Assessing Community Art Education in Nordic Street Art Collective

Thesis Abstract

This study investigates how community art education operates within the Nordic Street Art Collective (NSAC) to understand its educational value, inclusivity, and capacity to foster creative agency among participants. The problem addressed is the limited empirical evidence linking street art practices to structured educational outcomes in community contexts, despite NSAC’s prominence in urban cultural life and its potential to bridge arts education with participatory, place-based learning. The aim is to assess the effectiveness, inclusivity, and learning dimensions of NSAC’s community art education programs, with specific objectives (1) to map program structures, pedagogy, and learning activities; (2) to evaluate participants’ artistic skill development, critical thinking, and collaborative competencies; (3) to examine how NSAC’s practices engage marginalized youth and diverse communities; (4) to identify enabling conditions and barriers within organizational, social, and policy environments; and (5) to generate a theory-informed framework for evaluating community art education in street art contexts. The study adopts a mixed-methods sequential explanatory design, integrating quantitative and qualitative data to provide a comprehensive understanding of learning outcomes and lived experiences. The population comprises active NSAC participants, mentors, and program coordinators across Denmark, Norway, and Sweden during 2022–2024. A multi-stage sampling strategy yields a quantitative sample of 180 program participants and 25 mentors, selected through stratified random sampling by country and age cohort, complemented by a qualitative sample of 30 participant interviews, 12 mentor interviews, and 6 focus groups with community stakeholders. Data collection instruments include a standardized learner outcome survey measuring artistic skill progression, collaboration, and metacognition; standardized scales for perceived inclusivity and agency; semi-structured interview guides; and observational rubrics aligned with project phases ideation, mural production, and community presentation. Documentary data include program curricula, session logs, and policy briefs. Validity and reliability are addressed through pilot testing of instruments, triangulation across sources, and inter-rater reliability checks (Cohen’s kappa) for qualitative coding. Data analysis begins with descriptive statistics and bivariate correlations to describe learning trajectories, followed by multiple regression and path analysis using structural equation modeling to test a theoretical model linking pedagogy, participation, and outcomes. The qualitative component employs thematic analysis, supported by framework analysis, with codes derived from Wertsch’s Sociocultural Theory and Vygotsky’s Zone of Proximal Development to interpret how social interaction mediates learning in situ. A conceptual model synthesizes findings to articulate relationships among program design, learner agency, and community impact. Expected findings indicate positive associations between peer-led mentorship, collaborative mural projects, and increases in creative fluency, reflective practice, and social belonging. Variations are anticipated by country and participant characteristics, with greater gains among youth participants from immigrant backgrounds when inclusive practices are evident. The analysis is also expected to reveal organizational conditions—clear pedagogical guidelines, accessible materials, and time-allocated rehearsal—as critical enablers, while constraints include funding instability, permit complexities, and competing urban development pressures. The study anticipates identifying best practices for scaffolding learning in street art settings, including embedded reflection, culturally responsive curricula, and community co-design of projects, culminating in a transferable evaluation framework for community art education in street-based contexts. The contribution to knowledge lies in (a) providing an empirically grounded, theory-informed evaluation of community art education within Nordic street art practice; (b) advancing understanding of how sociocultural learning theories manifest in non-traditional arts education environments; and (c) offering a validated framework and practical recommendations for educators, community organizations, and policymakers seeking to maximize educational value, inclusivity, and social impact in street art collectives. The study concludes that NSAC’s educational potential is maximized when pedagogy foregrounds collaborative inquiry, culturally inclusive participation, and structured opportunities for reflective practice, supported by stable funding and navigable regulatory pathways. Recommendations include scalable mentorship models, co-creative curatorial processes with youth, policy advocacy for arts-friendly permitting, and ongoing monitoring using the proposed evaluation framework to sustain and enhance community art education in Nordic urban settings.