Tag: heavy

  • Higher Education, High Hopes, and Heavy Bureaucracy

    Higher Education, High Hopes, and Heavy Bureaucracy

    by Phil Power-Mason and Helen Charlton

    UK higher education is pulled between its lofty ambitions for transformative learning and the managerialism that sometimes constrains their realisation. This tension defines the contemporary Higher Education workplace, where the mantras of “more with less” and “highly regulated freedom” collide with the desire for rich, personalised student experiences amidst fiscal belt-tightening, quantification, and standardisation. Bubbling through the cracks in any long-term political or economic vision for the sector is a professional identity steeped in ambivalence of purpose and position, one whose contradictions are nowhere rendered more vividly than in England’s higher and degree apprenticeships (HDAs). Conceived to braid university learning with workplace productivity, HDAs promise the best of both worlds yet must be delivered within one of the most prescriptive funding and inspection regimes in UK higher education. This provision also sits amidst a precarious and volatile political landscape, with continuous changes to funding rules, age limits and eligibility of different levels of study, and ‘fit’ within a still poorly defined skills and lifelong learning landscape.  

    At the heart of this ongoing policy experiment stands an until-recently invisible workforce:  Higher Education Tripartite Practitioners (HETP). These quiet actors emerged as a series of pragmatic institution level responses to the Education and Skills Funding Agency (ESFA, now subsumed into the Department of Education) related to progress reviews involving the provider, apprentice, and employer. Yet, as we argued in our paper at the SRHE International Conference in December last year, they have evolved into nuanced, often misunderstood boundary-spanners who simultaneously inhabit academia, industry, and compliance. Part coach, part conduit, part compliance specialist, they facilitate developmental conversations, broker cultural differences, and ensure every clause of the ESFA rulebook is honoured. The quality of this brokerage is decisive; without it even the most carefully designed apprenticeship fractures under audit pressure.

    Consider the core activities of HETPs. Much of their time is spent in close personal engagement with apprentices – fostering professional growth, guiding reflective practice, and offering pastoral support traditionally associated with mentoring. They encourage apprentices to think holistically, integrate theory with workplace reality, and map long-term career aspirations. Almost simultaneously, they must document progress reviews, monitor the evidence of every single hour of learning, and tick every regulatory box along a journey from initial skills analysis through to end point assessment.

    This duality produces a daily oscillation between inspiring conversations and tedious paperwork. The tension is palpable and exhausting, revealing a deeper struggle between two visions of education: one expansive, transformative, and relational; the other restrictive, measurable, and dominated by compliance. Fuller and Unwin’s expansive–restrictive continuum maps neatly onto this predicament, underscoring how universities are urged by policymakers to deliver high-skilled graduates for economic growth while simultaneously squeezed by intensifying regulation and managerial oversight.

    Little wonder, then, that HETPs describe their roles with the language of complexity, ambiguity, and invisibility. They are neither purely academic nor purely administrative. Instead, they occupy a liminal institutional space, mediating competing demands from employers, regulators, apprentices, and colleagues. Esmond captures the resulting “subaltern” status of these practitioners, whose contributions remain undervalued even as they shoulder the brunt of institutional attempts to innovate without overhauling legacy systems.

    Their experiences lay bare the contradictions of contemporary university innovation. Institutions routinely trumpet responsiveness to labour-market need yet bolt new programmes onto structures optimised for conventional classroom delivery, leaving HETPs to reconcile expansive educational ideals with restrictive managerial realities. The role becomes a flashpoint: universities ask boundary-spanners to maintain quality, build relationships, and inspire learners within systems designed for something else entirely.

    Yet amidst these tensions lies opportunity. The very ambiguity of the HETP role highlights the limits of existing support systems and points towards new professional identities and career pathways. Formal recognition of boundary-spanning expertise – relationship-building, negotiation, adaptability – would allow practitioners to progress without abandoning what makes their contribution distinctive. Communities of practice could break the apprenticeship echo-chamber and enrich the wider HE ecosystem, while institutional investment in bespoke professional development would equip practitioners to navigate the inherent tensions of their work.

    Senior leadership must also acknowledge the strategic value of these hidden roles, reframing them not as incidental administrative burdens but as essential catalysts for integrated educational practice. Making such roles visible and valued would help universities reconcile expansive aspirations with regulatory realities and signal genuine commitment to reshaping education for contemporary challenges.

    Policymakers and regulators, too, have lessons to learn. While accountability has its place, overly rigid compliance frameworks risk stifling innovation. Trust-based, proportionate regulation – emphasising quality, transparency, and developmental outcomes – would free practitioners to focus on learning rather than bureaucratic survival. The current neo-liberal distrust that imagines only regulation can safeguard public value inflates compliance costs and undermines the very economic ambitions it seeks to serve.

    Ultimately, the emergence of HETPs challenges HE institutions to decide how serious they are about bridging academic learning and workplace practice. Recognising and empowering these quiet brokers would signal a genuine commitment to integrated, expansive education – an education capable of meeting economic demands without losing sight of deeper human and intellectual aspirations. HETPs are far more than practitioners managing checklists; they are a critical juncture at which universities must choose either to treat boundary-spanning labour as a stop-gap or to embrace the complexity and potential it represents.

    Dr Phil Power-Mason is Head of Department for Strategic Management at Hertfordshire Business School, University of Hertfordshire, where he leads a diverse portfolio spanning executive education, apprenticeships and professional doctorates. A practice-focussed academic with a passion for innovative workforce development, Phil has overseen significant growth in the school’s business apprenticeships, MBA, and generalist provision, while nurturing cross-sector partnerships and embedding work-aligned learning at every level. With a research background in educational governance and strategy, he is a Senior Fellow of Advance HE and co-convenor of national apprenticeship knowledge networks. Phil’s research and sector leadership focus on emerging pedagogic and HE workforce practices, driving collaborative solutions that meet employer, learner and university needs. An invited speaker at national forums and a frequent contributor to sector conferences and publications, he remains committed to transforming vocational and work-ready learning practice for the future. (herts.ac.uk)

    Dr Helen Charlton is Associate Professor of Work Aligned Learning and Head of Executive Education at Newcastle Business School, Northumbria University, where she leads the school’s business apprenticeships, executive CPD and distance-learning programmes. After almost a decade steering apprenticeship design and compliance, she stays keenly attuned to each fresh regulatory tweak – and the learning opportunities it provides. A former senior HR manager in the arts and not-for-profit sectors, Helen holds a Doctorate in Education and an MSc in Human Resource Management, is a Senior Fellow of Advance HE, a Chartered MCIPD, and a Chartered Manager and Fellow of the CMI. Her research examines how learners, employers and universities negotiate the tripartite realities of degree apprenticeships. (northumbria.ac.uk)

    Author: SRHE News Blog

    An international learned society, concerned with supporting research and researchers into Higher Education

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  • FIRE highlights artistic freedom with launch of new YouTube interview series featuring heavy metal and punk’s biggest stars

    FIRE highlights artistic freedom with launch of new YouTube interview series featuring heavy metal and punk’s biggest stars

    Today the Foundation for Individual Rights and Expression presents a new video series — “Fire with FIRE” — featuring some of the biggest and up-and-coming names in heavy metal and punk rock.

    Throughout the summer, FIRE will drop a new conversation every other week on our YouTube channel with the likes of:

    Artists can be the canaries in the coalmine. Too often, they are the first to be censored, or worse — much, much worse. 

    In Nazi Germany, the regime destroyed and banned certain art, particularly Jewish art, and labeled it “degenerate.” Jewish artists like Charlotte Salomon — who some argue created the first graphic novel — were sent to death camps and murdered by Adolf Hitler’s thugs.

    The Soviets were no better. Artists who rebelled against the confines of the state-approved artform of “Socialist Realism” were blacklisted, sent to the gulag, or executed. (After the Soviet Union’s fall, Russian dictator Vladimir Putin revived the old regime’s repression of artists, most famously targeting the punk rock and performance art collective Pussy Riot. Most members now live in exile after criticizing Russia’s brutal invasion of Ukraine.)

    In 1973, the military dictatorship of Gen. Augusto Pinochet tortured and murdered Chilean artist and folk singer Víctor Jara for his music and political activism. His murderers pumped him full of bullets and then dumped his body on a public road. Message sent. 

    After the Islamic Revolution engulfed Iran, the ultra-religious government banned Western heavy metal and punk music. The Iranian regime has persecuted, arrested, and thrown in prison musicians daring to play such music. In 2015, for example, the members of the Iranian death metal band Confess were sentenced to years in prison and 74 lashes for blasphemy, disturbing public opinion, and anti-government propaganda. They fortunately escaped to Norway. 

    America isn’t immune to such crackdowns on creative expression either.

    During the McCarthy era of the late 1940s into the 1950s, artists like director, actor, and writer Orson Welles; screenwriter and novelist Dalton Trumbo of “Spartacus” and “Johnny Got His Gun” fame; folk singer Pete Seeger; and many others were blacklisted because of their left-wing politics and Communist ties, real or imagined. 

    In the 1960s and 1970s, the FBI surveilled artists associated with the Civil Rights and antiwar movements. The bureau maintained files on John LennonThe Monkees, and the proto-punk band MC5. Even the soul and gospel singer Aretha Franklin had a 270-page FBI file, with G-men monitoring her because of her connections to the Civil Rights movement and “Black extremists.” 

    During the 1980s, the Parents Music Resource Center — co-founded by future Vice President Al Gore’s wife Tipper — created a moral panic around heavy metal, punk, and pop artists like Twisted Sister, the Dead Kennedys, and Prince. The PMRC’s crusade led not only to “Parental Advisory” stickers on albums but also to what is arguably Glenn Danzig’s best composition ever, “Mother.” 

    Enter the “Fire with FIRE” interview series. 

    Every two weeks, FIRE will release conversations with six of the biggest metal and punk artists in music right now about their inspirations, their influences, and why free expression not only makes life worth living, but is also essential to a free society. 

    First up: Spencer Charnas of Ice Nine Kills. What a bloody mess this interview is. Our host Ryan J Downey slices into Spencer’s musical inspirations, why horror movies infest his music and art, and how Disney censored Ice Nine Kills — with Spencer getting the last howling laugh. 


    Like it. Share it. Tell us what you think in the YouTube comments. And let us know who you’d love us to interview in the future!

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