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3. CLASSROOM TEACHERS' BELIEFS ABOUT CURRICULUM
PARADIGMS IN ART EDUCATION
A dissertation
Presented to
The faculty of the Graduate School
University of Missouri-Columbia
In Partial fulfillment
of the Requirements for the Degree
Doctor of Philosophy
by
TOLULOPE O. FILANI
Dr. Larry Kantner, Dissertation Supervisor
DECEMBER 2003
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4. UMI Number 3115544
Copyright 2004 by
Filani, Tolulope O.
All rights reserved.
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UMI
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5. The undersigned, appointed by the Dean ofthe Graduate School have examined the
dissertation entitled
CLASSROOM TEACHERS’BELIEFS ABOUT CURRICULUM PARADIGMS IN
ART EDUCATION
Presented by Tolulope O. Filani
A candidate for the degree of Doctor of Philosophy
And hereby certify that in their opinion it is worthy of acceptance
4.
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6. ACKNOWLEDGEMENTS
Special thanks to:
God Almighty, for His everlasting Love for me; it is by His Mercy and Grace
that I am able to accomplish this study.
Dr. Larry Kantner, my advisor and dissertation supervisor, for his fatherly
love, mentorship, encouragement and support through the many dark tunnels I passed
while I traveled this road. I am specially blessed for this giant to afford me a space atop of
his shoulders that I may see further into the horizon.
All my dissertation committee members, Dr. Karen Cockrell; Dr. Martin
Bergee; Dr. Linda Bennett; and Professor Jim Calvin, for their invaluable support,
guidance and help through out the period I worked on this study. I thank them for their
encouragement and insightful contributions during the entire period.
My fellow doctoral students who provided warm support during my study at
the University of Missouri, Columbia, Missouri.
My friends, Tayo Onadehin; Dr. Sam Ogunbo; Dr. Sam Jator; Yvonne
Matthews; Professor Sharon Johnson; Bisi Kolawole; Dr. Mick Luehman; Dr. Kathy
Unrath; and Ronke Atoyebi, for the various contributions I received from them when I
traveled thisjourney.
Professor Olusegun Areola, my father in the Lord, for his candid comments,
time and energy spent in editing this work.
Mrs Yetunde Ijarotimi and Dr. Olaolu Ijarotimi for setting my feet on the path
of education.
My wonderful family members, Mosunmola (wife); Tolu Jr. (son); Toyosi
(son); and Funto (daughter) for standing firmly by me through the very many trying
periods I took them through in the course of my study.
Lastly, I thank my parents, Jacob Ogunmoroti Filani and Victoria Olabamgbe
Filani, for bringing me into this world. Both ofyou may be dead in body; your collective
spirits live on in me. I dedicate this work to your memories.
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7. CLASSROOM TEACHERS' BELIEFS ABOUT CURRICULUM
PARADIGMS IN ART EDUCATION
Tolulope 0. Filani
Dr. Larry Kantner, Dissertation Supervisor
ABSTRACT
This is a descriptive study designed primarily to provide a comprehensive account
of elementary classroom teachers' beliefs about three art education paradigms in Lagos
State, Nigeria. These paradigms are, child-centered, discipline based art education-
centered (DBAE) and the Nigerian styled cultural arts education curriculum. The study is
driven by a practical need, which is to improve art education in Nigeria. Currently, art
education in Nigeria is faced with a number of acute problems. One of such is the
exclusion of classroom teachers from the process of curriculum development, which they
are mandated to implement. This problem is further exacerbated by lack of sound
professional training by many of the teachers, as teacher education in many Nigerian
teacher-training colleges does not include studies in the visual arts. Consequently, many
ofthe teachers lack the necessary professional expertise to adapt. Nwangboje (1993)
described the current state of art education in Nigeria as very poor. This problem
represents the area of formal investigation in this study.
The main research question addressed in this study is: What are the implications
ofLagos state classroom teachers’ beliefs about three paradigms in art education - (child-
centered, discipline-based art education-centered, and cultural arts education-centered) for
the development and implementation of a comprehensive art education curriculum? The
main research question is served by three sub-questions:
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8. (a) Do elementary classroom teachers in Lagos state believe that curriculum
considerations in art education should be based solely on one of the following: art
as a tool to foster creative and artistic development in children; an avenue to
advance art as an academic discipline; and art as a means to promote cultural
awareness in the larger society?
(b) How knowledgeable are Lagos state classroom teachers about the current Nigerian
cultural arts education curriculum?
(c) What other art education concepts and ideas different from the three paradigms in
this study do Lagos state classroom teachers believe should be emphasized in a
Nigerian art education curriculum?
A survey was designed and mailed to 1,080, randomly selected classroom
teachers who at the time ofthe study were largely responsible for teaching elementary
visual arts in Lagos state, Nigeria. The questionnaire used a five-point Likert scale and a
two-point scale as measurement tools. The survey was used to obtain: (a) classroom
teachers’ beliefs about three popular curriculum and instructional paradigms in art
education for a comprehensive art education curriculum; (b) classroom teachers’ levels of
understanding for the nationally prescribed cultural arts education curriculum and the
scope of its application in the classrooms; (c) curriculum and instructional concepts held
by classroom teachers different from those stipulated in the national cultural arts
curriculum. Categories on the questionnaire consisted of: (a) thirty-nine educational belief
inventories about the three paradigms; (b) ten belief statements about Nigerian cultural
arts education curriculum standards; (c) one open-ended question concerning other art
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9. education ideas and concepts held by the teachers; and (d) seven demographic inventory
statements.
Based on the major findings ofthis study the following conclusions may
be drawn:
(a) The pattern ofbeliefs, demonstrated by the majority ofthe elementary classroom
teachers in Lagos state does not show significant commitment to any particular
one of the three art education paradigms (child-centered, DBAE-centered and the
Nigerian styled culture-centered).
(b) The majority of the teachers tend toward the “fusion” theory or the confluence
principle- a conception in curriculum development whereby ideas and concepts
across paradigms are integrated to form a broad-based and holistic archetype. In
other words, the majority ofthe Lagos state classroom teachers believe that
curriculum and instructional concepts should be drawn largely from within and
across the three paradigms where and when possible. Thus, it may be concluded
that the majority ofthe classroom teachers in Lagos state, Nigeria, believe that the
comprehensive/holistic curriculum approach is a more rational curriculum
orientation for Nigeria at this time.
(c) The implication ofthe fusion theory for curriculum development in art education
is that the fusion principle is the fundamental governing rule in the
comprehensive/holistic curriculum orientation. Incidentally, the comprehensive
art education curriculum paradigm is an offshoot ofthe DBAE-centered paradigm
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10. vii
(Smith, 2002); which explains the similarities between the two orientations. In
much of the literature reviewed for this study, some scholars like Smith (2002);
Dobbs (1998); Delacruz (1997); and Wilson (1997) remarked that the DBAE-
centered paradigm is synonymous with the comprehensive art education
curriculum paradigm. Sometimes, these scholars use the two paradigms
interchangeably.
(d) The patterns ofthe teachers' beliefs as expressed about the three paradigms are not
consistent enough to show sound academic knowledge ofthe art education
discipline on the part of the teachers. Therefore, many of the expressed beliefs by
the teachers may be regarded as mere academic guesses and personal opinions
based on anecdotal experiences.
(e) Due to incongruency ofviews concerning the teachers' knowledge ofthe
prescribed Nigerian cultural arts education curriculum in part two of the survey, it
can be concluded that the majority of the teachers are not familiar with the
curriculum. Also, it can be concluded that the majority of the teachers do not
actually base instructions in their respective arts classes strictly on the Nigerian
cultural arts education curriculum.
(f) Based on the comments and suggestions expressed by the teachers, it may be
concluded that art education in Lagos state is not completely free ofproblems.
The areas of concern to the teachers are listed as follows: poor funding for the
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11. visual arts; lack of currency in the teacher education; lack of art materials and
modem equipments in the schools; scarcity of qualified visual art specialists; lack
of supervisory body(s) to monitor practices in art education; lack of coherent in-
service training programs for teachers in the visual arts; exclusion ofteachers
from the process ofcurriculum development; and lack of incentives for both
teachers and students in the visual art disciplines.
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12. LIST OF TABLES
Table Page
1. Distribution of the 39 Statements in Relation to the three
Paradigms and Across the 13 Curriculum and Instructional
Concepts 112
2. Purpose of Schooling 113
3. Program Goal 115
4. Curriculum Content 117
5. Curriculum Content 118
6. Motivation 120
7. Teacher’s View of The Learner 122
8. Role ofthe Teacher 124
9. Teacher's Conception ofKnowledge 126
10. Teacher's Conception ofLearning 128
11. Teacher's Perception of Creativity 130
12. The Use of Adult's Works ofArt 132
13. Preferred Method of Assessment by The Teacher 134
14. Program Implementation 136
15. Teachers'Knowledge ofthe Nigerian Cultural Arts Curriculum 139
16. Gender Category 150
17. Years of Teaching at the Elementary Level 150
18. Teachers'Academic Qualifications 151
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13. 19. Grade Levels Taught by Respondents at the Time of Study 153
20. Classification of School's Location 154
21. Respondents' State of Origin in Alphabetical Order 155
22. Last Attendance of In-service Training, Conference,Seminar and
Workshop on Art Education 156
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14. xi
LIST OF FIGURES
Figures Page
1. Purpose of Schooling 114
2. Program Goal 116
3. Curriculum Content 118
4. Curriculum Structure 119
5. Motivation 121
6. Teacher's View of the Learner 123
7. Teacher's Role 125
8. Teacher's Conception of Knowledge 127
9. Teacher's Conception of Learning 129
10. Teacher's Perception of Creativity 131
11. The Use of Adults' Works of Art 133
12. Preferred Method of Assessment 135
12. Program Implementation 137
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15. TABLE OF CONTENTS
ACKNOWLEDGEMENT iii
ABSTRACT iv
LIST OF TABLES ix
LIST OF FIGURES xi
TABLE OF CONTENTS xii
Chapter
1. INTRODUCTION 1
Statement ofthe Problem 9
Significance ofthe Study 9
Assumptions 11
Limitation of the Study 11
Summary 12
2. REVIEW OF RELATED LITERATURE 14
Introduction 14
Definition of Related Terms 15
Part One- Review of Related Literature 18
Defining Characteristics of the Term Belief 18
The Impact of Teacher's Educational Beliefs on Student’s
Academic Achievement 22
Teaching in Art as Defined in Educational Literature 24
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16. The Role of Teachers in Educational Process 33
Who Can Teach Art More Effectively, Art Specialist
or Classroom Teacher 36
Summary: Part One 40
Part Two of Reviewed Literature 41
The Role of Theory in the Development of Curriculum
and Instruction 45
Historical Perspectives on the Paradigms 48
Child-centered Paradigm 48
DBAE (Discipline Based Art Education centered) 54
Art Production 57
Aesthetics 58
Art Criticism 58
Art History 59
Nigerian Cultural Arts Curriculum-centered Paradigm 61
Educational Movements, Which Support the Paradigms 63
Expressionist Movement 65
Essentialist Movement 66
Social Reconstructionist Movement 70
Comparative Analysis ofthe Three Curriculum Paradigms 74
Purpose of Schooling 74
Program Goal 75
Content 76
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17. xiv
Curriculum Structure 77
Motivation 78
Teacher's View of the Learner 80
The Role of the Teacher 81
Knowledge 82
Learning 83
Creativity 83
Program Implementation 84
Works ofArt 85
Assessment of Student Learning 86
Implications of the Paradigms for the Development ofa
Comprehensive and Holistic Art Education
Curriculum in Contemporary Nigeria 88
Summary: Part Two 95
3. Methods and Procedures 96
Introduction 96
Research Questions 97
Main Research Question 97
Sub-question 97
The relationship of Literature Review to Instrument
Development 98
Selection ofthe Sample 99
Target Population and Randomization ofthe Sample 99
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18. XV
Randomization of Schools 100
Development ofthe Instrument 101
Survey Instrument: A Mailed Questionnaire 101
Creation and Selection of Questionnaire Items 102
Description of Survey 102
Part One ofthe Questionnaire 103
Part Two of Questionnaire 103
Part Three of Questionnaire 104
Part Four of Questionnaire 104
Content Appropriateness of Questionnaire 104
Pilot Study 105
Method of Measurement 105
Human Subject Review 106
Administration of Survey 107
Survey Distribution and Collection 107
Optimizing Return Rate 108
Data Analysis 108
Summary 109
4. Results and Discussion 110
Analysis of Data "Teachers' Beliefs About the Three
Art Education Paradigms" (Part One of Survey) 110
Analysis ofData on "Teachers' Knowledge ofthe
Nigerian Styled Cultural Arts Education
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19. Curriculum" (Part Two Survey) 137
Analysis of Data on Open-ended Question
(Part Three of Survey) 142
Analysis ofData on Demographic Profile
(Part Four of Survey) 149
Summary 156
5. Summary of Results, Conclusions and Recommendations 158
Introduction 158
Summary of the Results 160
Results 161
Part One of the Survey: Degree of Beliefby
Respondents in the Paradigms 161
Part Two ofthe Survey: Teachers' knowledge
ofthe Nigerian Styled Cultural Arts
Education Curriculum 176
Part Three of The Survey: Open-ended Question 183
Conclusions 185
Recommendations 187
Summary of Chapter Five 192
References 194
APPENDIX 209
Appendix A 209
Consent Letter to Schools' Principals 209
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20. Appendix B 211
Initial Cover Letter of Questionnaire 211
Appendix C 213
Questionnaire 213
Appendix D 218
Second Follow-up Letter 218
Appendix E 220
Third Follow-up: Postcard 220
Vita 221
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21. 1
CHAPTER ONE
INTRODUCTION
It is common knowledge that in every dynamic society, the need to educate
citizens often leads to three foundational goals of general education, and by implication,
of art education (Chapman, 1978). These goals are, personal fulfillment through
education, promoting knowledge, and fostering social consciousness of society, (Hurwitz
and Day, 2001; Eisner, 1997; Chapman, 1978). In many industrialized societies ofthe
west, particularly the United Kingdom and United States of America (the two occidental
countries, which have always influenced modem education in Nigeria), the school is the
most important public social institution by which the desired end-goals of art education
are achieved. In practice, artistic needs ofthe child, projection ofart as an academic
discipline and preservation/promotion of artistic heritage ofthe larger society, are often
aligned with school art programs (Eisner, 1997; Chapman, 1978).
Eisner (1997) observed that these three dominant concerns often serve as the core
responsibilities of art education; any one or more of them generally govern rationale for
schools' art programs. He further described the interconnectedness ofthe three factors as a
triadic relationship in which one apex represents a child-centered view; the second, a
subject-centered view; and the third, a society-centered view. In other words, the three
factors serve as the cornerstones for curriculum paradigms in art education. However,
many art educators like Eisner (2002,1997), Efland (1976), Taba (1968) and Tyler (1957)
discouraged complete dependence on one ofthese factors for quality art education. They
suggested a concept ofart education in which the three concerns: personal fulfillment of
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22. the child through art; promotion of knowledge and appreciation ofart as a subject which
includes appreciation ofthe artistic heritage; and the awareness ofthe role of art in the
society, are fused together to help “children appreciate the artistry in varied life styles and
to wisely shape their own” (Chapman, 1978, p. 18).
This approach often guides western curriculum developers, instructional
strategists and teacher education planners in their general conception of art education.
School art curriculums are developed to reflect these concerns, instructional strategies are
designed to resonate them and teachers are adequately trained in consonance with the
values. Specifically in America, curriculum content and instructional strategies are
usually planned congruent to the three art education concerns (fulfillment ofthe child
through learning in the arts, projection ofthe art as academic disciplines and preservation
of cultural values in the larger society).
While structured curriculum and well-articulated instructional strategies are
recognized as pivotal to any adequate conception of art education in many ofthe
industrialized societies, efforts are persistently made to ensure quality teaching through
constant training of teachers. Quality teaching is recognized and emphasized as a very
influential process by which art educational aims and curriculum objectives are
successfully implemented in schools (Hurwitz and Day, 2001; Delacruz, 1997; Eisner,
1997). Quality teaching depends largely on competent teachers; therefore, the role of
teachers is equally considered very important, particularly among the groups and bodies
(administrators, principals, headmasters, and supervisors) that are involved in educational
provisions. Teachers are believed to be directly responsible for achieving desirable
student outcomes in accordance with set curriculum goals and objectives (Gaudelius &
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23. Speirs, 2002). To this effect, teacher education is constantly improved to satisfy
prevailing social and scientific needs ofthe child, the art discipline and the society.
Art education in these societies is not completely immune from all problems,
particularly of scarcity of trained art specialists. “Cooperative art teaching” (an
arrangement in which available art specialists team-teach with classroom teachers) is
usually recommended as a solution to the problem (Hurwitz & Day, 2001, p. 350).
The general account of art education presented so far represents a modest situation
which many industrialized societies ofthe west, and more specifically the United States
of America seek to attain if not already achieved. In addition, it represents a framework,
which many scholars, particularly many from developing countries, examine the state of
art education in their different societies from time to time. It is against the latter that the
remaining part ofthis introduction reflects on the current state of art education in Nigeria.
The Federal government ofNigeria is the central body responsible for
administering public education. It considers education in the arts as an essential tool for
achieving personal fulfillment ofthe child, appreciation of visual art education as a
discipline with intellectual potentials through which the society can achieve scientific and
industrial growth (Wangboje, 1993).
To this effect, in 1977, the government ofNigeria issued a national policy on
education in which the goals and objectives of general education are listed thus:
(a) The inculcation ofthe right type ofvalues and
attitude.
(b) Development ofnational consciousness and national unity.
(c) Training the mind in understanding the world around.
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24. 4
(d) The acquisition of appropriate skill, abilities and competencies, both
mental and physical, as equipment for the individual to live and contribute
to the development of his society (Revised National Policy on Education,
1981, p. 8).
The implication ofthis policy for art education led to the promulgation ofa cultural
policy in 1988, which stipulates that education through art shall:
(a) Promote an educational system that motivates and stimulates creativity and
draws largely on our tradition and values, namely: respect for humanity
and human dignity, for legitimate authority and the dignity of labor, and
respect for positive Nigerian moral and religious values (Cultural Policy
for Nigeria, 1988, section 3.3, p. 6).
(b) Promote creativity in the fields of arts, science and technology, ensure the
continuity oftraditional skills and sports and their progressive updating to
serve modem development needs as our contribution to world growth of
culture and ideas (Cultural Policy for Nigeria, 1988, section 3.4, p. 6).
It is from these policy statements that the current cultural arts education curriculum
standards for elementary art schools were derived.
The obvious in these policy statements are efforts by the government to use
education through art as a tool to achieve for its citizens personal fulfillment, appreciation
of art as a subject, and development of awareness for the role of art in society. Many
Nigerians applaud this development as a groundbreaking achievement for art education,
because, it establishes the discipline as an authentic component ofthe general education
subjects. Current studies however, reveal that the implementation of the policies in terms
ofpractical applications is far from reaching the original goals (Wangboje, 1993). Art
education in Nigeria is presently faced with many problems; in fact, it is near moribund
(Wangboje, 1993; Bebeteidoh, 1986; Ntukidem, 1982; Henshaw 1978). Some ofthe
problems are outlined as follows:
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