Abstract :
This preface introduces the themes of this special
edition: the contribution that lesbian and gay individuals
make to the development of the discipline.
These include a non-heteronormative perspective,
and an emphasis on irony within parody. Second,
this preface considers the experience of LGBT
students and teachers dealing with sexuality within
the school curriculum. Third, the current approach
to civil rights within the school is considered especially
in the context of homophobia, bullying and
physical danger. Finally, areas of specific curriculum
advance are noted particularly within art
history, media education and teacher education.
Irving Berlin’s witty little song ‘Anything you can
do’ [1] epitomises the taken-for-granted assumption
that relationships between people are always
adversarial and that personal achievement always
involves outperforming the opponent. The song
title in full runs ‘Anything you can do I can do better,
I can do anything better than you.’ The second
stanza underlines the theme ‘I’m superior, you’re
inferior, I’m the big attraction you’re the small.’ The
rest of the song develops the theme but it
constantly expands a tongue-in-cheek ironic inflection.
The lyrics serve to subtly undermine the
master narrative by showing the ridiculousness of
empty boastfulness. I suggest that there is a strong
analogy between this adversarial parody and that
between ‘heteronormative’ culture [2] and its
disdain for gay perspectives and experience [3].
One of the major propositions in this collection is
that lesbian, gay, bisexual and trangender (‘LGBT’
throughout this volume) people bring great benefits
to all in our efforts to explore and develop an
increasingly inclusive art and design agenda [4].
My argument in this introduction has four interrelated
themes. First, I outline what I think are the
legitimate claims that LGBT people can make for
their contribution to the development of the discipline.
It is important to start here because, as will
be come clear, there are several significant issues
that LGBT teachers and students have to face in
education. These issues should not distract us
from the positive impact we have made throughout
the art and design curriculum.
The second theme is one that I take from
Andrew Sullivan’s title Virtually Normal [5]. The
ambiguity built into his oxymoronic title is worth
exploration. The LGBT experience of growing up
has particular paradoxical features that are singular
and significant. I consider some of these features
for their salience to the general argument.
The third theme that is particularly pertinent
internationally is what is termed a civil rights
agenda. Many educators are using this concept as
a basic building block in the construction of an
equality programme into which LGBT fits as a
significant beneficiary. It is in this context that the
issue of bullying is considered. Undeniably, bullying
is a major issue confronting probably every young
LGBT person on a regular basis. But I, and other
authors in the collection, argue that relying solely
on this equal rights approach has some major
drawbacks in the promotion of an LGBT agenda.
The fourth theme, which is developed by the
authors of the papers throughout this volume, is
that a specific LGBT art and design curriculum can
be developed away from a civil rights approach.
This curriculum can provide what we all lack
currently, material that reflects and expands the
learning of LGBT students, provides opportunities
for Continuing Professional Development for LGBT
and LGBT-friendly staff, and thus enriches the
whole art and design curriculum by embracing
new ideas from within and outside the discipline.
At the moment there is a gaping empty space in
the art and design curriculum that badly needs filling.
I conclude this introduction by considering
such innovation in relation to Swift and Steers’
Manifesto for Art in Schools which still seems to
me an excellent benchmark against which to
measure change and progress [6].
