534 540 14540 14902 14708

115

RXY = NΣXY – (∑X) (∑Y)

NΣX2 - (ΣX)2) (NΣY2 - (ΣY)2

= 20 x 14708 – 534 x 540

(20 x 14540 - 5342) (20 x 14902 - 5402

= 294160 - 288360

(290800 – 285156) (298040 – 291600)

= 5800

(5644) (6.440)

= 5800

602888 = rxy = 0.96

116

TEST OF SIGNIFICANCE FOR PEARSON Rxy

The computed r coefficient was transformed to t-test and then the t

distribution table was used to check for significance at 0.05 level of

significance. The formula for this procedure as recommended by Onunkwo

(2002) is

t = r N – 2

(RXY2)

Substituting the rxy (0.96)

t = 0.96 20 – 2 = 0.9 18

1 – (0.96) 1 – 0.92

t = 0.90 x 4.24 = 4.07 = 14.53

0.08 0.28

For 18 df at 0.05 level of significance, the t critical value is 2.10 whereas the t-

calculated value is 14.53. Therefore, the computed Pearson Correlation

Coefficient is significant at 0.05 level of significance.

117

APPENDIX III

DATA ANALYSIS

S/N ITEMS VHE HE LE VLE total X Result

4 Modeling n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

5 Drawing n nx

10 40

20 60

10 20

5 5

40 115

2.88 +

6 Painting n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

7 Sculpture n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

8 Dyeing n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

9 Cloth Weaving

n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

10 Paper Design

n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

11 Banner

writing n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

12 Stencil cutting /Printing

SA A D SD total X Result

13 Book binding

n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

14 Basket Weaving

n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

15 Cane Weaving

n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

16 Mat Weaving

n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

17 Bead making

n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

18 Mosaic n nx

40 160

20 60

20 40

- -

80 260

3.25 +

19 Paper marchie

n nx

20 80

10 30

40 80

10 10

80 200

2.50 +

20 Collage n nx

10 40

10 30

40 80

20 20

80 170

2.13 -

118

Research Question 3.What methods of teaching art skills that could effectively

develop creativity in challenged learners?

Items 21 – 24 in the research questionnaire were used to obtain data

necessary for the analysis of research question three. Mean statistics was

computed using the data collected. The results are as presented on the table

that follows:

S/N ITEMS VHE HE LE VLE total X Result

21 Demonstration

method

n

nx

10

40

10

30

40

80

20

20

80

170

2.13 -

22 Discussion

method

n

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

23 Individualized

instruction

n

nx

5

20

5

15

20

40

10

10

40

85

2.13 -

24 Excursion

method

n

nx

20

80

10

30

20

40

10

10

80

160

2.00 -

119

Research Question 4.What are the challenges in teaching learners in special

education schools?

Items 25 – 50 in the research questionnaire were used to obtain data

necessary for the analysis of research question four . Mean statistics was

computed using the data collected. The results are as presented on the table

that follows:

S/N ITEMS VHE HE LE VLE total X Result

25 Inadequate classroom space

N nx

40 160

20 60

20 40

- -

80 260

3.25 +

26 Poor ventilation in the classroom

N nx

20 80

10 30

40 80

10 10

80 200

2.50 +

27 Poor lighting of the classroom

N nx

10 40

10 30

40 80

20 20

80 170

2.13 -

28 Inadequate number of art teachers

N nx

10 40

30 90

30 60

10 10

80 200

2.50 -

29 Inadequate seating facilities

N nx

20 80

10 30

20 40

10 10

80 160

2.00 -

30 Poor training of art teachers

N nx

10 40

30 90

20 40

20 20

80 190

2.37 -

31 Not all challenged learners participate in all art activities

N nx

20 80

40 120

10 20

10 10

80 240

3.00 +

32 Some students do not show interest in learning art

N nx

30 120

30 90

10 20

10 10

80 240

3.00 +

33 The number of periods for teaching art in the week is not adequate to cover the scheme

N nx

40 160

20 60

20 40

- -

80 260

3.25 -

34

The length of each period for teaching art is not adequate to complete the lesson plan

N nx

20 80

20 60

30 60

10 10

80 210

2.63 +

35 The physically challenged suffer stigmatization

N nx

40 160

20 60

20 40

- -

80 260

3.25 -

36 The physically challenged have low self esteem and self confidence

N nx

20 80

10 30

40 80

10 10

80 200

2.50 +

37 Stove /heat source N nx

20 80

10 30

40 80

10 10

80 200

2.50 +

38 Art studio N nx

10 40

10 30

20 40

5 5

40 115

2.88 +

120

Poor Provision of Art Materials such as

39 Dyes and dying accessories

N

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

40 Candle wax N

nx

20

80

10

30

20

40

10

10

80

160

2.00 -

41 Ropes N

nx

30

120

30

90

10

20

10

10

80

240

3.00 +

42 Pencils N

nx

20

80

10

30

20

40

10

10

80

160

2.00 -

43 Drawing books N

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

44 Crayons N

nx

10

40

10

30

20

40

5

5

40

115

2.88 +

45 Poster colour N

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

46 Brushes N

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

47 Clay N

nx

30

120

30

90

10

20

10

10

80

240

3.00 +

48 Cotton cloths N

nx

10

40

10

30

20

40

5

5

40

115

2.88 +

49 Drawing boards N

nx

20

80

10

30

40

80

10

10

80

200

2.50 +

50 Water colour N

nx

20

80

20

60

40

80

-

-

80

220

2.75 +