







































 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

184 

 

CHAPTER  

14 

CHILD CREATIVITY AND ENTREPRENEURSHIP DEVELOPMENT:  

A CASE OF SKILL ACQUISITION 
 

Godwin O. Uka, Elizabeth O. Ogbu Uka, and Kosisochukwu l. G. Uka 

Fine and Applied Arts Department, University of Nigeria, Nsukka,  

Department of Psychology, University of Nigeria, Nsukka,  

and Spring of Life International School Enugu 

 

 

Keywords: Creativity, development, skill acquisition 

 

Background of the Study 

The world is changing rapidly in all fields of endeavour, most especially in education, and self-

development. These changes are particularly prominent or evident as it applies to a media device 

and entrepreneurship activities. Creativity is as natural and necessary for children as fresh air and 

sunshine. By exposing children to creative experience, there are given the gift of rich and 

memorable childhood education, while laying the foundation for a lifetime of creative expression 

all topped off with a heaping helping of important learning skills for their future development. 

When children are exposed to the creative experience, there are given a special gift and a rich 

and memorable experience of their, lifetime. 

Creativity focuses on the process of forming original ideas through exploration and 

discovery. In children, creativity develops from their experience with the process, rather than 

concern for finished products. Creativity is not to be confused with talent, skill, or orientation. 

Creativity is not about doing something better than others, it is about thinking better than others, 

it is about thinking, exploring, discovering, and imagining. Creativity can be found in art, and 

music, but could also be found in science and any other discipline. Art, music, dance and drama 

are examples of areas one can find creative ideas. Creative ideas and thoughts are found in all 

aspects of a growing child’s life and can be learned from daily tasks.  

There is always a need to progress and change in any situation, especially in children’s 

education which could be a result of new technology and possibilities or because of changes in 

the world. Innovation could be used as a term to mean progression and adapting to changed 

conditions. The opposite of innovation is 'stagnant' or, at least, 'complacent'. A readiness to do 

something new is required for innovation. But anything new is viewed as a risk in most African 

developmental processes or still as a distraction from the normal routine. There is every need to 

commit resources to anything new. Skill acquisition is one of those things children should focus 

their attention on or should be encouraged to focus their interest and attention on.. 



Contemporary issues in the Visual Arts in Nigeria 

185 
 

 

Innovation can happen if there is a readiness to try new things and if a habit of exploring new 

possibilities is developed it will help and be beneficial to African development. Creating a 

climate of acceptance for every new possibility is very difficult. Clearly, there is a need for 

someone to be sensitive to what is happening elsewhere in the same field and to what is 

happening in the world.  

There are many myths about creativity. There is the belief that creativity is a mysterious 

talent that some people have and others can only envy. Anyone can learn and practice the 

thinking skill of creativity. Some people might be better than others, as with any skill - such as 

driving, cooking, tennis or soccer, art and design. Innovation is the introduction of something 

new to an organization or culture. One might do this by copying someone else, by systematic, 

intuitive, logical design or still through direct and deliberate creativity. However, there must be a 

readiness to explore and implement new ideas. Innovation means putting into effect something 

new for any organization, community or nation. There may be many sources for what is 'new'.  

 

Africa can be seen as a laboratory of a multiplicity of actors engaged in experimenting and 

exploring with a multitude of innovations. Empirical studies can be either in-depth case studies 

or follow a comparative approach. In addition, some comparative studies may even include cases 

from regions outside Africa. The envisaged research may include all fields of fine and applied 

arts (global exchange, environmental and climatic change, and political influence), national and 

local levels – economic, legal, social, art and culture, religious and linguistic- and finally 

household and families, intimate personal or generational relationships.  

A special emphasis on young people and youth movements may be helpful to further 

explore this socio-cultural change. From a generational perspective, youth has always been 

perceived as a non-conventional entity which must be tamed to make it conform to the order of 

society. In this sense, it is a phase of life open to uncertainty, exploration, experimentation and 

innovation and this renders youth one of the most promising topics to research in the quest for 

order framework.  

Creative originality is not just limited to creating and originating a system of ideas out of 

nothing but artful and careful combination, coupled with a well-established pattern of thought by 

a process of cross-fertilization is needed to save the system from the state of mythology. It is 

therefore imperative to develop a new reasoning ability to think right, explore possibilities and to 

be able to discover and combine meaningfully, as many ideas and experiences as possible to 

create new forms of knowledge. Exploring the Mind can be achieved with daydreaming, 

meditation and also Thinking about thinking. What makes an individual tick? What are one's 

hopes, Dreams, and Fears? What does one do well? What could one do better? Start practising 

observing oneself – this might be a great start. 

Creativity is more closely related to thinking abilities and attitudinal development. It is a 

continual process for which the best preparation involves creativity itself. The act of creativity 

can be seen as that which provides the urge for continuing exploration and discovery. Every 

child is born creative. The urge to explore, investigate, and discover, what is on the other side of 

the screen is not limited to human behaviour, but is experienced by the whole animal kingdom, 

(Lower Field and Brittan 1975). One of the most commonly agreed upon components of creative 

http://www.thinkingmanagers.com/management/innovation-maintenance.php


 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

186 

 

thinking is the ability to produce a large number of ideas. In general sense the idea of creativity 

means different things to different people in the world. Murray (1966) states “… the creative 

process of the African artist is quite distinct from that of his Western counterparts”. There is the 

need to take due account of this distinction in any comparative analysis.  

Creativity exists everywhere in people’s life. It can be found in designing and packaging, 

processing and production, fabric and fashion, sign and architectural design, applied science and 

technology, visual arts, theatre, music, film (video production) and a host of other activities. 

Creativity in the modern dispensation is used as a powerful tool to attract attention to a nation or 

country's powerful endowment. Creativity can be meaningful to an individual if it is 

ideologically and culturally inclined. Runco (1994) opines that creativity is in terms of cognitive 

processes that lead to an original and adaptive insight, idea or solution. Thus, creativity is the 

most essential of all human resources and skills (Bolaji 2007). Akinboye (2004) sees creativity 

as a tool that propels organizations, catapults careers, and generate potent growth and viable 

outcomes.  

Creativity is at the heart of art and design, at all stages throughout the design process. The 

most exciting and challenging design is that which is truly innovative; the creation of a radical 

departure from anything currently on the market (Baxter, 1995). The more people try to define 

creativity by identifying with specific sets of values, meanings, beliefs, and symbols, the more 

our creativity will be focusing on how values, meanings, beliefs and symbols are formed, and the 

greater the chance that our creativity will become less restricted ( Bolaji 2007). 

One major way to spark creativity is through exploration. Exploring exposes one to new 

things. New things are inspiring. While exploring one might stumble across a new way of doing 

something, a new thing to do, or something more subtle. Sometimes one uncovers a bit of 

information that clicks with things he has been thinking about and completes (or helps to 

complete) the picture he has been developing in his mind. Other times one may discover a tool, a 

process or an approach that others are using which is unrelated but still inspiring in its ingenuity. 

Exploration can fuel one's creativity.  As an artist or designer, it helps to have a goal, or set of 

goals, to provide some structure to your creative wanderings. Artists and designers are no longer 

constrained to the physical realm for their explorations, the Internet and the World Wide Web; 

there are vast tracks to be explored without ever leaving their homes. 

The motivation for this study is triggered by our passion for creativity in the development 

of children and youth into fulfilled productive adulthood. A well-informed child today is 

certainly a good representative and an ambassador of his fatherland in future. Technologically, 

the world is advancing with lots of speed. Also in the Western world, every child has access to 

technology and a system of "creative learning" which empowers the child for every kind of 

profession in society. This is deeded gives assurance that there is great efficiency and 

productivity in a nation whose manpower is active, creative and entrepreneurship balanced 

 

Methodology  

Creativity is as natural and necessary for children as fresh air and sunshine. By exposing 

children to the creative experience, we give them the gift of a rich and memorable childhood 

while laying the foundation for a lifetime of creative expression- all topped off with a heaping 

helping of important learning skills. 



Contemporary issues in the Visual Arts in Nigeria 

187 
 

Literature Review 

Creativity focuses on the process of forming original ideas through exploration and 

discovery. In children, creativity develops from their experience with the process, rather than 

concern for finished products. Creativity is not to be confused with talent, skill or intelligence. 

Creativity is not about doing something better than others; it is about thinking, exploring, 

discovering, and imagining. Creativity is found in obvious art, and music, but can also be found 

in science and play. Because we think of art, music, dance and drama as examples of creative 

ideas, we may have forgotten that creative thought is found in all aspects of a growing child's life 

and can be learned from daily activities. For example, a trip around our environment can rival a 

lot of creative ideas.  

Providing the opportunity for creativity is as easy as allowing children to draw with 

crayons on black paper, to bang a pot with a wooden spoon in time to build an inviting reading 

area within blanket and cushions or to hop and hop to favourite children’s recordings. Something 

as easy as drawing on a blank surface is surprisingly important. Research shows that children 

who draw frequently do better in reading and math and will shine at focusing on learning task 

choosing their drawing materials empowers children and open their eyes to the world around 

them. 

 

What can we do as teachers to help creativity take hold?  

When a child presents you with a drawing and says “Look at what I, made respond by 

saying, "Tell me about your drawing or ask what you like about your drawing. This open-ended 

response let the child evaluate his creativity while initiating a conversation about the work at 

hand. By not assuming anything about the Childs work of art the door to self-evaluation and 

communication opens. 

 

How can teachers encourage creativity? 

Encouraging creativity in you is a process where teachers must open their channels of following 

accepting and turning over some control to the children themselves. Teachers must emphasise 

process rather than product. They should provide a classroom environment that allows children 

to explore and play without undue restraint. More, they should adapt to children's ideas rather 

than trying to structure the children's ideas to fit the adults. Finally, they must accept unusual 

ideas from children by suspending judgments of children's divergent problem 

 

Why is creativity important for early childhood? 

This unrestricted exploration helps children connect in their brains; it helps them learn and is fun. 

It allows youth to practice a wide range of skills that are useful not only for life, but also for 

learning skills, youth practice when participating in art activities including Fine and motor skills. 

Creative skills help children grow in physical, social cognitive and emotional development. 

Children also practice imagination as they invent new ways to create art. 

 

Why is creative art an important part of the child art curriculum? 

By engaging in art activities children practice a variety of skills and progress in all areas 

of development. Creative art activities focus on the process of the products, meaning what the 



 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

188 

 

children do while creating art(feeling, painting between their fingers, holding a pencil or 

experiencing the stickiness of glue) is more important than what the finished product looks like. 

These experiences foster growth and development more than colouring a provided picture or 

having a care provider assist children in glueing precut triangle to a plate to make a sun. 

 

Why is art and creativity important? 

Art and creativity teach problem-solving which a critical skill for success in life is. By 

engaging in artistic activities and study, children develop confidence in their abilities, and they 

learn how to innovate. Art encourages risk-free exploration, and it is this freedom that builds 

confidence. 

 

How does technology affect children's creativity? 

With every piece of technology you assign your children- each one a new source of 

notifications and direction- other more divided their attention becomes. A developing child's 

attention is the key to creativity as it helps keep the mind focused on fleshing out or solving 

problems. 

 

Why is creativity important to a child's development?  

What is important in any creative act is the process of self-expression. Creative 

experiences can help children express and cope with their feelings. Creativity also fosters mental 

growth in children by providing opportunities for trying out new ideas and new ways of thinking 

and problem. 

Why are creativity and imagination important for the development of a child? 

Imagination fosters cognitive and social development. Everyone bones to raise children who 

reach the highest intellectual and social-emotional potential. In early childhood education, 

critical thinking skills and creative problem-solving abilities are goals for children's 

development. 

 

What is the importance of creativity? 

Why is creativity important in the classroom? The most important reason to teach with 

creativity is one that is rarely assessed but is key to a child's educational success; they will love 

school. Making things is joyful. Learning a new skill, collaborating and creating something 

meaningful is satisfying, happy work. Five Ways to Encourage Creative Thinking; 

 

1. Make children Question things 

2. Provide opportunities to express their intelligence 

3. Teach them multiple ways to solve problems 

4. Trigger their Curiosity 

5. Engage them with activity Boxes 

6. Encourage children to read for pleasure 

7. Give them free time and space 

8 Avoid rewarding children for exhibiting creativity 

 



Contemporary issues in the Visual Arts in Nigeria 

189 
 

Multimedia has become a huge force in the world's culture, industry and education. 

Practically any type of information we receive can be categorized as multimedia, from television 

to magazines, to web pages, to movies, multimedia is a tremendous force in both informing the 

public and entertaining us. Multimedia as the term indicates means more than one; it connotes 

means of communication from different sources. It was coined by the advertising industry to 

mean buying ads on TV, radio, outdoor and print media. It was originally picked up by the PC 

industry to mean a computer that could display text in 16 colours and had a sound card. The term 

was a joke when you compared the PC to the Apple Macintosh which was truly a multimedia 

machine that could show color movies with sound and lifelike still images. 

 Multimedia is simply multiple forms of media integrated. Media can be text, graphics, 

audio, animation, video, data, scanner, digital camera and so on... Multimedia in Education has 

been extremely effective in teaching individuals a wide range of subjects. The human brain 

learns using many senses such as sight and hearing. While a lecture can be extremely 

informative, a lecture that integrates pictures or video images can help an individual learn and 

retain information much more effectively. Using interactive CD ROMs can be extremely 

effective in teaching students a wide variety of disciplines, most notably foreign language, music 

and art history.  

Several terrific software packages allow you to create multimedia presentations on your 

computer. Perhaps the best and most widely known is Microsoft's PowerPoint. With PowerPoint 

a user can mix text with pictures, sound and movies to produce a multimedia slideshow that's 

great for boardroom presentations or a computer kiosk but difficult to distribute. The basic 

elements of multimedia on a computer are: 

 

• Text  

• Still images  

• Sound  

• Movies  

• Animations  

• Special Effects 

 

Text, still images and the video portion of movies are functions of your monitor, your video 

card and the software driver that tells Windows how your video card works. Your monitor is 

essentially a grid of closely spaced little luminous points called pixels which can be turned on 

and off like tiny light bulbs. For the sake of simplicity, we'll extend our above example to say 

that the little bulbs can be lit with several colours. Just how close together those points of light 

are packed is a function of your monitor. The number of colours that the luminescent points can 

display is a function of the monitor in concert with the video card. (If you're wondering what a 

video card is, follow the cable from your monitor to your computer. 

Advertising is perhaps one of the biggest industries that use multimedia to send their message 

to the masses. Where one type of media, let's say radio or text can be a great way to promote an 

item, using multimedia techniques can significantly make an item being advertised better 

received by the masses and in many cases with greater results.  



 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

190 

 

As technology progresses, so will multimedia. Today, there are plenty of new media 

technologies being used to create the complete multimedia experience. For instance, virtual 

reality integrates the sense of touch with video and audio media to immerse an individual in a 

virtual world. Other media technologies being developed include the sense of smell that can be 

transmitted via the Internet from one individual to another. Today's video games include 

biofeedback. In this instance, a shock or vibration is given to the game player when he or she 

crashes or gets killed in the game. In addition as computers increase their power new ways of 

integrating media will make the multimedia experience extremely intricate and exciting. 

 

Text 

When PCs were in their infancy running under MS-DOS they only displayed text in one 

size and one color. Most of those early monitors were outgrowths of dumb terminals and had 

green or amber displays on a black background but for dramatic effect, it could be reversed. 

They ran in two modes: Text and graphic. In graphic mode, a program had to light up (turn on) 

each pixel. The screen was 640 pixels wide and 480 high so to clear the screen in graphics mode 

a program had to turn off 307200 pixels.  

Text on those early PCs was displayed using the ASCII charter set which was a series of 

2 numbers that could be sent to the monitor. Each of those two-digit numbers represented an 

alpha-numerical character. For example, the ASCII character code for a lowercase a is 97 while 

the uppercase is 65. A text charter was 8 pixels high and 8 pixels wide so when a program sent a 

character 65 to the screen a helper systems program called ANSI.SYS would send a signal to the 

proper location turning on and off 64 dots appropriately to make an image of the letter A. 

Innovation and creativity in the African context have increasingly come to be seen as a response 

to the condition Africa has been subjected to by the world. Innovation and creativity describe the 

adaption of tradition to new challenges; African appropriation of external inputs, the endeavour 

to integrate these inputs into their lives and, most importantly, their response to the ever-new 

situations that result from innovation itself.  

There is always a need to progress and change in developed and developing nations, 

which could be as a result of new technology and possibilities or because of changes in the 

world. Innovation could be used as a term to mean progression and adapting to changed 

conditions. The opposite of innovation is 'stagnant' or, at least, 'complacent'. A readiness to do 

something new is required for innovation. But anything new is viewed as a risk in most African 

developmental processes or still as a distraction from the normal routine. There is every need to 

commit resources to anything new. 

Innovation can happen if there is a readiness to try new things and if a habit of exploring 

new possibilities is developed it will help and be beneficial to African development. Creating a 

climate of acceptance for every new possibility is very difficult. There is a need for someone to 

be sensitive to what is happening elsewhere in the same field and to what is happening in the 

world.  

 

There are many myths about creativity. There is the belief that creativity is a mysterious 

talent that some people have and others can only envy. Anyone can learn and practice the 

thinking skill of creativity. Some people might be better than others, as with any skill - such as 



Contemporary issues in the Visual Arts in Nigeria 

191 
 

driving, cooking, tennis or soccer, art and design and others. Innovation is the introduction of 

something new to an organization or culture. One might do this by copying someone else, by 

systematic, intuitive, logical design or still through direct and deliberate creativity. However, 

there must be a readiness to explore and implement new ideas. Innovation means putting into 

effect something new for any organization, community or nation. There may be many sources for 

what is 'new'. 

 

Innovation through Creativity 

Africa faces the challenge of managing uncertainty and innovation. As a consequence, 

academic research has to face the challenge of describing the nature of the ensuing quest for 

orders and the forms taken by innovation. It has also to understand the stakes for individuals, 

communities and social science research itself. In addition, research is necessary to describe and 

understand the socio-economic framework and, thus, the conditions under which individuals 

experience uncertainty.  

Africa can be seen as a laboratory of a multiplicity of actors engaged in experimenting 

and exploring with a multitude of innovations. Empirical studies can be either in-depth case 

studies or follow a comparative approach. In addition, some comparative studies may even 

include cases from regions outside Africa. The envisaged research may include all fields of fine 

and applied arts (global exchange, environmental and climatic change, and political influence), 

national and local levels – economic, legal, social, art and culture, religious and linguistic- and 

finally household and families, intimate personal or generational relationships. 

  However, in this respect specific attention to socially relevant innovations and emerging 

orders may be identified for example cities as spatial emphases of change; artists, designers, 

musicians and young people as particularly innovative actors; new forms of political order; 

religious groups, or civil society associations as new forms of group association. These efforts 

may all be linked to particular worldviews, normative frameworks, concepts of belonging, or the 

moral order of social relations. Urban social environments appear to open up increasingly to a 

creative blend of various cultural expressions in film, music, literature and art and design as well 

as in new fashions and lifestyles. Some of these expressions form the background to new social 

movements with new discourses on social and political life in general.  

A special emphasis on young people and youth movements may be helpful to further 

explore this socio-cultural change. From a generational perspective, youth has always been 

perceived as a non-conventional entity which must be tamed to make it conform to the order of 

society. In this sense, it is a phase of life open to uncertainty, exploration, experimentation and 

innovation and this renders youth one of the most promising topics to research in the quest for 

order framework.  

Creativity is more closely related to thinking abilities and to attitudinal development. It is 

a continual process for which the best preparation involves creativity itself. The act of creativity 

can be seen as that which provides the urge for continuing exploration and discovery. Every 

child is born creative. The urge to explore, investigate, and discover, what is on the other side of 

the screen is not limited to human behaviour, but is experienced by the whole animal kingdom, 

(Lower Field and Brittan 1975). One of the most commonly agreed upon components of creative 

thinking is the ability to produce a large number of ideas. In a general sense the idea of creativity 

http://www.thinkingmanagers.com/management/innovation-maintenance.php


 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

192 

 

means different things to different people in the world. Murray (1966) states “… the creative 

process of the African artist is quite distinct from that of his Western counterparts”. There is the 

need to take due account of this distinction in any comparative analysis.  

Creativity exists everywhere in people’s life. It can be found in designing and packaging, 

processing and production, fabric and fashion, sign and architectural design, applied science and 

technology, visual arts, theatre, music, film (video production) and a host of other activities. 

Creativity in the modern dispensation is used as a powerful tool to attract attention to a nation or 

country's powerful endowment. Creativity can be meaningful to an individual if it is 

ideologically and culturally inclined. Runco (1994) opines that creativity is in terms of cognitive 

processes that lead to an original and adaptive insight, idea or solution. Thus, creativity is the 

most essential of all human resources and skills (Bolaji 2007). Akinboye (2004) sees creativity 

as a tool that propels organizations, catapults careers, and generate potent growth and viable 

outcomes.  

Creativity is at the heart of art and design, at all stages throughout the design process. The 

most exciting and challenging design is that which is truly innovative; the creation of a radical 

departure from anything currently on the market (Baxter, 1995). The more people try to define 

creativity by identifying with specific sets of values, meanings, beliefs, and symbols, the more 

our creativity will be focusing on how values, meanings, beliefs and symbols are formed, and the 

greater the chance that our creativity will become less restricted ( Bolaji 2007). 

One major way to spark creativity is through exploration. Exploring exposes one to new 

things. New things are inspiring. While exploring one might stumble across a new way of doing 

something, a new thing to do, or something more subtle. Sometimes one uncovers a bit of 

information that clicks with things he has been thinking about and completes (or helps to 

complete) the picture he has been developing in his mind. Other times one may discover a tool, a 

process or an approach that others are using which is unrelated but still inspiring in its ingenuity. 

Exploration can fuel one's creativity.   

Exploration is the act of travelling or searching within and around a terrain (including the 

immediate environment, the world and space or even an unknown region for discovering 

resources or information for a particular project. Exploration in art could take different forms, for 

example a visit to the city especially where one lives, or the nearest one and spending a day 

walking through the streets. Also, a visit to local, independent shops, clothing stores, antique 

shops, craft shops, toy stores, markets, museums, and art galleries/workshops are great places to 

seek out. Others are new parks, beaches, monuments, and other gathering areas. As an artist or 

designer, it helps to have a goal, or set of goals, to provide some structure to your creative 

wanderings. Artists and designers are no longer constrained to the physical realm for their 

explorations, the Internet and the World Wide Web; there are vast tracks to be explored without 

ever leaving their homes. 

 

Reward for Excellence Competition 

Opinion of RES competition participant; I and my mother got information from a distant 

relative about the competition and I was very excited and overwhelmed because I have never 

participated in a competition the next day, I started to have second doubts about my qualification 

for the competition when my mother has already sent the application form. 



Contemporary issues in the Visual Arts in Nigeria 

193 
 

On August 7th 2021, where the 1st and 2nd stages will be done for all the participants in 

Enugu state, the 1st stage is the Screening test; we were given a puzzle to find 20 words in 2 

minutes and those who could get more than 10 words, would later be given 3 words to spell and 

if they could get 2 out of three and 3 out of three, would be qualified to advance to the 2nd stage, 

the three words given to us are, ape, anomaly, apathy. In the 2nd stage, we were called 

individually to spell one word and there are the following words were given to the junior 

category  

• Amphibian  

• Archaeology 

• Autopsy  

• Aversive  

• Astronomical 

• Aftermath 

• Alacrity 

• Apparition 

• Agnostic 

• Articulate 

• Asylum 

• Antipathy 

• Arraying 

• Aviary 

• Aloft 

• Artefact                                                         

There were approximately 30 participants from Spring of Life and Fountain of Wisdom 

School and approximately 250 participants from other schools.  Most of them won awards, prices 

and incentives for further development. It is important in any creative and innovative act that 

allows the process of self-expression, especially through a skill acquisition program. Creative 

experiences can help children express and cope with their feelings. Creativity also fosters mental 

growth in children by providing opportunities for trying out new ideas and new ways of thinking 

and problem. Imagination fosters cognitive and social development. Everyone bones to raise 

children who reach the highest intellectual and social-emotional potential.  

Innovation through Creativity 

Africa faces the challenge of managing uncertainty and innovation. As a consequence, 

academic research has to face the challenge of describing the nature of the ensuing quest for 

orders and the forms taken by innovation. It has also to understand the stakes for individuals, 

communities and social science research itself. In addition, research is necessary to describe and 

understand the socio-economic framework and, thus, the conditions under which individuals 

experience uncertainty.  

 

Conclusion 



 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

194 

 

Creative originality is not just limited to creating and originating a system of ideas out of 

nothing but artful and careful combination, coupled with a well-established pattern of thought by 

a process of cross-fertilization is needed to save the system from the state of mythology. It is 

therefore imperative to develop a new reasoning ability to think right, explore possibilities and to 

be able to discover and combine meaningfully, as many ideas and experiences as possible to 

create new forms of knowledge. Exploring the Mind can be achieved with daydreaming, 

meditation and also Thinking about thinking. What makes an individual tick? What are one's 

hopes, Dreams, and Fears? What does one do well? What could one do better? Start practising 

observing oneself – this might be a great start. a skill acquisition. Childhood education through 

skill acquisition is critical thinking skills and creative problem-solving abilities are good goals 

for children's development. 

 

References 

Akinboye, J. O. (2004) Creativity, Innovation and Success. Stirling-Hordens Publishers Ltd,  

Ibadan- Nigeria. 

 

Baxter, M.R. (1995) Product Design. Practical Methods for the Systematic Development of New 

Products, New York: Chapman and Hall  

 

Bolaji, S.D. (2007) Akinpelu’s Educational Philosophy and its Implication to Educational 

System in Nigeria, Unpublished Master’s Thesis Submitted to the Department of 

Educational Foundations, Faculty of Education, University of Lagos 

 

Lowerfield, E. and Brittan, L. (1995) Creative and Mental Growth. Macmillan Publishing Co. 

Inc., New York. 

 

Murray, J. (1966) Introduction to African Art. Camelot Press Ltd, London. 

 

Rodney, W. (1982) How Europe Underdeveloped Africa, Ikenga Publishers Enugu, Nigeria 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



Contemporary issues in the Visual Arts in Nigeria 

195 
 

INDEX 

A 
Abstraction; 31, 36 

Adenaike, Tayo; 123 

Aesthetics; 21, 101, 106, 110, 122, 142, 

Ajayi, Ayo; 128, 133 

Ajayi, Bayo; 133 

All Programmers’ Congress; 164 

Amaefuna, Chuka; 131 

Amifor, John; 128, 133 

Anatsui, El; 124 

Aniakor, Chike; 123 

Animation, 3D; 11, 108 14, 20, 158, 

Architecture; 1, 14, 144, 

Art Criticism; 10, 11, 12,13, 22, 34, 70, 73, 

78 

Art History; 1, 9, 10, 12, 132 

Art, Non-Objective; 38 

Art Therapy; 43,  

Artistic process; 18, 188,193 

Artistic; 43, 44, 48 

Asymmetrical Balance; 36 

 

B 
Baker Mr; 131 

Baker, Mrs; 131 

Baroque; 36 

Benin; 133, 137 

Buhari, Muhammadu; 164 

 

C 
Ceramics; 1 9, 13, 14, 29, 109, 110, 126, 

131, 137  

Classicism; 36 

Climate Change; 173, 174,181 

Corruption; 163-164, 166-167 

Creativity Quadrat; 163, 164,188 

Cubism; 37 

 

D 
Da Vinci, Leonardo; 69 

Dada; 37 

Dangote; 170 

Department of Fine and Applied Arts, 

Ahmadu Bello University, Zaria 131 

Development; 166 

Dimmagio, Paul; 70 

Dominance; 37 

 

E 
Earth in our hands; 179 

Edgerely, Samuel; 139 

Ekeada, Felix; 127, 128, 131, 133 

Elaboration; 37 

Environmental graphics design (EGD); 136, 

140 

Enwonwu, Ben; 135 

Esie; 133, 137 

Exploration; 52, 99, 118, 154, 155, 161 

Expressionism; 37 

 

F 
Fashion Industry; 94 

Film; 3, 21, 52, 100 

Firth, Clifford; 131 

 

G 
Genre; 37 

Global Warming; 180  



 Climate Change and Environmental Sustainability: A Visual Communication Design Approach 

 

184 

 

Goldsmiths College of Artists, London 

University; 131 

Gradation; 38 

Groundnut Pyramid; 170  

 

H 
Howard, Saul;  80  

 

I 
Iconography, 10, 25, 34, 38, 68, 77, 82 

Ife; 133, 137 

Igboanugo, Paul; 130 

Igbo-Ukwu; 133, 137 

Ikatia, Grey; 128, 133 

Ikwuemesi, Krydz Chu, 123 

Illustration (s); 139 manuscript 1, book 1, 

visual 8, copy, 134 

Industrial Design; 1, 29, 97-103, 169,189, 

Innovation, 2, 3, 6, 30, 82, 111, 94, 96, 101, 

104, 114, 117, 118, 122, 152, 153, 163, 164, 

165, 168, 170, 185, 190, 191, 193 

IPCC, 174 

It’s still a beautiful world 182; 

 

J 
Jewellery; 11 

 

K 
King Saul; 43 

Kramer, Edith; 45 

 

L 
Let’s share the world together; 181 

Lost Wax-38 

 

M 
Maldiochi, Kathy; 48  

Max, Karl; 70 

Mother Earth needs our protection; 178 

Motif; 38 

Murray, K. C.; 106, 110, 134, 139 

 

N 
Naturalism; 38 

Naumberg, Marsaret; 45 

Ngu, Ugbodaga Clara, Mrs; 131 

Njelita, Osita Benjamin;131, 127, 128 

Nok; 133, 137 

Nsibidi; 105, 11, 113, 115, 116, 117, 118, 

122 

Nwagbara, Ogbonnaya; 131 

 

O 
Oguibe, Olu; 80 

Okpara, Anthony Ukwaoma; 133 

Okpara, Anthony Ukwuoma; 133, Sheba, 

Eben, 133 

Onabolu Aina; 134, 138 

Onobrakpeya, Bruce; 78  

Onuora, Chijioke, 123 

Owo; 133, 137 

 

P 
Photography; 13, 78, 106, 132 

Plaster of Paris (POP); 157, 159, 160 

Pollution; 142,  

Pottery; 1, 14, 27, 115 

Printmaking; 1, 13, 78, 80, 135, 139 

 

 



Contemporary issues in the Visual Arts in Nigeria 

185 
 

Q 
Quantitative Research; 88 

 

R 
Realism; 38 

Research Methodology; 50, 53 

Research, 4, 48, 50-64 

Researcher(s); 92 

Rhythm; 38 

Rhythm; 38 

Romanticism; 38 

 

S 
Scale; 39 

Sculpture; 1, 8-9 10, 13, 78, 110, 111, 127, 

133 

Self-Expression; 2, 29 

Sensual; 39 

Sensuous; 39 

Simmel, Georg; 70 

SMES; 169 

Social Research; 57 

Sociology Research; 87 

Style; 9 artistic, 12, aesthetics, 14, formal, 

15  

Suleiman, Hassan, Mr; 131 

Surrealism; 39 

 

T 
Tension; 39 

Textile; 9, 13, 73, 115, 139, 177 

Texture; 39 

Tsoede; 133, 137 

TV Trolleys; 160 

 

U 
Uche Okeke; 122 

Udechukwu, Obiora; 78, 80, 110 

Uli; 105, 108, 110,111 

Unity; 39 

 

V 
Value; 39 

Visual effects; 177 

Visual Pollution; 142,144 

 

 

W 
Weber, Max; 70 

 

 

 


