TOWN AND GOWN: A THREE-LEGGED -:25 CREATIVE ARTS CURRICULUM 7G. IN UNIVERSITY OF LAGOS

ABSTRACT

Chancellor Sir, the primary function of a University Professor,

in my opinion, is teaching. However, in order to teach effectively,

the Professor ought to conduct series of research. Furthermore,

the basis of good teaching is the designing of an appropriate and

sound curriculum. In most of the time spent in my academic career,

I have always devoted special attention to curriculum development.

It is in view of this that I have decided to discuss the uniqueness of

the University of Lagos Creative Arts curriculum as my letter of

application for admission into the highest body of knowledge in

this University, for your kind and positive consideration.

The Yoruba adage, "Adiro meta kii da obe nu," literally meaning a

three-legged cooking stove is not likely to fell a pot of soup, is very

relevant here. This is because, the components of Creative Arts,

(Music, Theatre and Visual Arts) are closely knit in a family structure.

As a starting point, distinguished audience, I wish to describe myself

as a creative artist, meticulous teacher, fabric designer, a researcher

and academic administrator, among others, whose main teaching

field is textiles design and technology.

All these attributes have guided me since 1968, when I started my

academic, professional and teaching journey.

In the life of a University teacher, and specifically at the professorial

level, the practice of Inaugural lecture is regarded as fashionable

and significant. Permit me, ladies and gentlemen, to spend a few

minutes on the views of some academicians on inaugural lectures.

While Adekola (1997) believes that the practice of inaugural lectures

dates back to England, close to some 300 years ago, when an

academician of professorial rank presented the first one, Omotola

(1994) relates an inaugural lecture to the naming ceremony of a

new-born child or as the main mode of celebrating a new chair in a

University environment. For instance, Olabintan (1987) opines that

it is an opportunity for an occupant of professorial chair in a

University setting to articulate his thoughts, define and air his views

as well as declare his aspirations and responsibilities to the society.

Jaja (1987), however, sees the arrangement as liquidation of debt

owed to the University by a professor.

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In whatever way one looks at it, inaugural lectures in recent times

are part of the activities in the University system which bring the

"town and gown" together in a celebration of academic excellence

as well as in announcing the appointment of a new professor or

publicising his accession to the academic chair.

At this juncture, Iwant to thank the Vice chancellor of this University

for approving my request to give this inaugural lecture before leaving

the University system in less than two years from now. I was

scheduled in 1990 at Ahmadu Bello University to deliver it but the

lecture could not be given because of a Government assignment

that took me outside the country.

Olusanya (1997) believes that inaugural lectures take three forms:

(a) Concentrate on the development of the Department, if the

lecturer is also an occupant of the chair to which the

headship is attached.

(b) Focus on the professor's own work within the general

framework of his discipline.

(c) Zero in, on any general topic on which one has something

fresh and stimulating to tell one's audience.

My presentation today, Vice Chancellor Sir, combines all these

factors. This thesis is aimed at tracing the background of the three

aspects of Creative Arts offered in the University of Lagos, the

process they took in becoming teaching subjects at the University

level, their relevance within the system nationally and internationally,

the issue of "town" and "gown", Unilag experience and creation of

job. At the end, there are discussions; recommendations and

assumed contributions made to knowledge.

Distnquished'ladies and gentlemen, allow me to share a scenario

with you, which provides justification for the three-legged Creative

Arts programme in Unilag. During the development of this paper,

my wife drew my attention to Quran chapter 22 verse 5 on the

development of a child in the womb. The process, she confirms,

starts from the clot in the first forty days, then a piece of flesh for

another forty days, after which the soul is breathed into the baby's

body until full-grown. The most relevant part of this description to

our discussion today is that towards the time of delivery, the child

starts turning in an acrobatic form, thereby bringing his head and

shoulder towards "the elastic door" created through the private part

of the mother. This is the beginning of the musical and dancing

skills of man. The combinations of the dramatic, musical and visual

artistic aspects are seen at the time the child is about to come out.

The mother makes an interesting display by either singing or talking

in the form of variety of prayers. One can see the picture of nurses

or midwives holding the mother, who appears to be doing "bata"

dance, encouraging her to "push! push!! and push!!!. As soon as

the child comes out, the first thing that is expected of him is a cry,

signifying musical sound, an indication that he is alive. The entire

scene is a combination of Music, Drama and a subject matter for

designers, sculptors and painters.

Background Development, Training and Other Issues

In order to justify the relationship among the options of Music,

Theatre and Visual Arts, as designed in Unilag Creative Arts

programme, it is important here to provide a separate analysis of

each option, the background and the training developments. After

the analysis, the common areas, which will later be synthesised,

would emerge. In view of this, permit me to start with Music.

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MUSIC

From recorded accounts, all ancient civilisations entered historical'

times with flourishing musical culture. It began as a primitive form

of communication, which grew out of a device to expedite communal

labour, originating as a powerful adjunct to religious ceremonies.

In the Middle Ages, music was ranked among the seven branches

of learning. In the early Greek period, every educated Greek w.as

expected to be able to play at least an instrument, sing and discuss

harmony. Music has always been used in Religion, Mathematics,

Arts, Therapy, Films, Theatre, among other areas. Furthermore,

throughout history, music has been an important adjunct to ritual

and drama. It has also been credited wiili the capacity to reflect

and influence human emotion. In addition, music tends to affect

human behaviour. '

'..•

Edmund Courney (1966), describes music as "protean art", lending

itself easily to alliances with words as in song, and with physical

movement, as in dance. Both simple folk song and the complex

electronic composition belong to the same music activity. In spite

of its universality, no one, until recently, seemed to have arqued for

its necessity, especially in the academic circle. For instance, the

ancient Greek philosopher, Democritus, once explicitly denied any

fundamental need for music. However, it is well known that in music,

one instrument of Orchestra seems to balance another.

Kenneth Laws (1984) highlighted the interrelationship of music with

other disciplines, even beyond Theatre and Visual Arts. Kennetn,

a professor of physics translates the abstracts of physics, such as

velocity, force and energy into concrete dance technology. Even

Isaac Newton (1642-1727) describes a scholar of ballet as

somebody knowledgeable in perennial Laws of motion and gravity,

which are aspects of music.