Creation of Play Sculptures Using Gourd Fruit Forms : Current School News

Creation of Play Sculptures Using Gourd Fruit Forms

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Creation of Play Sculptures Using Gourd Fruit Forms.

ABSTRACT  

The gourd fruit (Calabash) is a cultural symbol in Nigeria It is also a decorative item, local musical instrument and even used as kitchen utensil.

The gourd fruit form might have been used as a public sculpture to either reflect or symbolize some cultures in Nigeria, but not as yet considered to equally serve as a play sculpture.

Cultural objects of this kind are rear items to young Nigerians especially in the urban areas in Nigeria. Not many people are familiar with it.

They are rather more familiar with the foreign objects they see around them, particularly in their school playgrounds where they play.

Reason could be due to the dependence of foreign play forms or creation of conventional play forms that are not characterized with themes that promote the cultures in Nigeria.

As a result, the tendency for the lack of appreciation of Nigeria‟s cultural elements or cultural symbols by young Nigerians is likely to become prevalent.

The aim of the study is to produce marquette for play sculptures with Nigerian indigenous elements derived from the three-gourd fruit form (ShantuLudayi and Gora).

INTRODUCTION  

It is said that all work without play makes Jack a dull boy. A child learns fast through playing. Play develops the child‟s psychomotor, cognitive and emotional activity and sense of developmental ability to be creative.

As opined by Kellock (2015) “through play, children develop the neurological building blocks essential to further learning and growth.

They form connections, build social and emotional skills, and develop positive long-term attitudes to discovery”.

The author affirms that “play is not an alternative to learning; it is not a diversion from learning. Rather, it provides the foundation for learning and has an important role in shaping a child‟s capacity for, and towards subsequent learning”.

In spite of this, it appears there are many schools and homes in urban and rural areas across Nigeria without or with only a few play forms.

Reasons for this could be financial constraint, ignorance or sheer negligence on the negative effect it has on the growth of a child.

People generally respond or relate easily with objects they are familiar with. Eyal (2015) states that “people don‟t want something new, they want the familiar done differently”. 

REFERENCES

Ada, P.O. (2006): A comparative Study of Idoma Traditional and Contemporary Hand
Crafted Fabric Weaving Technique, PhD. Dissertation; Department of Industrial
Design, Faculty of Environmental Design, Ahmadu Bello University, Zaria. p5.

Armstrong W. P. (1996) The wild and Wonderful World of Gourds. Wayne‟s world Vol
5, No3, p.2.

Asogwa, I.F. (2016) An exploration of Sculpture forms in Installation form
Contemporary conceptions of Omabe. (PhD). Thesis, Fine Arts Department,
Faculty of Environmental Design, Ahmadu Bello University, Zaria, p.55.

Badaru, A.K. and Ogunsina, R. (2014) Sculpture as Impetus Towards National Security
and Transformation. Journal of the Vocational and Technical Education: Federal
College of Education, Osiele, Abeokuta, Ogun State, Nigeria, p.40.

Beckwith, J. (2015) Coming Together to Protect Play: Play and Playground Magazine.
Retrieved from http://issuu.com/playgroundmag/docs/pm-winterweb?e=10425420/320 on June 7, 2016

Bolt, B. (2006). Materializing Pedagogies. Working Papers in Art and Design. Vol.14.
Retrieved From https://thinkingpractices.wordpress.com/ on July30, 2016.

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