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Ajibade, Babson
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Is Fine Arts Inevitable Requisite for Bachelors Degree in Visual Arts?: Notes from the Admission Policy of a Nigerian University Ajibade, Babson; Enamhe, Bojor; Oloidi, Wole
Mediterranean Journal of Social Sciences Vol. 2 No. 3 (2011): September 2011
Publisher : Richtmann Publishing

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There was dearth of students for the BA programme of the Department of Visual Arts and Technology, Cross RiverUniversity of Technology, Calabar, because a credit pass in fine arts at the secondary school level was requisite for admissions. Thisresearch sort to find out if doing fine arts at the secondary school level was an inevitable requisite for studying visual arts in the university.Admissions data was recorded for 6 years before, and 5 years after credit pass in fine arts was delisted as admission requisite. Researchinstruments were designed and applied to students and staff to find out if not having done fine arts in secondary school affected the abilityof BA students to learn and execute creative skills, or whether there was any significant difference in performance between them and thosethat did fine arts in secondary school. Data indicates a dramatic rise in the number of students that applied and were admitted after finearts was delisted. Further, 91.2% of the students were satisfied with doing visual arts without having done fine arts in secondary school,while 78.4% of the students and 100% of lecturers perceived no significant difference in performance between students that did fine arts insecondary school and those that did not. The study then concluded that fine arts is not an inevitable requisite for Bachelors Degree inVisual Arts and students that did not do the subject in secondary school can do as well if the curriculum and training conditions areright.
More than Fabric Motifs: Changed Meaning of Nsibidi on the Efik Ukara Cloth Ajibade, Babson; Ekpe, Esther; Bassey, Theodora
Mediterranean Journal of Social Sciences Vol. 3 No. 2 (2012): May 2012
Publisher : Richtmann Publishing

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Among the Ejagham people of the Cross River, extending from the Cameroon to Nigeria’s Cross River Sate, the ukaracloth and nsibidi visual signs are very critical aspects of history, religion and general cultural worldviews. While the ukara cloth isprominent among initiates of the Ejagham’s many Leopard Societies, the nsibidi is a visual language, unspoken but forming themain body of motifs on the ukara fabric design. As a traditional African written language peculiar to the Ejagham peoples,Carlson (2003: 225) has suggested that nsibidi can “adapt to new historical circumstances and culture” when transmitted to non-Ejagham societies. Using evidence from fieldwork in villages in five local government areas where Efik clans are located inCross River State, this study sort to find out if the meanings of key nsibidi signs have changed or adapted when transmitted intoa non-Ejagham cultural space in Calabar. The study found out that the transmission from the Ejagham culture to that of the Efikhas brought on adaptations and changes in the meaning of nsibidi. And, that through its use in the design of the ukara fabric ofthe Ekpe society, nsibidi has maintained its relevance among the Efik for many centuries because of its ability to adapt to newsocial and cultural situations, while remaining true to its original identity.
Co-Authors Bassey, Theodora Ekpe, Esther Enamhe, Bojor Oloidi, Wole