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UJFAAJ JOURNAL 2019.Pdf UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL (UJFAAJ) MAIDEN EDITION University of Jos Fine and Applied Arts Journal (UJFAAJ) is a peer reviewed Journal. The journal helps to spread visual arts research findings and reports from the studio, theoretical and empirical works in the field in order to advance the knowledge base of practice led and practice based studies. The Journal is peer reviewed and published twice in a year and welcomes contributions from academics, art connoisseurs, critics and art Entrepreneurs. UJFAAJ EDITORAL BOARD MEMBERS EDITOR – IN – CHIEF Dr. Yohanna C. Datiri Department of Fine and Applied Arts Faculty of Environmental Design University of Jos – Jos Plateau State. E-Mail: [email protected], [email protected] Phone: +234 (0) 8036206270 EDITOR Dr. Jacob E. Onoja Department of Fine and Applied Arts Faculty of Environmental Design University of Jos – Jos Plateau State. E-Mail: [email protected], [email protected] Phone: +234 (0) 8035984125 ASSOCIATE EDITORS Prof. Ema Ema Department of Fine and Applied Arts Faculty of Environmental Design University of Jos – Jos Plateau State. Prof. Habila Joel Gukas Department of Fine and Applied Arts Faculty of Environmental Design University of Jos – Jos Plateau State. Email: [email protected] Prof. Enoch G. Wuritka Department of Industrial Design i Faculty of Environmental Technology Abubakar Tafawa Balewa University Bauchi (ATBU) E-Mail: [email protected], [email protected] Prof. Abdullahi A. Umar Department of Industrial Design ATBU E-Mail: [email protected] Prof. Philip O. Gushem Department of Fine Arts Faculty of Environmental Design Ahmadu Bello University Zaria – Kaduna State E- Mail: [email protected] Prof. Jerry Buhari Department of Fine Arts Faculty of Environmental Design Ahmadu Bello University Zaria – Kaduna State ii EDITORIAL The idea of starting with the maiden issue of the University of Jos Fine and Applied Arts Journal (UJFAAJ) was borne out of the need to report current issues, researches and other visual arts ongoing engagements in the various research institutions across the globe. The call for paper was met with much enthusiasm from colleagues in the visual arts profession. The papers cover a wide range of subjects in arts history, art education, painting, sculpture, ceramics and graphics designs. The publication follows global best practices and advances reportage in the visual arts. Gushem and Nasidi give a historical perspective of African art and oral tradition. They are of the position that, the role of oral traditional is not only the reconstruction of the African art history, but in demystifying the western perception of the African artistic expressions. Commercial deposits of white earthy substances estimated to be in millions of tons, suspected to be refractory clay were identified in Rarin, in Sho village of Ropp district, south-west of Barkin Ladi of Plateau State. This is the position of Datiri in an empirical paper showing the suitability of Rarin-Sho clay for the production of refractory bricks for ceramic kiln construction. Tser, Ahuwan and Opoku in their paper draw attention to the development of glazes in Nigeria which has become a challenging issue to the ceramic industry and has resulted in the dependence on imported glazes, which is not easy for the ceramic industries and the ceramists. They draw attention to locally sourced materials to advance the ceramic industry. Trends in Contemporary Nigerian Pottery by Yakubu, Tser and Gushem contribute to expanding the modern definition of ceramics, especially in the aesthetic consideration of ceramic forms as devoid of utilitarian functions. Barwa and Datiri present Clay and It’s Many Uses and the role clay plays in the production of ceramics and other utilitarian objects. Dingba exployed the prospect of developing paintings from the anthill structure and carefully outlines the processes involved; while discussing the metaphorical idioms in the paintings. The contribution of Ajayi and Omokanye on using art as entrepreneurial tool thereby reducing unemployment and aiding the economic fortunes of Nigeria among the teeming youths is a welcome idea. Lamidi’s discussion on installation art in Nigeria traces the origin, current trends and prospects of installation arts in visual arts practice. In the same vein, Review of Techniques and Practices of Metal Sculpture drew attention to practice based and led researches in sculpture. Lamidi and Paul gave a panoramic view of metal sculptures over the ages and the usage in contemporary art. The origin of Egungun Masquerades and oral traditions which surround the myths was succinctly espoused by Adeyemo The place of art exhibition was advanced by Onoja and Joshua as they posit that Visual artists record events, discuss issues and stir emotional responses from the viewers of artworks. Artists, through joint efforts as seen in exhibitions, bring to the public space, works created in their studios in order to engage actively with art enthusiasts, connoisseurs and the general public on societal issues. Symbiotic Relationship Between Art and Culture was well articulated by Mbahi and Adiwu giving insight to how art and culture are mutually dependent on each other thereby showing collaborative relationship between art and culture; fusion of art and culture and its influence on human behaviour and interaction. Kanale iii advances the standardization of education and exposes teaching methods that have been used and found suitable and effective in disseminating knowledge to learners across various levels of the education system. The trio of Angyol, Adawus and Pam developed alphabet models to enhance pre-primary pupils education in Nigerian schools. The study unveils that models approach is a concrete modern technique creatively employed through improvisation using innovative approaches in the development of instructional materials to pave way for active learning and robust achievements (performances) via efficient teaching. Saleh and Adiwu encapsulates the place of art education as a base for teaching other subjects in schools. The paper sets out to reaffirm the importance of arts based education to the general learning process and also its core significance to a school’s curriculum. Datiri Yohanna Chumang Ph.D Editor –in – Chief UJFAAJ iv UJFAAJ UNIVERSITY OF JOS FINE AND APPLIED ARTS JOURNAL. CALL FOR PAPERS VOLUME 1, NO.1 University of Jos Fine and Applied Arts Journal (UJFAAJ) is a peer reviewed Journal. The journal helps to spread visual arts research findings and reports from the studio, theoretical and empirical works in the field in order to advance the knowledge base of practice led and practice based studies. The Journal is peer reviewed and published twice in a year and welcomes contributions from academics, art connoisseurs, critics and art Entrepreneurs. AUTHORS’ GUIDELINES The Paper Should Have the Following Structure 1. Title of the paper in block capital 2. Authors and affiliations (SURNAME IN BLOCK CAPITAL AND OTHER NAMES) 3. Abstract (150 – 250 words) 4. Keywords 5. Introduction - including motivation, aims (and for long paper, overview and references to related work (in separate section) 6. Main body - explanation of methods, data used, instrumentation 7. Results and Discussion 8. Conclusions 9. References in APA 6th edition TEXT FONT OF THE ENTIRE DOCUMENT The entire document should be in Times New Roman. Font size 12 with double line spacing FIGURES, PLATES AND TABLES figures should appear throughout the text as close to their mention as possible and it should be in Arabic numerals, while plates should be in Roman numerals. Figures and plates shouldn’t infringe upon the page borders. Tables must be centered according to the length of the caption. Large table can be in one column in order to see them more clearly and avoid placing them in the middle of columns. (Figure. 1, Plate I and Table 1 should be used accordingly and appropriately where necessary). SUBMISSION OF PAPER Full papers should be sent by e-mail to the editor. ([email protected], [email protected]) with a processing and publication fee of N20,000.00 (N5,000.00 vetting fee and N15,000.00 for publication after acceptance) only to Diamond bank account: Jacob Enemona Onoja 0011124792 (Savings). Jacob Enemona Onoja Ph.D. Editor-+2348035984125 v CONTENTS PAGE I. EDITORIAL BOARD i II. EDITORIAL iii III. CALL FOR PAPERS v IV. CONTENTS vi 1. AFRICAN ART AND ORAL TRADITION 1 Gushem, P.O and Nasidi, N. A. 2. ASCERTAINING THE SUITABILITY OF RARIN-SHO CLAY FOR 18 USE AS REFRACTORY BRICKS FOR CERAMIC KILN CONSTRUCTION Datiri, Y.C 3. DEVELOPMENT OF LOW-TEMPERATURE GLAZES 32 FROM SELECTED RAW MATERIALS IN BENUE STATE, NIGERIA Tser, H. N. Ahuwan, A. M. and Opoku, E.V 4. TRENDS IN CONTEMPORARY NIGERIAN POTTERY 47 Yakubu, G. Tser, H. and Gushem, P.O 5. CLAY AND ITS MANY USES 57 Barwa, D.G and Datiri, Y.C 6. EXPLORATION OF THE INTRINSIC POTENTIALS OF 70 ANTHILL STRUCTURES IN PAINTINGS Dingba, S. A. 7. ENTREPRENEURSHIP IN APPLIED ARTS: 83 A TOOL FOR SELF- RELIANCE IN NIGERIA Ajayi, A. O. and Omokanye, P. S. 8. ABOUT INSTALLATION ART IN NIGERIA 93 Lamidi ,A.L vi 9. REVIEW OF TECHNIQUES AND PRACTICES OF 113 METAL SCULPTURE Lamidi, A.L and Paul, J. O 10. THE GENESIS OF EGUNGUN MASQUERADES 133 IN YORUBA LAND: A REVIEW OF CONFLICTING STANCES Adeyemo, P. A. & Saliu, A. R. 11. EMERGING TRENDS, ADVANCING THE FRONTIERS 147 OF VISUAL ARTS CULTURE: A REVIEW OF THE 29TH AND 30TH UNIVERSITY OF JOS CONVOCATION EXHIBITION 2018 Onoja, J.E and Joshua, J.O 12. SYMBIOTIC RELATIONSHIP BETWEEN ART AND CULTURE 162 Mbahi, A.A and Adiwu, T. O 13. STANDARDIZATION OF FINE AND APPLIED ARTS 175 TEACHING METHODS: A PROGRESSIVE APPROACH Kanale, M.D 14. IMPROVISING ALPHABET MODELS USING FOAM 182 AND DESIGNED FABRICS TO ENHANCE PRE-PRIMARY EDUCATION IN NIGERIAN SCHOOLS Angyol, M. A, Adawus, D. L and Pam, S.
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