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Perspectives on pedagogical innovation

by Kamilya Suleymenova and Emma Thirkell

The landscape of higher education (HE) in the UK (but also more widely, in Western countries and across the globe) has significantly changed, driven by the massification and the following marketisation of HE studies (Alves & Tomlinson, 2021; Molesworth et al, 2009). The predominance of particular governance structures and schools of thought shape the narrative further (as discussed by Marcia Devlin (2021) in her SRHE blog) and create a deceptively heterogeneous environment, where each prospective student can find their “place”, but all are conditioned to follow a similar narrative.

New disruptions

On this backdrop new disruptions appear, of which we want to focus on two specifically for the UK HE. First, the legacy of lockdowns, bringing more flexible working environment and an astonishing pervasiveness of digital tools together with disrupted earlier education and legacy of health, including mental health, concerns, unsettles further already brittle UK HE sector (as illustrated by SRHE blog by Steven Jones (2022). Second, the advent of Generative AI and its implications for teaching, learning, and assessment. Much has been said about these (Lee et al, 2024; O’Dea, 2024) – our learning points from this rapidly growing literature are that i) significant disruption has occurred and ii) something needs to be done to react to this change in context. In other words, while there are many tried and tested theories and methods in teaching and assessment, they need to be reviewed and very likely adapted to keep up with the changing context.

The change did not occur only in the tools: we argue here that it is not merely a quantitative technical change (eg speed of communication), but a qualitative change, which affected or at least has the potential to affect, the mindset and the behaviour of students (and staff). Together, these factors produce more stressed, more demanding, potentially differently engaged students (sometimes perceived as less engaged), focused on the “added value” of their degrees and their “university experience”, anxious to acquire competences and skills through experiential learning to be in the best position for securing the employment of their choice.

In this rapidly changing context, the need for pedagogical innovations (PI), or at least the desire and the ability to engage with disruptions in the education process, seems almost inevitable. But how do the staff working in the UK HE, respond to this demand? Are the challenges viewed as opportunities or rather as additional pressures, adding to an evolving workload and requirements to navigate a complex bureaucracy?

Research focus: understanding the lived experiences of educators

Our research explores the lived experiences of educators across 13 UK universities, investigating their engagement with PI in the aftermath of the COVID-19 pandemic. By examining how institutional dynamics, personal motivations, and perceived barriers shape decisions surrounding PI, we have developed the initial stages of a conceptual framework, presented at the SRHE International Conference, to guide policies that better support educators and foster sustained PI in teaching. Through 30 interviews with educators, senior staff, and technology-enabled learning (TEL) specialists, we reveal the complex decision-making processes that influence whether and how educators embrace or resist innovation in their teaching practices.

What drives educators to innovate?

Our research highlights a multifaceted landscape where educators’ motivations for engaging with PI are shaped by both intrinsic and extrinsic factors. For many, intrinsic motivations, such as a deep-rooted desire to enhance student learning and a personal commitment to pedagogical excellence, act as powerful drivers for innovation. As one educator noted, “I’m always looking for new ideas. Innovation gives me a sense of purpose and connection with my students, making teaching more fulfilling.” This indicates that where academics feel a strong personal commitment to education, and it is rewarded, they are more likely to embrace innovative practices.

The tension between rhetoric and reality

However, these motivations are often counterbalanced by extrinsic pressures from the institutional environment, whether perceived or real. Many educators reported feeling that institutional strategies, while rhetorically supportive of PI, were undercut by bureaucratic barriers, a lack of adequate resources, and managerial cultures focused on short-term, measurable outcomes. One academic explained, “Innovation is a buzzword here, but when it comes to implementing anything new, we’re stuck in a system that values research output over teaching innovation. There’s little incentive to invest time in something that doesn’t directly contribute to my publication record.” This highlights the tension between institutional narrative and individual motivations, with many educators perceiving a disconnect between institutional rhetoric purporting to encourage PI and the reality of its implementation.

Autonomy and trust

Another key finding concerns the role of autonomy and trust in fostering a culture of innovation. Educators who felt empowered within their departments – where trust was placed in their judgment – were more likely to experiment with new teaching methods. As one TEL specialist remarked, “When leadership trusts us, we feel freer to try new approaches. But when we are micromanaged, the innovation just stops. You’re constantly battling to prove that your idea is worth the time it takes.” This sense of autonomy, closely linked to professional identity, is crucial in determining whether educators feel motivated to innovate or revert to traditional methods.

The cost of innovation

However, these ‘empowering’ environments were not universally experienced. Many educators, particularly those in large departments or with heavy teaching loads, reported feeling that the cost of innovation – both in terms of time and energy – was too high. “It’s hard to innovate when you’re overwhelmed with marking, preparation, and administration. It feels like there’s no room to breathe, let alone experiment,” shared an academic. This sense of burnout, compounded by a perception of growing academic bureaucracy, led some to feel that the costs of engaging in PI outweighed the benefits, making it more difficult to justify the time and effort required for innovation.

A balancing act

Perhaps not surprisingly, some educators justified their lack of engagement with PI by citing these perceived institutional constraints. As one educator put it, “We’re told to innovate, but the structure just isn’t there to support it. It’s easier to stick with what we know works than to risk failure with something new.” This reflects the cognitive flexibility educators employ when balancing personal motivations with institutional limitations. As per Goffman’s (1959) ‘front’ and ‘back’ stage theory, educators sometimes present a compliant, innovative persona on the ‘front’ stage in order to ‘fit in’ (Nästesjö, 2023), while in the ‘back’ stage, they rationalize their lack of engagement by attributing it to costs and benefits, reconciling their professional image with their lived experiences.

Reflections

We are certain that some, if not all, of these quotes will resonate with many of the readers: these trends have been discussed in, for example, Lašáková et al (2017) and Findlow (2008). Our aim is not only to systematise and categorise the individual aspects shared with us by both frustrated and aspiring colleagues, but to focus on an in-depth analysis of their motivations. Based on previous literature and our data, we aim to generalise and develop a theoretical framework through the lens of an interdisciplinary management and economics analysis. The preliminary version of this theoretical framework, presented at the 2024 SRHE Conference, should provide a foundation for shaping institutional policies to develop a sustainable pipeline of innovations, in the full respect of both academic freedom and students’ interests. In other words, we hope that our work will facilitate structural changes to unlock the innovation potential and help institutions to help us to innovate.

Kamilya Suleymenova is Associate Professor at the Department of Economics, Birmingham Business School, University of Birmingham with interests in assessment and feedback particularly for large cohorts, Generative AI in HE, as well as institutional and behavioural and experimental economics. Now twice a presenter at SRHE International Conference, Kamilya appreciates the constructive feedback of the community.

Emma Thirkell is an Assistant Professor in Human Resource Management at Newcastle Business School, Northumbria University with interests in pedagogical innovation, experiential learning, and the integration of technology in education. A four-time teaching award winner, she is passionate about bridging academia and practice through innovative curriculum design and leadership in higher education.


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My Marking Life: The Role of Emotional Labour in delivering Audio Feedback to HE Students

by Samantha Wilkinson

Feedback has been heralded the most significant single influence on student learning and achievement (Gibbs and Simpson, 2004). Despite this, students critique feedback for being unfit for purpose, considering that it does not help them clarify things they do not understand (Voelkel and Mello, 2014).

Despite written feedback being the norm in Higher Education, the literature highlights the benefit of audio feedback. King et al (2008) contend that audio feedback is often evaluated by students as being ‘richer’ than other forms of feedback.

Whilst there is a growing body of literature evaluating audio feedback from the perspective of students, the experiences of academics providing audio feedback have been explored less (Ekinsmyth, 2010). Sarcona et al (2020) is a notable exception, exploring the instructor perspective, albeit briefly. The authors share how some lecturers in their study found it quick and easy to provide audio feedback, and that they valued the ability to indicate the tone of their feedback. Other lecturers, however, stated how they had to type the notes first to remember what they wanted to say, and then record these for the audio feedback, and thus were doing twice as much work.

Whilst the affectual impact of feedback on students has been well documented in the literature (eg McFarlane and Wakeman, 2011), there is little in the academic literature on the affectual impact of the feedback process on markers (Henderson-Brooks, 2021). Whilst not specifically related to audio feedback, Spaeth (2018) is an exception, articulating that emotional labour is a performance when educators seek to balance the promotion of student learning (care) with the pressures for efficiency and quality control (time). Spaeth (2018) argues that there is a lack of attention directed towards the emotional investment on the part of colleagues when providing feedback.

Here, I bring my voice to this less explored side by exploring audio feedback as a performance of emotional labour, based on my experience of trialling of audio feedback as a means of providing feedback to university students through Turnitin on the Virtual Learning Environment. This trial was initiated by colleagues at a departmental level as a possible means of addressing the National Student Survey category of ‘perception of fairness’ in relation to feedback. I decided to reflect on my experience of providing audio feedback as part of a reflective practice module ‘FLEX’ that I was undertaking at the time whilst working towards my Masters in Higher Education.

When providing audio feedback, I felt more confident in the mark and feedback I awarded students, when compared to written feedback. I felt my feedback was less likely to be misinterpreted. This is because, when providing audio feedback, I simultaneously scrolled down the script, using it as an oral catalyst. I considered my audio feedback included more examples than conventional written feedback to illustrate points I made. This overcomes some perceived weaknesses of written feedback: that it is detached from the students’ work (McFarlane and Wakeman, 2011).

In terms of my perceived drawbacks of audio feedback, whilst some academics have found audio feedback to be quicker to produce than written feedback, I found audio feedback was more time-consuming than traditional means; a mistake in the middle of a recording meant the whole recording had to be redone. I toyed with the idea of keeping mistakes in, thinking they would make me appear more human. However, I decided to restart the recording to appear professional. This desire to craft a performance of professionalism may be related to my positionality as a fairly young, female, academic with feelings of imposter syndrome.

I work on compressed hours, working longer hours Monday-Thursday. Working in this way, I have always undertaken feedback outside of core hours, in the evening, due to the relative flexibility of providing feedback (in comparison to needing to be in person at specific times for teaching). I typically have no issue with this. However, providing audio feedback requires a different environment in comparison to providing written feedback:

Providing audio feedback in the evenings when my husband is trying to get our two children to sleep, and with two dogs excitedly scampering around is stressful. I take myself off to the bedroom and sit in bed with my dressing gown on, for comfort. Then I suddenly think how horrified students may be if they knew this was the reality of providing audio feedback. I feel like I should be sitting at my desk in a suit! I know they can’t see me when providing audio feedback, but I feel how I dress may be perceived to reflect how seriously I am taking it. (Reflective diary)                     

I work in an open plan office, with only a few private and non-soundproof pods, so providing audio feedback in the workspace is not easy. Discussing her ‘marking life’, Henderson-Brooks (2021:113) notes the need to get the perfect environment to mark in: “so, I get the chocolates (carrots nowadays), sharpen the pens (warm the screen nowadays), and warn my friends and relatives (no change nowadays) – it is marking time”. Related to this, I would always have a cup of tea (and Diet Coke) to hand, along with chocolate and crisps, to ‘treat’ myself, and make the experience more enjoyable.

When providing feedback, I felt pressure not only to make the right kind of comments, but also in the ‘correct’ tone, as I reflect below:

I feel a need to be constantly 100% enthusiastic. I am worried if I sound tired students may think I was not concentrating enough marking their assessment; if I sound low mood that I am disappointed with them; or sounding too positive that it does not match their mark. (Reflective diary)

I found it emotionally exhausting having to perform the perfect degree of enthusiasm, which I individually tailored to each student and their mark. This is confounded by the fact that I have an autoimmune disease and associated chronic fatigue which means I get very tired and have little energy. Consequently, performing my words / voice / tone is particularly onerous, as is sitting for long periods of time when providing feedback. Similarly, Ekinsmyth (2010) says that colleagues in her study felt a need to be careful about the words used in, and the tone of, audio feedback. This was exemplified when a student had done particularly well, or had not passed the assignment.

Emotions are key to the often considered mundane task of providing assignment feedback to students (Henderson-Brooks, 2021).  I have highlighted worries and anxieties when providing audio feedback, related to the emotional labour required in performing the ‘correct’ tone; saying appropriate words; and creating an appropriate environment and atmosphere for delivering audio feedback. I recommend that university colleagues wishing to provide audio feedback to students should:

  1. Publicise to students the purpose of audio feedback so they are more familiar with what to expect and how to get the most out of this mode of feedback. This may alleviate some of the worries of colleagues regarding how to perform for students when providing audio feedback.
  2. Deliver a presentation to colleagues with tips on how to successfully provide audio feedback. This may reduce the worries of colleagues who are unfamiliar with this mode of feedback.
  3. Undertake further research on the embodied, emotional and affective experiences of academics providing audio feedback, to bring to the fore the underexplored voices of assessors, and assist in elevating the status of audio feedback beyond being considered a mere administrative task.

Samantha Wilkinson is a Senior Lecturer in Childhood and Youth Studies at Manchester Metropolitan University. She is a Doctoral College Departmental Lead for PhDs in Education. Prior to this, she was a Lecturer in Human Geography at the same institution. Her research has made contributions regarding the centrality of care, friendship, intra and inter-generational relationships to young people’s lives. She is also passionate about using autoethnography to bring to the fore her experiences in academia, which others may be able to relate to. Twitter handle:@samanthawilko