Sourcing and use of clay among selected junior secondary school students in zaria

 

Table Of Contents


Chapter ONE

INTRODUCTION

  • 1.1Introduction
  • 1.2Background of Study
  • 1.3Problem Statement
  • 1.4Objective of Study
  • 1.5Limitation of Study
  • 1.6Scope of Study
  • 1.7Significance of Study
  • 1.8Structure of the Research
  • 1.9Definition of Terms

Chapter TWO

LITERATURE REVIEW

  • 2.1Overview of Clay
  • 2.2Historical Use of Clay
  • 2.3Properties of Clay
  • 2.4Types of Clay
  • 2.5Clay in Education
  • 2.6Clay Art and Creativity
  • 2.7Clay in Therapy
  • 2.8Clay in Industry
  • 2.9Clay in Culture
  • 2.10Clay in Contemporary Art

Chapter THREE

RESEARCH METHODOLOGY

  • 3.1Research Design
  • 3.2Data Collection Methods
  • 3.3Sampling Techniques
  • 3.4Data Analysis Procedures
  • 3.5Ethical Considerations
  • 3.6Research Limitations
  • 3.7Research Validity
  • 3.8Research Reliability

Chapter FOUR

DATA PRESENTATION AND ANALYSIS

  • 4.1Overview of Findings
  • 4.2Participants' Responses
  • 4.3Themes Identified
  • 4.4Relationship to Literature
  • 4.5Implications of Findings
  • 4.6Recommendations
  • 4.7Future Research
  • 4.8Conclusion

Chapter FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

  • 5.1Summary of Findings
  • 5.2Conclusion
  • 5.3Contributions to Knowledge
  • 5.4Practical Implications
  • 5.5Recommendations for Practice
  • 5.6Recommendations for Further Research
  • 5.7Conclusion and Reflection

Project Abstract

<p> Clay is used in Nigeria for different purposes. Among these<br>are the making of utilitarian objects such as pots, moulding of<br>animal figures in front of houses in Yoruba land, and mixing with<br>mud to build houses with elaborate decoration, in the north.It<br>has been observed that some secondary school students do not use<br>clay as a creative art material. The study was therefore designed<br>to ascertain the ‘ position of the use of clay in the junior<br>secondary schools.<br>Methods and procedures. A total of 300 students and four art<br>teachers in Zaria post-primary schools were involved in the study.<br>The instruments included two sets of questionnaires one for the<br>art teachers and the other for sampled form three students.<br>The art teachers and students were also observed during some<br>clay-work activities, although the observational study was not<br>absolutely acceptable due to possible observer effect. Discussion<br>was also held with the principals of the schools to ascertain the<br>authenticity of the information provided by the teachers. Major<br>findings were Majority of the students demonstrated a moderatelypositive<br>attitude towards clay-work; some of the art teachers were<br>not; qualified professionally to teach art, and there was acute<br>i<br>shortage of art teachers; students and art teachers lacked<br>important physical facilities for art education and clay-work in<br>particular. Lastly, time allocated for art on the time-table is<br>short that clay activities had little or no time at all.<br>(vii)<br>Conclusion There is some indication of students’ strength<br>positive attitude towards clay-work, and so the research work<br>suggests ways to enhance and strengthen the status of clay-work<br>aspect of three diemensional art programme in our schools in these<br>years of indigenous technological development. <br></p>

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